Kamis, 31 Maret 2011

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Hypersonic and High-Temperature Gas Dynamics, Second Edition (AIAA Education), by J. Anderson Jr.

This book is the second edition of a successful, self-contained text for those students and readers interested in learning hypersonic flow and high-temperature gas dynamics. Like the first edition, it assumes no prior familiarity with either subject on the part of the reader. If you have never studied hypersonic and/or high-temperature gas dynamics before, and if you have never worked extensively in the area, then this book is for you. On the other hand, if you have worked and/or are working in these areas, and you want a cohesive presentation of the fundamentals, a development of important theory and techniques, a discussion of the salient results with emphasis on the physical aspects, and a presentation of modern thinking in these areas, then this book is also for you. In other words, this book is designed for two roles: 1) as an effective classroom text that can be used with ease by the instructor, and understood with ease by the student; and 2) as a viable, professional working tool for engineers, scientists, and managers who have any contact in their jobs with hypersonic and/or high-temperature flow. Because of its success, most of the first edition has been carried over to the second edition with the addition of much new material.

This second Edition has updated figures and data to compliment the presentation and discussion of the fundamentals. New to this edition are some educational tools that the author has found successful in previous books, namely the inclusion of: (1) previews of each chapter written in plain language to inform the reader why it is important to read and understand the material in the chapter, to highlight the important aspects , and to whip up the reader’s passion to consume the chapter; (2) design examples scattered throughout the book to illustrate the application of the fundamentals to the design of hypersonic vehicles and ground test facilities; and (3) roadmaps at the beginning of each chapter to guide the reader comfortably through the material. New subjects discussed in the Second Edition include shock-shock interactions, hypersonic waveriders, and aspects of hypersonic propulsion devices, always in light of the fundamentals emphasized in the main part of the book.

Finally, this book is for you – the reader – to take you through an enjoyable tour of the world of Hypersonic and High Temperature Gasdynamics.

  • Sales Rank: #654101 in Books
  • Brand: Brand: AIAA
  • Published on: 2006-11-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.18" h x 1.69" w x 6.42" l, 3.12 pounds
  • Binding: Hardcover
  • 813 pages
Features
  • Used Book in Good Condition

Review
"John Anderson's books are consistently well written. It's an excellent book I'll keep for years to come."

About the Author
Dr. John Anderson, Jr. received his Ph.D. in Aeronautical and Astronautical Engineering in 1966 from the Ohio State University. Dr. Anderson served as professor of Aerospace Engineering at the University of Maryland where he became the Glenn L. Martin Distinguished Professor for Education in Aerospace Engineering. He is an Honorary Fellow of AIAA and a Fellow of the Royal Aeronautical Society. Among his numerous accomplishments, he was awarded the AIAA Pendray Aerospace Literature Award ""for writing textbooks in aerospace engineering which have received worldwide acclaim."" In 1999 he retired from the University of Maryland and was appointed Professor Emeritus. He is currently the Curator for Aerodynamics at the National Air and Space Museum.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Exciting introduction
By FXTBURU
This is my favorite Anderson text, next to Modern Compressible Flow and Computational Fluid Dynamics. Both are 5 star texts.

There are a surprising amount of typos in the text. Just be careful. I found them because I parsed the text carefully during my outlines of the chapter material. You find about 1-2 typos per chapter.

Looking at it in front of me, it's a beast. I did not formally cover the first 445 pages of Hypersonics but I did cover the last half of the book while studying High-Temperature Gas Dynamics. The high-temp sections offer a very good roadmap for learning. All of the topics are brought together very well during this portion of the text.

The information on Hypersonics appeared exhaustive. If it is recommended for hypersonics, I would get it. It covers inviscid AND viscous hypersonic flow in parts 1 and 2. Part 3 is high-temp. This is an excellent INTRODUCTORY text for graduate level students. The author does recommend many texts that will allow the reader to delve further into the subject matter.

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

0 of 0 people found the following review helpful.
Another great book by Anderson
By Logan Ausderau
Another great book by Anderson. Very clear and concise. The binding always falls apart on these AIAA published books though.

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[T790.Ebook] Download Ebook Romantic Country: A Fantasy Coloring Book, by Eriy

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Romantic Country: A Fantasy Coloring Book, by Eriy

Magnificent rural villages, prairies, forests, lakeside scenery and a beautiful towering castle await you and your colored pencils in Romantic Country: A Coloring Book by Japanese illustrator Eriy, who uses an ink-dipped toothpick to draw each intricate design. Inside are pages and pages of provincial delights for you to bring to life through coloring: delectable French pastries, magical forests filled with wildlife, charming town squares bustling with people-and so much more, sure to delight people of all ages.

Perfect for fans of Secret Garden and Enchanted Forest, as well as those looking for a creative way to relax, Romantic Country: A Coloring Book will whisk you away to a black-and-white fantasy land that you can bring to colorful life.

  • Sales Rank: #17270 in Books
  • Brand: Macmillan Publishers
  • Model: 510589
  • Published on: 2016-03-01
  • Released on: 2016-03-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.88" h x .50" w x 10.00" l, .74 pounds
  • Binding: Paperback
  • 96 pages

About the Author
ERIY attended Musashino Art University in Tokyo and began working as an illustrator when in school. Now a freelance illustrator, Eriy uses a toothpick as her main drawing tool.

Most helpful customer reviews

111 of 114 people found the following review helpful.
A Charming and Whimsical Imaginary Country – printed on both sides of the page
By iiiireader
[[VIDEOID:5510720f65cdf188497b756adb3748b1]]“Romantic Country” is the imaginary country that artist Eriy created in her childhood. Based on these designs, it is a charming and whimsical land to visit. The artist named this land Cocot.

What is interesting about the designs is the back story on how the artist created them. Apparently, these were the first ink studies she had done and while she remembered to buy ink, she forgot to buy a pen! Being resourceful, she used what was on hand – a toothpick. Approximately 700 toothpicks were used to create the designs in the book. The unusual drawing tool gives the lines in the book a faded appearance and provides lines that vary in thickness. These add to the charm of the designs rather than detract from them.

The artist tells the story about the town at the front of the book and then follows up with a detailed description the subject matter of each design at the back of the book. The fantasy land (and the book) are separated by their areas. There are several maps and five chapters. In all, the story adds an event more delightful layer to the coloring book. It makes it a story book of coloring designs rather than simply a coloring book.

The book has a removable dust cover. While there are no elements to color on the inside of the dust cover (a missed opportunity), there are areas to color on the actual brown cover which is attached to the book. The designs are printed on both sides of non-perforated cream colored paper. The ink tones seem almost sepia in nature but it may be because of the toothpick tool.

The binding of the book is sewn rather than glued, so you can remove a few pages at a time by snipping a few threads. Eleven of the designs spread across two pages and, in my book, align very well. Fifty-eight designs are printed on one page. Many of the designs merge into the binding but if you remove pages by snipping threads, you should be able to remove them without loss of any of the design. I was able to get the book to lay flat by breaking the spine. There is a bonus fold-out poster included at the back of the book. My copy was fairly bent up. It appears to have been done in manufacturing as the cover of my book and the package it arrived in was pristine.

I tested this coloring book with a wide range of coloring medium (though, I must admit, I did not try a toothpick!) Here are the results of my tests and a listing of the coloring medium I used in testing:

All of my alcohol-based markers bled through the page immediately. My water-based markers and my India ink artist pens left shadows of color on the backside of the page. My gel pens did not bleed through but required a little extra drying time than ordinary. My coloring pencils worked exceptionally well with this paper. The soft lead pencils went on thick and creamy with little effort. They blended exceptionally well. My hard lead pencils went on distinctly and did not leave indents on the back of the page. I plan to use primarily coloring pencils and some gel pens with this coloring book. If you use any form of ink, be sure to use a blotter page below the page you are working on. The ink will certainly mar the design on the back of the page but the blotter page will keep the ink from seeping further into the book.

These are the coloring medium that I use for testing. If there is something else you feel I should be testing, please let me know and I will see if I can add it to my growing pile:

Markers: 1) alcohol-based – Copic Sketch, Prismacolor double ended markers (brush and fine point), Sharpies (fine and ultra-fine) Bic Mark-its (fine and ultra-fine) and 2) water-based – Tombows dual end markers (brush and fine point), Stabilo 88, and Staedler triplus fineliners

India Ink: Faber-Castell PITT artist pens (brush tip)

Gel Pens: Sakura, Fiskars, Uni-ball Signo in the following sizes - 0.28/0.38/0.5/1.0 and Tekwriter

Coloring Pencils: Prismacolor Premier Soft Core, Derwent Colorsoft, Prismacolor Verithins, Caran D'Ache Pablo Colored Pencils and Faber-Castell Polychromos

97 of 100 people found the following review helpful.
I wish Cocot was real!!
By Amazon Customer
A new favorite! The paper is amazing, a nice cream colour and thick so no bleed through from pens. Such a dreamy fairy tale land! And I can't believe she did all of these illustrations with a toothpick!!! Check out my full review video on Colouring by Kourtney (Facebook)

[...]

