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A Life of Picasso: The Cubist Rebel, 1907-1916, by John Richardson

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About the Author

John Richardson is the author of a memoir, The Sorcerer’s Apprentice; an essay collection, Sacred Monsters, Sacred Masters; and books on Manet and Braque. He has written for The New York Review of Books, The New Yorker, and Vanity Fair. He was instrumental in setting up Christie’s in the United States. In 1993 he was made a Corresponding Fellow of the British Academy. In 1995–96 he served as the Slade Professor of Fine Art at Oxford University. He divides his time between Connecticut and New York City.

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Chapter 1: Rome and the Ballets Russes (1917) Picasso's visit to Rome in February 1917 had originally been conceived as a wedding trip, but at the last moment his on-again off-again mistress, Irène Lagut, who had promised to marry him, changed her mind, as her predecessor, Gaby Lespinasse, had done the year before. Instead of Irène, Jean Cocteau accompanied him. In a vain attempt to set himself at the head of the avant-garde, this ambitious young poet had inveigled Picasso into collaborating with him on Parade: a gimmicky, quasi-modernist ballet about the efforts of a couple of shills to lure the public into their vaudeville theater by tantalizing them with samples of their acts. Cocteau had desperately wanted Diaghilev to stage this ballet in Paris. The meddlesome Polish hostess Misia Sert had tried to scupper the project. However, Picasso's Chilean protector and patron, Eugenia Errázuriz, had persuaded Diaghilev to agree, provided Picasso did the décor, Erik Satie the score, and Léonide Massine the choreography. Sets, costumes, and rehearsals were to be done in Rome, where Diaghilev had his wartime headquarters. Picasso's cubist followers were horrified that their avant-garde hero should desert them for anything as frivolous and modish as the Ballets Russes, but he ignored their complaints. After two and a half years of war, with its appalling death toll, its hardships and shortages, and above all the absence of his closest friends—particularly Braque and Apollinaire at the front—Picasso was elated at the prospect of leaving the bombardments and blackouts behind to spend a couple of months in the relative peace of Rome, which he had always wanted to visit. Besides working on Parade, he was determined to get married.Picasso and Cocteau arrived in Rome on February 19, 1917, a day later than they had intended. Cocteau, who had forgotten to get a visa from the Italian embassy, had lied when telling him that no reservations were available. Diaghilev had booked them into the Grand Hotel de Russie on the corner of the Via del Babuino and the Piazza del Popolo. So that Picasso could work in peace on the costumes and sets for Parade, he had also arranged for him to have one of the coveted Patrizi studios, tucked away in a sprawling, unkempt garden off the Via Margutta. Although most of the artists are now gone, the Patrizi studios are still as idyllic as they were in 1917."I cannot forget Picasso's studio in Rome," Cocteau later wrote. "A small chest contained the maquette for Parade, with its houses, trees and shack. It was there that Picasso did his designs for the Chinese Conjurer, the Managers, the American Girl, the Horse, which Anna de Noailles would compare to a laughing tree, and the Acrobats in blue tights, which would remind Marcel Proust of The Dioscuri."[1] From his window Picasso had a magnificent view of the sixteenth-century Villa Medici, seat of the French Academy, towering above the studio garden. As he well knew, the Academy had associations with some of his favorite artists. Velázquez had painted the garden; Ingres had spent four years there as a fellow at the outset of his career and, later, six years as director; Corot had also worked there and caught the golden light of Rome and the campagna, as no other painter had done."Rome seems made by [Corot]," Cocteau reported to his mother. "Picasso talks of nothing else but this master, who touches us much more than Italians hell bent on the grandiose!"[2] That Picasso infinitely preferred the informality of Corot's radiant views to the pomp and ceremony and baroque theatricality of so much Roman painting is confirmed by his sun-filled pointillistic watercolors of the Villa Medici's ochre façade—as original as anything he did in Rome.[3]Diaghilev insisted that Picasso and Cocteau share his passion for the city. Sightseeing was compulsory that very first evening. Since there was no blackout as there was in Paris, they were able to see the Colosseum all lit up—"that enormous reservoir of the centuries," Cocteau said, "which one would like to see come alive, crowded with people and wild beasts and peanut vendors."[4] The following morning, Diaghilev picked them up in his car for another grand tour. In the evening he took them to the circus. "Sad but beautiful arena," Cocteau wrote his mother. "Misia Sert (or rather her double) performed on the tight rope. Diaghilev slept until woken with a start by an elephant putting its feet on his knees."[5]When he arrived in Rome, Picasso was still suffering from chagrin d'amour. Eager to find a replacement for Irène Lagut, he had promptly fallen in love with one of Diaghilev's Russian dancers, the twenty-five-year-old Olga Khokhlova. Although he courted her assiduously and did a drawing of her, which he signed with his name in Cyrillic, Olga proved adamantly chaste. Chastity was a challenge that Picasso had seldom had to face. Both Diaghilev and Bakst warned him that a respectable Russian woman would not sacrifice her virginity unless assured of marriage. "Une russe on l'épouse," Diaghilev said. Olga personified this view. She was indeed respectable: the daughter of Stepan Vasilievich Khokhlov, who was not a general, as she claimed, but a colonel in the Corps of Engineers in charge of the railway system.