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Narrowing the Nation's Power is the tale of how a cohesive majority of the Supreme Court has, in the last six years, cut back the power of Congress and enhanced the autonomy of the fifty states. The immunity from suit of the sovereign, Blackstone taught, is necessary to preserve the people's idea that the sovereign is "a superior being." Promoting the common law doctrine of sovereign immunity to constitutional status, the current Supreme Court has used it to shield the states from damages for age discrimination, disability discrimination, and the violation of patents, trademarks, copyrights, and fair labor standards. Not just the states themselves, but every state-sponsored entity--a state insurance scheme, a state university's research lab, the Idaho Potato Commission—has been insulated from paying damages in tort or contract. Sovereign immunity, as Noonan puts it, has metastasized. "It only hurts when you think about it," Noonan's Yalewoman remarks.

Crippled by the states' immunity, Congress has been further brought to heel by the Supreme Court's recent invention of two rules. The first rule: Congress must establish a documentary record that a national evil exists before Congress can legislate to protect life, liberty, or property under the Fourteenth Amendment. The second rule: The response of Congress to the evil must then be both "congruent" and "proportionate." The Supreme Court determines whether these standards are met, thereby making itself the master monitor of national legislation. Even legislation under the Commerce Clause has been found wanting, illustrated here by the story of Christy Brzonkala's attempt to redress multiple rapes at a state university by invoking the Violence Against Women Act. The nation's power has been remarkably narrowed.

Noonan is a passionate believer in the place of persons in the law. Rules, he claims, are a necessary framework, but they must not obscure law's task of giving justice to persons. His critique of Supreme Court doctrine is driven by this conviction.

• Sales Rank: #2146971 in Books
• Published on: 2002-08-21
• Original language: English
• Number of items: 1
• Dimensions: .77" h x 5.82" w x 8.44" l, .84 pounds
• Binding: Hardcover
• 208 pages

From Publishers Weekly
This is a readable introduction to a legal issue that may sound obscure but in fact has an impact on issues relating to discrimination and other important areas of the law. Noonan, a senior federal appellate judge, dissects an emerging trend in recent Supreme Court decisions bolstering the sovereign immunity of the 50 states that is, saying the states and their many agencies (including state-funded universities, for example) are immune from lawsuits by individuals for money damages. Writing as a historian, Noonan examines the common-law origins of the doctrine that a sovereign monarch is immune from suit; he finds the doctrine absent from the Constitution. Nevertheless, as he recounts, a connected series of cases decided by the Supreme Court since 1997 has invoked sovereign immunity. For example, the Court has decided that individuals may not recover compensation from states (or from many state-related entities) for patent infringement or for discrimination on the basis of age or disability. Similarly, federal laws granting remedies for violence against women or protecting religious freedom cannot be enforced by individuals suing a state. Writing as an advocate, Noonan briefs the case against what he views as the Court's sudden expansion of sovereign immunity. Not only does state immunity lack a constitutional basis, Noonan argues, but the doctrine also improperly interferes with Congress's power to enact protections for Americans on a national scale. Noonan concludes that sovereign immunity is an outmoded abstraction, disconnected from concrete injustices inflicted by the states, and remains "without justification of any kind today." Noonan's compressed and subtle treatment of current immunity jurisprudence should trigger further debate on this important area of law.
Copyright 2002 Cahners Business Information, Inc.

From Library Journal
Written in an informal style, federal appellate judge Noonan's current work attempts to warn all citizens of a dangerous direction taken by the current Supreme Court. The issue in contention is as old as our republic: the rights of the individual states vs. the power of federal authority. What is new is the conservative majority's use of the 11th Amendment to the U.S. Constitution to justify the expansion of the sovereign immunity enjoyed by each of the 50 states. According to Noonan, this concept has become the Court's way of restricting the powers of Congress and enlarging the areas where the states can escape effective federal control. The author traces the history of the 11th Amendment to the era of Chief Justice John Marshall, who properly noted that in the nation's early years, all 13 states were debtors, and because some of the creditors were aliens, the states needed and were granted immunity from lawsuits by individual citizens for reasons that no longer exist. The Court's current claim that the sovereignty of the states is constitutional, notes the author, rests on a disingenuous interpretation of both the legislative history of the amendment and its subsequent application. As a result, individual states are now immune from suits impacting finance, debt, injury, patent and copyright infringement, employment discrimination, and gender bias. In this highly recommended work, the author convincingly sounds the alarm.
Philip Y. Blue, New York State Supreme Court Criminal Branch Law Lib., New York
Copyright 2002 Reed Business Information, Inc.

