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The Marketing themarketingcrowd — My latest experience with this book came at an upstate NY diner at 2 am. As I was waiting for my credit card receipt, the boy I recognized as a Vassar kid, who had bought himself a steak dinner to eat alone at a diner at two am on a weeknight, approached me. Not the typical- hey you go to Vassar and I’m a freshman (obvi) so I don’t understand that not everyone is ENTIRELY fascinated by the coincidence that we might find ourselves in the same location off campus at any given point (because I can’t criticize that, I used to get tickled when I’d see vc kids on the subway) oh no. this was to be a far more noteworthy exchange. I had offhandedly (read: pretentiously) made some comment in passing about the inherent misogyny of film (hello, laura mulvey! How nice of you to rear your ugly head!) as the nature of the medium with the male gaze, etc etc same overly digested pretentious film major bullshit we’re all prone to spout on occasion. To be completely honest, I’ve said such obnoxious things so many times in the past that I didn’t see it as a particularly noteworthy comment. However, our dear eavesdropping friend took note, and made a point to introduce himself and ask me to clarify what I meant. This was followed by a somewhat sketchy reassurance that when he takes film 210-211 he’ll read the mulvey article I was referencing (that God and everyone’s uncle has read by the time they graduate Vassar) and that it’s relatively simple theory about male gaze as personified by penetrative camera, et cet et cet. A two minute overview of what he will no doubt employ whenever inspiration fails to strike on a critical theory paper assignment. (notes: 1. I say this because I always default to feminist theory when I don’t have anything better to write about. 2. I realize how obnoxious I am, and thus feel it necessary to preserve my youthful arrogance so that at some point in the future I can look back and call myself a tremendous chach.) So he questions whether this is relevant in films about women by women (citing lovely and amazing, which I’m pretty sure is a queer feminist film so, like, duh, not misogynistic) and whether it’s a product of the medium or the industry. I gave him some backhanded twaffle about Almodovar and the industry working through the medium and Mulvey’s references not being overarching, recommended some book that I haven’t read but is on my shelf on women in the industry, and offered him a ride back to campus. This is that book. It's not particularly relevent to the Mulvey comments, but I love the title (mae west reference) and I think reading pseudo-feminist film industry texts makes the future seem significantly less bleak What a strange bird. He’s now my facebook friend. I’ll probably end up giving him that book I referenced, as part of my Trish from SLC punk complex that I’ve been cultivating since sophomore year of high school and was faux-old enough to consider myself capable of having a “protégé” (man, I’ve always been a terrible twat, haven’t i?)

Eva Zielman evazielman8f84 — Consumed is designed as a wake-up call, however Barber will be hard-pressed to get the attention of our consumption-laden populace, who wishes only to be entertained and not educated. This book is not entertaining in the least, but it does provide a solid historical view of the stages of capitalism in this country and the perils of our current consumerist mindset. Barber uses the phrase infantilist ethos to describe our psychological state, which has been established by robust and omnipresent marketing and advertising. This is not a book meant to make you feel better about our situation as a supposed democratic nation. Barber gives his readers the choice between more iPods or social change. He believes our civic duty is to unplug the headphones and become more worldy. Yet,unfortunately, most prefer private life to public duty. We prefer to pin yellow ribbons on our cars and say we support the troops as we drive our SUVs to the mall. No we cannot shop our way to heal our economic situation. As Barber rightly says, we have to become more disciplined and careful not carefree.

Allison Carlysle allisoncarlysle — Was the last Plantagenet king of England the complete villain that was portrayed on stage by William Shakespeare a century later? Scottish playwright and novelist Elizabeth Mackintosh presents the case for the defense in this mystery novel published in 1951 under her pen name Josephine Tey. Scholarly historians had made the case before this, but Daughter of Time turned historical debate into a work of popular entertainment that has gathered critical praise as a work of literature long after it first appeared. In this, it is not unlike Shakespeare’s success at turning history into popular entertainment in his series of plays on the War of the Roses that culminated with “Richard III.” The works share more than an intriguing central character. But what of the character of this English king who, although he ruled for only a little over two years, is still the source of vigorous debate between his detractors and supporters? Inspector Alan Grant of Scotland Yard takes on the case out of boredom caused by forced confinement. While waiting for a broken leg to heal, he becomes fascinated by a portrait of Richard. To Grant, with the eye of a detective, he looks like a man who should be on the bench deciding the case, not someone on the stand accused of the cold-blooded murder of his two young nephews for political gain. But, as a policeman, Grant knows that cases aren’t solved by hunches or clues they’re solved by taking statements. Fortunately, a friend steers someone his way who’s eager to do the legwork of research and round up the statements, American amateur historian Brent Carradine. As Carradine digs up the documentation, Grant ponders the evidence and how it all fits together and who would stand to gain by the princes’ death. Actor Derek Jacobi gives a superb reading. His American accent for Carradine is good, if not perfect, but Grant and all the other British characters are flawless. It’s little wonder that Booklist selected it as one of the “Top 10 Mystery Audiobooks” in 2001. Narkiewicz, Beverly S. “Honk If You Love Richard III.” New York Times (May 21, 2000); page TR10 Harris, Karen. “Top 10 Mystery Audiobooks.” Booklist (May 1, 2001) page 1616 “Second Reading: Josephine Tey: Sleuthing Into The Mystery of History.” The Washington Post (March 12, 2003) page C01

Tesfa G tesfage124 — SYNOPSIS: Follow the lives of several Jewish refugees, the Italian Catholics who seek to protect them, and an AWOL German doctor as they struggle to survive in the Italian mountains during the later years of World War II. COMMENTS: I consider Mary Doria Russell's The Sparrow one of the best books I have read in a long time. While I can't say the same of her most current novel, I did enjoy the time I spent with it. Russell artfully weaves together several story lines while painting an emotive portrait of life amidst the chaos of post-Moussolini Italy during the latter years of World War II. At times I found the character list somewhat overwhelming and I was grateful for the list of names at the front of the book. But as the storylines converge and the characters lives intermingle it got easier to tell them apart. The end of the book isn't particularly uplifting, but it felt truthful. STARTED: Around May 5 FINISHED: Around May 11