[6] Olga had three brothers and a younger sister. They lived in St. Petersburg in a state-owned apartment on the Moika Canal. Around 1910, the colonel had been sent to the Kars region to oversee railroad construction, and the family had followed him there. Olga stayed behind. Egged on by a school friend's sister, Mathilda Konetskaya, who had joined the Diaghilev ballet after graduating from the Imperial Ballet School, she decided to become a dancer.Olga had considerable talent. Despite starting late and studying briefly at a St. Petersburg ballet school,[7] she managed to get auditioned by Diaghilev. The Ballets Russes was having difficulty prying dancers loose from the state-run theaters and was desperate for recruits. A committee consisting of Nijinsky and the greatest of classical ballet masters, Enrico Cecchetti, as well as Diaghilev—a trio described by another dancer as more terrifying than any first- night audience—put Olga through her paces and accepted her. Intelligence and diligence compensated for lack of experience. Nijinsky was sufficiently impressed to pick her out of the corps de ballet.Léonide Massine, who had taken Nijinsky's place in Diaghilev's company as well as in his heart, had chosen Olga to play the role of Dorotea in Les Femmes de bonne humeur, an adaptation of a comedy by the eighteenth-century playwright Goldoni, with sets by Léon Bakst and a heavily arranged score after Scarlatti. It was at a rehearsal for this ballet, which would have its premiere in Rome the following month, that Picasso spotted Olga and immediately set about courting her. To familiarize himself with the techniques of theatrical décor as well as watch his new love at work, he helped Carlo Socrate (the scene painter who would work on Parade) execute Bakst's scenery. So that he could join Olga backstage, Picasso even helped the stagehands at the ballet's premiere.[8] Eighteen months later he would marry her.Compared to her predecessors—Bohemian models Picasso had lived with in Montmartre or Montparnasse—Olga was very much a lady, not, however, the noblewoman biographers have assumed her to be.[9] She came from much the same professional class as Picasso's family. Don José, Picasso's father, may have been a very unsuccessful painter, but his brothers included a diplomat, a revered prelate, and a successful doctor, who had married the daughter of a Malagueño marquis. One of Picasso's mother's first cousins was a general—more celebrated than Olga's parent, also the real thing. Indeed, it may have been Olga's lack of blue blood that made her so anxious to become a grande dame and bring up her son like a little prince. Arthur Rubinstein, the pianist, who had met Olga in 1916 when the ballet visited San Sebastián, remembered her as "a stupid Russian who liked to brag about her father, who she pretended was a colonel in the Tsar's own regiment. The other dancers assured me that he was only a sergeant."[10] This was an exaggeration, but Olga's pretensions were resented by other members of the company.Ten years younger than Picasso, Olga had fine regular features, dark reddish hair, green eyes, a small, lithe, dancer's body, and a look of wistful, Slavic melancholy that accorded with the romanticism of classic Russian ballet. Formal photographs reveal Olga to have been a beauty—usually an unsmiling one—although in early snapshots of her with Picasso and Cocteau in Rome, she is actually grinning. Later, she plays up to him, dances for him, takes on different personalities, which might explain the widely varying reactions to her. The celebrated ballerina Alexandra Danilova declared that Olga "was nothing—nice but nothing. We couldn't discover what Picasso saw in her."[11] A Soviet ballet historian, the late Genya Smakov, found references to her in an unpublished memoir by someone working for Diaghilev, where she is said to have been "neurotic."[12] On the other hand, Lydia Lopokova—the most intelligent of Diaghilev's ballerinas—was Olga's best friend in the company.Picasso fell for Olga's vulnerability. He sensed the victim within. She would have appealed to his possessiveness and protectiveness especially when the Russian Revolution cut her off from her family. Her vulnerability would likewise have appealed to Picasso's sadistic side. (The women in his life were expected to read the Marquis de Sade.) In the past year rejection by the two women he had hoped to marry had left him exceedingly vulnerable. Picasso's residual bourgeois streak should also be taken into account. He was thirty-five and wanted to settle down with a presentable wife and have a son. None of his father's three brothers had had any issue, and there was pressure from his mother to produce an heir.Sexual abstinence was something Picasso had seldom if ever had to face. His two previous mistresses may have shied away from marrying him, but they had been easy enough to seduce. Olga was as unbeddable as the "nice" Malagueña girls that his family had tried to foist on him. "Don't forget Olga who cares for you very much," she wrote on the back of a dramatic photograph of herself in Firebird. "Who neglects me, loses me."[13] (Cocteau could not resist using the phrase qui me néglige me perd as a caption to a caricature of Bakst he subsequently sent to Olga.)[14] Picasso must have been very much in love to put up with this ukase. Ernest Ansermet, Diaghilev's principal conductor, describes walking back to the Hotel Minerva, where he and the dancers were staying. Olga had the room next to Ansermet's. "I heard Picasso in the passage knocking at her door and Olga on the other side of it saying 'No, no, Monsieur Picasso, I'm not going to let you in.' "[15] Clearly, marriage was his only option.Diaghilev, who felt responsible for the genteel Russian girls in his company, advised Picasso against marrying Olga. Foreseeing problems with her parents, who were averse to their daughter marrying a mere painter, the impresario told Picasso that he had a much more suitable girl set aside for him. She was currently dancing in South America and would soon be returning to Europe. Picasso would not listen; he was obsessed by Olga. Not that this kept him away from the local brothels, to judge by an address noted down in his Roman sketchbook.