Review
". . . [A] blistering book arguing that the court's conservatives are actually engaged in a huge power grab." -- New York Times

"A stinging and even startling critique of recent decisions that have shifted the balance of power in the country." -- Linda Greenhouse, New York Times Book Review

"Noonan's compressed and subtle treatment of current immunity jurisprudence should trigger further debate on this important area of the law." -- Publishers Weekly, 6/17

Most helpful customer reviews

1 of 1 people found the following review helpful.
Activist Conservative Justices
By Schmerguls
4032 Narrowing the Nation's Power The Supreme Court Sides with the States, by John T. Noonan, Jr. (read 2 June 2005) Noonan is a favorite of mine, and the four books I previously read by him (Contraception: A History of Its Treatment by the Catholic Theologians and Canonists, by John T. Noonan, Jr. (read 5 Jun 1967), Power to Dissolve: Lawyers and Marriages in the Courts of the Roman Curia, by John T. Noonan, Jr. (read 16 Jun 1973)(Book of the Year), The Lustre of Our Country: The American Experience of Religious Freedom, by John T. Noonan, Jr. (read 24 Jan 2001),and The Scholastic Analysis of Usury, by John T. Noonan, Jr. (read 25 May 2005)) were really worth reading, one of them being the best book I read in 1973. This book is a 2002 book attacking the Supreme Court conservative majority's embracement of sovereign immunity, which is that Congress cannot legislate in ways limiting the states, grounded on the 11th Amendment. He assails City of Roene v. Flores, 521 U.S. 507, which held the Religious Freedom Restoration Act unconstitutional because congruence and proportionality had not been exercised by Congress--a finding reminiscent of the pre-New Deal days when the Court threw out legislation because the Court did not like it. This is a stunningly well-argued book by a leading conservative thinker in which the five person Rehnquist-voting conservative majority on the Court is shown to be 'activist' and non-respectful of Congress and laws it passes. A really thought-inducing book.

9 of 10 people found the following review helpful.
A Senior (Judge) Moment...
By Cooper
This book comes as a disappointment. Prior to reading of Narrowing the Nation's Power, I had perused several reviews of it-some praising it and some panning it-and I was actually expecting to really enjoy the book and agree with all of its arguments. Unfortunately, I found myself underwhelmed after reading it.
The problem here is not that Senior Judge John Noonan lacks a great intellect-he is an experienced and respected academic and jurist. Nor is Judge Noonan a bad writer. I had read his book on "masks" the month before this work, and thoroughly enjoyed Judge Noonan's scholarship and insights.
The problem with Judge Noonan's book is that it is a lost opportunity. There ARE some very legitimate criticisms to be made of the U.S. Supreme Court's state sovereign immunity jurisprudence. Likewise, serious issues abound concerning the Supreme Court's claim to judicial supremacy as well as its employment of "balancing tests" in Section 5 (14th Amendment) cases, and in other cases. However, many of Judge Noonan's better points and critiques in these matters are obscured and lost by his incessant railing against the motives and hidden agendas of the justices with whom he disagrees.
Judge Noonan is to be praised for correctly noting that: "To make `federalism' a slogan for states' rights is to contort the original meaning and to suppress the national component in the original design." Yet, rather than relying upon solid textual and case law grounds in critiquing the state sovereign immunity and Section 5 subsets of the "New Federalism," Judge Noonan quotes the pre-amble of the Constitution and states that it is his "endeavor" to "lay them as criteria alongside the facts of particular cases and to ask if the results of these cases can be squared with the announced purposes of our constitution." He then employs the abstractions of the pre-amble to critique the views of justices with whom he disagrees while accusing those same justices of using the abstractions of federalism in their opinions. In so doing he ignores the important question of whether it is just for a governing authority to exceed its lawful limits.
The Section 5 cases receiving much of Judge Noonan's attention are Smith and Borne. I found it interesting, in the least, that Judge Noonan, the attacked the Supreme Court for its respect for the Mormon polygamy cases of the 19th Century. He dismissed them all in a simplistic fashion as discriminatory, when there are more complex issues at stake in those cases.
Of course, Judge Noonan is correct in criticizing the Supreme Court for calling Section 1 of 14th Amendment is "self-executing." For in so doing, the Supreme Court gives itself a monopoly over creating and defining the parameters of rights and determining their applicability in specific instances. And the Supreme Court has made use of its monopoly with a new test in Section 5 cases: "There must be a congruence and proportionality between the injury to be prevented or remedied and the means adopted to that end." Judge Noonan rightly criticizes the Supreme Court for adopting that test and for its use of special inspections of the congressional record for convincing evidence of the evils being legislated against, as mechanisms to second-guess the Congress and underme its duty under the Constitution.
The book takes a rather strange twist in Chapters 2 and 3, with Judge Noonan writing in the third person. Although somewhat distracting, he does manage to convey the mess that is the Ex Parte Young doctrine, with all its unpredictable and contradictory exceptions and exceptions to the exceptions' exceptions.
Since I do not at this stage of my legal career and education have a thorough understanding of patents and trademarks, I do not have any comments on Chapter 4, which deals with those subjects.
Judge Noonan's chapter on the Violence Against Women Act and the Commerce Clause is rather embarrassing, for he again employs attacks on the motives of the justices with whom he disagrees and gives the other justices a pass on problems in their own opinions (thereby seemingly accepting "process federalism.) Again, another blown opportunity, because there are some points to be made that that act could pass muster under the Commerce Clause in conjunction with the Necessary and Proper Clause.
This work is not without good insight and points, but those really have to be picked out from amongst all of the other, overly-simplistic and unfair charges that Judge Noonan makes.

