Senin, 28 Januari 2013

[H481.Ebook] PDF Download Rainbows End, by Vernor Vinge

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Rainbows End, by Vernor Vinge

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Rainbows End, by Vernor Vinge

Four time Hugo Award winner Vernor Vinge has taken readers to the depths of space and into the far future in his bestselling novels A Fire Upon the Deep and A Deepness in the Sky. Now, he has written a science-fiction thriller set in a place and time as exciting and strange as any far-future world: San Diego, California, 2025.

Robert Gu is a recovering Alzheimer's patient. The world that he remembers was much as we know it today. Now, as he regains his faculties through a cure developed during the years of his near-fatal decline, he discovers that the world has changed and so has his place in it. He was a world-renowned poet. Now he is seventy-five years old, though by a medical miracle he looks much younger, and he's starting over, for the first time unsure of his poetic gifts. Living with his son's family, he has no choice but to learn how to cope with a new information age in which the virtual and the real are a seamless continuum, layers of reality built on digital views seen by a single person or millions, depending on your choice. But the consensus reality of the digital world is available only if, like his thirteen-year-old granddaughter Miri, you know how to wear your wireless access—through nodes designed into smart clothes—and to see the digital context—through smart contact lenses.

With knowledge comes risk. When Robert begins to re-train at Fairmont High, learning with other older people what is second nature to Miri and other teens at school, he unwittingly becomes part of a wide-ranging conspiracy to use technology as a tool for world domination.

In a world where every computer chip has Homeland Security built-in, this conspiracy is something that baffles even the most sophisticated security analysts, including Robert's son and daughter-in law, two top people in the U.S. military. And even Miri, in her attempts to protect her grandfather, may be entangled in the plot.

As Robert becomes more deeply involved in conspiracy, he is shocked to learn of a radical change planned for the UCSD Geisel Library; all the books there, and worldwide, would cease to physically exist. He and his fellow re-trainees feel compelled to join protests against the change. With forces around the world converging on San Diego, both the conspiracy and the protest climax in a spectacular moment as unique and satisfying as it is unexpected. This is science fiction at its very best, by a master storyteller at his peak.


At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

  • Sales Rank: #52794 in eBooks
  • Published on: 2007-04-03
  • Released on: 2007-04-03
  • Format: Kindle eBook

From Publishers Weekly
Set in San Diego, Calif., this hard SF novel from Hugo-winner Vinge (A Deepness in the Sky) offers dazzling computer technology but lacks dramatic tension. Circa 2025, people use high-tech contact lenses to interface with computers in their clothes. "Silent messaging" is so automatic that it feels like telepathy. Robert Gu, a talented Chinese-American poet, has missed much of this revolution due to Alzheimer's, but now the wonders of modern medicine have rehabilitated his mind. Installed in remedial classes at the local high school, he tries to adjust to this brave new world, but soon finds himself enmeshed in a somewhat quixotic plot by elderly former University of California–San Diego faculty members to protest the destruction of the university library, now rendered superfluous by the ubiquitous online databanks. Unbeknownst to Robert, he's also a pawn in a dark international conspiracy to perfect a deadly biological weapon. The true nature of the superweapon is never made entirely clear, and too much of the book feels like a textbook introduction to Vinge's near-future world. (May)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Bookmarks Magazine
A multiple Hugo Award?winning author (A Fire Upon the Deep; A Deepness in the Sky) and former professor of mathematics at San Diego State University, Vernor Vinge writes as if he's spent some time in 2025. This novel's setting, contemporary with the author's Fast Times at Fairmont High, is one of instantaneous technology where accomplished hackers wield profound influence. Reviewers applaud Vinge's avoidance of science-fiction traps like information dumps and rootless "techno-bedazzlement" in favor of emotional storylines and plausible—and sometimes frightening—insights into where technology is moving humanity.
Copyright © 2004 Phillips & Nelson Media, Inc.