40 of 42 people found the following review helpful.
Utterly Charming!
By K. Howard
Oh, if only Cocot was a real place! I'd love to live there. It makes me think of small villages in Europe. The pages are off-white and feel rather thick. I plan to use colored pencils, so I haven't tried any other medium. There is a removable dust jacket plus a poster you can pull out and color. There is an index at the back of the book which explains each "scene". There is also a town history at the beginning of the book. It's amazing that this author used toothpicks for her artwork! This coloring book is absolutely beautiful, and I hope to see more by this artist.

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Minggu, 27 Maret 2011

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Porsche 964, 993 & 996 Data Plate Code Breaker: Discover Your 911's Original Build Specification, by Adrian Streather

This book provides a comprehensive list of all build specification codes used by Porsche AG for the Porsche 911 series from model years 1989 to 2005. VIN, model type, country, exterior paint color, interior color combinations, material codes, and standard, special and Porsche Exclusive options for the 964, 993 and 996 series are provided in detail. Option codes for other Porsche models built between 1978 and 2005 are also included if known to the author. This book will not only be of great value to current Porsche owners, but to potential Porsche purchasers as well. The buyer can use this handbook to confirm the accuracy of the seller’s description by comparing the data in the book to what is advertised and what is actually installed, giving the buyer a much greater advantage. Information contained within the book will also help owners and buyers overcome problems caused by missing identification labels, and will free up time currently wasted trawling the internet for answers.

  • Sales Rank: #413980 in Books
  • Brand: Brand: Veloce Publishing
  • Published on: 2008-11-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.69" h x .31" w x 5.50" l, .47 pounds
  • Binding: Paperback
  • 96 pages
Features
  • Used Book in Good Condition

Review

GT Porsche, September 2008
UK magazine

If you've ever wanted to decipher your 911's Identification Label then the Data Plate Code Breaker book from Veloce Publishing is for you. It lists all the build specification codes for the 911 from 1989 to 2005 and covers the VIN, model type, country, exterior paint color, interior color combinations, material codes and standard, special and Porsche Exlusiv options. Author Adrian Streather has also included option codes for other Porsches built between 1978 and 2005.

About the Author
Adrian Streather is a well established author. This Soviet uniforms book is his ninth book and is a deviation from his normal passion and enthusiasm for all things automotive that he normally writes about. Everyone has a hobby and Adrian is no exception. His hobby is collecting military uniforms and for the past few years he has focused on his old former foe, the Soviet Union. During the cold war Adrian served in the Royal Australian Air Force. Years later knowing he knew little of his adversary he decided to learn and this book is the result.

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0 of 0 people found the following review helpful.
Data plate code breaker
By fscaustin48
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Sabtu, 26 Maret 2011

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Looneyspoons: Low-Fat Food Made Fun!, by Janet Podleski, Greta Podleski

Who says low-fat food has to be tasteless, unappealing, and boring? No "weigh"! Looneyspoons is a refreshingly unique low-fat cookbook with a spunky personality that's destined to make you look at healthful eating in a different "light". Using an innovative and somewhat wacky presentation style to take the intimidation and confusion out of healthful eating, sisters Janet and Greta Podleski show you how to make it easy and fun!

With over 300 cartoons, plenty of humor, bite-sized chunks of useful lifestyle information, the Podleski sisters put aside their Sizzling Rivalry (their fantastic chicken and potato recipe) and show you how to prepare such fascinating dishes as:

• Manicotti Overboard
• Chili Chili Bang Bang
• Chip Chip Hooray!
• Sinnamon Apple Muffins
• Miss American Thigh
• Jurassic Pork Roast

Looneyspoons is more than just a cookbook. Janet and Greta share useful, common-sense strategies to help you adopt and maintain a healthy lifestyle. You'll learn how to make smarter food choices at home, at the grocery store, and at restaurants.

So Hail a Cabbage or Say "Cheesecake". Either way, just get looney and indulge yourself in a hefty serving of laughter—healthy living has never been so much fun!

About the Authors
Janet and Greta Podleski put everything into this book—literally. They quit their jobs, sold their cars, and Janet even parted with her wedding dress at a yard sale (she did keep her husband). With support and advice from Dave Chilton (author of The Wealthy Barber), the Podleski sisters and Looneyspoons are well on their way to impacting millions of North Americans' eating habits—and funny bones.

  • Sales Rank: #384857 in Books
  • Published on: 1997-09-03
  • Released on: 1997-09-03
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.00" h x 8.75" w x .50" l,
  • Binding: Paperback
  • 192 pages
Features
  • Who says low-fat food has to be tasteless, unappealing, and boring?

Review
Over 150 Outrageously delicious low-fat recipes!

From the Inside Flap
Who says low-fat food has to be tasteless, unappealing, and boring? No "weigh"! Looneyspoons is a refreshingly unique low-fat cookbook with a spunky personality that's destined to make you look at healthful eating in a different "light". Using an innovative and somewhat wacky presentation style to take the intimidation and confusion out of healthful eating, sisters Janet and Greta Podleski show you how to make it easy and fun!

With over 300 cartoons, plenty of humor, bite-sized chunks of useful lifestyle information, the Podleski sisters put aside their Sizzling Rivalry (their fantastic chicken and potato recipe) and show you how to prepare such fascinating dishes as:

? Manicotti Overboard
? Chili Chili Bang Bang
? Chip Chip Hooray!
? Sinnamon Apple Muffins
? Miss American Thigh
? Jurassic Pork Roast

Looneyspoons is more than just a cookbook. Janet and Greta share useful, common-sense strategies to help you adopt and maintain a healthy lifestyle. You'll learn how to make smarter food choices at home, at the grocery store, and at restaurants.

So Hail a Cabbage or Say "Cheesecake". Either way, just get looney and indulge yourself in a hefty serving of laughter?healthy living has never been so much fun!

About the Authors
Janet and Greta Podleski put everything into this book?literally. They quit their jobs, sold their cars, and Janet even parted with her wedding dress at a yard sale (she did keep her husband). With support and advice from Dave Chilton (author of The Wealthy Barber), the Podleski sisters and Looneyspoons are well on their way to impacting millions of North Americans' eating habits?and funny bones.

About the Author
Bestselling authors and sisters Janet and Greta Podleski quit their jobs, sold their possessions, and went for 14 months without income to write Looneyspoons. Since then, they have helped nearly a million readers adopt a healthier lifestyle by presenting sensational low-fat recipes with a sense of humor.

Most helpful customer reviews

38 of 40 people found the following review helpful.
Low in fat - loaded with fun - the best cookbook I own!
By A Customer
This cookbook is full of fabulous recipes that are made from easily obtainable ingredients. The directions are understandable and the finished product tastes terrific. The pages are well designed and filled with interesting tidbits of info about food and thier fat contents. The illustrations really set the humorous tone. It's actually fun to just get the book out to read it even when I don't feel like cooking. Once you make the recipes you won't believe they're low fat! An outstanding book. I can't wait for the next one.

30 of 30 people found the following review helpful.
I have lost 73 pounds, and am still going!
By D. Scott
This book, and its companion Crazy Plates, are fantastic. Partly with the help of these two books, I have been able to lose 73 pounds since last Christmas (OK, I had a lot to lose! :)) The recipes are more delicious than I thought possible - even preferable to "regular" recipies!
My favorite from this book is the outstanding breakfast omelette recipe. It tastes great, and is extremely simple to make. I could not believe how much of this dish I could eat and still stay legal!
A nice feature of the book is that every recipe has the fat and calorie information listed clearly at the bottom by portion. Take it from a big eater, the portions are generous. We have even lowered the fat and calorie content of several of the dishes in the book ourselves, substituting things like fat free chicken broth instead of standard chicken broth, I Can't Believe It's Not Butter Free for butter, egg substitutes for eggs, and black tiger shrimp (less fat and calories) for regular pink shrimp.
Even though I have lost 73 pounds, I have a good bit more to go, with maintenance after that. This book will have a welcome place in our kitchen for years to come!

0 of 0 people found the following review helpful.
Wonderful book, informative and funny
By Gary T.
Product received on time and as described. Wonderful book, informative and funny.

See all 48 customer reviews...

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Rabu, 23 Maret 2011

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Midnight Taxi Tango: A Bone Street Rumba Novel, by Daniel José Older

The author of Half-Resurrection Blues returns in a new Bone Street Rumba Novel—a knife-edge, noir-shaded urban fantasy of crime after death.

The streets of New York are hungry tonight...
 
Carlos Delacruz straddles the line between the living and the not-so alive. As an
agent for the Council of the Dead, he eliminates New York’s ghostlier problems. This time it’s a string of gruesome paranormal accidents in Brooklyn’s Von King Park that has already taken the lives of several locals—and is bound to take more.
 
The incidents in the park have put Kia on edge. When she first met Carlos, he was the weird guy who came to Baba Eddie's botánica, where she worked. But the closer they’ve gotten, the more she’s seeing the world from Carlos’s point of view. In fact, she’s starting to see ghosts. And the situation is far more sinister than that—because whatever is bringing out the dead, it’s only just getting started.

