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"Nearly two decades after the death of Kurt Cobain, a friend and fellow musician not only continues to mourn his suicide, but also rages against the culture that he holds responsible. These 52 'letters' . . . combine the subject matter of the Byrds' 'So You Wanna Be a Rock and Roll Star' with the fury of Allen Ginsberg's Howl . . . A catharsis for the writer and perhaps for the reader as well."
--Kirkus Reviews

"A touching and enlightening collection of prose poems addressed to [Erlandson's] departed friend."
--The San Francisco Bay Guardian

"Erlandson finally comes to terms with his loss in 52 prose-poem letters ostensibly addressed to Cobain in which he straightforwardly confronts his inner demons while offering personal reflections on food, drug abuse, death, and self-sabotage."--Booklist

"The reverberations of Kurt's suicide last to this day, and have touched the lives of many. Dozens of people could have written their own version of this bracingly candid book; Eric Erlandson has written one, filled with rage and love, landmined with detail, that can stand for them all."
--Michael Azerrad, author of Come As You Are: The Story of Nirvana

"Eric was the spirit-boy in the Nirvana/Hole dynamic. Quiet, bemused, intelligent, and curiously intuitive to the power of hugging the devil, to say we will all be okay . . . Eric expresses how enchanting Kurt was, how the whole scene was, with his thoughtful, radical adult/prose love. Bring on the future, darling."--Thurston Moore, musician

"Eric. He was always there: supportive, observing, in the thick of it. Hidden in plain sight . . . Without him, I can't imagine Seattle or L.A. or a dozen other places. This book is beautiful, brutal, brief. Happy-sad eloquence. Boy Scouts playing with the complimentary cologne in the heart of the ghost town. Listen to the man. He knows."
--Everett True, author of Nirvana: The Biography

Letters to Kurt is an anguished, angry, and tender meditation on the octane and ether of rock and roll and its many moons: sex, drugs, suicide, fame, and rage. It's part Dream Songs, part Bukowski, Ferlinghetti, Ginsberg, and the Clash. Rants, reflections, and gunshot fill these fifty-two prose poems. They are raw, funny, sad, and searching. This will make a beautiful book for anyone who loved Nirvana and Hole and the time and place when their music changed everything. Ultimately, it's an elegy for Kurt and the "suicide idols" who tragically fail to find salvation in their amazing music.

• Sales Rank: #1580062 in eBooks
• Published on: 2012-03-27
• Released on: 2012-03-27
• Format: Kindle eBook

From Booklist
Erlandson is known as the cofounder, songwriter, and lead guitarist of the rock band Hole, but he has performed in the shadows of his more famous, and infamous, colleagues and friends, especially Kurt Cobain, the iconic lead singer of the premier grunge band, Nirvana, who committed suicide at the height of his fame, and Courtney Love, Erlandson’s former girlfriend and Hole bandmate. As it turns out, Hole released their debut album, Pretty on the Inside, a week before the release of Nirvana’s behemoth best-seller Nevermind. Within a month, notes Erlandson, Love and Cobain were a couple. From then on, Erlandson assumed “a sort of friend/caretaker role,” serving as both Cobain’s sounding board and morale booster even as he felt pangs of “subconscious jealousy.” In addition to Cobain, other friends and associates of Erlandson’s self-destructed during a relatively short period of time. Erlandson finally comes to terms with his loss in 52 prose-poem letters ostensibly addressed to Cobain, in which he straightforwardly confronts his inner demons while offering personal reflections on food, drug abuse, death, and self-sabotage. --June Sawyers

About the Author
Eric Erlandson was born and raised in San Pedro, California. He is best known as cofounder, songwriter, and lead guitarist of the alternative rock band Hole, which he formed with Courtney Love. Their albums Pretty on the Inside, Live Through This, and Celebrity Skin achieved international recognition and success. Live Through This was named one of the top 100 albums of all time by Time magazine. Since the breakup of the band in 2002, Erlandson has been involved in a number of musical and literary projects. He has a BS in Economics from Loyola Marymount University and practices Nichiren Shoshu Buddhism. He currently lives in Los Angeles.