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> Get Free Ebook Jewish Identities: Nationalism, Racism, and Utopianism in Twentieth-Century Music, by Klara Moricz

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Jewish Identities mounts a formidable challenge to prevailing essentialist assumptions about "Jewish music," which maintain that ethnic groups, nations, or religious communities possess an essence that must manifest itself in art created by members of that group. Klára Móricz scrutinizes concepts of Jewish identity and reorders ideas about twentieth-century "Jewish music" in three case studies: first, Russian Jewish composers of the first two decades of the twentieth century; second, the Swiss American Ernest Bloch; and third, Arnold Schoenberg. Examining these composers in the context of emerging Jewish nationalism, widespread racial theories, and utopian tendencies in modernist art and twentieth-century politics, Móricz describes a trajectory from paradigmatic nationalist techniques, through assumptions about the unintended presence of racial essences, to an abstract notion of Judaism.

• Sales Rank: #4883703 in Books
• Published on: 2008-02-05
• Original language: English
• Number of items: 1
• Dimensions: 6.35" h x 1.30" w x 9.13" l, 1.65 pounds
• Binding: Hardcover
• 468 pages

From the Inside Flap
"This book makes a decisive and controversial contribution to the history of musical modernism. Moricz radically but thoroughly scrutinizes concepts of Jewish identity, and in doing so re-orders our understanding of 'Jewish music' as an outgrowth of nationalist, racist and utopian ideologies. The scholarship is superior in every respect. Jewish Identities is destined to become a seminal work in the reception history of European musical modernism. An absolutely outstanding and intellectually brilliant work."—Harry White, author of The Keeper's Recital: Music and Cultural History in Ireland, 1770-1970

About the Author
Klára Móricz is the Valentine Visiting Assistant Professor of Music at Amherst College. She is the editor of a forthcoming volume of the Béla Bartók Complete Critical Edition and a member of the editorial board of the Journal of American Musicological Society.

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^ Download PDF St. Teresa of Avila: Author of a Heroic Life, by Carole Slade

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With few exceptions, representations of Renaissance women were created by men. The Spanish saint, Teresa of Avila (1515-1582), who chose to represent herself, was one of those exceptions. What prompted her to write Book of Her Life, Interior Castle, and other works? What does the self-portrait of this sixteenth-century nun, mystic, and founder of convents reveal about its author, the church, state, and role of women?

St. Teresa of Avila, an innovative analysis of Teresa's autobiographical writings, explores these and many other questions. Bringing to bear a knowledge of Inquisition studies, theory of autobiography, scriptural hermeneutics, and hagiography, Carole Slade defines Teresa's writings as a project of self-interpretation undertaken mainly as the result of the perceived, later realized, threat of an accusation of heresy. Being female and of paternal Jewish ancestry, Teresa was vulnerable to such a charge.

Teresa's writing project presented her with serious difficulties. Judicial confession, her prescribed genre, presumed the writer's guilt, while the subordinate female script precluded a defense against the suspicion that her mystical experiences came from the devil. Through careful textual analysis, Slade demonstrates that Teresa exploited the nuances of numerous genres—hagiography, New World chronicle, mystical theological treatise, and early novel—to create an innocent textual persona and depict herself in heroic terms.