  • Sales Rank: #343189 in Books
  • Published on: 2016-01-05
  • Released on: 2016-01-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 6.79" h x .91" w x 4.21" l, 1.00 pounds
  • Binding: Mass Market Paperback
  • 336 pages

Review
Praise for Midnight Taxi Tango

“With a cleverly written, imaginative plot and a cast of otherworldly, colorful characters set in the streets of New York, Midnight Taxi Tango takes urban fantasy to a thrilling new level.”—RT Book Reviews (top pick)

Praise for Half-Resurrection Blues
 
“Daniel José Older is here to save your soul. But he might just terrorize it first…a fabulous talent.”—Victor LaValle, author of The Devil in Silver
 
“All the best dark urban fantasies are about matters of life and death. Half-Resurrection Blues takes that to the limit. A hard-core, hard-driving fantasy.”—Simon R. Green, New York Times Bestselling Author of Tales from the Nightside
 
“As real as fresh blood and as hard as its New York streets. A Lou Reed song sung with a knife to your throat.”—Richard Kadrey, New York Times Bestselling Author of The Getaway God
 
“A fantastic beginning to what will surely be a fantastic series."—Jesmyn Ward, National Book winning author of Men We Reaped

About the Author
Daniel José Older is a Brooklyn-based writer, editor, composer, and author of the Bone Street Rumba novels, including Half-Resurrection Blues. He facilitates workshops on storytelling, music, and anti-oppression organizing at public schools, religious houses, and universities. He co-edited the anthology Long Hidden: Speculative Fiction from the Margins of History, and his short stories and essays have appeared in Tor.com, Salon, BuzzFeed, Gawker, New Haven Review, PANK, and Strange Horizons.

Excerpt. © Reprinted by permission. All rights reserved.

Chapter One


Carlos

 

"What song is that, man?"

I don’t move. The rumble of this ambulance’s diesel engine fills the air again; the park comes into focus around us, streetlamps fighting off the gloom. If I hold still, if Victor shuts the fuck up, if nothing happens for another few seconds, then maybe I can sink back in, grasp hold of that fragile thread of a melody, the line of her face fading into the darkness.

“Carlos?”

I rub my eyes and reach for the coffee cup on the dashboard. The thread is gone; Sasha is gone. Gone for good. “It’s nothing, man. Just some song I heard.” The coffee is lukewarm but strong as hell. Reality settles in fully around me. “Can’t seem to shake it, is all. You get a job?”

Victor shakes his head, “Nah, man, go back to sleep.” The ambulance radio crackles to life, a routine announcement that seat belts save lives, and then all we hear is the diesel putt-putt-putt and occasional snores from the passenger compartment, where Victor’s partner, Del, is laid out.

“Look,” I say, “if some shit don’t go down by four, I’m out.”

Victor nods. “I’m telling you, it’s been every night, C. Without fail.”

“Maybe accidents do take vacations after all.”

“Carlos, I’ve been doing this job for twelve years and I ain’t never seen a pattern like this. You know I don’t even go in for all that woo-woo shit either. I don’t get involved in your whatever spirit-hunting weirdo life. No offense.”

“Thanks, man.”

“And I ain’t never come to you ’bout some shit in all the time I known you.” He pulls out a cigarette and starts smoking it out the window.

Around us, Von King Park glowers with late-night shadows and a few scattered lights. The metal bars of a playground swing glint out of the gloom, a silhouetted pyramid against the cloudy sky. Darkened brownstones peer from behind the trees on either side.

Maybe there is something lurking out there. I get the faintest tinge of it—a rude kind of itch—but my cluttered-up memories make it hard to think clearly.

Anyway, if I say anything right now, Victor will interpret it as encouragement to speak more, so I light a Malagueña and glower along with the park.

Victor lets out a menthol-laced cloud and shakes his head. “Last night, a hipster on a bike got completely destroyed by a passing garbage truck. I mean, we were picking up pieces of him blocks away. The night before it was a prisoner that broke out the precinct over there, made it halfway across the street before the desk officer popped him and then he got sideswiped by a motorcycle. The dude got dragged like four blocks, and when we got to him, his back was hamburger, Carlos. Hamburger.”

I just grunt.

“Wednesday it was the suicide. That was on the far corner of the park over there. Jumped from the roof of that brownstone and lived, man. We had to decompress him though, full-on tension pneumo, tubed that ass and hauled him to Bellevue Died in surgery.”

“Damn.” I have no idea what Victor’s going on about, but all medical jargon aside, he’s right. Three apparently unrelated gory deaths in a four-block radius is the kinda thing that puts me to work. He rattles off a few more while I smoke and ponder patterns and, inevitably, the past . . .

“Carlos?”

“Yeah, man?”

“You’re humming again.”

“Huh?”

“Like, while I’m talking.” Victor narrows his eyes at me as I sit up and rub my face.

“Shit, man. Sorry.”

“It’s cool. I know you’re not used to the nightlife. Anyway, they started calling the place Red Square on the strength of all this. And I’m just saying, seems like the kinda thing . . . you might know something about.”

Vic’s never known how to talk about me being half dead. It’s not his fault—I’ve never come out and said it to him. But a gray pallor covers me like a layer of dust, and my skin is cold to the touch; my heart rate never surpasses a melancholy stroll. Plus I deal with ghosts. In fact, I’m employed by them: the New York Council of the Dead, a sprawling, incomprehensible bureaucracy, sends me to clean up any messy irregularity in the rigid, porous borderlines between life and death. I mean, since I’m a walking messy irregularity myself, I guess it makes sense the Council’d use me as their cleanup man, but truth is, it gets lonely.

Especially recently.

A whiny bachata song explodes out of Victor’s belt. He curses, his belly shoved against the steering wheel as he squirms into what must be some kind of yoga pose to dig out his phone.

“Ay, shut the fuck up with that yadda yadda horseshit,” Del hollers from the back. Del is like eight feet tall with locks down to his ass. He’s from Grenada, but he got hit by a school bus in the nineties and has been speaking with a thick Russian accent ever since. When he gets really worked up, his brain clicks fully over into Russian—some shit the neuroscientists of the world are still going nuts trying to figure out.

Mostly people try to be really nice to him.

“Sorry, man!” Victor yells, cradling the flip phone against his face. “Hello? . . . Uh, yeah, hang on.” He hands me the phone. “It’s for you, man. Some chick.”

Sasha.

The thought wreaks havoc on my slow-ass heart for a half second, and then I mentally clobber it into submission. Of course it’s not Sasha. There’s eighty million reasons for it not to be Sasha, least of which being how the fuck would she have Victor’s number and know I was with him? And why would she care? She walked out on me with no forwarding address, barely recovered from a nasty demon possession and pregnant with my child. And now all I have is a Sasha-shaped hole in my chest and a song I can’t stop humming.

I mean, I did kill her brother. I was in no place to try to get her to stay. And still . . .

“Carlos?”

I have to stop disappearing from the world like this. I ignore Vic’s raised eyebrow, take the phone, and say hello into it.

“Tell your buddy if he refers to me as ‘some chick’ ever again, he’ll be driving his own ass to the ER so they can extract his nutsack from his mouth.”

“Hi, Kia.” Kia is sixteen and will probably rule the world one day. For now, though, she runs my friend Baba Eddie’s botánica. Started on the register, selling amor sin fin and espanta demonio herbal mixtures, statues of saints, and beaded necklaces. Then she took over the books, which were a disaster, and, without bothering to ask Baba Eddie, she set up an online store and proceeded to build what appears to be a small spiritual-goods empire—one she rules with an iron fist—and all as an after-school job.

“You called?”

“Isn’t it a school night? What are you doing up at four a.m.?”

“Returning your phone call.”

“That was like eight hours ago!”

“All right, man. I’ll talk to you later then.”

“Wait—you know anything about the park over on Marcy?”

“Know anything about it? I know a buncha motherfuckas been gettin’ got there recently. Usedta be my stomping grounds for a while, then I moved on. Is that where you are right now, C? You might wanna not be there.”

“I’m all right. Anything else?”

“My girl Karina babysits a whole boatload of little white kids at that park. You want me to ask her about it?”

“If you don’t mind.”

“I’ma see her at capoeira tomorrow. Maybe I’ll swing through with her after.”

The radio crackles, and Victor picks up the mic. “Five-seven X-ray, send it over.”

“Be careful out there,” Kia says.

Victor puts on his seat belt and cranes his head toward the back. “Del, we got a job.”

“Morgala vikalyu, padla!”

 

“It’s been like three weeks now,” a little Humpty-Dumpty-looking middle-aged man in a bathrobe tells us. “I been coughing and hacking, but this is different.”

Del towers over the guy, arms akimbo, perpetual frown deeper than usual. “You’ve been coughing for three weeks, yes?” He says it like he’s about to launch into an eighty-thousand-page dissertation about peasants and vodka. “And now you decide for to call nine-one-one, why?”

 

“Well, tonight I coughed up something different. You want to see?”

