Sabtu, 31 Oktober 2015

> PDF Ebook Freud on Madison Avenue: Motivation Research and Subliminal Advertising in America, by Lawrence R. Samuel

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Freud on Madison Avenue: Motivation Research and Subliminal Advertising in America, by Lawrence R. Samuel

What do consumers really want? In the mid-twentieth century, many marketing executives sought to answer this question by looking to the theories of Sigmund Freud and his followers. By the 1950s, Freudian psychology had become the adman's most powerful new tool, promising to plumb the depths of shoppers' subconscious minds to access the irrational desires beneath their buying decisions. That the unconscious was the key to consumer behavior was a new idea in the field of advertising, and its impact was felt beyond the commercial realm.

Centered on the fascinating lives of the brilliant men and women who brought psychoanalytic theories and practices from Europe to Madison Avenue and, ultimately, to Main Street, Freud on Madison Avenue tells the story of how midcentury advertisers changed American culture. Paul Lazarsfeld, Herta Herzog, James Vicary, Alfred Politz, Pierre Martineau, and the father of motivation research, Viennese-trained psychologist Ernest Dichter, adapted techniques from sociology, anthropology, and psychology to help their clients market consumer goods. Many of these researchers had fled the Nazis in the 1930s, and their decidedly Continental and intellectual perspectives on secret desires and inner urges sent shockwaves through WASP-dominated postwar American culture and commerce.

Though popular, these qualitative research and persuasion tactics were not without critics in their time. Some of the tools the motivation researchers introduced, such as the focus group, are still in use, with "consumer insights" and "account planning" direct descendants of Freudian psychological techniques. Looking back, author Lawrence R. Samuel implicates Dichter's positive spin on the pleasure principle in the hedonism of the Baby Boomer generation, and he connects the acceptance of psychoanalysis in marketing culture to the rise of therapeutic culture in the United States.

  • Sales Rank: #841637 in eBooks
  • Published on: 2011-06-06
  • Released on: 2011-06-06
  • Format: Kindle eBook

From Publishers Weekly
An author, cultural consultant, and founder of Culture Planning, a company with Fortune 500 clients, Samuel delves into the ways in which Sigmund Freud's theories on psychology were implemented, for better or worse, by the advertising industry more than a half century ago. Samuel analyzes the work of Viennese-trained psychologist Ernest Dichter, along with Paul Lazarsfeld and many others, but it's Freud's contributions that laid the groundwork for ad strategy then-and now. By the '50s and '60s the industry had shifted its focus from how consumers behaved to why, and Samuel contends that Freud's "concept of the unconscious, with its hidden desires that shaped people's behavior, was a particularly powerful idea for marketers to embrace and exploit... a godsend to Madison Avenue." Although subliminal advertising was challenged on ethical grounds, and consumers feared Orwellian invasions of privacy, many of the practices developed at the time, such as focus groups and account planning, are still integral tools of the modern ad trade.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

Review

"If you have any interest in marketing research, advertising, or communications, this book deserves a place on your shelf."—Neal M. Burns, University of Texas at Austin



"Commercial historian Lawrence R. Samuel presents a rich, detailed, and fascinating look at the historical evolution of motivation (aka motivational) research."—Journal of Consumer Research



"This bracing tour of the psycho-cultural badlands of advertising is sure to provoke the reader's imagination. Nobody charts commercial history like Lawrence Samuel."—John F. Sherry, Jr., University of Notre Dame



"The first-ever look at the powerful yet controversial beginnings of the consumer research industry that exists today. Brilliant, thorough, and fascinating."—Megan Kent, Founder, Brand Synchronicity



"Freud on Madison Avenue offers a valuable window into life in the United States in the 1950s, a time when consumerism was being rethought and Freud's influence was at its zenith."—American Journal of Sociology



"Pull up a couch. Open your mind to this incisive, intriguing and intelligent revelation of how psychological analysis transformed modern advertising."—John Bowman, Global Director of Strategic Equities, Saatchi & Saatchi



"In Freud on Madison Avenue, Lawrence R. Samuel delves deep into the consumerist 'Mad Men' of midcentury, explaining how the subconscious mind could be imprinted for commerce, which laid the foundation for consumer insights, brand imagery, and disruptive creative ideas. A terrific read!"—John Gerzema, Chief Insights Officer, Young & Rubicam and author of The Brand Bubble



"A good book. . . . The work is insightful, well-written and is an excellent introduction to this important area of business history."—Business History

About the Author
Lawrence R. Samuel is the founder of Culture Planning LLC and the author of several books, including Rich: The Rise and Fall of American Wealth Culture and Future: A Recent History.

Most helpful customer reviews

2 of 2 people found the following review helpful.
Forget Wall St, Go to Madison Ave!
By Tofig Huseynzada
This book deserves 6 out of 5 rating. It is unbelievable how this side of history has been almost ignored in the marketing, psychology, advertising, consumer research books. Surprisingly, we still live in a world where Wall Street is overestimated and Madison Ave is underestimated for its power. The reason why this book is one of my favourites in my library is that it provides great research material collected by a UPenn Prof. Lawrence R. Samuel. This is a must buy for all market researchers, executives and may be for all the Professionals within the global communications business.

2 of 4 people found the following review helpful.
A strong pick for anyone who wants to understand consumer psychology, either as a business man or just the endlessly curious
By Midwest Book Review
Without even thinking about it, you may be being advertised to. "Freud on Madison Avenue: Motivation Research and Subliminal Advertising in America" discusses psychology and why people shop the way they shop, breaking down these unusual habits in people who claim to be rational. This concept has been researched through years, and author Lawrence R. Samuel gives a thoughtful and scholarly look at this work and provides a very eye opening read. "Freud on Madison Avenue" is a strong pick for anyone who wants to understand consumer psychology, either as a business man or just the endlessly curious.