From Booklist
In the near future, the European Center for Defense against Disease discovers a diabolical pseudomimivirus. Rather than set off a panic, secret agents of the EU, Japan, and India work clandestinely to uncover a conspiracy seemingly based in a San Diego lab. Former poet Robert Gu, a recovering Alzheimer's patient (one of the lucky few who took to all the treatments), returns to school just as agents Braun, Vaz, and Mitsuri put their wheels in motion. Immensely frustrated by simultaneously living with his son's family and completely reeducating himself, Gu becomes a perfect dupe for the hacker hired by the gang of spooks. Under cover of a library protest, Gu and some old friends get into the lab, trailed by one of Gu's adolescent classmates and his granddaughter. The conspiracy runs deep and has some terrifying implications on account of YGBM (you gotta believe me) technology, regardless of the conspirators' intentions. The near future is less alien here than in some of Vinge's other work, but no less fascinating and well constructed. Regina Schroeder
Copyright © American Library Association. All rights reserved

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0 of 0 people found the following review helpful.
Fascinating, but ultimately disappointing.
By Michael A. Kalm
Vernor Vinge has always astounded with his amazing imagination, and connection with real, or at least possible science. In this book, he imagines us, in the very near future, extrapolating our path toward ever increased connectedness through the internet. Some of it is difficult reading, only because his acronyms are sometimes so abstruse, they leave one guessing.
His character development is very good, so good, that it makes more palpable my disappointment with the books ending. He leaves information regarding some of the main characters in the story totally unresolved. There is a randomness to it. One longs for a sequel, but there wasn't any.

2 of 2 people found the following review helpful.
A disappointment, but only by comparison
By Jonathan Golding
Perhaps I came to this novel with expectations set too high. I recently discovered Vernor Vinge and devoured a Deepness in the Sky and A Fire Upon the Deep, both of which I highly recommend and will probably read again several times. So learning that Vinge had written something dealing with events closer to our time intrigued me, and I launched into Rainbows End ready to be amazed.

This is a good book in many ways, but in comparison with Vinge's other work I found myself disappointed. It is set in the near future and concerns the efforts of an aged poet whose Alzheimer's has just been cured to reintegrate himself into this brave new world. Along the way he becomes an unwitting pawn in a plot by malevolent forces attempting to manipulate public opinion by means of technology.

Some of this works on the level of a dramatized extrapolation of where computing might go in the next few decades. Robert Gu, however, is an unlikeable character, spiteful, manipulalative, and bitter at the world. He is a well drawn and I found the sections of the book exploring him and his eventual "redemption" interesting if unpleasant.

My problem with the book is that it seemed to try to be several different novels at once and that the parts did not fit together terribly well. As I said earlier one aspect of the book is a look at where the information age is going. Vinge taught computer science near where I live for many years and I found the "prediction" aspect intriguing. The super thriller spy plot involving mind control technology could have been interesting if it had been better explored, and if the other aspects of the book hadn't gotten in the way. However, we get very little information to whet our dread as to what might happen should our hero's fail.

But I suppose in a way my biggest disappointment involves the villain. The "bad guy" Alfred Vaz is trying to control the world in order to protect us all. Yet we never really find out anything about him. This struck me as a tremendous missed story opportunity. Most "evil" people believe or have convinced themselves they are acting for the greater good. A story about a good man committing evil acts for what he believes are valid reasons might have been interesting. Especially if we had gotten to know some of the events that shaped him and how he thinks. Instead he is a complete non-entity as far as the story is concerned. In comparison with the Machiavellian manipulations of a Thomas Nau or Lord Steel this aspect of the story is weak.

Overall I liked this book, but found it disappointing in comparison with Vinge's other work.

0 of 0 people found the following review helpful.
Still one of the best SF novels of all time!
By Michael Deering
Still one of the best SF novels of all time! It shows a world in which everyone perceives the world through the filter of 3D contact lens displays 10 years before everyone else got the idea! But there is a great story here too, with interesting (slightly damaged) characters, and numerous sub-plots.