“I really do not want to see this thing,” Del says, but the little oval-shaped dude is already rummaging around a pile of used tissues and medicine vials on his coffee table.

Victor copies down the guy’s basic information at the kitchen table. I’m sitting across from him trying not to gape. “Is this normal?” I whisper. “People call you for this shit?”

He peers over his dollar-store reading glasses at me for a hard second, then gets back to writing.

“Here it is!” the guy exclaims cheerfully. Then he erupts into a hacking fit. He passes a plastic Tupperware container to Del, who gingerly takes it in a gloved hand and peers in. He scowls and tips it toward us just enough for me to see a tennis-ball-sized clump of tangly brown hair.

“The fuck?” I say before I can stop myself.

The patient shrugs. “I know, right?”

Victor shrugs too, and then both radios in the room burst into excited, static-laced growls.

“Unit with a message, please repeat your assigned number and location. Unit with a message, please re—” Another desperate scramble of static and yelling cuts off the dispatcher. Victor and Del both furrow their brows and turn up their radios at the same time.

I hear the words “forthwith” and “imminent arrest” and then more static comes in. The dispatcher releases an angry tone over the airwaves and yells at the units to stop stepping over each other.

I stand up. “What is it?”

Victor shakes his head. “Sounds like they’re calling for backup.”

“Marcy and Green! Marcy and Greene!” the radio screams. “Forthwith! We have an imminent cardiac arrest. I need medics. I need backup. We about to roll.”

Victor and I lock eyes. “The park,” I say.

He nods. “Go. We gotta wrap this up.”

At full speed, I move with ease. You don’t realize my left leg drags; this cane compensates just so: the full complex machinery of me lunging forward like a wave. It took practice, believe me. But I’ve had time. It’s been more than four years since I died in some unspeakably violent way at the foot of the ornate archway at Grand Army Plaza and then woke up days later in a phantom safe house on Franklin Ave, body broken and every memory shredded. I find new life in each moment like this: the midnight brownstones breezing past me, the siren song of something foul dragging me forward. This is life, and really, anything is better than the sheer emptiness of so many lost memories.

“The streets is hungry,” a little old lady mutters when I roll up, sweat-soaked and out of breath, at the southwest corner of Von King Park. She has a rusted old cart in front of her and a head scarf tied around her wrinkled brown face. “Streets be feedin’ when they hungry.”

A bloodstain the size of a trench coat shines up from the dark concrete at me. It catches the sickly orange glare of streetlamps and the pulsing blue emergency lights. They’ve already decorated the spot with police tape. The ambulance must’ve screeched off just before I got there; I hear its wail recede into the night. A few feet away from the bloodstain, a motor scooter lies in a heap, like someone just crinkled it up and tossed it there.

The cop nearest me has icy blue eyes and looks young and entirely unimpressed. I ask him what happened and he just shrugs and looks away. I turn to the old lady, still standing beside me and chewing her mouth up and down like she has the mushiest piece of steak in there she don’t wanna let go of.

“One’a them Chinese delivery boys,” she responds to my unasked question.

“What hit him?”

She nods up the block some, where a Daily News truck idles with its hazard lights on. A guy with a baseball cap and a goatee stands outside, talking on his cell phone, eyes barely holding back tears. An ugly, human-sized dent marks the side of the truck.

I shake my head. “Damn.”

“Streets is hungry,” the old lady says again.

“You see anything right before? Anything weird?”

She turns her attention from the street; those ancient cataract-fogged eyes squint up at me. “Was just a small one, eh.”

“A small . . . what?”

She flinches, eyes back on the street, far away. “Don’t play stupid now.”

“A small ghost.”

“Ay.”

“You see it clear?”

She shakes her head. “Just fleeting-like. Came and went, came and went.” She chuckles softly. “He’ll be back though, eh. He’ll be back, yes.”




Chapter Two


Kia


I don’t know why I can’t stop thinking of Giovanni today. This is probably all Carlos’s fault, with his damn incessant searching for an invisible past. Whatever it is, I can’t shake it: it’s like there’s a tiny Gio hiding behind all the little potion vials and sacred pots on the shelves around me. I opened the botánica early even though it’s Saturday, because I couldn’t go back to sleep and lying in bed with the sunshine creeping over me just wasn’t cutting it. Yes, I have trig homework. No, I don’t care. And Baba Eddie doesn’t have any readings till two, which means he’ll waddle in at 1:58, sipping his coffee.

But here I am.

The sunlight finds its way through the saint statues in the window display, lands on me and warms my skin. I feel old even though I’m not.

And then a breath of spring comes through the open door. It’s tinged with frost but still carries that freshness, that new-soil, sunlit-fields goodness, and it should make me happy but it doesn’t.

Giovanni.

This always happens, this second week of March, and I always forget and turn myself in circles wondering why I can’t find my way out of this hole, why every thought hurls me back to a dim, cramped place that doesn’t know sunlight. But anniversaries will do that, creep up on you and settle in your bones.

Still, he’s never been on me like this. Usually it’s just the emptiness.

Giovanni.

It’s been seven years, almost to the day.

I should probably give up and admit he’s dead. Everyone else has. A boy like that, that bright a fire, seems like it’d be too much to ask to have him around for more than a decade or two. Instead I make up stories: Giovanni in Amsterdam, whoring around gleefully with poets and painters, smoking hash and making fun of American tourists. Giovanni in India, writing plays while riding elephants. Giovanni in Tunisia, fermenting a lusty new remix of the Arab Spring.

When I was ten, almost eleven, and he was what? Sixteen? I was still plotting how to get him to marry me. I’d done all the math, checked and rechecked it: he would be twenty-three when I hit seventeen, the legal age to marry in New York. That seemed doable: seventeen and twenty-three. Shit, Uncle Freddie got married when he was fifteen and Aunt Bea was twenty-eight and they’re still going strong. Then again, Uncle Freddie’s been known to swallow his own teeth on purpose. Anyway, I scratched the equations out on my little Powerpuff Girls notepad and arrived triumphantly at the conclusion that it was doable, mathematically at least. The other concerns, that he obviously had no interest whatsoever in girls and that we’re first cousins—that all seemed like secondary problems. Sex was gross anyway, right? Who wanted all that?

I’m gonna be seventeen next week and Giovanni is . . . nowhere.

A woman comes in, ignoring the closed sign on the door. I can’t tell if she’s white or Puerto Rican or white and Puerto Rican. She’s got loud purple lipstick on and she’s almost perfectly round. Maybe she’s been here before—Gina? Louisa? Then she opens her mouth and she’s definitely Puerto Rican. “Hola, mi niña. Lissen, you have those collares for Babalu I asked about before? It was maybe two weeks ago, yes?”

Oh yeah, she was here before, but it wasn’t no two weeks ago. Two months maybe. “We already sold ’em out, Iya.” I use the respectful term for an elder santera even though I don’t know if she’s initiated or not. Whatever. One way or the other, she’s older than me.

“Ay, mi madre, but I put in the order and everything.” A singsongy whine enters her voice. I want nothing to do with it, so I end the conversation quick and she finds her way to the door. And then: Giovanni. Giovanni dressed in a hundred shades of violet, fro unruly. We were on our way home from school. That same chilly freshness teased the arrival of spring, and Giovanni was rolling his eyes because he got cast as the swan again in the ballet school’s version of Swan Lake. “Gayest role ever,” he said, sipping a cup of milk and sugar with a splash of coffee in it. “So stupid. Why can’t we do a ballet based on Ishigu?”

I jumped up and down and did little pirouettes around him. “Ishigu! Ishigu!” That’s the manga we both loved. Well, I loved it because he loved it and everything he loved was a holy relic to me. Plus, Ishigu was half boy-demon, half android and surrounded by the hottest anime chicks in Robot City. Gio could be Ishigu and I could be Maiya, who carried a staff with a talking ram’s head on top that she used to disembowel all the tentacle-bots that came at them from the Red Death Chambers.

“I’m coming in late,” Baba Eddie says when I pick up the landline. I hear him pull on his cigarette. "Something came up.”

“I’m so sure.” For no reason at all, I’m annoyed.

“Hold things down for me, okay? Why are you there so early anyway?”

“I dunno.” I shrug as if he can see it over the phone, but really: it’s Baba Eddie; he probably can.

“What’s wrong, Kia?” That touch of charismatic condescension he always gets away with because he knows I love him like a father. Uncle. Fatherly uncle. Whatever. I let it slide. Again.

“Nothing.”

“Good.” He ignores my blatant lie. “See you at three . . . ish.”

“You have a two-o’clock reading, and anyway, I have capoeira at three and I really hate being late.”

“Who’s the reading for?”

“Eliades.”

“Oh fuck. He’s always coming with some bullshit. Keep him entertained till I get there.”

“I’m not entertaining.”

“Just tell him I’ll be a little late.”

“But . . .”

The line goes dead.

Ishigu was a third-degree master of Shumanjo Levitating Robot fighting style, but PS 861 in Sunnyside didn’t have that as an after-school option, so Giovanni took kenpo instead. Gio also was a lead alto in glee club, treasurer of the debate team, assistant editor at the school newspaper, and president/founding member of the Amiri Baraka Drama Club. Each met on a different day of the week, which I always took to be a special scheduling miracle devised solely to please my overachieving cousin—but it was really just a coincidence.