0 of 1 people found the following review helpful.
Five Stars
By BIRGIT WASSMUTH
Very accessible!

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Jumat, 30 Oktober 2015

> Get Free Ebook Biocide Guanidine Containing Polymers:: Synthesis, Structure and Properties (New Concepts in Polymer Science), by Sivov

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This volume deals with chemistry of polyelectrolytes, namely biocide guanidine containing polymers, discussing both synthesis of new guanidine containing monomers of diallyl and acrylic nature and their structure and investigation of their radical (co)polymerization and properties of new (co)polymers.
The first parts of the book describe radical polymerization of these monomers and their co-polymerization with diallyldialkylammonium derivatives, features of their kinetic behavior in these processes (for example, polymerization rates, reactivity ratios)
The sections on phycal chemical methods (IR, NMR, DSC ect.) are especially important for studying of structure and properties of synthesized monomer and polymer compounds. The book is finely illustrated with about hundred original figures, schemes and tables including kinetics, NMR, IR spectroscopy, biocide and other data.

  • Published on: 2006-03-01
  • Released on: 2006-03-01
  • Format: Kindle eBook

About the Author
Nikolai A. Sivov, Ph.D. (1987) in Chemistry, Moscow State University, is Head of the Laboratory of the Institute of Petrochemical Synthesis RAS. He has published on synthesis of monomers, polyelectrolites and biocide polymers including structure and composition of (meth)acrylateguanidines, their homo- and copolymers.

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^^ Download PDF Pounding Nails in the Floor with My Forehead (Genes and Gender; 7), by Eric Bogosian

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Pounding Nails in the Floor with My Forehead (Genes and Gender; 7), by Eric Bogosian

In his brashest solo show, performer and playwright Eric Bogosian once again aims his searing social commentary at the contemporary urban and suburban scene. "Never miss Bogosian, because the sharp-tongued, sharp-shooting Bogosian never misses."--Clive Barnes, New York Post

  • Sales Rank: #966619 in eBooks
  • Published on: 2012-12-15
  • Released on: 2012-12-15
  • Format: Kindle eBook

From Booklist
Introducing the published version of his latest solo show, Bogosian laments that, thanks to TV, "we float in a matrix of billions of image fragments, sound bites, plot-line, news reports and ad copy." Pounding Nails (which opened last February) is his new attempt to make sense of this flotsam. As in his previous one-man shows, Bogosian presents a series of unconnected monologues--some comic, some satiric, some poignant--delivered by various oddball denizens of his fertile, feral brain: spaced-out drug dealers, self-satisfied suburbanites, and fire-breathing talk radio hosts. This time, however, Bogosian seems more amused than disgusted by the decaying world around him, as if his anger has been tempered by a touch of hope--or is it resignation? The result is a work every bit as powerful and well written as Drinking in America or Sex, Drugs, and Rock and Roll but much less didactic and considerably more accepting of his various characters' foibles and flaws. Jack Helbig

About the Author
Eric Bogosian is the OBIE-award winning writer and performer of Sex, Drugs, Rock & Roll, and Drinking in America. His plays Suburbia and Talk Radio have both been made into major motion pictures.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Classic Bogosian. Dark, cutting, insightful and deeply funny.
By Bampfylde
'Pounding nails' is an excellent showcase of Bogosian's one-man-show style of writing monolouges.

It is a series of scenes in which the characters he portrays speak directly to the audience, or to another unseen character offstage.

It is a very dark, critical, and insightful take on the contemporary American way of life, as seen through the eyes of the various characters that populate the script. Although cynical and often very funny, the characters posses a striking level of humanity that you don't often see from other cynical comedians/writers.

Overall, an excellent script that is a must for anyone interested in theatre, which can be performed by a solo artist, or by a series of actors.

4 of 6 people found the following review helpful.
This book is my personal battle cry
By A Customer
"Blow Me," the final piece of writing in this book, sums up my entire exsistence. For a long time after buying this book, I read the monologe daily. It seems to confirm every negative thought I've ever had about American life. And the strategies that Bogosian offers to survive it don't seem that irrational. Who doesn't long to feel something real for just two or three seconds? Bogosian's work as a whole seems to pin point the reality in America's superficial facade. You might find his work extreme or offensive. But you can't hide from the awesome truth of it. And if you don't agree with me, well, BLOW ME.

0 of 0 people found the following review helpful.
Not Bogosian's best.
By C. Mclemore
Eric Bogosian is a very funny and probing writer. This book is not the best example of that talent. "Pounding Nails" is a collection of monologues that work together as a one-man show. The monologues are funny, and, at times, pretty good social commentary. Unfortunately, the monologues get tiresome. The characters are all unique, but that is primarily because they are all extreme characterizations. If you create enough outlandish caricatures, you are sure to avoid having them overlap.
If you're interested in Bogosian, I would suggest "Wake Up and Smell the Coffee." This collection would be a good second choice.

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Kamis, 29 Oktober 2015

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English Letters and Indian Literacies: Reading, Writing, and New England Missionary Schools, 1750-1830 (Haney Foundation Series), by Hilar

As rigid and unforgiving as the boarding schools established for the education of Native Americans could be, the intellectuals who engaged with these schools—including Mohegans Samson Occom and Joseph Johnson, and Montauketts David and Jacob Fowler in the eighteenth century, and Cherokees Catharine and David Brown in the nineteenth—became passionate advocates for Native community as a political and cultural force. From handwriting exercises to Cherokee Syllabary texts, Native students negotiated a variety of pedagogical practices and technologies, using their hard-won literacy skills for their own purposes. By examining the materials of literacy—primers, spellers, ink, paper, and instructional manuals—as well as the products of literacy—letters, journals, confessions, reports, and translations—English Letters and Indian Literacies explores the ways boarding schools were, for better or worse, a radical experiment in cross-cultural communication.