Most helpful customer reviews

24 of 28 people found the following review helpful.
Prematurely Published
By Charlotte
I love Hole and really admire anyone who could cowrite all of those great songs, especially from the pissed-off punk of Live Through This & the lighter but maybe even angrier Celebrity Skin. So, Bravo Eric Erlandson the songwriter/guitarist. Sadly, this book is by the less talented Eric Erlandson the prose writer, a person who seems to have a lot of ideas but no strong guide to give them form. Akashic, the publisher, did him no favors by allowing this book into print at this stage. There are things here that should never have made it into an adult's final draft of anything. For instance, raw yogurt upsets Erlandson's stomach, seitan makes him constipated (as do a long list of other foods), and Erlandson has hugged someone hard enough to be "at the risk of pooping" (111). Fascinating as all this might be to Erlandson's gastroenterologist, as his reader I'm not just uninterested but left wondering at the poverty of a mind that goes on and on about such things. Oh, also, he lets us in on ejaculating on some woman's stomach and giving another woman (the same woman?) three orgasms in one morning "by accident" (45). Yeah, I don't get that last one either.

The more interesting parts of Letters to Kurt are just uncomfortable. He trashes Courtney Love almost obsessively. She's too easy a target and the things he says seem more in place in a Kitty Kelley biography. Some of his musings on Kurt are interesting, many unintelligible. Once he verges on beautiful: "I found a picture of you back when your saddest days were the happy days of my life" (122).

Unfortunately much of the rest of the book is written like this: "My definite chief aim in life is to give a lecture at Harvard on the female anatomy as it relates to the benefits of adding nicotine to ice cream" (33). Here's a longer sample: "No, I didn't forget to turn out the lights. Maybe 'cause she's a missionary and I'm anal. Her post-partum to my pre-verbal. Keep confusing the tush for the bush. Spare ribs" (65). If Akashic had any integrity, they would have assigned Erlandson an experienced editor, recommended he heavily workshop these pieces, and wait for a polished manuscript. What they published instead is just sad.

6 of 6 people found the following review helpful.
About a boy.
By kika
This book reads, no smears, like a slice of the most juicy, self-analytical dear diary that Jung himself would blush at. It is intensely private look into the mind of a musician-cum-writer, who used to be in one of the most well known "grunge" bands of the 90's, the band HOLE. Erlandson's side of the story has always been quiet, but any of those who kept up with any of the press about the time, know that he was in the eye of the heroin chic hurricane; often portrayed as the shy, quiet one, a silent observer of sorts, maybe having to do with his Buddhist background or maybe it's just his personality. Either way it served him in terms of how well he conveyed rather saliently what it smelled like to be there, to be the one conjured in memory. As the writer dances ambiguously through time, we as the reader don't know when he is speaking of Courtney Love or Kurt Cobain, if it is in present day, but it doesn't really matter, since the syntax is so lyrically produced. Your eyes seem to hear the song that he is writing. He has stated that he is heavily influenced by John Berryman and Jim Harrison...to quote a line from Berryman,

"He knows:
he went over everyone, & nobody's missing.
Often he reckons, in the dawn, them up.
Nobody is ever missing."

It sums up the thematic of the 90s, nobodies making music about nothing about something about nothing that meant everything.

I dug the book, it's akin to a piece of literary art, it's not a tell-all, it's not a "lemme read this to the kids". It is singular and sincere, all signs of a good read to me, worth the purchase indeed.Letters to Kurt

5 of 6 people found the following review helpful.
Candid, Confusing, and Conscious
By Dollscares
Eric's prose makes me think. It makes me "kill my idols" but also reincarnate them into human beings. I highly recommend this to any Hole fan, Nirvana fan, or anyone young person like myself who got stuck with boomer parents and tends to romanticize gen x's alt nation without looking at its context. It's so refreshing to get to hear Eric's side of things without the media filter or glitz. Not living inside Eric's head, some of the metaphors don't make sense to me but they clearly show a stream of consciousness.

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[G706.Ebook] Ebook Moscow, the Fourth Rome: Stalinism, Cosmopolitanism, and the Evolution of Soviet Culture, 1931-1941, by Katerina Clark

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In the early sixteenth century, the monk Filofei proclaimed Moscow the "Third Rome." By the 1930s, intellectuals and artists all over the world thought of Moscow as a mecca of secular enlightenment. In Moscow, the Fourth Rome, Katerina Clark shows how Soviet officials and intellectuals, in seeking to capture the imagination of leftist and anti-fascist intellectuals throughout the world, sought to establish their capital as the cosmopolitan center of a post-Christian confederation and to rebuild it to become a beacon for the rest of the world.