“Why you still wearing your tutu?” Gio narrowed his eyes at me.

“Because I’m a ballerina,” I informed him.

“Ballet is so girly.”

I matched his sneer with one of my own. “You do ballet and you’re a boy.”

“I’m not just a boy.” Gio’s hands extended to either side, palms out, like Ishigu does when he’s getting ready to levitate. “I’m the baddest boy in town, bitches.”

I was laughing, but then I stopped. “Don’t call me a bitch.” Both my fists found my hips, and I frowned, creasing my brow to show I wasn’t kidding.

“I didn’t mean you.” The apology was sincere. “I meant it universally. All the bitches in the universe! Anyway, it’s not a bad word if you say it right.”

“It’s not?” We started walking again, all through the quiet suburbs of eastern Queens. When Gio was with me, I could ignore the creeping sensation that I don’t belong, I don’t belong; no matter where I am, I don’t belong.

“Shh . . . We on a mission.”

“Where we going?” I’d never been to this neighborhood before. Maybe driven past once or twice with my dad, but it was all white folks, and the feeling of don’t belong, don’t belong hung heavy in the air, like all the molecules wanted me to leave too. But I knew I was safe. Gio’d been studying kenpo since he was my age and he was a brown belt and not to be trifled with.

“It’s a secret mission.”

“But where we going?”

“If I tell you, it won’t be a . . .” I made the face that I knew gets him, the one that I used to make right before I cried. He caved. “Fine. But don’t tell anybody.” He lowered his voice to such a shrill whisper on the word “anybody” that a little spittle escaped and he had to wipe his mouth. “We’re going to see if Jeremy’s okay.”

I rolled my eyes. For three weeks, all I’d heard about was Jeremy Fern. Would Jeremy like this red leather jacket? Does he read Ishigu too? What kind of cigarettes would Jeremy smoke? If Jeremy were a crayon, what color would he be? (Yes, no, Virginia Slims and plain ol’ white, respectively, but who was listening?) The angle of Jeremy’s chin: divine architecture; the perfection of his frown when he was thinking about a math problem; the timbre of his voice: angelic. Jeremy the Brave, bringing in articles about oil drilling in Antarctica for social studies. Jeremy the Agile, bounding effortlessly across the gym in tights for his Swan Lake solo. Jeremy the Cryptic, explaining his theory of how all six Star Wars movies were really one eight-million-hour rewrite of the Book of Job.

Or whatever.

If the boy had the slightest hint of self-awareness and looked out from the curtains of his thin blond hair once in a while, I’d actually feel like he was a threat to my impending marriage. But as it was, he displayed zero interest in anything more than a platonic friendship with Gio. Which baffled and relieved me at the same time.

So now we were off to see Jeremy the Clueless for some dumb “mission.” Great.

Eliades shows up right on time, of course. I’m sipping some bodega tea, no milk, no sugar, staring off into nothing like some asshole in a nursing home, when the guy busts in with a loud jingle-jangle from the door chimes. He’s always well dressed, but today his green striped tie lies half undone around his neck like a noose, and the top of his shirt is open, revealing pallid, moist flesh and a hint of chest hair. It’s a chilly March day, but he’s sweating like he ran all the way here from his Manhattan office.

“Hey, Eliades.” I’m grateful for the company; all these memories crowding my head can’t be healthy.

Eliades wipes a hand over his thinning hairline. “It’s back.” No Hi, Kia, no How’s school? Just It’s back. Okay. I hate small talk anyway. I don’t even wanna know what’s back.

“Baba Eddie’s running a little late.”

“But . . .”

“You can have a seat and wait for him.”

Eliades may be self-absorbed, but he knows me well enough not to argue when I use my have-a-seat voice. He makes his way through the aisles, pouting softly, and settles in one of the big easy chairs we got at half price from the vintage spot on Myrtle.

A textbook lies open on the counter in front of me; I don’t even remember taking it out. It’s trig, some shit I already know how to do, and can’t be bothered answering a bunch of mindless questions about. I know this is a terrible reason to be getting Cs, but the truth is, I’m bored out my mind almost every day in school. I mean, most of us are, and believe me when I tell you it’s not us, it’s them. Half the kids in there could be teaching advanced computer coding to a roomful of the aging millennials that are supposed to be educating us. It’s all teach to the test, teach to the test, meanwhile, we got important, real-life shit to deal with that doesn’t involve proving to a messy bureaucracy that their limp-dick machine functions properly.

Every time my report card comes back mediocre, my dad makes a speech about options being open and how I’m smarter than this and he’s disappointed, and I get it, but that doesn’t change the fact that doing mind-numbing work is mind-numbing, and my mind is numb right now. I’m over this shit. I’ve learned more running this botánica and trash-talking with my girl Karina than I ever did in a classroom.

Eliades lets out a massive snore.

I slam the textbook shut and roll my eyes.

“You wouldn’t make much of a spy,” Giovanni informed me as we sat in some bushes on a little hill behind Jeremy’s house. It’s just like all the other ones on this block: three stories, faded off-white shingles, all the decaying decadence of a middle-aged dad in a rumpled suit. “Too much chatter.”

It hurt, but with some effort I kept the whine out of my voice. “Well, how am I sposta spy when I don’t even know what we’re doing here?”

Gio sighed and adjusted his position a little. “Because Jeremy said some strange men had been showing up around his house.”

“How do you know he didn’t mean you?”

“Kia!”

“Keep your voice down. You’re gonna give us away.”

“What I’m gonna do is take you right home and then come back all by myself.”

The idea was so offensive to me I actually squealed a little when I said, “No!” This time when I made the pre-cry face, it wasn’t a ruse.

Gio knew it too, and he softened. “Then shut the fuck up, Kia.”

“Fine. But don’t swear at me.”

After a few moments, Giovanni sighed. “He said there were strange men that would whisper through his window late at night, all kinds of things about how he was destined for greatness and he was the chosen one. All kindsa shit. But it was like a whisper he could hear inside his head, not them speaking. They just made weird clicky sounds. They wanted him to come with them but would never say where, and when he’d ask, they’d just vanish into the night.”

I didn’t know what to say. My eyes were open so wide they felt like they were gonna pop out. “And you gonna stop them?”

“I just want to make sure he’s all right, is all.”

Something is clogging up the air in the botánica. My eyes are watering, and I can’t tell if it’s because I’m getting all emo from thinking about Giovanni or if it’s from whatever thickness has settled over the room. No, it’s definitely not me. I peek through the aisles but Eliades is hidden behind a bookshelf. I can’t inhale fully, my breath stops at the top of my chest and makes me cough.

“Eliades?” I say, and the silence that follows chills me.

It’s back. His words echo through my head over and over again. It’s back. I didn’t even bother asking what—it’s not my business and what could I do about it anyway? It’s back. He’d elongated the “it” in that way people do when they’re talking about something they don’t want to speak out loud. He looked like just saying it was a punch in the gut.

It’s back.

The room is so quiet now. I don’t even hear the traffic outside or the shoppers around the corner on Graham or the bachata that usually streams out the music store across the street. “Eliades?” I sound like such a little girl: pathetic. The thickness hangs over everything, an ever-expanding balloon forcing all the air out of the place. I could call Baba Eddie, but I don’t want to move from right here. Somehow I’m positive if I move, it’s all over. So I don’t. I wait.

It was getting dark; the foliage we were in was already swamped in shadows and the sky turned turquoise through the trees above us. Gio fumbled in his pockets and then produced a black cigarette. I gasped. He rolled his eyes, fumbled again, took out a lighter. The sugary scent of cloves filled the air; it was sweet and perfect, Giovanni’s magic pixie powder.

“How you gonna be all mad that I’m loud,” I hissed, “and then light a great big beacon of flame and send all that smoke out? You know he gonna see it.”

“He’s not even home yet. Look, the lights are out. Anyway, you can’t really stake out a house and not smoke. It’s, like, the rules.”

“I guess. If by stakeout you mean stalk.”

“Shhh!”

I was about to remind him he’d just said no one was home when a light went on. Jeremy appeared, pulling curtains out of the way and then lifting the window. He stuck his head out, smelled the summer breeze (the cloves too probably), and then disappeared back into his room. I elbowed Gio, for no real reason except to somehow indicate that I’d told him so, and he nudged me back but kept smoking.

“You’re an asshole,” I whispered. It felt good to swear, mature.

“Shh!”

Music swirled out of Jeremy’s room. It was trancelike: a gush of strings and then a heavy beat. Jeremy sailed past his window, arms over his head, a perfectly executed grand jeté. He emerged, pirouetting, in the next window just as a pleading, luscious voice came in over the beat.

I tugged on Gio’s sleeve. “What’s this music?”

“It’s Björk.”

“What’s a Björk?”