Focusing on schools established by New England missionaries, first in southern New England and later among the Cherokees, Hilary E. Wyss explores both the ways this missionary culture attempted to shape and define Native literacy and the Native response to their efforts. She examines the tropes of "readerly" Indians—passive and grateful recipients of an English cultural model—and "writerly" Indians—those fluent in the colonial culture but also committed to Native community as a political and cultural concern—to develop a theory of literacy and literate practice that complicates and enriches the study of Native self-expression. Wyss's literary readings of archival sources, published works, and correspondence incorporate methods from gender studies, the history of the book, indigenous intellectual history, and transatlantic American studies.

  • Sales Rank: #2341736 in eBooks
  • Published on: 2012-07-17
  • Released on: 2012-07-17
  • Format: Kindle eBook

Review

"Hillary Wyss's English Letters and Indian Literacies quite fruitfully revises and expands existing accounts of Native participation in networks of written English in the eighteenth and nineteenth centuries."—American Literature



"English Letters and Indian Literacies promises to advance our understanding of the encounter between American Indians and Protestant English missionaries significantly. It deserves much attention from scholars in religion, literature, and history focused on the colonial period, Native responses to contact, the history of education, and literacy studies."—Laura M. Stevens, University of Tulsa



"Wyss skillfully draws on the fascinating history of literacy and literacy instruction in early New England to show how the process of learning to read was taught separately from the ability to comprehend the meaning of written words and how the act of learning to write was taught separately from the skill of self-expression."—History: Reviews of New Books



"Wyss's emphasis on the material culture of native experience and the missionary schools is fresh and compelling; her analysis of the Wheelock-Occum letters is perhaps the best reading of them to date; and the book's highlighting of figures whom history has shuffled aside—such as the Cherokee David Brown—make this volume well worth the read."—Journal of American History

About the Author
Hilary E. Wyss is Hargis Associate Professor of American Literature at Auburn University.

Excerpt. © Reprinted by permission. All rights reserved.

Preface

Early Native American studies have blossomed in recent decades, and it has been a privilege to engage with this field at such an exciting moment. Ten or fifteen years ago extraordinary work on Native Americans in colonial New England was emerging from history and anthropology departments, including Jean O'Brien's Dispossession by Degrees (1998), Daniel Mandell's Behind the Frontier (1996), Colin Calloway's The American Revolution in Indian Country (1995), Karen Ordhal Kupperman's Indians and English (2000), Gregory Dowd's A Spirited Resistance (1992), and of course Jill Lepore's The Name of War (1998). Kevin McBride, Kathleen Bragdon, and William Simmons, all in anthropology departments, were also doing exciting work on early Native materials. However, with the exception of critical work on Native American autobiography by Arnold Krupat, David Brumble, David Murray, and Hertha Wong, work in English departments was focused almost exclusively on Native novels and poetry and translations of Native oratory, all in the context of twentieth-century literary production. As scholar Craig Womack has recently pointed out, this was a literary and cultural moment in which it seemed that nobody was interested in discussing the writing of Native Americans from the seventeenth to the early twentieth century. My own book, Writing Indians (2000), was an attempt to integrate what I came to understand as a rich and extraordinarily underappreciated body of material into a cultural-studies model in which scholars in English departments all over the country turned their attention to material culture or nontraditional, extraliterary texts, using the tools and strategies of English departments—close reading, theoretical modes of analysis, and attention to linguistic and structural features of expression. My goal in Writing Indians was to maintain a sense of what I as a literary scholar and close analytic reader of texts had to offer works that had already received significant attention from history and anthropology departments but that were largely unknown in English departments.

Today the terrain of English studies has changed dramatically, and Native American texts that were once only available in archives are now widely reprinted and essential reading in American literature anthologies. Furthermore, the ever-increasing importance of the intertwined fields of composition and rhetoric has paved the way for a more nuanced examination of literacy and its practices. Deborah Brandt, Harvey Graff, and others have developed a rich theoretical background for the study of literacy and its acquisition, in both a historical and a contemporary perspective. Scott Lyons has shaped that general context in terms of Native writing experiences, coining the term rhetorical sovereignty as a way of thinking through Native self-determination—both political and cultural—and written discourse. Through the work of these scholars it has become increasingly clear that literacy is a vexed terrain in which conflicting intentions and values attach to a set of skills loaded with moral, political, and economic freight; texts that help us recover some of those conflicts have become increasingly valued as objects of study.

Meanwhile, the field of literary studies has once and for all exploded the traditional canon, engaging enthusiastically with a wide array of extraliterary texts, such as letters, diaries, and petitions, while also engaging, with ever-increasing sophistication, the words and expressions of those previously passed over, such as men and women of color and the marginally literate classes. Scholarship in the burgeoning interdisciplinary field of History of the Book reminds us that as scholars we lack a full sense of the complex rituals of power and exchange that form the base from which Native Americans participated in the colonial American world of New England, even as it uncovers the material and cultural nuances of books, readers, and literate practice more generally. Recent works by Eve Tavor Bannet, Philip Round, Matthew Brown, Matt Cohen, and others have supplemented the more general resources in colonial American book history, such as Hugh Amory and David Hall's first volume of The Colonial Book in the Atlantic World, Patricia Cohen's The Story of A, and E. Jennifer Monaghan's Learning to Read and Write in Colonial America, all of which situate the materiality of textual production in terms of the ideological basis of reading, writing, and culture. This engagement has taken place with a heretofore unimaginable intensity in the field of early American studies, with scholars like Joanna Brooks, Kristina Bross, Laura Stevens, Laura Murray, David Murray, Sandra Gustafson, Josh Bellin, Bernd Peyer, Gordon Sayre, and countless others in English departments across the country and even around the world taking on the work of examining the words and worlds of early Native American peoples and the missionaries who wanted to "save" them.