[16] "In Rome of an evening," Picasso told Apollinaire, "whores ply their trade in automobiles—at walking pace—they accost their clients with smiles and gestures and stop the car to negotiate the price."[17] From Naples he would send Apollinaire a postcard: "In Naples all the women are beautiful. Everything is easy here,"[18] and, sure enough, the sketchbook he took with him records the address of a Neapolitan brothel. For an Andalusian, regular visits to a whorehouse would have been an obligatory response to a fiancée's virtuous stand. Another option was an affair with a less virtuous member of the company. Picasso did that too.[19]Cut off by the war from Russia, Diaghilev and his company led a nomadic life. Their principal wartime base was Rome. Officially the impresario stayed in the Grand Hotel, but he spent most of his time in an apartment in the Marchese Theodoli's palazzo on the Corso that he had rented for Léonide Massine, the handsome twenty-one-year-old dancer, who had been his lover for the previous three years. So as not to compromise himself publicly, Massine had insisted that he and his employer live under separate roofs. That this hot-blooded heterosexual, who was also a cold-blooded operator, should have allowed himself to be captured and caged by the notoriously jealous and possessive Diaghilev is not surprising. In Russia it had been a standard career move for a dancer of either sex to have a rich, influential protector. To negotiate these arrangements, one of the company's dancers, Alexandrov, acted as pimp. Massine's predecessor in Diaghilev's life, the legendary Nijinsky, who was likewise heterosexual, had started off—with his mother's blessing—as the protégé of the rich, young Prince Lvov. The Prince had then handed him on to the Polish Count Tishkievitch, who gave him a piano.[20] Like Diaghilev's previous lover, Dimitri Filosofov, Nijinsky would leave the impresario for a woman; as would Massine.Exceedingly parsimonious and very ambitious, Massine had everything to gain from this arrangement. Diaghilev had already turned him into a star dancer, a choreographer of near genius and a major collector of modern paintings, including many Picassos and Braques. Sex with Diaghilev was part of the job—"like going to bed with a nice fat old lady,"[21] as he told one of his mistresses, when she asked how he could possibly have done it with Diaghilev.That Massine was a passionate Hispanophile would prove to be a great bond with Picasso. The previous summer in Madrid, the dancer had agreed to choreograph two ballets with Spanish themes, Las Meninas, which would be put on later in 1917, and Tricorne, which would not appear until 1919. A small, driven, Spanish-looking Russian with enormous eyes—in some respects a younger version of Picasso—Massine expected the artist to teach him about modern art. He proved so perceptive and imaginative and such a quick learner that over the next ten years he and Picasso would collaborate on four great ballets.Another bond between Picasso and Massine was a passion for women—a passion that differentiated them from Diaghilev's largely homosexual entourage. Cocteau's presence in Rome made for more pique and intrigue than usual. In the face of Diaghilev's jealousy, Picasso was delighted to provide his fellow womanizer with an alibi for his amorous escapades. After failing to persuade Picasso to spy for him, Diaghilev hired a couple of detectives to take on this job.[22] At the slightest suspicion of infidelity on Massine's part, Diaghilev would have a temper tantrum, attack the furniture with his stick, tear the telephone out of the wall and smash it.NOTES[1] Jean Cocteau, Oeuvres complètes, vol. IX (Lausanne: Marguerat, 1946-51), 246.[2] Letter from Cocteau to his mother, February 22, 1917, Cocteau 1989, 297.[3] Picasso sent one of these Villa Medici drawings to the dealer André Level, who wrote him on March 10, 1917 (Archives Picasso): "Merci du croquis de la villa Médicis, dont vous serez peut être un jour le Directeur." Level goes on to say "Revenez-nous avec un tableau de Romaines, frère de celui des Hollandaises, ou, simplement avec des souvenirs agréables."[4] Letter from Cocteau to his mother, February 20, 1917, Cocteau 1989, 296.[5] Letter from Cocteau to his mother, February 22, 1917, ibid., 297. After living with Sert since 1908, Misia was known as Madame Sert, although she was not married to him until 1920.[6] Cocteau refers to Olga in a letter to Picasso, April 13, 1917 (Archives Picasso) as "La fille du Général Kloklov."[7] The school was run by Yevgenia Pavlovna Sokolova.[8] Carandente 1998, 37.[9] Penrose presumably believed that Olga was a general's rather than a colonel's daughter; otherwise he would not have described her as such (Penrose, 201). In her typescript, "A tale of brief love and eternal hatred," Natalia Semenyova, the only Russian art historian to write about Olga, likewise mistakenly claimed she was a noblewoman.[10] Rubinstein 1980, 150.[11] Menaker-Rothschild, 49 n. 8.[12] Genya Smakov in conversation with the author.[13] Baldassari 1998, 96.[14] Letter from Cocteau to "Mademoiselle Olga Koclowa" [sic], April 21, 1917, Archives Picasso.[15] Ernest Anserment, Ecrits sur la musique (Neuchatel: Langages, 1971), 26.[16] MP Carnets I, cat. 19 (MP 1867).[17] Postcard from Picasso to Gaullame Apollinaire, February 1917, Caizergues and Seckel, 144.[18] Postcard from Picasso to Apollinaire, March 10, 1917, ibid., 145.[19] According to Laurence Madeline, former Conservateur, Archives Picasso.[20] Buckle 1971, 56-7.[21] Recounted to the author by Tatiana Lieberman.[22] Sokolova 1960, 170.