Clark provides an interpretative cultural history of the city during the crucial 1930s, the decade of the Great Purge. She draws on the work of intellectuals such as Sergei Eisenstein, Sergei Tretiakov, Mikhail Koltsov, and Ilya Ehrenburg to shed light on the singular Zeitgeist of that most Stalinist of periods. In her account, the decade emerges as an important moment in the prehistory of key concepts in literary and cultural studies today-transnationalism, cosmopolitanism, and world literature. By bringing to light neglected antecedents, she provides a new polemical and political context for understanding canonical works of writers such as Brecht, Benjamin, Lukacs, and Bakhtin.

Moscow, the Fourth Rome breaches the intellectual iron curtain that has circumscribed cultural histories of Stalinist Russia, by broadening the framework to include considerable interaction with Western intellectuals and trends. Its integration of the understudied international dimension into the interpretation of Soviet culture remedies misunderstandings of the world-historical significance of Moscow under Stalin.

• Sales Rank: #1155042 in Books
• Published on: 2011-11-15
• Released on: 2011-10-17
• Original language: English
• Number of items: 1
• Dimensions: 9.40" h x 1.30" w x 6.20" l, 1.79 pounds
• Binding: Hardcover
• 432 pages

From Bookforum
In Moscow, the Fourth Rome—a series of linked essays following an adroitly plotted historical narrative—Clark recounts a scandalous episode in art history, while making a significant contribution to the understanding of 1930s European political culture. —J. Hoberman

Review
As with all of Clark's previous books, this insightful and path-breaking Moscow sequel to her Petersburg will become an instant classic. Mixing ideology, literature, film, architecture, critical theory, politics, and everyday life, Clark has given us a landmark study, for no other book has encompassed the whole spectrum of Soviet cultural and intellectual history in the era of high Stalinism, conceptualized it so imaginatively and captured its pervasive terror. (Evgeny Dobrenko, University of Sheffield)

With her study of Stalinist "cosmopolitanism" and the dream of Moscow as the mecca of world culture, Clark once again blazes a new trail that many others will follow. Four high-profile Soviet intellectuals–the "cosmopolitan patriots" Sergei Eisenstein, Mikhail Koltsov, Ilya Ehrenburg and Sergei Tretyakov–served as intermediaries with world (particularly germanophone) culture and European leftist intellectuals in the era of the Popular Front, and their colorful stories provide the backbone of an enthralling narrative whose subjects range from literary translation and Soviet worship of the word to the Moscow show trials and the Spanish Civil War. (Sheila Fitzpatrick, University of Chicago)

A foundational challenge to the model of "insular Stalinism," this volume is essential to debates on trans-European cultural history and global cosmopolitanism. It will be an invaluable touchstone for a new generation of scholars to question the remnants of cold-war research. (Nancy Condee, University of Pittsburgh)

Clark's field is the vast canvas of 1930s culture as a whole, particularly the nexus between literature, architecture, and power. Her agenda is nothing less than to insert a largely missing international dimension to our understanding of Stalinist culture. It is difficult to overstate the implications of this trailblazing work. (Michael David-Fox, author of Showcasing the Great Experiment: Cultural Diplomacy and Western Visitors to Soviet Russia, 1921-1941)

This is an outstanding study of 1930s Soviet culture. The book argues persuasively that the perception of the late 1930s as a period of 'national Bolshevism' oversimplifies. Even as spy mania gripped the nation, Soviet culture strove to absorb world literature and art through translation, adaptation, and imitation. Clark's richly documented account, based on abundant archival sources, sheds new light on well-known phenomena of the period, such as Eisenstein's polymathy or Bakhtin's study of Rabelais, and points to intriguing oddities, for instance the obsession with transgressive love that played out against the background of the purges and the Spanish Civil War. (Catriona Kelly, Oxford University)

Clark's rich and wide-ranging book is not only a vivid portrait of Moscow, but also a whole tableau of the Soviet 1930s, seen through the live sand works of four of its most interesting and productive intellectuals, including Sergei Eisenstein. Collectivization and the purges cast a shadow over these years, which are, however, characterized by a far greater network of international relations than one might have imagined, and Clark's Moscow therefore reaches into Germany and France, and indeed as far as the United States itself. This account contributes to the rethinking of the Soviet experiment by demonstrating the cultural and intellectual excitement of what has otherwise so often been stereotyped as a period of terror and fear. (Fredric Jameson, Duke University)