History and religious studies have also participated in this surge of interest in early Native studies: the work of Maureen Konkle, Rachel Wheeler, David Silverman, Amy Den Ouden, and Michael Oberg have reimagined the ways in which academics can interpret and engage with Native communities; Laurel Ulrich and her work on gender and memory has helped us to understand ongoing representations of Native cultural traditions. Such scholars speak easily and comfortably to those of us in literary fields, and we share manuscripts and conference venues with a regularity once impossible when the boundaries between fields of study were more scrupulously maintained.

By far the most significant development for the field of early Native studies has been the engagement by Native scholars like Lisa Brooks, Jace Weaver, Robert Warrior, and Daniel Heath Justice with early Native writings. Standing on the shoulders of earlier scholars and critics like Paula Gunn Allen and Vine Deloria, Jr., these contemporary Native scholars look for ways to frame a Native literary theory, and remind us all to attend to the words of Native peoples in ways that are sensitive to the notion of Native community identity. Rather than imposing a set of outside assumptions, by listening to the words and actions of members of Native communities, we can come to understand words and worlds beyond certain colonialist assumptions. Such scholars have increasingly turned to texts hitherto ignored in the field of Native studies, revealing the complexities of texts written by eighteenth- and nineteenth-century writers and political thinkers very much engaged in the process of understanding themselves as Native Americans, negotiating a brutalizing colonial system intent on undermining or ignoring that very identity. Scholars in Native Studies programs have argued that reframing Native textual production through the words and ideas emerging from Native communities is a powerful corrective to some of the insularity of academic departments and that understanding Native voices from the past should in no way be considered only the domain of scholars and antiquarians.

The significance of Native community is most powerfully and emphatically felt in the ways in which Native culture and identity are experienced in New England today. Tribal recognition at the federal level has exploded since the 1990s, thanks in no small part to the commitment by Native peoples to understand and interpret their own histories. Language revitalization projects like that of Jessie Little Doe Fermino among the Wampanoags and Stephanie Fielding for the Mohegans have reached back to the work of John Eliot and others, and the sometimes abstract and arcane work of scholars of colonial texts has taken on a very real and transformative component as individuals reconstruct their tribal histories and languages from (among other evidence) colonial texts. The genealogical work of Will Ottery and others has helped shape the current Brothertown community in Wisconsin, as well as communities throughout New England, as increasing numbers of individuals come to understand their relationship to their tribal heritage in vibrant new ways. As scholars and community leaders reach out to each other, we are creating and recreating a past, present, and future that are all ripe with possibilities.

My sense of this project and its value has changed significantly from the days in which my work on Writing Indians seemed a relatively abstract academic exercise. The collaborative and ongoing challenge to academics and tribal historians today is to recover a past and shape meaning from texts that are not always easily available to those who might be most interested in, and affected by, them. It is very much my hope that this current book honors that principle by both celebrating the lives and struggles of those Native peoples engaged in the schools, while acknowledging the sometimes brutal and often wrenching decisions through which individuals—Native and Anglo-American—came to terms with their place in the broader missionary culture of their own moments.

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0 of 0 people found the following review helpful.
Four Stars
By Larry J Smith
A well researched and well written book; I purchased it because of her chapter on David Brown.

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? Ebook Download A Genius for Money, by Caroline Dakers

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A Genius for Money, by Caroline Dakers

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A Genius for Money, by Caroline Dakers

This is the spectacular rags-to-riches story of James Morrison (1789–1857), who began life humbly but through hard work and entrepreneurial brilliance acquired a fortune unequalled in nineteenth-century England. Using the extensive Morrison archive, Caroline Dakers presents the first substantial biography of the richest commoner in England, recounting the details of Morrison's personal life while also placing him in the Victorian age of enterprise that made his success possible.

An affectionate husband and father of ten, Morrison made his first fortune in textiles, then a second in international finance. He invested in North American railways, was involved in global trade from Canton to Valparaiso, created hundreds of jobs, and relished the challenges of "the science of business". His success enabled him to acquire land, houses, and works of art on a scale to rival the grandest of aristocrats.

  • Sales Rank: #2860060 in eBooks
  • Published on: 2012-01-24
  • Released on: 2011-12-19
  • Format: Kindle eBook

Review
“Straightforwardly told . . . full of rich period detail.”—The Wall Street Journal (Wall Street Journal)

“Dakers’s biography of Morrison opens up for exploration the many facets of his complicated existence—as a salesman, financier, family man, public servant . . . and thus brings to life one of the early nineteenth century’s most important figures.”—John Small, University of North Carolina, Charlotte (John Small)

About the Author
Caroline Dakers is professor of cultural history, Central Sain Martins, University of the Arts London. She is the author of The Holland Park Circle: Artists and Victorian Society and Clouds: Biography of a Country House, both published by Yale University Press. She lives in London.