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Product details

Paperback: 512 pages

Publisher: Knopf; Reprint edition (October 16, 2007)

Language: English

ISBN-10: 0375711503

ISBN-13: 978-0375711503

Product Dimensions:

7.2 x 1.3 x 9.1 inches

Shipping Weight: 1.8 pounds (View shipping rates and policies)

Average Customer Review:

4.5 out of 5 stars

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#261,013 in Books (See Top 100 in Books)

The second volume of John Richardson's monumental Picasso biography, this book focuses on the inception and rise of the Cubist movement, immediately following the production of the iconic "Demoiselles d'Avignon" in 1907. It is as lively written as volume I and is full of anecdotes, some of them previously unpublished, black and white illustrations of every single work discussed by the author (some in private collections and therefore rarely seen), and pictures of Picasso's friends, entourage and places he visited at the time. The relationship between the artist and his various dealers (Kahnweiler, Rosenberg, Guillaume) is particularly interesting and very well described.The intertwining of the artist's life and his art is very well rendered by Richardson, who has managed once again to write a book that is at the same time erudite, simple to read and devoid of any pedantic cant.

Well researched and informative. If you want to know the man behind modern art (warts and all) no one has covered Picasso as well as Richardson. I was primarily interested in following up in more detail to what I had read of Picasso in Howard Gardner's book "Creating Minds" and enjoyed the factual yet well told development in Picasso's life leading up to "Cubism"

John Richardson brings Picasso's life and art into vivid focus. Richardson knew Picasso; he understands the artist's work and provides insight and perspective on the life of a genius. I was a bit hesitant to dive into what is now a three volume bio, but have not been able to put the book down. If you live on the West Coast and plan to see the DeYoung Picasso exhibit in San Francisco now is the time to read Richardson's book. Anyone anywhere else who wants a better understanding of the complex and sometimes difficult talent of Picasso will find this an absorbing and vivid portrait of the artist.

This is the real deal when it comes to deep, satisfying biographies. Written by a true expert, it is also ful of life and lively details and manages to bring the enigma of Picasso closer to our understanding. I cannot compliment the author enough on bringing forth such a treat.

A very well written book, if you're a big fan of celebrity biography. The amount of information about Picasso's life, friends and lovers makes this an epic Bohemian soap opera. Too many of his paintings were reproduced in black and white, with about as much nuance as an old photocopy machine.The analysis of Picasso 's work is very worthwhile, when you can find it, but I gave up after a hundred pages and gave the book away; no patience to read about his wives, pets or a child he never loved. All I wanted was an in depth analysis of this monumental painter's work. And beware, the Picasso books sold at Amazon under this author's name might have different titles and a few pages added, but some are the same books with a new cover.But with all that said, this is still a major biography written in a style easy to read by a sophisticated author.

This item was just as it was described in the posting and I was very happy with the quality. Thanks!

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Free Download Protestants: The Faith That Made the Modern World, by Alec Ryrie

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Protestants: The Faith That Made the Modern World, by Alec Ryrie

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"In this compelling and sweeping book, Alec Ryrie charts the history of one of the greatest forces in the making of modernity: the rise of the Protestant faith and ethos. Without it, one is hard-pressed to envision the spread of capitalism or of democracy. Ryrie writes that his aim 'is to persuade you that we cannot understand the modern age without understanding the dynamic history of Protestant Christianity.' To which I reply: Mission accomplished." - Jon Meacham, author of American Lion and Thomas Jefferson "A sweeping, wonderful book.... We no longer understand that the world wasn't always this way, that we didn't always have things like freedom of speech, freedom of religion, or the concept of limited government." - Eric Metaxas, author of Martin Luther, on The Eric Metaxas Show"To cover the story of Protestantism in just 514 pages might seem a recklessly task. But Ryrie has succeeded magnificently. He writes with the affection of an insider and the judgment of a first-class historian, and is excellent at conveying the sheer excitement, passion and violence that have marked Protestantism's story." - The Sunday Times   "An astonishment of narrative sweep and close analysis, transforming a familiar subject into one not seen before, Protestants is a breathtakingly original charting of the God-driven current running below the surface of the West, and, now, the world. In its triumphs and tragedies, Alec Ryrie illuminates faith, yes; but the real revelation here is human life itself - its intelligence, open-endedness, hope." - James Carroll, author of Christ Actually and Constantine's Sword "Comprehensive and highly readable... One of the world's leading authorities on the Protestant Reformation. . . He is a particularly graceful and humane writer -- a very kind person, you feel -- qualities that serve him well in a history this divisive and contentious." - Dallas Morning News“Ryrie does more than simply repeat the landmarks of Protestant history; he probes the minds and spirits of Protestants themselves . . . A particular strength of his work is the attention he gives to the “ordinary” people who make up the Protestant movement—men and women who turn out to be rather extraordinary . . . Ryrie has given us an impressive biography of the overall Protestant movement. Above all, he has demonstrated how contemporary Western life was founded on Europe’s response to the Protestant faith, rendering it, in the words of his subtitle, “the faith that made the modern world.” – The Gospel Coalition"A masterly history. . . Rare is the historian who is as instructive about Christianity in Asia as he is about churches in the West, yet Ryrie manages both." - The Wall Street Journal“To his credit, Alec Ryrie has braved treacherous waters …..Protestants succeeds in fulfilling his ambition to show how understanding Protestantism is necessary to any explanation of the modern age…Ryrie’s skill at writing, seasoned with just enough wit, keeps the narrative moving… He has woven together an epic tale that not only reminds Protestants of their relations…but calls them back to a love divine, all loves excelling.” – Christianity Today  "Informative and stimulating... Ryrie is as eloquent as he is erudite." - Financial Times “Ryrie's agile mind, pithy style and energetic narrative bring 500 years of Protestant history to life. Protestants is shrewd, incisive and proceeds at an astonishing pace. If you wish to buy one book to understand the impact Martin Luther has had on the modern world, this is it.” –Bishop Graham Kings, Mission Theologian in the Anglican Communion  "What a treat this book is. Its scholarship showcases one of the leading historians of Protestantism writing today, but the delight of it is the crisp prose, cool wit, wise judgements and sheer scope from the gates of Wittenberg to the streets of Seoul.  Ryrie has a gift for showing how the history of religion is the history of people, in all their baffling, frightening or endearing variety."  - Diarmaid MacCulloch, author of Reformation and Christianity   "This is a book of breathtaking range and penetrating insight. It will shape our perception of the Reformation and its long shadow for years to come."  - Andrew Pettegree, author of Brand Luther“A book about Protestants could so easily mirror crude stereotypes. Protestants are supposedly staid, prudish, law-abiding and dull. Ryrie instead explores their infinite varity – the weird, wicked and wonderful.” – Sunday Times, Book of the Year“Theology is morality is politics is law – and whether or not it’s immediately obvious, the world is steeped in theology… Ryrie’s central contention is that the Reformation changed the ideological contours of Europe by toppling the traditional sources of authority – indeed, the stability of any world authority whatsoever. By doing so, it hastened or precipitated the rise of modernity.” – The Nation   "Protestants is spectacularly good. Ryrie writes with empathy but without illusions; his trademark combination of wit and erudition makes the journey as enjoyable as it is enlightening." - Prof. Peter Marshall, author of Heretics and Believers"A learned, lively...look at the various faiths lumped together as Protestant, from Martin Luther in the 16th century to today...Rarely has an author of such deep faith offered such a tolerant, engaging history of any religion." - Kirkus Reviews (starred)"This sweeping and thought-provoking book may prove a bible of the Protestant quincentenary.” --Booklist (starred)