Clark's revelatory portrait of a scintillating future-facing metropolis should dispel the gloomy myth of Moscow in the 1930s--bleak and gray beneath its pall of purges and trials. Instead, the city was "a city of light," where art and politics fused in its literature, film, and drama. Moscow seemed the successor to Rome, a center of art and power whose influence would overspread the entire globe...This is intellectual history at its best--simultaneously grand and intimate, discussing world trends while emphasizing the importance of individual figures, events, and works of art. (Publishers Weekly 2011-10-17)

"Cosmopolitan" is not the first adjective that comes to mind when thinking of culture in the Stalin era. But even the nightmare of totalitarianism can be complex, and Clark traces the efforts of regime-blessed Soviet cultural figures of the 1930s to foster a "transnational fraternity" with leftist European artists and intellectuals, comrades-in-arms against fascism who were enamored of Marx and fascinated by the Soviet "experiment." It was something of a two-way street, with Stalin, very much a hands-on impresario, allowing the import of Western film and literature, as long as the cumulative effect was to give his political vision imperial reach. As a result, for much of the decade, the exchange of ideas about theater, film, literature, journalism, and architecture was richer and more intense than one might have thought. As Clark demonstrates in this masterful tour of trends in Soviet culture and their echoes in Europe, the modified version of universalism tolerated by Stalin placed the Soviet Union at its center, and at the Soviet Union's center stood Moscow--the site and symbol of centralized Soviet power. (Robert Legvold Foreign Affairs 2011-11-01)

This is a bold work of broad reach that will likely have Russian-history professors sparring in the professional journals. (John Kappes Cleveland Plain Dealer 2011-11-27)

Katerina Clark refocuses our attention on the streets, books, buildings, festivals and fantasies that Moscow's citizens actually inhabited during this most strident decade of Soviet nationalism and parochialism, one in which most Soviet citizens lost the right to travel abroad, but in recompense gained the "knowledge" that there were native Russian forerunners of everything worthwhile. In nine enormously erudite chapters, Clark builds the compelling case for her thesis that this decade of insular Stalinism and the Great Terror was also a highpoint of Soviet cosmopolitanism...Clark's great contribution is to show that the conflicting impulses towards insular nationalism and cosmopolitanism coexisted and shaped each other in unexpected ways. In some places, the precision and originality of Clark's argument is nothing short of revelatory...The main point of Moscow, the Fourth Rome may be larger than its relevance to Soviet history. It reminds us that the dominant characteristics of our own cultural moment--which we eagerly acknowledge as transnational, global and ineluctably cosmopolitan--could also potentially coexist with powerful countervailing programs of isolationism and chauvinism. It demonstrates the crucial importance of comparative literary and cultural studies in the 21st century. (Yvonne H. Howell Times Higher Education 2011-11-17)

This is an invaluable study, deserving of wide attention. (V. D. Barooshian Choice 2012-03-01)

In Moscow, the Fourth Rome--a series of linked essays following an adroitly plotted historical narrative--[Clark] recounts a scandalous episode in art history, while making a significant contribution to the understanding of 1930s European political culture and providing a lucid guide to the late-'30s period of mainly Soviet collective mania. Clark ranges from literature to cinema to theater to painting to architecture (noting, for example, that the same adjectives--simple, restrained, calm--were used to describe both social-realist architecture and the positive heroes of socialist-realist literature). She neither glosses over nor dwells upon the parallels between Nazi Germany and Soviet Russia typically drawn by exegetes of totalitarian art. Instead, her book begins by establishing the Stalin regime's remarkable cultural ambitions, including the elevation of intellectuals and writers. Putting the symbiotic relationship between literature and politics at the heart of official culture (epitomized by the 1933 renaming of Moscow's central thoroughfare after the author Maxim Gorky), Clark emphasizes the degree to which, however self-servingly, the system known as Stalin promoted internationalism. Indeed, helped in no small part by the spectacle of Nazi book burning, the Soviet Union further advanced itself as the protector of Western culture...Was there ever a place where culture was more a matter of life and death? Clark steers clear of undue theorization, although a vulgar Marxist might wonder what base determined this fantastic superstructure. Was it the Second Five-Year Plan? A reaction formation in response to the Third Reich? Stalin's enigmatic personality? The nature of Communism? Or, given the theocratic roots of Russian culture, was it simply a historical inevitability? The evidence is here for the parsing. (J. Hoberman Bookforum 2012-04-01)