A signal contribution to our understanding of Teresa's rhetorical and literary talent and life circumstances, this book will engage readers across a broad range of disciplines.

• Sales Rank: #4601247 in Books
• Published on: 1995-07-15
• Original language: English
• Number of items: 1
• Dimensions: .86" h x 6.26" w x 9.23" l,
• Binding: Hardcover
• 238 pages

From the Inside Flap
"This study is substantive, subtle, compelling. . . . I am as persuaded by Slade's larger arguments as I am impressed by her close readings and interpretations of particular passages in Teresa's works."—Thomas Werge, co-editor Religion and Literature

"Slade reveals a Teresa capable of captivating readers anew. Her book never loses sight of Teresa or her sense of self, even while it smoothly surveys the horizons of the early modern Spain contiguous to convent walls."—Catherine Connor, University of Wisconsin, Madison

From the Back Cover
"This study is substantive, subtle, compelling. . . . I am as persuaded by Slade's larger arguments as I am impressed by her close readings and interpretations of particular passages in Teresa's works." (Thomas Werge, co-editor Religion and Literature)

About the Author
Carole Slade teaches in the Department of English and Comparative Literature at Columbia University.

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4 of 8 people found the following review helpful.
Erudite, but hardly readable.
By A Customer
It is not clear as to what audience Ms.Slade was addressing in writimg her study of St. Teresa of Avila, certainly not the general reader looking for insights into the personality and life of Teresa de Jesus. Readability apparently was not a prerequisite. The text is hardly free flowing, most of the writing indeed is quite tortuous. Perhaps the volume can be appreciated by an exegete.

3 of 3 people found the following review helpful.
Scholarly excavation of obscure and recondite aspects of St. Teresa’s life
By Michael Hoffman
The notion that if a book is not for the "general reader” then it deserves a poor rating, is an embarrassing reflection on the abilities of the reader, not the author.

Slade’s volume is a work of serious scholarship offering many important, recondite details of St. Teresa’s life, including an excellent short study of her Judaic heritage and ancestry and how other biographers have handled those facts (or avoided or explained them away).

When the author ventures into interpretations of the data which she has unearthed, she sometimes goes astray; particularly so in the realm of her psychological speculations (as for instance in what she has to say about Teresa’s youthful dream of the “jewels”). However, the line of demarcation between her data and her glosses is mostly straightforward and easily discerned. Consequently, this book is a useful reference work even for conservative and anti-modern scholars who can mine it for its sources and the light it casts on heretofore obscure aspects of the saint’s life, while, after due consideration, casting aside some of Slade’s post-modernist conjectures and all of her Freudianisms.

1 of 3 people found the following review helpful.
Utter drivel
By Book Maven 2005
What should've been a fascinating story of a historical saint becomes in this author's hands total, boring drivel. Do not waste your money.

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The American Film Institute Catalog volumes easily surpass all other film reference books for comprehensiveness, reliability, and utility. In a field bedevilled by quickly assembled and slipshod reference works, the Catalogs are the one essential purchase for every library. This set of volumes, on the teen years, covers a pivotal period in film history, encompassing the birth of the feature film and the development of the "film language" that still structures virtually all narrative films today. The decade saw the rise of stars, and of directors who left their creative mark on decades to come—Griffith, Ince, De Mille. Small firms gave way to consolidated studios. And film production relocated to the Southern California town whose name became synonymous with American films: Hollywood. Classics of the era such as De Mille's The Cheat and Griffith's Intolerance have reached popular audiences, and many others are being distributed on videocassette. New scholarly attention is focusing on the decade—especially on such questions as how stage melodrama elements were gradually incorporated into film narrative. But since film is also a record of folkways and national concerns, the rich materials catalogued here will be invaluable to social or cultural historians. As John Fell, author of Film and the Narrative Tradition, comments: "In a real sense, the AFI Catalog preserves and revitalizes old movies that will otherwise disappear . . . [it] will increasingly serve an audience far broader than motion picture history alone."