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About the Author

Alec Ryrie was born in London and grew up in Washington DC. He graduated from Cambridge University with a double First in History and received a doctorate in Theology from Oxford University. He is now Professor of the History of Christianity at Durham University and a licensed minister in his local church. An expert on the Reformation in England and Scotland, he is the author of the prizewinning Being Protestant in Reformation Britain and The Sorcerer's Tale: Faith and Fraud in Tudor England and is co-editor of the Journal of Ecclesiastical History.

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Product details

Paperback: 528 pages

Publisher: Penguin Books; Reprint edition (April 3, 2018)

Language: English

ISBN-10: 0735222827

ISBN-13: 978-0735222823

Product Dimensions:

5.4 x 1.1 x 8.4 inches

Shipping Weight: 15.8 ounces (View shipping rates and policies)

Average Customer Review:

4.0 out of 5 stars

45 customer reviews

Amazon Best Sellers Rank:

#347,586 in Books (See Top 100 in Books)

Who would have thought it possible to say something original about the Protestant Reformation after 500 years? Alec Ryrie manages it, and with some style, as well as some provocation. The provocativeness is the easy part - recent works that are avowedly attempts at revision (Brad Gregory's "Unintended Reformation," James Simpson's "Burning to Read") were provocative and well written but lacked intellectual conviction or balance, and generated more heat (and sales) than light. Diarmaid MacCulloch's "The Reformation" was very good on the eponymous event itself; but Ryrie is outstanding on the global history since the sixteenth century (and he's pretty good on that century as well). He has read extremely widely and is as at home discoursing on Martin Luther King and Korean Christianity as on Luther and Lutheran theologians. Ryrie at times is happy to provoke (e.g. on progressive theology and evangelicals in post-War America) but there is substance as well as flair and he is more thought-provoking than just provocative.He is especially interesting on Protestant missions; and he brings a particularly insightful and (unusually) sympathetic eye to Seventh-day Adventists, Jehovah's Witnesses and Mormons - the latter are a favorite topic of historians of religion but the first two groups are often treated with remarkable superficiality in overview accounts of the history of Christianity, even though they are as, or more, significant in global terms, if not in American terms, as Mormons (and rather more Protestant, as Ryrie delicately points out).In sum: This will be THE must-read history of global Protestantism (and a major work on global Christianity) for the foreseeable future; teachers can expect to see it plagiarized regularly. Overall this is both a tour d'horizon and a tour de force.

I found this book difficult to grade. On the one hand, the author is obviously a knowledgeable historian who writes in very readable prose and tells fascinating and informative stories from a wide variety of situations. However, I came away from the read disappointed for a couple of reasons.The first has to do with expectations. The title leads the reader to believe that the contents will deal with Protestantism and how it has shaped the modern world. But the narratives seem to me to tell the opposite story: how the modern world has shaped and twisted Protestantism. By the time the reader reaches the end of the book it is hard to recognize in the disparate movements discussed any meaningful connection to the source in Martin Luther and the issues that drove the original protest against the Roman Catholicism of the late middle ages.Related to this is the problem of defining Protestantism – admittedly a difficult thing to do. Most authors would do so by utilizing the defining principles that animated the original reformers in differentiating their beliefs from their opponents, usually summed up in the so-called “solas.” (sola gratia, sola fidei, sola scriptura, etc.) But Ryrie takes a different tack and defines Protestantism in terms of the “reckless pursuit of an unmediated love affair with God” (p. 442). That is, he sees the essence of Protestantism as residing in the subjective experience of the believer rather than the objective revelation of God in Scripture. I would argue that this is a much more accurate description of Gnosticism rather than Protestantism and by making that his defining principle his work actually amounts to a history of the ongoing battle between Gnosticism and genuine Christianity which is rooted not in subjective experience but in the objective work of God recorded in history. I came away feeling like his work, with a slightly different perspective, could have been fruitfully presented as a modern day book of Judges in which the tendency for the repeated defection of God’s people is summed up in the phrase “every an did that which was right in his own eyes.” (Judges 21:25) Thus he sees a future for Protestantism in which “Converts will choose what suits them best.” (p. 460)It is true that Luther’s discovery of grace led to an emotional transformation that animated the movement and it is also true that he was notoriously prone to overstatement in many of his comments, even on passages of Scripture that did not fit his theology as neatly as he would have liked. But it is hard to imagine Luther, or any of the leading reformers, advocating a theology rooted only in experience, unmoored by Scripture. The result is that virtually every subsequent religious movement, however unorthodox falls under the umbrella of “Protestantism” including Mormonism, Jehovah’s Witnesses, Shakers, etc. as part of Ryrie’s Protestant story.In short, I think Ryrie has told an interesting story. It is just not the one advertised. Rather than telling the story of Protestantism, he has contributed to the story of the timeless tendency toward spiritual defection, a defection rooted in the tendency of the human heart to follow its own path rather than obedience to God’s timeless truth.