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Sabtu, 26 Januari 2013

[Z719.Ebook] Download Uncensored: Samizdat Novels and the Quest for Autonomy in Soviet Dissidence (Northwestern University Press Studies in Russian Literature an

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Uncensored: Samizdat Novels and the Quest for Autonomy in Soviet Dissidence (Northwestern University Press Studies in Russian Literature an

Vasilii Aksenov, Andrei Bitov, and Venedikt Erofeev were among the most acclaimed authors of samizdat, the literature that was self-published in the former Soviet Union in order to evade censorship and prosecution. In Uncensored, Ann Komaromi uses their work to argue for a far more sophisticated understanding of the phenomenon of samizdat, showing how the material circumstances of its creation and dissemi­nation exercised a profound influence on the very idea of dissidence, reconfiguring the relationship between author and reader. Using archival research to fully illustrate samizdat’s social and historical context, Komaromi arrives at a more nuanced theo­retical position that breaks down the opposition between the autonomous work of art and direct political engagement. The similarities between samizdat and digital culture have particular relevance for contemporary discourses of dissident subjectivity.

  • Sales Rank: #5775204 in Books
  • Published on: 2015-06-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .90" w x 6.10" l, .0 pounds
  • Binding: Hardcover
  • 272 pages

Review
"Ann Komaromi provides a highly innovative and inspiring literary reading of the field of Russian uncensored literature of the 1960s and 1970s."  —The Russian Review

About the Author

ANN KOMAROMI is an assistant professor of comparative literature at the University of Toronto.

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0 of 0 people found the following review helpful.
Tedious yet Somewhat Worthwhile
By Robert Speck
There is good information here, but you have to slog through a lot of turgid scholarly prose to get to it. I disliked this book more than the 3 star review indicates, but I have to give props to the author for her extensive research.

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Minggu, 13 Januari 2013

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The study of landforms : a textbook of geomorphology,, by R. J. Small

  • Published on: 1970
  • Binding: Unknown Binding

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0 of 0 people found the following review helpful.
this was even better than i thought it would be
By moonstar
this was even better than i thought it would be....am getting alot of important facts and information from it. thanks

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Selasa, 08 Januari 2013

[X238.Ebook] Download Ebook Integrated Pharmacy Case Studies, by Sally-Anne Francis, Felicity Smith, John Malkinson, Andrew Constanti, Kevin Taylor

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This innovative new textbook is one of the first to integrate the science of pharmacy with practice. Integrated Pharmacy Case Studies provides a case study approach to pharmacy education, demonstrating in the most practical way possible the relevance of pharmaceutical science in practice.

  • Sales Rank: #927391 in eBooks
  • Published on: 2015-06-08
  • Released on: 2015-06-05
  • Format: Kindle eBook

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Five Stars
By Nicola
Excellent

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Sabtu, 05 Januari 2013

[V340.Ebook] Ebook Becker CPA Exam Review Financial V 1.1

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  • Sales Rank: #895128 in Books
  • Published on: 2014
  • Binding: Paperback

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Rabu, 02 Januari 2013

[Q418.Ebook] PDF Ebook Behind Bars: The Definitive Guide to Music Notation (Faber Edition), by Elaine Gould

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Behind Bars: The Definitive Guide to Music Notation (Faber Edition), by Elaine Gould

Behind Bars is the indispensable reference book for composers, arrangers, teachers and students of composition, editors, and music processors. In the most thorough and painstakingly researched book to be published since the 1980s, specialist music editor Elaine Gould provides a comprehensive grounding in notational principles.

Behind Bars covers everything from basic rules, conventions and themes to complex instrumental techniques, empowering the reader to prepare music with total clarity and precision. With the advent of computer technology, it has never been more important for musicians to have ready access to principles of best practice in this dynamic field, and this book will support the endeavors of software users and devotees of hand-copying alike. The author's understanding of, and passion for, her subject has resulted in a book that is not only practical but also compellingly readable.

This seminal and all-encompassing guide encourages new standards of excellence and accuracy and, at a weighty 704 pages, it is supported by 1,500 music examples of published scores from Bach to Xenakis.

Chapters include:
Section I - General * Conventions: Ground Rules * Chords -- Dotted notes -- Ties * Accidentals and Key Signatures * Dynamics and Articulation * Grace Notes, Arpeggiated Chords, Trills, Glissandos and Vibrato * Metre * Tuplets * Repeat Signs. Section II - Idiomatic Notation: Woodwind and Brass * Percussion * Keyboard * Harp * Classical Guitar * Strings * Vocal Music. Section III - Layout and Presentation: Preparing Materials * Score Layout * Part Preparation * Electroacoustic Music * Freedom and Choice.