• Sales Rank: #2347776 in Books
• Published on: 1989-01-09
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 3.66" h x 8.88" w x 11.60" l, 9.90 pounds
• Binding: Hardcover
• 1504 pages

From Library Journal
At long last, the AFI Catalog continues with this exhaustive set. Volume 1 lists nearly 5200 American feature films alphabetically, with cast and credits, source, copyright date, length (in reels), synopsis, subject and genre notations, notes, and for the first time in the series, trade periodical and newspaper review citations. Volume 2 is comprised entirely of indexes (many also new for the series) by personal name, distributor/producer, genre, geographic location, literary/dramatic source, and subject. This last index is particularly valuable and unique; here one may find the films that deal with, for instance, sheriffs, weddings, locales, prostitution, and (a personal favorite) rent collectors. To call this truly massive work--the product of a national arrary of researchers and archives--definitive and sorely needed is to understate the case. This set also helps to heal the howling controversy that arose when the AFI got Hollywoody and dismantled the educational/library departments in the early 1970s, after issuing Catalog volumes for 1921-30 (1971, LJ 12/15/71) and 1960-69 (1976, LJ 7/76). Now in long-term planning stages are not only volumes for the remaining decades but similar sets for short films and newsreels. The AFI has finally come to its senses (and proper sense of purpose). Welcome back.
- David Bartholomew, NYPL
Copyright 1989 Reed Business Information, Inc.

Review
"Movies may not be bigger and better than ever, but the books about them certainly are.A huge three-volume set is the latest in a marvelous reference series an understaffed AFI crew has been working on doggedly for more than 30 years.An irreplaceable contribution to American film." -- Kenneth Turan in the Los Angeles Times Book Review

From the Inside Flap
"The entire field of film historians awaits the AFI volumes with eagerness."—Eileen Bowser, Museum of Modern Art Film Department

Reactions to earlier volumes:

"A triumph of exact scholarship. . . .endlessly absorbing as an excursion into cultural history and national memory."—Arthur Schlesinger, Jr.

"An unequalled guide to the film sources of our history (and also to film history)."—Daniel Boorstin, Librarian of Congress

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Since the early 1980s, the Polish artist Magdalena Abakanowicz (b. 1930) has gained worldwide acclaim for her role in the revival of figuration in late-twentieth-century sculpture. Her cycles of headless, hollow, and crude burlap crowds of the mid-1970s and the 1980s, exhibited in major museums across America, Europe, and Asia, are roundly praised for their expressive power and innovative form. In this first scholarly art historical analysis of Abakanowicz's figurative sculpture, Joanna Inglot penetrates the myth of isolation that surrounds and obscures this internationally celebrated artist to disclose the artistic, sociopolitical, and cultural context in which Abakanowicz has lived and worked.

Examining Abakanowicz's representations of the human body from the fiber works of the 1960s known as Abakans through her War Games and outdoor environments of the 1980s and early 1990s, Inglot shows how these works engage the international art scene and the figurative sculpture of postwar Poland, and how they reflect a particular generation's experience of war and communism. With reference to Abakanowicz's use of national symbols and ceremonies drawn from the public and political discourse of the 1970s and 1980s, Inglot explains the complexity of the artist's attitudes toward contemporary politics and the troubled history of her native country. Inglot clearly locates Abakanowicz as a major contemporary sculptor whose works have embodied innovations in style and media and reflected important sociopolitical issues.

• Sales Rank: #2432710 in Books
• Published on: 2004-03-30
• Original language: English
• Number of items: 1
• Dimensions: 11.16" h x .91" w x 8.94" l, 2.43 pounds
• Binding: Hardcover
• 176 pages

From the Inside Flap
"An exceptionally intelligent study. Joanna Inglot clearly knows both her subject and the complicated circumstances in Poland that have helped to shape Magdalena Abakanowicz."—Dore Ashton, editor of Twentieth-Century Artists on Art

"This is the first truly independent and in-depth study of the most widely known Polish artist, Magdalena Abakanowicz. Considering Abakanowicz's work in both Polish and international contexts, Inglot provides an invaluable critical assessment of the artist's attainment and the myth that surrounds it. Informed, lucid, and clearly written, this is a key book that changes our understanding of Abakanowicz's work and, more broadly, our perception of Polish art after the Second World War."—Ewa Lajer-Burcharth, Professor of History of Art and Architecture, Harvard University

"Working with non-traditional materials in non-traditional genres and fiercely guarding her autonomy against interpretation, Magdalena Abakanowicz carved her niche as an artist. Joanna Inglot's vivid portrait of her is also an impressive account of Polish tradition, of the innovative artists of postwar Poland, and of Abakanowicz's stature as one of the most powerful figurative sculptors from the 1960s through the present."—Eva Forgacs, author of The Bauhaus Idea and Bauhaus Politics