Most helpful customer reviews

0 of 0 people found the following review helpful.
An Uncommon Commoner
By TopCat19
I have been interested in business, finance, and any and all related fields for many years, so I am by nature predisposed to like books like this. I must confess that I checked it out from the Delaware public library system when it first came out, which is why you don't see the verified purchase statement. Overall, it is a good, solid effort, on an individual that I was pretty much unaware of. I did recognize the name, as it came up a time or two when reading other biographies, but beyond knowing that he was a rich dude from a couple of centuries ago, I didn't know much. As I write this review, I note that there is only one review posted. I do feel, to some degree, as they did, in that I would like to have seen more of an emphasis on the business and finance aspect of his life, and maybe not so much of his other activities, such as the art collecting. But, it's right there in the subtitle, so it shouldn't come as a surprise. I suspect that when writing a biography on anyone, there is always going to be judgments about how much to empathize one area over another. Also, from reading in general, I get the impression that Morrison was rich in that long period of time where the truly wealthy were expected to be patrons of the arts, much more so than today. But this is a minor quibble, at best. The main fact is that this is a truly interesting man. A commoner in a time and a place where it was not easy to rise above your station and go from poor to rich, so it is both interesting and enlightening to read about how he did it. I like books like this, and enjoyed reading it.

0 of 0 people found the following review helpful.
More Art than Business, but all British
By S. M. McMillion
Incredibly enticing title but I couldn't even make it through the first five chapters. Clearly written for an English (vice American) audience, it is full of references to minor British historical events which will be mostly unfamiliar to Americans. The author is explicit in her introduction as to how she plans to tell the story and stays true to her word as she uses the contemporary fictional literature of Morrison (Dickens, etc.) throughout to illustrate points, conditions, and situations. Additionally, Dakers (the author) gives equal weight to Morrison's art collection and self-education (for culture). I was more interested in Morrison as a businessman, and Dakers does give some attention to his efforts, but the attention is lacking detail and non-fictional context. If you are interested in art and cultural history, you will most likely enjoy this. I seldom fail to finish a book, but just couldn't handle this one.

This is similar to Ron Chernow's treatment of Alexander Hamilton or George Washington in terms of referencing many minor historical events peculiar to the country. However, Chernow offers comprehensive perspective encompassing religious, economic, political, geographical, and historical aspects. This book pales in comparison to Chernow's momentous efforts.

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# PDF Download Fables Vol. 18: Cubs in Toyland (Fables (Graphic Novels)), by Bill Willingham

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Fables Vol. 18: Cubs in Toyland (Fables (Graphic Novels)), by Bill Willingham

A #1 NEW YORK TIMES BESTSELLER

For years, Snow White and Bigby Wolf's cubs have grown up knowing that one of them was destined for a much greater, more grave role amongst the Fables community. But no one knew how soon it would come.

When Snow and Bigby's cub Therese receives a Christmas gift from an unknown admirer, this red plastic boat magically takes her on a journey to a desolate place known as Toyland. Will Therese be their savior? Or their destroyer? FABLES VOL. 18: CUBS IN TOYLAND is the latest epic from New York Times best-selling author Bill Willingham's hit series FABLES, as the Bigby Wolf cubs learn that adventures in the land of misfit toys is much less fun than it sounds.

Also collected here are all the backup stories that feature Bufkin's exploits in the land of Oz, beautifully painted by Shaw McManus (CINDERELLA: FROM FABLETOWN WITH LOVE).

  • Sales Rank: #478302 in eBooks
  • Published on: 2014-12-30
  • Released on: 2013-01-22
  • Format: Kindle eBook

Amazon.com Review
Q&A with author Bill Willingham

Q. Bill, the popularity of Fables hasn’t waned since its debut in 2002. What do you think is the greatest appeal of the title?

A. Bill Willingham: I think a couple of things. Fables draws on folklore, which by definition is stories that everyone owns. Every single person in the entire world owns these stories. It’s not like it’s collectively owned—if we want to do a new Snow White story, we don’t have to all come together and determine “This is what it’s going to be.” It’s individual ownership of this vast, vast library of stories. So everyone, by virtue of being “folk” in “folk lore,” is born rich, because everyone owns all of this, and can do all of this with it. So maybe the loyal readership on Fables is everyone protecting their investment, saying, “This is my stuff and it’s paying off well.” And I don’t think that’s entirely facetious. You know these people; you’ve heard these stories forever (“you” being the reader). It’s like an old friend: “Have you heard what’s been happening to Snow White, lately? I haven’t heard from her in years, what’s she up to?” I don’t trust its popularity though. I still feel like Fables is going to make it some day. I don’t count on the readers being there from issue to issue. I don’t take the reader for granted.

Q. You've touched on almost every fairy tale and literary classic—from Beauty and the Beast to Little Boy Blue to most recently the Wizard of Oz. Growing up, what were some of your personal favorite tales and how has that informed your approach to writing it in this series?

A. Bill Willingham: My personal and favorite tales growing up, possibly my all-time favorite fairy tale character was the Big Bad Wolf because that was the only one I was aware of early on as a kid appearing in more than one fairy tale. Big Bad Wolf went after the pigs and didn’t quite make it there. Big Bad Wolf went after Red Riding Hood, didn’t quite make it there. So, I just love the fact that just like in comics, fairy tales can show up in different stories. Which is probably why I made him into a hero in Fables. He would have made a great villain, still, but I’d use him once or twice and then I’d have to get rid of him. Because the worst thing in the world is the villain who keeps on coming back. Then it’s not really a story about the villain but about incompetent heroes.

I used to love Fractured Fairytales as a kid, so most of those characters had to show up in Fables. I think I got most of them, but I'm not certain.

Little Boy Blue was never meant to be an important character. He was just there, foot in the office, someone for Snow White to talk to. He kind of expanded his character in the book.

Q. As mentioned previously, these characters have existed for a long, long time, and people have a certain level of love and attachment to them. What would you say is some of the most surprising feedback you've gotten?

A. Bill Willingham: Almost none of it comes as a surprise. And I don’t mean that to sound jaded. What surprises me most is that real folklore scholars have done papers on Fables—sometimes I’ve found out about it accidentally, sometimes they let me know. I’m just a guy that’s spinning comic book stories. They ask, “What’s your research methods?” and such and refer to me as a “well-known folklore scholar.” I’m not a scholar on anything. I read the stuff I like, and if it stays with me, I like it enough to spin a story out of it. But the fact that the important intellectual academic is aware of this surprises me.