  • Sales Rank: #180952 in Books
  • Brand: Faber Music
  • Model: 12-0571514561
  • Published on: 2011-01-20
  • Original language: English
  • Dimensions: 9.25" h x 6.25" w x 2.00" l, .66 pounds
  • Binding: Hardcover
  • 704 pages
Features
  • Used Book in Good Condition

Review
"I pray that [this book] becomes a kind of Holy Writ for notation in this coming century. Certainly nobody could have done it better, and it will be a reference for musicians for decades to come." Not my words, but those of Simon Rattle (one of only two conductors to escape censure from Peter Maxwell Davies earlier this week; only Rattle and Pierre Boulez emerged unscathed as "masters of their art" in his recent pop at the profession) on Elaine Gould's new book, Behind Bars: The Definitive Guide to Music Notation. This "wonderful monster volume" - Rattle again - is indeed more than the sum of its parts. Gould's book is the result of decades of experience as senior new music editor at Faber Music, where she has worked closely with composers like Jonathan Harvey, Oliver Knussen, Colin Matthews, and Thomas Ades, and what she has to say in Behind Bars transcends the book's first appearance as a manual of notational best practice. Under the surface of its guide to producing the best and clearest scores - the arcana of making sure you're not asking your harpist for too many pedal changes, that you change clefs in the right place in your orchestral parts, and how best to indicate the plethora of extended instrumental techniques in so much contemporary music - this book expounds an alchemical formula for musical communication. Gould's book shows composers how to ensure that the magical transfer of musical ideas from their imaginations to their scores, from their performers to their audiences, is as seamless as possible. Behind Bars is a practical revelation of the poetics of musical communication. It's especially necessary in the early 21st century. You might think that after centuries of evermore sophisticated copying, printing, and digitising of music notation that all the problems had been solved. Not a bit of it. The rash of computer scores produced with programmes like Sibelius in the last couple of decades are a mixed blessing. Software like Sibelius allows composers to create full scores and individual parts for the musicians at the click of a button, yet it's too easy to overlook the kind of problems that Gould talks about - where a badly placed page-turn in your string parts can mean the difference between a good performance and a catastrophic one. Gould quotes Mahler's frustration with the copyist who mauled the material of his Eighth Symphony before its first performance in Munich in 1910; looking at his exemplary manuscript of the Fifth Symphony that the Morgan Library has just made available for free online, you can see that Mahler abided by Gould's principles of clarity and consistency. But I wonder what Gould would say to Beethoven, if she were faced with pages like this, from the manuscript of the Ninth Symphony, whose facsimile was recently published by Barenreiter? It's not just a contemporary phenomenon: composers have always pushed at the limits of musical and notational comprehensibility. The Guardian (Tom Service), 12 January 2011 'Say "musical composition" and you identify a process: but "a musical composition" is very much a product, a commodity: and never more so than when it takes the form of materials from which performers sing or play, and academics build their theories about music history and aesthetics. Philosophers might continue to agonise about the extent to which a printed score represents the composition. Performers are much more likely to agonise about whether the materials put before them make sense and, if you ask professional musicians where they would like to see composers whose materials create tough challenges for them, "behind bars" would be one of the politer suggestions forthcoming. Composers best able to avoid the lash of performers' hostility are those lucky enough to work with a well-established publishing operation, and that means an editor like Faber Music's Elaine Gould. After more than 20 years in the business, Gould has seen (and heard) it all and Behind Bars is an encyclopedic distillation of practical professional wisdom, fully justifying its bold subtitle, "The Definitive Guide to Music Notation". Not even Gould can teach you how to compose a good work, of course: but her book is a matchless source of practical advice, all geared to the wryly understated observation that "players will tend to be well disposed towards a work whose instrumental parts are carefully prepared". The book has three main parts: "General Conventions" discusses the notational basics of pitch and rhythm, "Idiomatic Notation" has a section for each of the instrumental families, with harp and classical guitar treated separately, and one for voices: finally "Layout and Presentation" deals not only with the creation of a conventional score, but with issues in electro-acoustic and computer music that bring the story bang up to date. The copious illustration in music type (Richard Emsley was the indefatigable typesetter) show how not to do things as well as how best to do them, and although Gould makes occasional use of extracts from such composers as Elliott Cater and Jonathan Harvey, the bulk of the illustrations - which it has to be said, vary considerably in their relation to "real" music - are (presumably) of her own "composition", with help from those members of the Faber Music family mentioned in her Acknowledgements. Gould's text inevitably reflects the piecemeal manner in which music notation has evolved, with its (for outsiders) crazy mixture of instruction in French, Italian, and other languages, but offering a salutary demonstration of cultural pluralism in action, and all in the service of what is still sometimes hailed as the "universal language" of music. Perhaps that should be Western music, since other music's seem not to need guides such as this. Notation can never be so rigidly "definitive" that it leaves absolutely nothing to the imagination of interpreters: but Gould's guide is as good a source as you can get for how to ensure that your score and parts are approached in a positive spirit by those contracted to realize them as living sound.' Gramophone Magazine (Arnold Whittall), February 2011"