“Shh!” That was the moment I understood he would never marry me. The boy was entranced. I could see Jeremy dancing in his eyes, the glare from the bedroom lighting up his face, his mouth hanging slightly open. I might not’ve had the words for it at the time, but inside I knew: it was love. Not that bullshit TV love, not the corny love-song love either. True love. The kind that people got themselves killed for. The kind that made you do really, really stupid things.

“Gio?”

“Girl, if I have to tell you to shush one more . . .”

“What are we really doing here?”

The music churned on. Gio kept his gaze fixed on the window.

A stick of sage sits on the counter, its charred end resting in an ashtray beside Baba Eddie’s cigarette butts. The lighter is . . . Where is the lighter? Usually in Baba Eddie’s pocket, dammit.

The air still throbs with the heaviness of something about to happen, and I’m sure it’s whatever spiritual crap Eliades dragged in with him. Which is some bullshit, but I guess it’s what we’re here for. Can’t blame a sick person for coming to the hospital.

Baba usually squirrels away matchbooks in random nooks and crannies for when he misplaces his lighters. I turn my head slowly to the shelf behind the counter, scan past iron pots, little wooden axes, grinning stone heads, and there, tucked in between a bag of birdseed and a porcelain vase, sits a black matchbook from some Italian restaurant around the corner.

I don’t really know why sage does what it does, but Baba Eddie swears by it, and listen: that shit works. I light it on the second try and wave it up and down the aisle like a cheerleader, leaving a floating river of fragrant smoke in my wake.

The place already feels more relaxed, but when I’m done I squirt some Florida Water around just to close the deal. Eliades manages to snore through the whole thing. I won’t lie: those shits are comfortable as hell. Best nap ever.

It’s twelve past two.

Fuck everything.

I call Baba Eddie, but he doesn’t pick up. I’ve done no homework, no restock, no online sales. I just sat here, sulking, surrounded by Gio and memories and saint statues for two hours.

I throw my bag over my shoulder and shake my head. One way or the other, this’ll have to sort itself out without me. I put some quiet Enya-type shit on the stereo, lock Eliades in, and head off to the rec center.

Most helpful customer reviews

3 of 3 people found the following review helpful.
BURN DEM HOUSES AND KILL DEM SONS
By Adam Rakunas
Take a ghost story. No, take a good ghost story. Throw in a half-dead swordsman with +10 Swagger, the world's most dapper sharpshooter, a lot of ghosts, even more evil roaches, and a teenage know-it-all who's about to find there's a lot she doesn't know (but she's gonna roll with it anyway 'cause she's like that). Mix together, serve it at the witching hour, and enjoy.

Older's books are a John Woo movie set to a rumba beat, with poetic prose that will have you laughing your ass off as it breaks your heart. You will want to read the preceding book, Half-Resurrection Blues, before you pick up this one.

0 of 0 people found the following review helpful.
Kia!
By J. L. Jamieson
Carlos Delacruz isn't fully alive, but he's not completely dead, either. He's an agent for the Council of the Dead, dealing with New York's ghost problems.

A string of weird deaths in Von King Park gets his attention. People are dying in weird accidents far too often to be natural.

Kia works at Baba Eddie's botánica, and thought Carlos was just one more of the weirdos that stopped by the store. An encounter with a nightmare at the park introduces Kia to Carlos' world.

Reza drives working girls at night. One night after a drop off, her beloved Angie disappears without a trace. Reza fears Angie is dead, and whoever did it will pay.

These three Point Of View characters converge in a fast paced, action driven story that has all three of them dealing with loss in their own ways. Carlos has no memories of before he'd died, and he pines for a lost love. Kia is missing her cousin, and later, realizes her life will never be normal again. Reza has lost her beloved, and will do whatever it takes to get revenge.

A conspiracy that involves roaches, death, and enslaved child ghosts brings the three of them together to find answers, set things right, and come to terms with their own losses. This is the second in the Bone Street Rumba series, but can be read standalone (as I did).

This was a particularly fun read. Snappy dialogue, diverse and interesting characters, steady pacing and loads of action leaves you anxiously looking for the next installment. Personally, I hope to see more of Kia--afro-haloed, kickass goddess--in future Bone Street Rumba stories. She was definitely my favorite character.

0 of 0 people found the following review helpful.
This book is as fantastic as the first.
By mf
His writing is beautiful, even the cussing is well crafted. If I was half-dead and had to fight ghosts and... worse, I'd cuss a lot also.

It's a mad dash, like you've been thrown and you are hurtling toward something. Something frightening. Something insane. But you are not alone, and luckily there are other folks who can handle themselves. There's nothing to be done, except keep reading, and wait for the next book...

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Minggu, 20 Maret 2011

[L333.Ebook] Ebook Free Gandhi Fighter Without a Sword, by Jeanette Eaton

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Gandhi Fighter Without a Sword, by Jeanette Eaton

hardbound book, 253 pages.

  • Sales Rank: #1193265 in Books
  • Brand: William Morrow
  • Published on: 1950-06
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 253 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
A little damage, but still in usable condition.
By JD
The book came promptly. It appears to be in good shape with the pages however the cover smells of smoke, and looks like it had been through a fire. Overall we were satisfied with the price and condition.

1 of 1 people found the following review helpful.
Wonderful!
By A Customer
Loved this history of Gandhi's life. It inspires me and that is the biggest compliment I can give a book

3 of 3 people found the following review helpful.
Andy Rowe on Gandhi: This book covers the basics
By Andy Rowe
Mohandas Gandhi, one of the world's greatest figures has already become legend. In this book Jeanette Eaton shows him as a human being. The author wanted to show you that Gandhi did not grow up in a poor neighborhood, in fact his family was quite well off financially speaking, but Gandhi still changed his life style to that of simplicity and poverty so that he would be able to help those who could choose to live like this. This book was well detailed and went through all of things that you should know about Gandhi and his life. I did not know the amount of good services and deeds that he did until i read this book by Jeanette Eaton. For being the first thing about Gandhi that i have read i found it very educational, and well worth reading.

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Rabu, 16 Maret 2011

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The Original Folk and Fairy Tales of the Brothers Grimm: The Complete First Edition, by Jacob Grimm, Wilhelm Grimm

When Jacob and Wilhelm Grimm published their Children's and Household Tales in 1812, followed by a second volume in 1815, they had no idea that such stories as "Rapunzel," "Hansel and Gretel," and "Cinderella" would become the most celebrated in the world. Yet few people today are familiar with the majority of tales from the two early volumes, since in the next four decades the Grimms would publish six other editions, each extensively revised in content and style. For the very first time, The Original Folk and Fairy Tales of the Brothers Grimm makes available in English all 156 stories from the 1812 and 1815 editions. These narrative gems, newly translated and brought together in one beautiful book, are accompanied by sumptuous new illustrations from award-winning artist Andrea Dezsö.

From "The Frog King" to "The Golden Key," wondrous worlds unfold--heroes and heroines are rewarded, weaker animals triumph over the strong, and simple bumpkins prove themselves not so simple after all. Esteemed fairy tale scholar Jack Zipes offers accessible translations that retain the spare description and engaging storytelling style of the originals. Indeed, this is what makes the tales from the 1812 and 1815 editions unique--they reflect diverse voices, rooted in oral traditions, that are absent from the Grimms' later, more embellished collections of tales. Zipes's introduction gives important historical context, and the book includes the Grimms' prefaces and notes.

A delight to read, The Original Folk and Fairy Tales of the Brothers Grimm presents these peerless stories to a whole new generation of readers.

  • Sales Rank: #16695 in Books
  • Brand: Grimm, Jacob/ Grimm, Wilhelm/ Zipes, Jack David (EDT)/ Dezso, Andrea (ILT)
  • Published on: 2014-10-19
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.30" h x 1.70" w x 6.20" l, .0 pounds
  • Binding: Hardcover
  • 568 pages

Review
One of Choice's Outstanding Academic Titles for 2015

One of The Independent's Best Books of 2014

One of South China Morning Post's Best Books of 2014

One of The Globe and Mail 75 Book Ideas for Christmas 2014

"This collection contains many of the most-loved fairy tales in the history of the form . . . The book is a classic, formed like a mosaic of precious small pieces, each one glinting with its own color and character, glass and crystalline, but somehow hard, unyielding."--Marina Warner, New York Review of Books

"[A] faithful translation--accompanied by striking black-and-white illustrations, evocative of shadow theatre, by Andrea Dezsö. . . . [T]he Grimms are spare, spinning the tales into beautifully wrought short stories."--Francesca Wade, Times Literary Supplement

"This new translation . . . allows those without German expertise a chance to re-experience familiar stories in all their original Hemingwayesque terseness."--Michael Dirda, Washington Post

"[T]he new Zipes translation of the first edition, with all its notes and annotations, is a must, a treasure for anyone with a serious interest in fairy tales, the motifs of which linger perpetually in the collective mind."--Carmel Bird, Sydney Morning Herald

"Thoroughly engaging, Zipes' translations into colloquial American English breathe life into these stories. Award-winning artist Andrea Dezsö's cut-paper black and white illustrations capture the essence of this strange and enchanting world that will entice fans of mystical realms and those interested in better understanding the Grimms' enduring influence on literature."--Barbara Basbanes Richter, Fine Books & Collections