The thing that doesn't surprise me is that a German folklore specialist will correct me and say that the Snow White and the Seven Dwarfs is the not the same Snow White as Snow White and Rose Red. Even though in English, both translate to “Snow White,” they are two very different names in German. I was aware of this, but we’re doing this in English, so I’m going to make them the same person. They're two fairytales that don’t really match up, but I felt that it was challenging to make them the same person.

Q. Has there been a fjairy tale or literary character that you’ve found challenging to adapt as a player in Fables?

A. Bill Willingham: The humble and obvious answer is all of them. The other answer is a few. Modernizing them without losing what was important about them is always a challenge. Snow White for example. I wanted her as a tough as nails businesswoman, not taking any nonsense from the whiny bastards. The challenges were was there anything in the original stories that predicated this. In the original stories, she had true love. But in our story, Prince Charming is a womanizer, so true love didn’t last a while. Prince Charming had many episodes of “true love” down the road, so she gets betrayed by Prince Charming by her own sister, she gets betrayed by her own stepmother with the poisoned apple, she gets betrayed by her original mom who sent her away. With Snow White, the obvious thing here was “trust issues.” If you have trust issues, you either become the perpetual victim, or you become this strong, “No one’s going to hurt me again because I’m going to become a captain of my own life.” The problem is, when you do a strong “I’m not going to take any nonsense” character in anything, people love that. But there’s always going to be people who will complain that she’s an emasculating hateful woman. I don’t think that’s the case. Luckily the series has lasted long enough where we’ve been able to show many sides to her personality. That was a challenge.

Q. With over 100 issues, two original graphic novels and a novel in the rearview mirror, are there any loose plot threads that you lament not getting to?

A. Bill Willingham: Oh, yeah. Not only loose plot threads that were things that we planned from the beginning, but also every single story suggests so many other stories to follow up on. For example, when the Arabian Fables showed up, we could have changed it to an all-Arabian book; we could have spent a hundred years just exploring that corner. Instead, we didn’t and we went back to our core cast. But it’s like the population grows. The stories are begetting other stories ideas and pretty soon we have this overcrowded earth and there are hundreds of stories that we won’t be able to get to because, unfortunately, medicine is letting us down and I’m not immortal yet. Hal Foster, when he was doing Prince Valiant, was doing this incredible sprawling story that went on for more than thirty years of his life, so we saw Prince Valiant as a kid, we saw him growing up, falling in love and then we saw his kids grow up. This was done in real time, so we didn’t jump ahead years. I would love to be able to do that.

Q. Fairest is a series that serves as a sister series to Fables, focusing specifically on the lovely ladies of Fabletown. What are some of stories you have planned? Will they mostly be present day tales? Flashbacks?

A. Bill Willingham: It mostly is a mix. The first one concentrates on Briar Rose, where we had the present day “what happening in her life,” but in order to explain why she’s in the predicament, we showed her origin with the seven fairies that gave her blessings and then the fairy that was slighted.

We just started a Rapunzel storyline written by wonderful South African writer Lauren Beukes. Once again, it doesn’t exactly take place in present day. It takes place years ago before the first Fables issue. But it also takes place then, and in ancient Japan. Because they are all essentially immortal characters, we have the ability to spill all over the time map.

The one to follow, which will introduce a brand-new East Indian folklore character will once again take place in present day with carefully, strategically-placed flashbacks to see how she got to where she is and how she got to the places she’s been.

Q. In the Fables: Werewolves of the Heartland original graphic novel, you're telling an epic Bigby Wolf story. Why did you decide to spin this off into a separate OGN rather than keep it in the series?

A. Bill Willingham: It’s an epic Bigby Wolf story. For some time—this story is at least three years in production (and then some)—we wanted Bigby Wolf to have this story, to go out and have a story and be the Big Bad Wolf. Since it was a single character and predicated on him leaving the rest of the community for a while, it seemed to natural to spin it off into it’s own graphic novel.

Q. You’ve been writing Fables for a decade now. Looking towards the future, how much more do you have in you? Is there another spin-off you'd love to do?

A. Bill Willingham: I’m very old. I’ll probably die soon before we get to it. There’s always another spin-off I’d love to do. With Fables, we didn’t create a story, we created a setting. It’s a fictional world where all types of stories can take place. People ask me, “When is Fables coming to an end?” The clear answer is that stories end all the time. But then because the stories are in this setting such that it is, we start it all the time. So yes, there’s always going to be a desire to spin off more and more stories.

Q. Which Bigby Wolf will we see in Werewolves of the Heartland? The gruff, law-keeping chain smoker from earlier in the series, or the caring father he's been lately?

A. Bill Willingham: You’re going have references to the caring father he’s been lately. You’re going to see a bit of the gruff Bigby Wolf. But you’re also going to see a good deal of the Bigby Wolf he’s been keeping contained for entire Fables series, which is the old monster he used to be.

Q. Which do you prefer, the original graphic novel format where the story is finite and self-contained, or the spanning Fables series in which the story can go several different directions at any point?

A. Bill Willingham: I love all my children equally. Either one, because either one has freedoms that the other format doesn’t and either one has restrictions that the other one doesn’t. And surprisingly enough, the things that you’re not allowed to lead to better storytelling than the things you are allowed to do.