Katerina Clark's new book, Moscow, the Fourth Rome: Stalinism, Cosmopolitanism and the Evolution of Soviet Culture, 1931-1941, provides us with an unusually rich and multifaceted study of the complex nature of Soviet intellectual life in the humanities in the 1930s, and does so in a form likely to reach a much wider audience than other academic studies in the same area. This is not to suggest any superficiality in Clark's analysis. As with all her previous work, Moscow, the Fourth Rome is meticulously researched and referenced, displaying a formidable grasp of both detail and general trends. Rather, the broad sweep of Clark's approach promises to contribute to a more general and very welcome shift in perspective about intellectual life under the Stalin dictatorship...One can only applaud the scope of the material presented here, and many will benefit from Clark's subtle and nuanced analysis. Moving from public architecture and theatre to the literature of the Spanish Civil War and debates about the epic, the novel and the lyric in Soviet literary theory, Clark illuminates a dimension of Stalinist culture too often obscured. We are able to see how it was only by degrees, and certainly not in any simple way, that a narrower nationalism came to predominate as the "Great Patriotic War" approached. The presentation is both scholarly and accessible, and there is little doubt that, like Katerina Clark's earlier Petersburg: Crucible of Cultural Revolution, Moscow, the Fourth Rome will become a standard point of reference for students of Soviet culture. (Craig Brandist Times Literary Supplement 2012-05-04)

About the Author
Katerina Clark is Professor of Comparative Literature and Slavic Languages and Literatures, Yale University.

Most helpful customer reviews

5 of 6 people found the following review helpful.
Scintillating and Unique Overview of Stalinist Culture in the 1930's
By Alex Scriabin
Katerina Clark chooses here to explore a rather dismal period which still has a fascinating and far-reaching cultural significance. Politically, in the 1930's the USSR was in a state of massive upheaval. Peasants in the countryside were condemned to collectivization, while eventually the repression hit the cities as well as the Party elites. The president's wife (Kalinina) herself was imprisoned under Stalin. This was a frightening time to hold any influence, as such influence put one under state scrutiny. Stalin is unique in that he considered almost nothing to be culturally insignificant; even the realm of music faced a daunting and perilous position in the Soviet state. It is important to remember, however, that during this time Bulgakov penned "The Master and Margarita", Shostakovich wrote his Fourth and Fifth Symphonies, both masterpieces, and Eisenstein directed "Ivan Grozni: Parts I and II". This was not a cultural wasteland by any means, and many foreign intellectuals were drawn to the Soviet sphere. Some were entranced, while others became disillusioned.

Katerina Clark here explores the vast landscape of the 1930's in the Soviet Union, with an emphasis on Moscow. She discusses architecture, the cult of the written word (literature, journals, letters, Stalin's writings, plays), and photography; she also mentions music and film, but these are not the primary cultural modes on which she chooses to focus. She discusses the Popular Front (Soviet cultural and direct involvement in the Spanish Civil War), Brecht and his influence, Gorky, the Purge Trials, socialist realist literature, Stalin's writings, Stanislavsky, and many other fascinating subjects in order to paint a vivid picture of the cultural trends of the time. There is also a fascinating exploration on the peripheral regions in popular imagination (esp. the Arctic). Although it is hardly a bright and optimistic period in human history, it is an important one. Today, we often lump fascism and communism into a totalitarian definition, yet in the 1930's (until the Molotov-Ribbentrop Pact) these two ideologies were diametrically opposed. Much of this opposition, before the outbreak of war, took place on the cultural front, and many intellectuals in the West as well as in Moscow itself felt that communism was the best antidote to the threat of fascism.

This is quite a unique and fascinating addition to the cultural history of the period. Bravo for a passionately-researched volume. The book is extremely well-written, and it should appeal both to hardcore Soviet history buffs as well as more casual readers. I also highly recommend The Soviet Novel: History as Ritual by the same author, which is THE book on socialist realism in literature as well as a fantastic read all around. There is also a fascinating new addition to socialist realist art in the stunning volume Socialist Realisms: Great Soviet Painting 1920-1970.