"[M]agnificent . . . what makes this newly released original volume especially enchanting are the breathtaking illustrations by Romanian-born artist Andrea Dezsö."--Maria Popova, Brain Pickings

"Zipes, who edited and translated the new collection, has done splendid work, first in arguing for the early tales' significance. . . . Zipes' most important achievement, though, is simply putting the complete, uncensored tales before readers to judge for themselves. . . . The Original Folk and Fairy Tales--beautifully illustrated by Andrea Dezsö, by the way--isn't the Disneyfied version of the Brothers Grimm that we all grew up with. But for readers whose tastes lean more to, say, Tim Burton, wading into the collection might feel like stumbling into an agreeably dark and Gothic forest."--Doug Childers, Richmond Times-Dispatch

"Never before published in English, the first edition of the Brothers Grimms' tales reveals an unsanitised version of the stories that have been told at bedtime for more than 200 years. . . . His version of the original 156 stories . . . shows a very different side to the well-known tales, as well as including some gruesome new additions."--Alison Flood, The Guardian

"[R]emarkable. . . . Zipes's introduction . . . is illuminating. . . . This is the uncut Brothers Grimm: shocking, funny, and at times downright weird."--Rebecca K. Morrison, Independent

"[B]eguiling collections that are both a showcase of the enduring fascination with tales of the marvelous and strange and a celebration of those scholars who continue to research the realm of folklore. They unearth gems, and further our understanding of the stories and storytellers' place in the cultural history of their respective countries and, more broadly, in the universal human need to tell and listen to stories. . . . The rewards of these collections are irresistible."--Rebecca K. Morrison, Independent

"The new book, published by Princeton University Press, offers a fascinating insight into how the collection has changed with the times."--Nick Enoch, Mail Online

"Think you know fairy tales? Be prepared for a nasty shock."--Andrew Donaldson, Rand Daily Mail

"Zipes has produced the inaugural English translation of the two original volumes in a gutsy, robust style--warts-and-all."--Marguerite Johnson, The Conversation

"A far more unsettling, exhilarating, oral and adult encounter than you might expect of 'fairy stories.'"--Arifa Akbar, Independent

"Who wouldn't want to read a story called The Singing Bone? 156 fables--their collected works--newly translated but easily just as creepy and weird."--Globe and Mail

"Zipes's translation of the first edition of the collection by the Brothers Grimm is a wonderful addition to the material available in English."--Rowan Williams, New Statesman

"As nature, admittedly sharp in tooth, claw and thorn, intended."--James Kidd, South China Morning Post

"With Disney's adaptation of Stephen Sondheim's fairy tale mash-up musical Into the Woods finding a wide, wide-smiling reception at the box office, it's the perfect time to consider the source: Jacob and Wilhelm Grimm's dark and stormy tales. . . . Andrea Dezsö's illustrations--black-and-white, woodcut-like silhouettes--add the right note of eerie timelessness to these wondrous, wondrously strange yarns."--Steven Rea, Philadelphia Inquirer

"[T]hese unexpurgated Grimms' stories are really for older readers who want to delve into the strange stuff that is German folk tales. Deszö's black and white cut-paper illustrations convey a world in which boundaries between the practical and improbable are as fluid and shifting as a dream. 'The miraculous makes self-evident what is wrong with the real world,' writes Zipes in his learned, accessible introduction, and that's as good a key as any by which to enter this extraordinary territory."--Deirdre Baker, Toronto Star

"The venerable Jack Zipes, one of the shiniest scholars in fairy tale studies, has brought us a lovely treat, which is a new translation of the first edition of the Grimm Fairy Tales, decorated with wonderfully creepy illustrations by Andrea Dezsö. . . . It's an excellent little book. If not a replacement for whatever illustrated fairy tale collection you had as a child, it's certainly a valuable addition to the library of a fairytale-loving child or adult."--Reading the End

"The U.S.'s most prolific and deeply insightful fairy tales scholar, Zipes offers a keen and sophisticated, fresh and colloquia, first-time translation--complete with discerning introduction--of the Grimm's original two-volume opus of 156 stories, first published in 1812 and 1815."--Choice

"Jack Zipes's new translation of the original two volumes of the Grimm Brothers' fairy tales is a revelation. . . . I know I'll be going back to this book, time and again in the years to come."--Benjamin Read, Books To Look For

"[A]ccepted as probably the world's greatest authority on the Grimms and fairy tales in general, Zipes is well qualified to redress the common perception of the brothers' published works."--Kevin Murphy, Magonia

"Zipes puts forth expert and readable analysis and thoughts on the Grimms, and provides an excellent critical starting point to foster interest in the brothers' history and continuing legacy."--Sam Harby, Nudge Books

"[The Original Folk and Fairy Tales of the Brothers Grimm: The Complete First Edition] tempts like the devil to read the tales again, gasp at their brazen heroes, and wander their forest paths."--Willis Goth Regier, World Literature Today

"What a treat these stories are, presented to readers now with [Jack Zipes'] masterful translations. The tales are, in turn, moving, brutal, and always unequivocally plainspoken, a refreshing thing to read after so many edited versions. The book also includes exquisite black-and-white cut-paper illustrations from visual artist Andrea Dezsö."--Julie Danielson, Kirkus

"It's one thing to read Zipes's erudite commentary on the tales, and quite another to discover these differences for oneself in the reading experience, and thus I encourage folklorists, fairy-tale scholars, and lay readers alike to peruse the pages of the first edition of the Grimms' tales. The illustrations by Andrea Dezsö--stark, simple, and beautiful--are an additional treat."--Jeana Jorgensen, Journal of Folklore Research

From the Back Cover

"A massive and brilliant accomplishment--the first English translation of the original Grimm brothers' fairy tales. The plain telling is that much more forceful for its simplicity and directness, particularly in scenes of naked self-concern and brutality. Hate, spite, love, magic, all self-evident, heartbreaking, delightful. I will return to this book over and over, no doubt about it."--Donna Jo Napoli, author of The Wager

"For a long time, Jack Zipes has explored fairy tale territory with an unstoppable love and prodigious energy. Now, in this complete translation of the first two editions of the Grimms' famous tales, Zipes has redrawn the map we thought we knew, and the Brothers' stories are made wonderfully strange again. This new and indispensable volume is beautifully presented."--Marina Warner, author of Stranger Magic: Charmed States and the Arabian Nights

"This complete, unexpurgated, and insightfully annotated English-language edition of the Grimms' tales keeps readers anchored in the timeless world of the fairy tale. It will be treasured by all lovers of stories. Irresistible and unputdownable." --Shelley Frisch, translator of Kafka: The Years of Insight

"This English translation of the landmark first edition of Grimms' folk and fairy tales makes available a very important text to everyone with an interest in these stories." --Donald Haase, Wayne State University

"Jack Zipes's translations of the 156 tales in this significant edition are truly exquisite."--Ulrich C. Knoepflmacher, author of Ventures into Childland: Victorians, Fairy Tales, and Femininity

About the Author
Jack Zipes is the translator of The Complete Fairy Tales of the Brothers Grimm (Bantam), the editor of The Great Fairy Tale Tradition (Norton), and the author of Grimm Legacies (Princeton). He is professor emeritus of German and comparative literature at the University of Minnesota. Andrea Dezsö is a visual artist who exhibits in museums and galleries worldwide and is associate professor of art at Hampshire College.

Most helpful customer reviews

132 of 136 people found the following review helpful.
A Grand First Edition
By Heidi Anne Heiner
If you love Grimms and aren't very fluent in German, this is a book to get excited about. Even if you are fluent, it's pretty exciting, too.

Over the years, one of the top questions I've received as SurLaLune is: "Where are the dark, gritty fairy tales I hear about?" Well, that's a complicated question, but one interpretation of what they ask is: "Where are those lesser edited Grimms' tales that I've heard about?"

For some reason, the entirety of the first Grimms' edition has not been translated into English previously. Zipes, in the Acknowledgements of this new book, says that during the Grimms' bicentennial in 2012 he decided, "if nobody was going to undertake this 'task,' I would do it--and do it out of pleasure and to share the unusual tales the Grimms collected as young men when they had not fully realized what a treasure they had uncovered."*

That's a boon since, after all, Zipes has also translated one of the most used and most recommended editions of Grimms. For that conversation see my blog post: Library Essentials: Picking a Grimm Translation. Nice to have Zipes' translations of both the earliest and later versions of the tales to compare and consider.

After all, the Grimms had seven editions of their famous collection and there were considerable changes between that first and seventh edition. And many of those earlier versions were grittier and more adult since the Grimms hadn't intended children to be one of their primary audiences.

From the book's introduction:

"In fact, many of the tales in the first editions are more fabulous and baffling than those refined versions in the final edition, for they retain the pungent and naive flavor of the oral tradition. They are stunning narratives precisely because they are so blunt and unpretentious. Moreover, the Grimms had not yet 'vaccinated' or censored them with their sentimental Christianity and puritanical ideology."