About the Author
Elaine Gould has been Senior New Music Editor at Faber Music since 1987, in which capacity she has edited the complex and varied scores of such composers as Oliver Knussen, Jonathan Harvey, George Benjamin, Colin Matthews and Thomas Ades. Before this she was a free-lance copyist, specialising in copying contemporary music for several leading British music publishers. She is among the most highly respected music editors currently working in the field.

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7 of 7 people found the following review helpful.
Truly a milestone in the history of music notation
By PianoGuyFromSC
This huge (650-page) volume is a must addition to the library of anyone who is seriously involved in writing or editing published music. It covers virtually every conceivable notational dilemma, including writing for specific instrument groups, and the proper layout of scores. The author has decades of experience and it shows, but she is not pedantic and has a sense of humor (as the title might indicate). The book is loaded with musical examples as well as descriptive text.

If you are not a music professional, do NOT spend 100 dollars on this book. There are plenty of simple volumes that will give you the basics of notation for most purposes. But as an editor for a music publisher, I consider it well worth the money and will keep it close to my desk along with my dictionary and orchestration manuals!

9 of 10 people found the following review helpful.
As the subtitle says, it's the definitive guide to music notation
By Joseph
Behind Bars is the Bible of music notation for fully notated music, be it band, choral, orchestral, or experimental. It doesn't address lead sheets or other pop notation, so songwriters, jazz, and popular musicians may not find it as useful, but for its target audience--composers, arrangers, orchestrators, and the like--it is an invaluable resource. Think of it as the Chicago Manual of Style for music. I cannot recommend it highly enough.

5 of 6 people found the following review helpful.
Excellent resource for classical, jazz, band, and some electronic composers
By Chris Sahar
This is comprehensive and updated. Excellent as my title says for classical, jazz, band, and some electronic compositions. For music editors fantastic. I should say it is good for pop IF it is piano accompaniment with lyrics or a band with singer (not using lead sheets).

As one reviewer wrote do not spend the money if you do not write orchestral or large band music. If your medium of composition is piano, chamber works, writing lead sheets, or straightforward choral works, Sibelius notation software offers INDIRECTLY through its instruction manual good thorough basics on notation. If you want a direct manual Dover has issued a Norton Guide to notation.

But if you are a composer who write or intends to write for large forces or works with a great deal of chromaticism, meter changes, use of more complex rhythms, and some extended techniques, PLEASE get this book. A tidy, well-laid out score will significantly increase your chances performers will review your arrangements and/or compositions. I guarantee that they will play it better than if you present a carelessly prepared score.

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Selasa, 01 Januari 2013

[P793.Ebook] Get Free Ebook The African, by J. M. G. Le Clezio

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The African, by J. M. G. Le Clezio

The African is a short autobiographical account of a pivotal moment in Nobel-Prize-winning author J. M. G. Le Clezio's childhood. In 1948, young Le Clezio, with his mother and brother, left behind a still-devastated Europe to join his father, a military doctor in Nigeria, from whom he'd been separated by the war. In Le Clezio's characteristically intimate, poetic voice, the narrative relates both the dazzled enthusiasm the child feels at discovering newfound freedom in the African savannah and his torment at discovering the rigid authoritarian nature of his father. The power and beauty of the book reside in the fact that both discoveries occur simultaneously.