"This fine example of artistic monograph recasts Abakanowicz's international renown against the intricate background of her Polish roots. By recounting the artist's evolution from textile artist to fiber sculptor within the context of Poland's postwar struggle with issues of contemporary art, this book makes clear that Abakanowicz's work is more closely tied to her Polish heritage than even she would want to admit. Joanna Inglot's sensitive narrative underscores the universal message of Abakanowicz's compelling forms and challenges the longstanding perception that East European art was isolated during the Cold War era."—Myroslava M. Mudrak, author of The New Generation and Artistic Modernism in the Ukraine

"A masterfully executed study that combines the gripping story of Magdalena Abakanowicz's art and life with a thoughtful and precise reconstruction of the political and cultural realities of state socialism that formed the inescapable context of her work. Joanna Inglot illuminates also the intellectual and aesthetic ideas that enabled Abakanowicz to transcend this context and become an international star."—Jan Kubik, author of The Power of Symbols Against the Symbols of Power: The Rise of Solidarity and the Fall of State Socialism in Poland

From the Back Cover
"An exceptionally intelligent study. Joanna Inglot clearly knows both her subject and the complicated circumstances in Poland that have helped to shape Magdalena Abakanowicz."--Dore Ashton, editor of "Twentieth-Century Artists on Art

"This is the first truly independent and in-depth study of the most widely known Polish artist, Magdalena Abakanowicz. Considering Abakanowicz's work in both Polish and international contexts, Inglot provides an invaluable critical assessment of the artist's attainment and the myth that surrounds it. Informed, lucid, and clearly written, this is a key book that changes our understanding of Abakanowicz's work and, more broadly, our perception of Polish art after the Second World War."--Ewa Lajer-Burcharth, Professor of History of Art and Architecture, Harvard University

"Working with non-traditional materials in non-traditional genres and fiercely guarding her autonomy against interpretation, Magdalena Abakanowicz carved her niche as an artist. Joanna Inglot's vivid portrait of her is also an impressive account of Polish tradition, of the innovative artists of postwar Poland, and of Abakanowicz's stature as one of the most powerful figurative sculptors from the 1960s through the present."--Eva Forgacs, author of "The Bauhaus Idea and "Bauhaus Politics

"This fine example of artistic monograph recasts Abakanowicz's international renown against the intricate background of her Polish roots. By recounting the artist's evolution from textile artist to fiber sculptor within the context of Poland's postwar struggle with issues of contemporary art, this book makes clear that Abakanowicz's work is more closely tied to her Polish heritage than even she would wantto admit. Joanna Inglot's sensitive narrative underscores the universal message of Abakanowicz's compelling forms and challenges the longstanding perception that East European art was isolated during the Cold War era."--Myroslava M. Mudrak, author of "The New Generation and "Artistic Modernism in the Ukraine

"A masterfully executed study that combines the gripping story of Magdalena Abakanowicz's art and life with a thoughtful and precise reconstruction of the political and cultural realities of state socialism that formed the inescapable context of her work. Joanna Inglot illuminates also the intellectual and aesthetic ideas that enabled Abakanowicz to transcend this context and become an international star."--Jan Kubik, author of The Power of Symbols Against the Symbols of Power: The Rise of Solidarity and the Fall of State Socialism in Poland

About the Author
Joanna Inglot is Associate Professor of Art History at the College of St. Catherine in St. Paul, Minnesota.

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4 of 5 people found the following review helpful.
EXTREMELY DISAPPOINTING
By Gratis
The title of this book promised a lot: I was expecting a definitive survey of Magdalena Abakanowicz' figurative sculpture, but what I got was a very academic, self-opinionated rant from someone who gives the impression of being insanely jealous of the artist's accomplishments.
While Joanna Inglot states that "I had planned to provide comprehensive photographic documentation of Abakanowicz' most important works.... as well as the text of Portrait x 20...", the book contains none of this because Ms Inglot refused to allow the artist to review the manuscript - a condition for permission to use images. And little wonder that she didn't want it reviewed by the artist whose work is the subject of the book: text full of inference and innuendo and suggestions that the artist concocted her own life story to somehow invent a persona which matched her artistic aspirations. I can't remember ever reading such a biased and self-opinionated piece.
The author seemingly regards herself as the authority on this artist and the tone of her writing gives the impression that her academic status makes her superior to not only the artist but anyone else who has ever written about her. For example, Ms Inglot dismissively describes one highly regarded book as a "coffee table book", and makes a point of describing her own writings as "scholarly". I don't think so!
What could have been a well-rounded complete survey of Magdalena Abakanowicz' figurative sculpture, is instead very lightweight in terms of illustrations and contributed text from the artist. And all because Ms Inglot seemingly let her ego get in the way, quote: "...scholarly books do not need authorisation by their subjects, only by their authors...". A sad waste of a great opportunity.