9 of 13 people found the following review helpful.
"Interwar" Culture Wars
By Absinthe
I am not a specialist in Soviet history, so I cannot judge Clark's command of her sources, but she has written a fascinating study of Soviet cultural history centered around four major Soviet celebrities, two of whom met their end during Stalin's purges of the 1930s. Anyone interested in the culture wars of the interwar years -- can they really be called "interwar" still? -- as I say, anyone interested in the 20th century's Forty-Years' War will find much material to mull over in Prof. Clark's pages. I enjoyed it hugely.

6 of 14 people found the following review helpful.
Too many ingredients for one soup
By George Shaner
While I'm not going to accuse the author of trying to white-wash Stalinist realities to save the Popular Front moment, I will say that her effort to link the creation of a new Soviet art with international politics did fall flat for me.

At the very least I don't think you can priviledge cultural analysis over politics in the 1930s, as seems to be the case here.

I'm not impressed with Clark's grasp of the visual arts.

While the claim was also that individuals such as Sergei Eisenstein, Sergei Tretiakov, Mikhail Koltsov and Ilya Ehrenburg were going to be used as exemplars to illustrate the connections between Soviet politics and culture, for me they drift through this book like ghosts.

Perhaps the "Fourth Rome" metaphor was not the focus to chose, particularly since the author seems to abandon it fairly quickly.

More like 2.5 stars, as only specialists are really going to have cause to wade through this concoction.

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This journal/study guide takes the foundations laid by the author and constructs a framework to engage the miraculous through 40 days of exercises and meditations. It focuses on walking in the divine as a lifestyle, shaping one's attitudes and worldview.

• Sales Rank: #879298 in eBooks
• Published on: 2005-08-01
• Released on: 2005-08-01
• Format: Kindle eBook

About the Author
Johnson is a fifth-generation pastor with a rich heritage in the Holy Spirit. Together Bill and his wife serve a growing number of churches that have partnered for revival. Bill and Beni Johnson are the senior pastors of Bethel Church, Redding, California.

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2 of 2 people found the following review helpful.
Amazing, I couldn't put this book down.
By Kathy Carpenter
Bill Johnson is right on! This book is much needed for every born-again believer.
Powerful and inspired book! A must read for those of us who have been in wonderful loving churches but, without the person off the Holy Spirit having the freedom to move.
I have been sensing God leading me into a fuller understanding of the power of the person, the gift, the Holy Spirit. Years ago God told me that He didn't save me to be a pew warmer that He had a plan for my life. I have been seeking more of an understanding of the power of the Spirit of God and what role I am to play in His plan ever since.
This book has answered so many questions I had and has given an even more hunger for the presence and the fullness of His Spirit.
WAKE UP Church! Get busy doing our Father' business, for the Master will return and find you looking religious but lacking the power thereof.

0 of 0 people found the following review helpful.
An marvelous book that will need to be read and ...
By William Henninger
An marvelous book that will need to be read and re read regularly until I die. So pithy and power-packed that it is an absolute must read for any devout Christian who desires the fullness of the the Spirit of God.

0 of 0 people found the following review helpful.
Another great book from Bill Johnston
By Robin Bremer
One of the great books of our time. We need to EXPECT Heaven on earth and walk in that place in everyday life.Our Blood Covenant & The Power of Communion

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• Sales Rank: #11733711 in Books
• Binding: Paperback

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[Z862.Ebook] PDF Download Wisdom of Bees: What the Hive Can Teach Business about Leadership, Efficiency, and Growth, by Michael O'Malley

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'It seemed to me that the bees were working on the very same kinds of problems we are trying to solve. How can large, diverse groups work together harmoniously and productively? Perhaps we could take what the bees do so well and apply it to our institutions'. When Michael O'Malley first took up beekeeping he thought it would be a nice hobby to share with his son. But he noticed that bees not only work together to achieve a common goal but, in the process, create a remarkably productive organization, like a miniature but incredibly successful business. O'Malley also realized that bees can teach managers a lot, identifying 25 powerful insights such as: Distribute authority - the queen bee delegates relentlessly and worker bees make daily decisions; Keep it simple - bees exchange only relevant information; and, Protect the future - when a lucrative vein of nectar is discovered, the entire colony doesn't rush off to mine it. Blending practical advice with interesting facts about the hive, "The Wisdom of Bees" is a useful and entertaining guide for any manager looking to get the most out of his or her organization.