While primarily a memoir of the author's boyhood, The African is also Le Clezio's attempt to pay a belated homage to the man he met for the first time in Africa at age eight and was never quite able to love or accept. His reflections on the nature of his relationship to his father become a chapeau bas to the adventurous military doctor who devoted his entire life to others. Though the author palpably renders the child's disappointment at discovering the nature of his estranged father, he communicates deep admiration for the man who tirelessly trekked through dangerous regions in an attempt to heal remote village populations.

The major preoccupations of Le Clezio's life and work can be traced back to these early years in Africa. The question of colonialism, so central to the author, was a primary source of contention for his father: "Twenty-two years in Africa had inspired him with a deep hatred of all forms of colonialism." Le Clezio suggests that however estranged we may be from our parents, however foreign they may appear, they still leave an indelible mark on us. His father's anti-colonialism becomes The African's legacy to his son who would later become a world-famous champion of endangered peoples and cultures.

  • Sales Rank: #681131 in Books
  • Brand: Brand: David R Godine
  • Published on: 2013-09-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.60" h x .60" w x 5.10" l, .60 pounds
  • Binding: Hardcover
  • 128 pages
Features
  • Used Book in Good Condition

Review
Le Clezio is ever the master at rendering existence at the level of sensation with a daring and admirable freshness of language. --Peter Brooks, New York Times

For many years now, the publishing house of David R. Godine has been producing some of the most attractive books of our time. Witness this little volume of reminiscences by J.M.G. Le Clézio, the recipient of the 2008 Nobel Prize for Literature. [...]

Apart from award-winning novels, starting with The Interrogation, J.M.G. Le Clézio has written repeatedly about ecology, landscape and colonialism, paying particular attention to Africa, Mexico, Central America and his family s native Mauritius. Given that he has produced more than 40 books, The African can represent only one aspect of, in the words of the Nobel committee, an author of new departures, poetic adventure and sensual ecstasy, explorer of a humanity beyond and below the reigning civilization. Still, this brief memoir provides a good entry point, honoring, as it does, Le Clézio s father and mother and his own lost African childhood. --Michael Dirda, Washington Post

The past has receded, become so distant that no memory, no attempt to summon it can possibly bring it back. Nobel Prize winner J.M.G. Le Clézio tells us as much, even as his slim memoir, "The African," valiantly attempts to call back a lost time. [...] Le Clézio's book is as much a speculative biography of a man he now realizes he hardly knew as a memoir of a complicated childhood. It is a memory palace, a deliberately disordered evocation of the past that hopscotches through time. --Saul Austerlitz, Boston Globe

About the Author
Jean-Marie Gustave Le Clezio, winner of the 2008 Nobel Prize in Literature, was born in 1940 in Nice, France. His first novel, Le Proces-Verbal (The Interrogation), won the Prix Renaudot in 1963 and established his reputation as one of France's preeminent writers. He has published more than forty works of fiction and nonfiction, including The Prospector (Godine, 1993) and Desert (Godine, 2009). He and his wife currently divide their time between Nice, New Mexico, and the island of Mauritius.

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3 of 3 people found the following review helpful.
"I am forever yearning to go back to Africa, to my childhood memory."
By R. M. Peterson
"L'African" is J.M.G. Le Clézio's father, and this slim, elegant book is a poignant profile of Le Clézio's father and, to a lesser extent, a memoir of the few years of his own youth that were spent in Africa. The book is a small gem, of the elevated, distinguished quality one would like to think the norm for Nobel laureates.

Of French extraction, Le Clézio's father was born and raised on Mauritius, which since 1810 had been a British colony. In 1919, the family was evicted from its ancestral home, and Le Clézio père went to Great Britain where he was educated as a doctor. Without wealth or societal connections, he entered British service as a physician on assignments to remote colonies - first to British Guiana and then, in 1928, to West Africa, where he was posted to areas now in Biafra, eastern Nigeria, and western Cameroon. "[I]t was a region in which war was all-pervasive, the war of human beings against one another, the war against poverty, the war against abuse and corruption inherited from colonization, especially the war against germs." While in West Africa, he married his cousin and for a time they lived a rather primitive but relatively Edenic existence in the more peaceful African highlands before his wife returned to France, where she had two sons, one being Jean-Marie Gustave (born in 1940). The outbreak of World War II separated the family, with mother and sons in France and father in western Nigeria. It wasn't until 1948 that they were re-united and J.M.G. first met his father, at the age of eight, when he and his mother and older brother moved to Nigeria to join his father.