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• Sales Rank: #827818 in Books
• Published on: 2007-12-17
• Original language: English
• Number of items: 1
• Dimensions: 11.00" h x 2.00" w x 8.50" l, 5.25 pounds
• Binding: Paperback
• 880 pages

From Library Journal
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- Amy Brunvand, Fort Lewis Coll. Lib., Durango, Col.
Copyright 1991 Reed Business Information, Inc.

Review
"The first freewheeling collaboration between specialists in the Eastern Bloc, China and the West. . . . No other work has every single scaled, plated, horned and fanged player lined up for inspection."--Milo Miles, "LA Weekly

From the Inside Flap
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I was not sorry at all.  I was a happy boy.  Those white men had come to kill our mothers and fathers and us, and it was our country (Black Elk, Oglala Sioux). Known to generations of white Americans as "Custer's Last Stand" or the Battle of Little Bighorn, it was, to the Plains Indians, the Battle of the Greasy Grass--a great, if short-lived victory against the whites who would soon overrun their country and destroy their way of life. Now, for the first time in a book for children, the story of the Greasy Grass battle is told from the Indian point of view, in a series of dramatic eyewitness vignettes.  Assembled from the recollections of twelve Indian participants in the battle, the book is divided into thirty brief chapters that, together, create a compelling narrative of the battle and the events that preceded it: Sitting Bull's vision of white soldiers falling into his camp "like grasshoppers," Custer's impetuous advance and attack, and finally, his dramatic defeat. An introduction and epilogue provide the historical context and a chronology, bibliographic note, maps, and more than a dozen archival photographs make this an outstanding curriculum item. The voices assembled here create a dramatic memorial to a fabled event in the history of the American West.  

• Sales Rank: #3347916 in Books
• Published on: 1998-06-01
• Released on: 1998-06-01
• Original language: English
• Number of items: 1
• Dimensions: 9.75" h x 6.25" w x .50" l,
• Binding: Hardcover
• 101 pages

From School Library Journal
Grade 5-8-A standard history for young readers involves a carefully unbiased author who assembles a coherent account from various primary and (more usually) secondary sources. Viola has taken a more daring approach. He features excerpts from the memoirs of various participants and observers of the Battle of the Little Bighorn, arranged in such a way as to provide a sense of the chaotic, violent flow of that day. Since no whites survived the battle, all of the witnesses are Native Americans, but some of them worked as scouts for the U.S. Army and thus saw the battle from a different perspective than the victors. The testimony of the narratorsAincluding such prominent figures as Sitting Bull and Black Elk, as well as "unknowns"Ais direct and vivid, revealing aspects of Native American psychology and details of battle preparation. An introduction and epilogue accompany the eyewitness accounts, thus providing readers with an overview of events leading up to, and subsequent to, the battle itself. While the inclusion of multiple narrators might be confusing, readers can consult Viola's biographical notes to identify each speaker. Furthermore, the possible confusion can in a certain sense be defended as an analogue to the disorientation of battle. The note on sources allows for further and more in-depth research. A few black-and-white reproductions and maps are scattered throughout. This is a brief, but powerful, book about an event that still attracts much attention.
Coop Renner, Coldwell Elementary-Intermediate School, El Paso, TX
Copyright 1998 Reed Business Information, Inc.

From Booklist
Gr. 5^-8. Viola, a former director of the National Anthropological Archives, has gathered together the accounts of Indians who took part in the battle that was known to whites as Custer's Last Stand and to Native Americans as the Battle of the Greasy Grass. The battle, at Little Bighorn River in 1876 was a resounding defeat for the U.S. Cavalry under the leadership of Lt. Col. George Custer, with more than 250 soldiers dead. But in the long run, the battle proved ruinous to the Great Plains Indians, who were pursued by cavalry until the vast majority surrendered and went to live on reservations. Viola alternates accounts of such well-known Indian leaders as Sitting Bull and Antelope Woman with those of ordinary Indian observers and participants. The effective introduction and epilogue frame the compelling eyewitness recitations. Even with maps, it is not always easy to picture the logistics of the Indian raid, but descriptions offer sturdy revelations and a way for young readers to walk around in other people's shoes. Only the introduction and epilogue have black-and-white pictures, and those are small, though crisp. Biographical notes identify the speakers. Ilene Cooper