The title alone tells us that this is intended to be a provocative book. And it does not disappoint. Normally, I loathe books that have a powerful claim in their thesis and then go on to write wishy-washy book in support of it. I feel cheated by false advertising. Not so in this case. Yes, it is provokes; no, I don't agree with all of it; but, yes, and most important, I was challenged by it. The prose are engaging and digestable. It's not a page-turner, but it is not difficult to read.

This is a demanding but rewarding read. The panoramic coverage of the evolution of the Protestant movements since the time of Martin Luther to the present, with hints at what is yet to come is meticulously and thoroughly presented. I was particularly impressed by the discussions of how the Protestant movements were shaped by, and shaped, national and international movements over the ages. A true historical gem.Be aware though that this book does not discuss the doctrinal differences between the many expressions of being Protestant except briefly, and mostly near the beginning.This is a worthwhile book to read no matter what your faith, or if any.

Excellent and well documented study. Compelling narrative. Provides a new and broader contextual analysis of the rise of Protestantism. A must read.

This work is excellent. It is a succinct history of protestantism in the world without a heavily theological focus. It is history and not theology, albeit some attention is given to theology by the nature of the work. It is quite readable and highly recommended. The work contains insight into the nature of contemporary religion and its impact on the world.

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Get Free Ebook Warren Buffett and the Interpretation of Financial Statements: The Search for the Company with a Durable Competitive Advantage, by Mary Buffett David Clark

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Review

"Just as top musicians memorize scales, and the best golfers perfect swings at the driving range, investors who want sustainable, good returns must master the critical basics that Mary Buffett and David Clark lay out for us in this clear explanation of Warren Buffett's methods. I don't think there has been a better time for investors to relearn the fundamentals. Follow these methods and you will see results!" - Timothy P. Vick, senior portfolio manager, The Sanibel Captiva Trust Company, and author of How to Pick Stocks Like Warren Buffett

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About the Author

For over twenty years, Mary Buffett has been considered a leading authority on the subject of Warren Buffett’s investment methods. Her internationally bestselling investment books, coauthored with David Clark—Buffettology, The Buffettology Workbook, The New Buffettology, The Tao of Warren Buffett, Warren Buffett and the Interpretation of Financial Statements, The Management Secrets of Warren Buffett, Warren Buffett and The Art of Stock Arbitrage, and The Warren Buffett Stock Portfolio—are considered investment classics the world over. Ms. Buffett is an international speaker, entrepreneur, political and environmental activist, and has appeared on television as one of the top finance experts worldwide. She is an associate of the top ranked UK Buffettology Fund in the United Kingdom. A contributing blogger to the Huffington Post, she and Sean Seah founded the Buffett Online School.For over twenty years, David Clark has been considered the world’s leading authority on the subject of Warren Buffett’s investment methods. His international bestselling investment books, co-authored with Mary Buffett—Buffettology, The Buffettology Workbook, The New Buffettology, The Tao of Warren Buffett, Warren Buffett and the Interpretation of Financial Statements, The Management Secrets of Warren Buffett, Warren Buffett and The Art of Stock Arbitrage, and The Warren Buffett Stock Portfolio—have been translated into more than twenty foreign languages and are considered “investment classics” the world over. He holds a B.S. degree in finance and a law degree from the University of California, Hastings College of the Law. He is presently writing Berkshire Hathaway: Fortress of Capital, a corporate biography. When not consumed with matters of finance, he is engaged in the second great passion of his life, which is trial law and maintains an active national practice.    

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Product details

Hardcover: 224 pages

Publisher: Scribner; 1 edition (October 14, 2008)

Language: English

ISBN-10: 1416573186

ISBN-13: 978-1416573180

Product Dimensions:

5.6 x 0.7 x 7.5 inches

Shipping Weight: 12.8 ounces (View shipping rates and policies)

Average Customer Review:

4.1 out of 5 stars

144 customer reviews

Amazon Best Sellers Rank:

#35,628 in Books (See Top 100 in Books)

Mary Buffett was Warren's daughter-in-law for a period of time. She definitely takes advantage of the last name, but this book is great nonetheless. It is an excellent primer for understanding financial statements. It is separated into three primary sections covering balance sheets, income statements, and cash flow. Each section is broken up into numerous short chapters describing each line item. She ties in Buffett's strategy by giving examples of companies he has invested in and showing the financial numbers used to justify the investments.This is a quick read but very informative. Highly recommend for anyone interested in understanding the language of finance and some of the insights into Buffett's general investment strategy.