Much of the early part of THE AFRICAN consists of vignettes from J.M.G.'s boyhood in West Africa, where he and his brother were the only white children within a sixty-kilometer radius. They played with the native children, some of whom were naked, and they explored a land of termite mounds, scorpions, and rushing rivers; in short, they experienced the power and mystery of Africa.

About a third of the way into the book, Le Clézio turns to the profile of his father, while he continues his picture of West Africa and begins developing an understated but still incisive condemnation of colonialism. His father, for years, was the only doctor for thousands of people, his competition being witch doctors, a situation that undoubtedly engendered uncommon psychic rewards. But eventually, his father "discovered - after all those years of having felt close to the Africans, like a relative, a friend - that the doctor was just another instrument of colonial power, no different from the policeman, the judge, or the soldier." When his father finally left colonial service, in the early 1950's, he was an embittered man. And his relationship with his sons was a distant, often stormy one, which J.M.G. touchingly recounts. But still, his father passed on to J.M.G. a deep-rooted repulsion for the colonial system - or, perhaps, that repulsion developed in J.M.G. from the same sorts of experiences and innate sensibility.

THE AFRICAN is beautifully written (and thus, I assume, beautifully translated from the French by C. Dickson). The prose is easy to read and follow, unlike, so I understand, some of Le Clézio's fiction. As the book progresses, the writing gathers force yet, at the same time, it becomes increasingly poetic.

For those who care about J.M.G. Le Clézio, THE AFRICAN probably is essential reading. As he writes, "I am forever yearning to go back to Africa, to my childhood memory. To the source of my feelings, to that which molded my character." But even for those who have read little of Le Clézio - as was the case with me - THE AFRICAN is a wonderful book.

Finally, I would be remiss if I didn't mention the excellent quality of the book itself, as published by David R. Godine. It is handsomely and sturdily bound, with substantial semi-gloss pages. It contains maps (two printed as end pages) and about a dozen photographs of West Africa from Le Clézio's personal collection. The text is set in Minion, a fitting and attractive modern type. It is a model for twenty-first century book production.

0 of 0 people found the following review helpful.
Life in Africa
By Suphan Andic
The book is terribly interesting for anybody who has come to know Africa. The descriptions of the life the doctor and his wife lived in Africa reminded me of the life I lived in Ghana about half a century ago. I read it with great pleasure. The author's style is quite lyrical which makes reading the book all the more pleasurable. Anybody who has had some experience of life in Africa so many years ago will find it as interesting as I did. Congratulations to the author, the doctor's son. He does deserve the Nobel prize.

0 of 0 people found the following review helpful.
African memories
By nirvan hope
In this beautiful (physical and language-wise) small volume, Mr. LeClezio examines both the experiences of freedom during his childhood years in Africa and the lack of a warm relationship with his emotionally distant father. He details the arc of his father’s life, an extraordinary man dedicated to his role of doctor first in Guyana, then in Cameroon and Nigeria, who singlehandedly serves a wide territory with modern medicine. When war breaks out, his father is separated from his family for years and joy slowly fades from his life as he turns more and more toward disciplined hard work. His father comes to realize that even as a doctor, he too plays the role of colonizer, a role he despises. The seeds of revulsion toward colonialization are planted in Mr. LeClezio’s early years.

Honoring his father, an African by destiny, and his African mother by conception, the author skillfully weaves together a colorful tapestry of his African heritage with clear and vivid descriptions of his parents, places, and events.

This book is especially poignant for me, as I, too, experienced a colonial childhood in Africa prior to independence, arriving by boat from the Mediterranean with my mother to join my father in Northern Nigeria, and also coming to terms with an uneasy relationship with my father. Mr. LeClezio’s words evoke visceral sensory African memories, from the drama of violent late afternoon thunderstorms, the fiery bite of red ants, the red dust of laterite roads, and the nourishing scent of groundnut stew simmering on a woodstove.

Only recently introduced to the literature of Mr. LeClezio, I anticipate many happy hours ahead of reading, learning, and being entertained by his other books.

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