From the Inside Flap
I was not sorry at all.  I was a happy boy.  Those white men had come to kill our mothers and fathers and us, and it was our country (Black Elk, Oglala Sioux). Known to generations of white Americans as "Custer's Last Stand" or the Battle of Little Bighorn, it was, to the Plains Indians, the Battle of the Greasy Grass--a great, if short-lived victory against the whites who would soon overrun their country and destroy their way of life. Now, for the first time in a book for children, the story of the Greasy Grass battle is told from the Indian point of view, in a series of dramatic eyewitness vignettes.  Assembled from the recollections of twelve Indian participants in the battle, the book is divided into thirty brief chapters that, together, create a compelling narrative of the battle and the events that preceded it: Sitting Bull's vision of white soldiers falling into his camp "like grasshoppers," Custer's impetuous advance and attack, and finally, his dramatic defeat. An introduction and epilogue provide the historical context and a chronology, bibliographic note, maps, and more than a dozen archival photographs make this an outstanding curriculum item. The voices assembled here create a dramatic memorial to a fabled event in the history of the American West.  

Most helpful customer reviews

3 of 3 people found the following review helpful.
battle realities
By M. Heiss
This one is for your older children. The narratives of the survivors of the Battle of Little Bighorn speak right out from the pages; they are fascinating. There is plenty of talk about the fighting and deaths. Parents may want to pre-read. Still, the worst details are glossed over. Your junior high student will get a lot out of this book. We're taking a summer trip to this battlefield; this one goes in the summer homeschool unit.

Sitting Bull and his warriors won the Battle of Little Bighorn (Greasy Grass)... but they were doomed. Custer and Sitting Bull both lost. Great introduction, epilogue, and notes section. There is a really good list of the characters and names in the book - at the back. Very helpful.

The cover illustration makes it seem as though this book will appeal to younger children, but in my opinion, 7th grade is just about the lower limit. Gritty reality.

8 of 10 people found the following review helpful.
Should be Required for Children!!
By A Customer
This is an excellent and clear told story of the Battle of Little Big Horn. I read this to my fifth grade son and we both "enjoyed" it. It is a very sad tale told from the perspective of people that were at Greasy Grass. I truly recommend this for ALL teachers that teach our children about westward expansion and ALL parents that want our children to learn the truth and the importance of the truth. It tells the story of Native Americans and the destruction of their life and culture.

2 of 10 people found the following review helpful.
A Time To Die...
By Betty Burks
George Armstrong Custer met his fate at the Battle of Little Bighorn. The Indians were there in masse waiting for 'this good day' to kill their enemy. It is neve a good day to die. But we have have to sometimes. Some sooner, some later.

Wilma Mankiller is a former principal chief of the Cherokee Ntion out in Oklahoma; whe has previously written an account of her chiefdom. I thought the lovely Indian woman on the front cover of her, but it is the head chief woman of the Northern Cheyenne, Gail Small. It was Audrey Shenandoah who said, "The main difference between our people and the world around us is the thankfulness and respect for the Earth, our environment, and the natural world. In our way, every day is a good day."

I think we are all thankful to be alive on the earth at this time. Some don't show respect for the natural world, having spent all of their growing up years (and adult, as well) in the inner cities. Al Gore must be part Indian, as am I, because he wrote books about the environment and championed the cause in his campaign for President of the United States.

It is indeed a good day every day we live. A few years ago, I did my first creative writing for an online Senior Newsletter. I did not know that it was edited and mostly supported by the Native Americans until I wrote an article about being part-Indian. My mailman, a Cherokee, was most respectful to me after that; I don't know how he knew about it as he is not a senior. It was fun, but I was used and abused, let down in a big way by this group. Were I not part Cherokee, I might have ended up resenting the way I was deceived by Valerie who'd promised me a free lunch, but not once made herself known to me.

I do much better with the "every day is a good day" on Amazon.com. Who needs those who use others, for whatever reason! They are no wiser than the white folks. My mother's family were from Union County (Irish, I think) and they are more honorable country people than any Native Americans.

I've attended several of their PowWows here in this town and taken photos of the same costumes, year after year, Their dancing is just shuffling feet as they go round and round in a circle. The men preen as the women show their pride, especially the two white women married to the beautiful males of the Indian Nation. My son looks more Indian than the young one from the Cherokee reservation who talked with me about the red-headed, blue-eyed faux Indian at one of the PowWow.

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