• Sales Rank: #3512195 in Books
• Published on: 2010-11-01
• Original language: English
• Number of items: 1
• Dimensions: 7.80" h x .59" w x 5.08" l, .35 pounds
• Binding: Paperback
• 240 pages

Review
Mind-opening, insightful, and compelling John Pepper, former CEO and chairman, Procter & Gamble Read this remarkable book W. Warner Burke, chair, Department of Organization and Leadership, Columbia University An excellent operating guide for good management. Phil Johnson, CEO, PJA Advertising + Marketing After you read this book, I assure you that you will never think about your organization in quite the same way. Roxanne Quimby, co-founder of Burt's Bees

About the Author
Michael O'Malley, Ph.D., is a social psychologist and management consultant who has coached some of the world's largest companies. He is currently the executive editor for business, economics, and law at Yale University Press and an adjunct professor at Columbia Business School. He has been an avid beekeeper since 2002. He lives in New Haven, Connecticut.

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1 of 1 people found the following review helpful.
The Wisdom of Bees Love it.
By Phillip Harris
Really interesting and smartly written; I experience the lessons discussed in WOB every day in my organization. Well done Michael O'Malley.

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• Sales Rank: #1499817 in Books
• Published on: 2009-05-01
• Original language: English
• Dimensions: 16.93" h x .98" w x 11.02" l, 6.39 pounds
• Binding: Hardcover
• 176 pages

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Religion, Culture, History: A Philosophical Study of Religion brings the light of philosophy to dark subjects such as magic, ritual, symbol, belief and ideology; queries explanations of religion from the physical and social sciences and from theology; follows the polemic of belief and doubt through many arguments; recounting teachings from many traditions and accounts by many philosophers concerning religion, from India, China and the West; examining theism and atheism together, and exploring the close relationship between religion and politics. "An impressive introduction to global religions and the urge to worship, from ancient history to today … Far-reaching, erudite introduction to philosophy of religion," Kirkus Reviews.

• Sales Rank: #1672895 in Books
• Published on: 2012-11-05
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .47" w x 6.00" l, .62 pounds
• Binding: Paperback
• 206 pages

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4 of 4 people found the following review helpful.
Should be required reading
By Hernandez.M
Religion permeates all society and all cultures. Though for those who know a thing or two about it know that a religion in one society at one time is not the same as a religion in another society at another time. Steven Brutus breaks through this issue by trying to study religion as a whole in a construct of religion/culture/history. Brutus shows tremendous skill at his craft of philosophy and puts it to good use trying to get at this construct in order for as full an understanding as he can get. He does this in a few number of pages (only about 170), but it's amazing what he does in those pages, which are so dense with information that it warrants numerous reads. He also shows an incredible breadth of knowledge on these traditions and their histories. Not extensive by any means, but enough to give you an idea of just how certain faith traditions and religions have existed over the years.

It is self-published, so references and a term index are lacking, however, the book does come with notes, an index of all thinkers mentioned, as well as a brief run down of the six religions looked at (Taoism, Buddhism, Confucianism, Judaism, Christianity, and Islam) noting their major thinkers and their major sources.

Daniel Dennett believes that a curriculum of religion is greatly needed in schools so that children (of all ages) should be well acquainted with the various religions that exist in the world, this book would be perfect for such a study, which is why I believe it should be required reading. Such a system is not currently in place, so in the meantime you should read it and then pass it on.

My only qualms were with some interpretation of thinkers, which does not warrant much thought since I merely take another side than Brutus on some contested issues (such as, Hume's religious perspective). Such qualms don't warrant much thought due to his mentioning them in passing in order to gain a well rounded look at how different views inform the intellectual landscape, and aren't the primary arguments of any one section.

The philosopher Peter Boghossian says it best on his quote that is printed on the book, "Breathtaking erudition. Stranded on a desert isle? Take this book. It will engage, nurture, and stimulate you for a decade."

1 of 1 people found the following review helpful.
Comparative Religion Teachers Note Bene!
By C. Van Youngman
An absolute must for any class in comparative religion. Brutus' research is thorough and his insights are spot on. Five stars all the way.

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