There are some insights here and there. But the rest can be skimmed through with not much to lose. I'm annoyed by the writing of this writer halfway as the sentences about how Buffet got rich become repetitive. Definitely not the most eloquent writer out there. But I got something quickly for what it's worth. Finish the book fast, couldn't wait to move on to another book.

A deep but light dive in business success and sustainability drivers that makes great business. Simple but effective tools. I encourage business owners and investor to read it, as it gives a true and yet different dimension which makes or break an investment or business idea. It cuts clearly into what simply makes great investments, and /or successful management . I read several financial books that made a true difference in the co. I run, but this book gave a true different dimension that integrate financial knowledge for engineers like me.

A truly nice introduction to the nuts and bolts of breaking down financial statements in the value investing style of Warren Buffett and Charlie Munger. There was of course some overlap with other Buffet books, but there were many details and concepts that were truly and newly useful to me. The concepts are straightforward but clearly highly effective (as Buffett himself mentions at various points in his letters and talks) - the key is having the character and temperament of sticking with a high earning company with a durable competitive advantage and cultivating the mindset to never stop learning. This book puts numbers to these concepts and give lots of clear examples - a big plus! An excellent book for the beginning investor.

actually fairly good. Written at a level acceptable for intelligent high schoolers and above. A basic accounting class would be helpful (cc level) Some interesting things to look for in financial statements

This book teaches a reader who has no economic degree, in a very friendly manner, about the three main parts of a financial statement: balance sheet, income statement and statement of cash flows. The lessons are provided in a very detailed way, with tables and step-by-step explanations. This is in contrast to "The Little Book of Value Investing" by Christopher H. Browne and Roger Lowenstein, which also gives a framework to analyze financial statements for successful stock-picking, but does not teach the basics of understanding each and every line in the statements.This book is very different from the student's manual of corporate finance. It is very practical. It has a separate chapter for every main item of a statement, and explains with examples and advises how it affects prospects of the company and whether the stock of the company should be bought to get the extraordinary long-term results.This book also describes the differences between Benjamin Grahams way of picking stock and one derived by Warren Buffett.Many amateur investors are losing money because they have no basic education at least to understand a financial statement. They pick fashionable, hot stocks, or just stocks of a company which product they like. For example, they are passionate listeners to satellite radio and just because of that they buy "SIRI" regardless of the negative equity and negative operating income. Refinancing the huge debt in the credit crunch of 2008 is a challenge. This book will help the new investors to understand these issues and to make smarter stock picking. Of course, this book is not a panacea. Of course, there is always risk. The financial intelligence improves the odds. Thus, what is risky for one person is less risky to someone else. That is the primary reason to invest more in one's financial education than in the stock. The smarter you are the better chance you have of beating the odds. It is not gambling if you know what you are doing. It is gambling if you are just throwing money into a deal and praying. The idea in anything is to use your technical knowledge, wisdom and love of the game to cut the odds down, to lower the risk. So let this book will be brick in the foundation of financial education.In addition to this book, I can recommend the other (previous) books by Marry Buffett. They are very useful for the right stock-picking. I also recommend "Value Investing With the Masters" by Kirk Kazanjian and "The Only Three Questions That Count" by Kenneth L. Fisher.If you want to read something good about Warren Buffet's life and his investment strategy, I can recommend "Buffett: The Making of an American Capitalist" by Roger Lowenstein and "The Snowball" by Alice Schroeder.

This got me excited to learn more about investing and bookshelf my own portfolio. It isn't an all encompassing book but it's a good place to start. I would recommend it to anyone who wants to learn but doesn't know where to start

Read a Financial Statement with a dictionary and you would obtain same results as reading this book.

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Warren Buffett and the Interpretation of Financial Statements: The Search for the Company with a Durable Competitive Advantage, by Mary Buffett David Clark PDF

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Ebook Free Hodaka Motorcycles

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About the Author

Ken Smith is the editor of VMX Magazine, the premiere publication for vintage motocross enthusiasts. Paul Stannard is the owner of Strictly Hodaka, and a collector of Hodaka memorabilia and history.

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Product details

Hardcover: 192 pages

Publisher: Octane Press; First edition (July 1, 2014)

Language: English

ISBN-10: 1937747360

ISBN-13: 978-1937747367

Product Dimensions:

8.4 x 1 x 10.2 inches

Shipping Weight: 2.4 pounds (View shipping rates and policies)

Average Customer Review:

5.0 out of 5 stars

21 customer reviews

Amazon Best Sellers Rank:

#576,102 in Books (See Top 100 in Books)

I grew up a few miles from the home of Hodaka and didn't know the story of these machines. Most kids my age really wanted a 250 because these little bikes were not macho enough. They really led the trail bike craze ahead of Honda and Yamaha. A great history about an often overlooked and under appreciated motorcycle. Read it! JIM

This is a fantastic history of the Hodaka motorcycle. It has exceeded my expectations. The author has created an entertaining and comprehensive look at Hodaka through the '60s and '70s. Fascinating to read and well illustrated, sprinkled throughout with the marketing cartoons that made Hodaka so unique. I knew this book was going to be something special when opening the cover revealed an illustration from a Pabatco mailing envelope showing the view of North America from Athena. Move over, Texas.I bought a new Ace 90 in high school. Rode it everywhere. Later I bought a new Wombat 125 and remember being real tempted by the 250SL. This book brings back those days.I was pleased to see coverage of Frank Wheeler, the Hodaka endurance rider who rode an Ace 90 through the Baja Peninsula and a Wombat 125 completely around Australia. Frank was one of my high school heroes and responsible for a few study hall daydreams about riding to Alaska.Highly recommended. Thanks to all who contributed to the book.