About the Author
Bill Willingham is the award-winning writer and creator of FABLES. He has been writing, and sometimes drawing, comics for more than twenty years on titles including Elementals, Coventry, PROPOSITION PLAYER and FABLES. With Matthew Sturges, Bill co-writes the FABLES spinoff JACK OF FABLES, as well as HOUSE OF MYSTERY and JUSTICE SOCIETY OF AMERICA. His work has been nominated for many awards, including the Eisner, Harvey and Ignatz comic industry awards, plus the International Horror Guild award.

Most helpful customer reviews

119 of 136 people found the following review helpful.
a great start, but not there yet...
By Joshua D. Nelson
i first read this collection a few months ago. i was delighted that willingham had this amazing idea...but the problem seems to be in execution for the first book...the story is kind of like a pulpy detective series...even down to a parlour scene in which the hero explains how he solved the crime...the reason i've only given it 3 stars and that i say it's a good start is because:

a) it is in fact enjoyable...

b) i've caught up and read the rest (and they get better each volume)

c) i want you to read it.

stepping away from this book for a moment, this series is entirely worthy of your time and money if you ever enjoyed fairy tales...willingham masterfully takes what were once 2 dimensional characters and gives them personality...the problem is that you can't (or shouldn't) read the story without starting here...i highly recommend the series, but this is the worst book in it...

31 of 34 people found the following review helpful.
Absolutely Terrible
By Mike Hunt
It pains me to say this being a HUGE Fables fan but this stand-alone graphic novel "Werevolves of the Heartland" may be the single worst entry in the ENTIRE Fables canon. It's THAT weak. The concept is interesting enough: Bigby Wolf encounters a sleepy, Normal Rockwellesque little hamlet in the Midwest populated by werevolves who worship him as a God and have a mysterious connection to his past.

When I first read that tagline I thought "Sweet"! But then I got the book and that's where the hijinks ended and my tears began. The writing is mediocre...huge chunks of the story are told in blocky, awkward narration. "Show, Don't Tell" is apparently a technique this writer never learned in Generic Writing School. The entire first fourth of the book is basically a retelling, almost page by page, of a story we have ALREADY read before in the main Fables story. If this had been a monthly it would mean that basically the first issue would have been a retread. I would have seen red if I had bought it.

The story is riddled with plot holes. One of the key characters regenerates after being burnt to a crisp because of his werewolf blood...but later in the book it's shown that actually werewolves are terrified of fire because it's one of the few things that can hurt them! Say what? What an amateurish mistake.

Bigby meets an old friend, who confesses to terrible, savage crimes and he just shrugs it off as if it was no big deal. This character's wife by the way, is an old enemy of Bigby which he despised deeply...but apparently he's forgotten all about it since it's never mentioned again. The depiction of this couple's first meetings and eventual joining together to create a werewolf town are so terribly written you will struggle not to laugh.

The only redeeming feature of this work is the art. It's nice and original...reminds me a lot of a discount P. Craig Russell. However, even the art is not without its faults since inexplicably the artist chooses to illustrate every single inhabitant of Wolf Town in the exact same Aryan way so you'll basically have no idea who's who.

Not that it matters. Only 13 year olds would be engrossed by this story. I lost interest in the 10th page and just read it the whole thing because of a grim determination to getting my money's worth. Quite frankly I cannot wait to donate this to a local library and get it out of my sight.

Do not recommend in any way, shape or form.

P.S. I just remembered another thing about the art: near the end of the story...for absolutely NO REASON at all a different artist draws two pages. It's jarring enough to make you wince and I have no idea why it happened. Usually fill in artists are hired to illustrate monthly books because the main artist is behind on schedule. This graphic novel wasn't a monthly publication. It's a stand-alone work written and drawn completely before release. Why in God's name would they need a fill-in artist? This just add to the overall amateurish aspect of the whole thing.

33 of 37 people found the following review helpful.
This is part of the Fables series?!?
By Kevin Johnstone
I'm a big enough fan to own all the Fables graphic novels so I just automatically preordered this one. Well, it was a Bigby the wolf solo story according to the cover and the blurb and that was enough for me to feel it was worth the money. Whoops, big mistake on my part. The first problem is the artwork, the series regular cover and interior artists are missing and it makes everything seem off. None of the characters carry the weight they generally do so all the story beats you would recognize from the other books are missing visually and the art is a bit weak.

The blame can't land on the artist alone though. The story is very weak, there's really not anything else to find out other than what you see on the cover. Bigby runs into a bunch of other wolves that seem similar to him and he has to fight them.... and there is a blonde to protect. It sounds throwaway and derivative because it is, there's no sense of reason or consequence to anything and I could not find anything to care about. For a series fan, this should be as much of a slamdunk as finding a 4th Eastwood / Leone western, but it's just stale rote.

In short, the story forms a thin grasping link between Bigby's WW2 adventure that acts as the precursor to a town full of werewolves that are related to him. They've been doing their thing in the heart of America for a few decades without any clear plan or purpose other than to be waiting around for Bigby to wander by so he can kill most of them and lament the poorer choices others with some of his abilities and none of his strengths have made before wandering off again. The whole thing is like an unfinished sentence, a half formed idea or partially remembered dream.... ie, terribly unsatisfying and a bit embarrassing once you try to share it with someone else and realize how little there was to the thing other than your personal feelings about it.

I wouldn't expect that it will relate in any meaningful way to future Fable stories beyond a one sentence reference to 'that town with the werewolves I ran into last year' in a grasping attempt to make series fans like myself run out and buy a book they don't need. So if you are wondering if you need to pick this up because it ties into something else that might be important to the ongoing story.... I seriously doubt you need to worry, save your money and buy the Fables Covers by James Jean instead, its fantastic, this isn't.