And, a bonus for scholars like me and some of you, Zipes also translated some of the Grimms' notes to the tales:

"As for the sholarly notes to the tales, I have provided a thorough summary of each note to indicate sources, and I have also translated the variants of the tale that I thought were important. These notes reveal, in my opinion, how knowledgeable and erudite the Grimms were at a very young age."

Finally, this means that the table of contents to the book is different from what we consider the standard contents since the Grimms removed and added tales over subsequent editions. Zipes has included several of those omitted tales in his standard Grimms in the appendices but now they are provided in their original context in their original place. For example, "The Summer and Winter Garden"--no. 68 in the first edition and a Beauty and the Beast tale--was omitted in later editions for being too French. In later editions, KHM 68 (the way Grimms tales are referenced by number, abbreviating the German title Kinder- und Hausmärchen with the tale's number in the contents) is "The Thief and His Master."

And in this edition, you get the infamous and disturbing "How Some Children Played at Slaughtering." In later editions, you get KHM 22 as "The Riddle" instead which is much more innocuous as the titles imply.

So, yes, I highly recommend this book for fairy tale fans.

*All my quotations from the book are from the unproofed ARC I received several weeks ago. I waited for the final review copy to arrive but the envelope arrived last week split open along a seam and empty with a nice sticker on the front from USPS telling me that my package "Arrived Without Contents." I'm not sure if and when another will arrive.

45 of 46 people found the following review helpful.
Grimms' Tales as they were meant to be read
By Robert Ashton
For the first time one is able to read the original editions of the famous tales of the Brothers Grimm in English in an excellent translation by Jack Zipes. Published originally in two volumes in 1812 and 1815, they represent the "raw material" (and it is often raw) that was later edited, polished and bowdlerized to be more acceptable to polite society and children. Almost all of us will be familiar with many of the tales as they were later presented culminating in the 7th edition in 1857, which is often seen as definitive.
Jacob and Wilhelm Grimm were interested in 'recovering the "true" nature of the German people through their so-called natural Poesie, the term that the Grimms often used to describe the formidable ancient Germanic and Nordic literature.' (p. xxiii). Rather than a work of entertainment for children this collection was intended as a scholarly work and included extensive scholarly notes. It was presented with minimal editing with the aim of capturing the original stories as they had been told to the brothers by a variety of sources. Zipes explains, in an interesting introduction, how they wanted to show how the cultivated literature, Kunstpoesie, evolved and eventually replaced Naturpoesie (tales, legends etc.) which survived in oral traditions.
There are a total of 156 tales in the two volumes, including nonsense stories, fables, animal and magical stories. All the well-known stories are there - Rapunzel, Snow White, Bluebeard, etc., etc. - but usually in shorter and often more basic forms. For example, in one version of Rapunzel her meetings with the prince are revealed when she gets pregnant and her clothes become too tight. The tales are often also blood thirsty; one in particular is #22 of Volume 1, "How Some Children Played at Slaughtering", where children pretend to be a butcher by slaughtering a playmate in one version or a sibling in another. As Zipes points out, they are tales about "wounded" young people, people who are exploited or in need and abuse of power but also often about wicked people getting their just desserts.
As the aim was to capture stories they had been told, there is quite a lot of repetition of stories and themes: three sons with the youngest seen as not too smart but in the end winning out; leaving instructions NEVER to open a particular door; princes and princesses trapped as animals and so on. However, it is interesting to see the variations around a basic theme and how the stories changed in telling and re-telling. It is also noteworthy to see how these themes have continued over history, particularly the large number of stories of metamorphosis, an area of great interest to Ovid.
My German is not good enough to comment on the translation but the English is very readable and maintains an air of oral story telling. Zipes also includes a summary of the original notes along with sources when known. Throughout the book are illustrations by Andrea Dezsö, who uses a style reminiscent of Shadow Theater that adds a great deal to the book.
This collection is fun and sometimes shocking to read and certainly not the children's book of the later editions. Making this original work available in English shows the significance of the Grimm brothers as academics in philology rather than merely tellers of children's fairy tales.

110 of 124 people found the following review helpful.
Two hundred years of nothing and now two new translations of the same book(s) published within weeks of each other! Fantastic!
By Oliver Loo
Two hundred years of nothing and now two new translations of the same book(s) published within weeks of each other! Fantastic!

Now people have not only the opportunity to read the tales as they were originally published, they also have the choice of reading two different versions of the exact same texts done in completely different styles. I must congratulate Professor Zipes on his work. I am eagerly awaiting my copy. Having just published my own cover to cover translation of the 1812 Vol I Kinder- und Hausmärchen (KHM), I know exactly how much work this is. It seems we were, quite independently, thinking the same thing. I also thought that if no one has translated the 1812 and 1815 books, it was certainly high time someone did. So I thought I'd give it a try, but I'd do it my way.

I was in a small secondhand book shop in Hamburg, Germany December of last year, when I came across the 100 year anniversary edition of the KHM by Friedrich Panzer. This was the reset (German) edition of the 1812 and 1815 KHM texts printed in 1913. I very much enjoyed reading the original texts printed in the old German typescript. These stories were very different from the 1857 versions. I have in the past read English translations of the KHM, but I was always disappointed in them. I always wondered why did the translator translate it this way? This is not what it says in the German original. Why did he or she not include this word or that phrase in the translation? Why do they always seem to translate the German "suur" (Sauer) and "swart Suur" (Schwarzsauer) as "Stew"? Not only are they not "stew" they are not even the same dish. Why do they delete entire sections? Why do they always have to rewrite everything? Why do they update the texts to modern ways of speaking? Why do most all translators invariably delete all of the diminutives in the stories? By deleting and substituting them with "little" they are missing the entire point of the diminutive. Not to get too deep into that, but among other things the diminutives are supposed to add a feeling of magic and fantasy and a mood/feeling/idea that the word "little" just does not convey. I found what I think is a good solution to that and other elements of translating that have not been tried before. After all, Aschenputtel (Cinderella) does not go to a "kleinen Baum" (little tree) for her wishes, she goes to a "Bäumlein" (tree-let) and makes her wishes. A little tree is a little tree, but a "tree-let," well, that to me is magical.

One of the other elements comes from the popularity of the Grimm TV series. In the show, people speak and read many (albeit corrupted, even nonexistent), German words, so I thought, if people are familiar with a "Hexenbiest," why not introduce them to a "Hexenmeister" also? This also solved the problem of having to find the exact English word when none existed. Adopt the German word and explain it! After all, people are familiar with Fahrvergnügen, Kindergarten, Gesundheit, etc., why not add "Hexenmeister" and other words like it?

To Heidi's comments: yes, we have to remember that Wilhelm and Jacob were only 26 and 27 years old respectively when they published the first book. We always see them pictured as older men. What 26 & 27-year-olds today have done something comparable (Ok, Mark Zuckerberg and a few others excluded)?

To deleted texts: yes, there are 28 stories that were deleted from the 1812 first edition. Many are very interesting, like #62 Bluebeard, #43, The Strange Feast (The Wonderly Guesting Manor), #33 Puss in Boots (The Booted Tom Cat), #73 The Castle of Murder (The Murder Palace), and many others. If you are looking for a particularly good children's bedtime story, look at #33. A happy ending and no one gets killed (if you exclude the sorcerer who is not actually an evil character). One of my favorites. #34 Hans's Trina (Hansens Trine) is also very funny. To me, one of the scariest tales is #43, The Strange Feast (The Wonderly Guesting Manor).

#69 Jorinda and Joringel, although not removed from later editions, is a beautiful lovers tale with a happy ending. One of the few times color, weather and light are described in a Grimm tale. It is one of the few tales that remained almost unchanged throughout all 7 editions of the KHM. It is a tale the Grimms copied almost word for word from Heinrich Stillings Jugend published in 1777. The story also has one of the few descriptions of a witch as we all imagine them nowadays. I am eager to see if Professor Zipes tells us who or what "Mirror" in #53 actually refers to. This was in an alternate version of Snow White (Sneewittchen) that was listed in the 1812 appendix and usually never gets translated. I will not give it away!

To the removal of #68: technically I would say that the 1812 story #68, The Summer and The Winter Garden, was removed and replaced with a new story titled De Gaudief un sein Meester. The new story was given the same number #68, as the old first story. The story is different, the number is the same. I only mention it because we now have to be careful when referring to story numbers. The 1812/1815 numbers are different than the 1857 numbers. English readers did not have to think too much about this before. Now there can be confusion. The easy way to think of it is that all 1815 story numbers from 1-70 were renumbered later. Just add 86 to the 1815 numbers and you end up with the 1857 numbers (more or less). Ie. 1815 #65 = 1857 #151. Another way is that now we simply have to refer to 1812, 1815, or 1875 story numbers. If we only refer to story numbers, such as #22, are we referring to #22 as published in 1812 or #22 as published in 1857?

If people like the 1812 & 1815 tales, they should read the 1790 Rapunzel version by Friedrich Schultz which the Grimms based their 1812 story #12 Rapunzel on. The further back you go in time, the sexier the tale gets.

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