Hodaka was one of the smaller Japanese motorcycle manufacturers and the people who kept it going were committed and enthusiastic. The book was a great read and full of interesting information. For the Hodaka enthusiast this book is a must have book. For others, it is still a great story of the little guy who went so much farther than those just interested in profits. This is a great book and I highly recommend it!

what every marque book should be. Accurate, lavishly illustrated, inspiring and well-written and researched.

I wish I never sold my Hodaka

What a book! Bought this for my dad who is a big vintage off road bike buff after seeing Jay Leno feature this book/author on his show. With a unique captivating layout and subject matter surrounding equally unique bikes makes this a must have!

Beautiful book. If you have one f these bikes, as I do, or are a fan, this book is for you. I am very happy that this book has been done and thrilled that it was done so well.

Just a fun and entertaining book to read. If only they had books on other brands as rich as this one. The graphics and design is engaging and fun. The book captures the spirit of the brand. By the end of the book, you feel as if the hero of the story has died. If you're a moto enthusiast of any age, this is a keeper.

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Product details

File Size: 1664 KB

Print Length: 286 pages

Simultaneous Device Usage: Unlimited

Publication Date: August 28, 2018

Sold by: Amazon Digital Services LLC

Language: English

ASIN: B07GXPP3V4

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Amazon Best Sellers Rank:

#1,866 Paid in Kindle Store (See Top 100 Paid in Kindle Store)

This book is basically a knock off of The Land series, only much worse.First, the main character is a complete baffoon with a serious personality disorder. It is simply miserable to read about him. I actually wished him dead multiple times. I mean, he passed out three times. Why couldn't he die atleast once? Well, die to where it actually counted. The guy was a complete idiot, and one of the stupidest characters I have ever read about. Someone would state something clearly and plainly, yet he would still ask them what they meant. For example, there is a sign and arrow pointing to a hidden lever in an area they got trapped in earlier in the book. Next to the sign and arrow is a plac that says "Look more closely, or better yet don't get trapped," or something along those lines. The character exclaims "What does it mean by that?" He constantly says redundant or moronic things. It's annoying and miserable to read.Second, the characters all lacked personality and were not interesting in the slightest.Basically, this is a cheap, poorly made knock off of the The Land series by Aleron Kong. That series is already retarded, so you can only imagine how bad this.book is.

Fairly well written with a decent if bland world. The main problem is the same issue many LitRPG books face. As this genre explodes most of the books fall into one of a couple of archtypes that have already been written. Written recently and by authors who are still writing. If you are first great but if you follow behind you had better be a lot better and they usually aren't. This is basically a softer rewrite of "The Land" with a similar but much more annoying MC.Fills an afternoon but look for better.

This was a fun book. This is the usual truck-san takes out a dude and he's then transported to a video game world, and it's all uphill from there. This has to be one of the more "realistic" isakai books. For one, it's permadeath, two, mob's are not regular mob's. To sum up what this book is like, imagine DarkSouls and Final Fantasy had a kid together. This would be that world. The character development was spot on. The character and their insecurities were very believable, and the main character is one of the few that I absolutely LOVE. He's grounded, he's not the type of guy that shows up and thinks that he can just run stuff because he can level up. The first battle that he cuts his teeth on almost kicks said teeth down his throat and had to learn to adjust quite quickly. The book ends on a pretty solid note and it sets up for what appears to be quite the LONG campaign to come. I can easily see this book becoming quite the series. Something along the length of the wheel of time length if the pacing stays the same.

Pretty good book, pulled me into the story-line and the main character was fun. Only issue was how the relationship felt pretty forced and a bit cliche. Just hoping this doesn't turn into one of those weird harem books.

This series has a lot of room for growth, character development, and world creation. In some ways, the author rushes (Morgan's love interest) and in other he almost dragging his feet (world history and knowledge) but neither are off putting enough to take away from the book. Morgan is not of the world the story takes place in and it makes sense that he wouldn't understand what is easily taken as basic knowledge. Author addresses this a couple of times and it is done well. Easily, this series (with only ONE book) is in the Top Three of best LitRPGs. The leveling and gaming mechanics are well thought out. Morgan gets upset often (nearly annoyingly so) about simple things that, hopefully, future books will fade out. The series has much promise due to the size of the world, number of other guilds, and finally the Tower itself. Easily a dozen book potential series and that is highly appealing.

Well written adventure that makes you want the next one ASAP. The main character, after a slow start, is a hoot and a great center to what I hope will be a long series. The guild aspects look to be very interesting and the whole premise is fresh and unique. One problem tho... Morgan got cheated the XP for 2 Shamans in the big battle. Shame on the God not God.

A lot of action, some hilarious monologues by the main character and an interesting rpg element, however the main protagonists go from 1 desperate situation to another without much hope for a happy ending in site. This gives the book a desperate and slightly depressing feel.

Good story, strong characters and plot, with well developed mechanics for the magic system. The world building was just enough to support it all, but we are left in the dark as much as the MC about the rest which actually kept it interesting. If you like litrpg I would recommend giving this one a try!A few small grammatical errors, but not many; and they didn't distract from the story any for me.

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Product details

File Size: 2865 KB

Print Length: 32 pages

Publisher: Xist Publishing (July 1, 2018)

Publication Date: July 1, 2018

Sold by: Amazon Digital Services LLC

Language: English

ASIN: B07DD1XMBD

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