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Senin, 26 Oktober 2015

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CONTROVERSIALLY YOURS, by Shoaib / Dogra, Anshu Akhtar

Shoaib Akhtar has been one of the most colourful characters in the history of cricket. He is the fastest bowler in the world, who set an official world record by achieving the fastest delivery when he clocked in at 161.3 km/ph (100.2 mph) twice in the same match. Having taken more than 400 wickets in international cricket, he is a phenomenal cricketer too.
Tagged as being undisciplined, Akhtar's career has been plagued by injuries, controversies and accusations of poor attitude. Here he tells his side of the story. The early years of deprivation, the relentless self-imposed discipline, the way he played both on the cricket grounds and outside. His is also the inside story of Pakistan cricket, no holds barred: the
strange ways of the cricket board, the hierarchies and manipulations and, above all, the magic of the game itself.

  • Sales Rank: #1317676 in eBooks
  • Published on: 2013-01-16
  • Released on: 2013-01-16
  • Format: Kindle eBook

About the Author
Shoaib Akhar is a former Pakistani cricketer and fast bowler. Called the Rawalpindi Express for having the fastest ball in recorded modern cricket, his performance boosted Pakistani cricket performance in the 1990s and he has been called a legend of Pakistani cricket.

His successes include bowling Rahul Dravid and Sachin Tendulkar off successive deliveries at the Asian Test championship match at Calcutta, and that ball was the first he ever bowled to Tendulkar. He retired from professional cricket in 2011, following the world cup.

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3 of 4 people found the following review helpful.
An "in your face", "never say die" attitude
By T. R. Santhanakrishnan
Shoaib, the Rawalpindi express, is one of the best players of cricket in the game. He entertained spectators with an exceptionally high quality pace bowling (on occasions exceeding 100 miles per hour).

Shoaib had the "in your face" and "never say die" attitudes that took him to commanding heights of glory even as the same traits threw several challenges into the journey.

Shoaib had a tough time emerging from his lower middle class youth to pursue a high risk career in cricket; had a tough time in dealing with an unfair employer, a politicized cricket administration, seemingly uninspiring and often hostile coaches, captains and fellow players. Shoaib had a tough time dealing with his own fitness and his penchant for parties/girls. However, Shoaib did not have a tough time at all with just one part of his ecosystem: support and adulation from the countless number of fans not just in Pakistan but also in India and every other country that loves/plays cricket.

Shoaib provides us a lovely glimpse of middle class Pakistan in the chapters dealing with his childhood. Dad worked in a job that does not pay much but takes care of most aspects of life including education and healthcare. Mom managed the household within the limited means with dignity. Education ranked a high priority. The young boys gauged how "rich" the family was on any day by looking at the size of the knot at the end of their mother's duppatta (she stored the money in her dress!). Shoaib aspires to conform to his family ethos and yet seeks to be "free". Shoaib, by speaking from his heart, enkindles the nostalgia in most of us and inspires renewal of faith in future.

Shoaib attempts to set the record straight but is not entirely successful:
Yes, he tampered balls. His excuse: everyone did it and winning is important. Not cricket.
Yes, he partied a lot. Yes, there were girls. No, he did not rape.
No, he did not fake injuries. He genuinely suffered. His commitment to play bearing his pain with fortitude has not been appreciated.
No, Pakistan cricket administration was not supportive. One was not assured of one's place in the team unless the non-playing administrators were pampered.
Yes, the team knitted well during good days. No, the team did not knit well during bad days. On balance, there was more internal strife and hostility than esprit de corps.
Yes, there was match fixing. He did not indulge in one though he was approached.

Shoaib does not have one unkind word for India; recognizes that several of the Pakistan players (including Shoaib and Afridi) enjoy immense popularity in India and is joyous at the support his Kolkatta fans (he played for KKR in Indian Premier League) gave him.

Shoaib has been candid in commenting about fellow players in Pakistan and elsewhere. His comment about some Indian batsmen playing for their records instead of for winning the game cannot be dismissed as a biased observation. Whether unfair or not, it comes from his heart.

The one thing that I expected but did not find in the book is his state of mind, the tactical options he considered and executed and their success/failure in crucial match winning moments. He probably wanted to save it for a private briefing to aspiring pace bowlers in Pakistan so that some day when his record is broken it is done by a Pakistani for the Pakistan team.

1 of 1 people found the following review helpful.
Amazing book. What struck me most was that the ...
By mfin
Amazing book. What struck me most was that the book was written without diplomacy, mincing of words, and is truly straight from the heart. There is a unique sense of honesty in the book that is warm and genuine. You get everything you would expect - his humble upbringing, cavalier attitude, anecdotes from real games full of controversies, Pakistan selection drama, internal politics of PCB and despite all that - euphoria of Pakistan winning purely on passion and talent of blokes such as Shoaib Akhtar. What stuck me most was the chapter towards the end of the book when Akhtar addresses the critics of his fitness by saying something to the lines of - "people said I am unfit most of the time - truth is I was always unfit. I took knee injections, I was flatfooted, I had asthma and I was always in pain. My body wasn't destined to play cricket for such a long time. In fact my lack of fitness is what drove me to bowl fast and achieve what I did". This is what it takes to be the fastest bowler in the world and this book will exactly show you that.

0 of 0 people found the following review helpful.
Truly controversial
By Amazon Customer
Enjoyed reading it. Light and fast paced like Mr. Akhtar's bowling. Certain parts relating to the hardships, struggle and determination, can be very inspiring reading, not only for youngsters but also others who experience challenges in their day to day work. With all the time lost from being banned from play, there was a lot of talent wasted and more. It has a lot of practical work place lessons to be learned but one has to analyze each situation and apply it in your own context. The section relating to retired cricketers is very humbling and I am sure it holds true for a lot of cricketers from other countries as well as other professions. I will leave the controversial parts for individual readers to judge for themselves. I am sure I will read some parts, if not the whole book, again.

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