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Robert Bresson, published in 1998, remains one of the most acclaimed and thorough examinations of the French director’s vision and style. Robert Bresson (Revised) reproduces essential contributions from the original edition, including essays by Susan Sontag, Andr� Bazin, P. Adams Sitney, and Kristin Thompson, and features new or original material by David Bordwell, Mark Rappaport, Shigehiko Hasumi, Jonathan Rosenbaum, Serge Daney, Jean-Michel Frodon, Colin Burnett, Richard Suchenski, and filmmakers Jean-Pierre Gorin and the Dardenne brothers, Jean-Pierre and Luc. With more than thirty key articles by leading critics and scholars, interviews, commentaries by important contemporary filmmakers, and an illuminating symposium on the director’s current stature, Robert Bresson (Revised) is an invaluable volume for anyone seeking to understand the director’s austere perfectionism and the beauty of his singular body of work.

Published by the Toronto International Film Festival and distributed in Canada by Wilfrid Laurier University Press. Distributed outside Canada by Indiana University Press.

• Sales Rank: #3455974 in Books
• Brand: Brand: Toronto International Film Festival
• Published on: 1999-06-04
• Original language: English
• Number of items: 1
• Dimensions: 9.38" h x 1.30" w x 6.42" l,
• Binding: Paperback
• 784 pages

Features

• Used Book in Good Condition

Review
" . . . a fine, fat volume of appreciations and interviews . . . " -- Richard Corliss, Time

" . . . important . . . a very welcome work of reference for professors, librarians and all those interested in the oeuvre of Bresson." -- Le Figaro

" . . . impressive anthology . . . " -- Molly Haskell, Film Comment

About the Author

James Quandt, senior programmer at Cinematheque Ontario, is also the editor of Kon Ichikawa and Shohei Imamura.

Most helpful customer reviews

5 of 5 people found the following review helpful.
fine compilation of writings on bresson
By Kristopher Kincaid
last year i recieved one of the best christmas presents i could ask for: this book. while i wouldnt recommend it to anyone that isnt a bresson fan it holds plenty to mull over for those that are. while a few of the articles are dull and/or pretentious more often than not they are highly illuminating as to the director's methods. there are one or two articles devoted to each of his films and a few that are just about his films in general. this first section of the book ends with bresson's cinematographer for "diary," through to "joan of arc" writing about his love/hate relationship with bresson and an interview with the young man who played the lead in "the devil, probably." the second part of the book contains three interviews with bresson: the paul schrader, which is fidgety and odd; the godard, which is exhaustive, rambling and very enlightening; and the final one whose author slips my mind which is great but unfortunately short (conducted after the completion of what would be bresson's last film, "l'argent"). the final section of the book is basically several directors talking about why they like bresson. this section ranges from short, humorous stories (the fassbinder and aki kaurismaki) to long essays on bresson's style(malle, etc.). other directors quoted in this final section include tarkovsky, bertollucci, wenders, hal hartley, and atom egoyan.

1 of 1 people found the following review helpful.
Bresson mania
By Tosh Berman/TamTam Books
My personal hero of the aforementioned European art-movie genre -- Robert Bresson -- is the subject of a new book edited by James Quandt. Robert Bresson includes interviews with the director by fellow filmmakers Jean-Luc Godard and Paul Schrader and French film critics Michael Delahaye and Michel Ciment. There are also homages from directors like Martin Scorsese and Rainier Werner Fassbinder, as well as essays by Roland Barthes and Alberto Moravia. One might wonder why such famous and accomplished people took the time to write about a French filmmaker whose movies are not known to the general moviegoing public. The answer is that the late Bresson actually was one of the great figures in cinema. His austere directing style relied on slow and beautiful imagery and much suffering on the part of his main characters, resulting in films that, once experienced, is never forgotten. One can describe Quandt's book the same way

4 of 4 people found the following review helpful.
The Definitive Guide to Bresson
By Josh Siegel
Editor James Quandt, an esteemed film curator at the Cinematheque Ontario, has assembled the best writings on Robert Bresson, intelligently balancing scholarly analysis (including that of Barthes and Moravia), filmmakers' homages (from Scorsese to Fassbinder, Cocteau to Duras), and accessible primers on the French director's work (by Susan Sontag and Andre Bazin, among others). Particularly noteworthy are the interviews Bresson conducted with Jean-Luc Godard, Paul Schrader, and the French critics Michael Delahaye and Michel Ciment. A MUST for anyone interested in film history and in one of the few directors worthy of the appellation "genius."

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• Sales Rank: #984633 in Books
• Published on: 2007
• Binding: Paperback

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The essential wine reference for food and wine aficionados, students, and professionals

Written by the experts who train today's leading chefs and sommeliers, this invaluable guide thoroughly demystifies wine, from the basics of wine production to the nuances of wine lists, wine marketing, and wine service.

Completely revised and updated, this new edition of the critically acclaimed guide features more comprehensive coverage of the wine regions of the world, grape varietals, winemaking, purchasing, tasting, service, and pairing. The expanded food and wine pairing section doesn't just list good pairings, but explains why particular wines and foods pair well with each other. In addition, the book includes easy-to-use and informative charts, tables, and maps, as well as beautiful full-color photographs..

• Packed with the most comprehensive, up-to-date information on wines of the world from the top professionals in the field
• Includes more tasting notes for each region, updated information on the health effects of wine, and an expanded food and wine pairing section
• Features excellent study resources for food and wine students

Expanded, revised, and better than ever, Exploring Wine is a comprehensive resource and ideal companion for wine lovers and students alike.

• Sales Rank: #24822 in Books
• Brand: Wiley Publishers
• Model: #N/A
• Published on: 2010-09-14
• Original language: English
• Number of items: 1
• Dimensions: 11.04" h x 1.98" w x 8.96" l, 6.88 pounds
• Binding: Hardcover
• 800 pages

Amazon.com Review
Amazon Exclusive: Q&A with Author Steven Kolpan

What makes a wine a great “fall wine”?
Much like the season itself, a great “fall wine" should be both bracing and fresh; not as light as a summer sipper, but not as full-bodied and complex as a winter warmer. To me a great “fall wine" could be a full-bodied white – think Chardonnay right off the bat - or a medium-bodied red – think Pinot Noir. These, of course, are familiar, even “safe choices” for the season.

What are your favorite wines for the fall season, and why?
Wines that come to mind are dry whites from Alsace, France – especially Gew�rztraminer and Pinot Gris – because they are substantial wines with lots of floral and spice notes, which reminds me of falling leaves on a windy day. I also love dry Sherry – especially Fino or Manzanilla – in the fall, as it is a wonderful, if under-appreciated, wine with cheeses, soups, fish and seafood, and a terrific match with dishes such as eggplant with garlic sauce, mu shu pork, and other Chinese take-out favorites.

There are so many red wines that provide a warm glow on a chilly evening, and some of my favorites include:

• From the United States: Perhaps my #1 choice for an awesome autumn wine is Zinfandel from California, especially from the Dry Creek Valley in Sonoma County. Good Zin is hearty, but with loads of black fruit and spices on the palate. Seek out those wines with less than 14% alcohol, and save the big-alcohol Zins for the winter months. I also like Pinot Noir from the Willamette Valley of Oregon and the Central Coast appellations of California; wines of balance and finesse.

• From Italy: Dolcetto and Barbera from Piedmont; Chianti and Morellino di Scansano from Tuscany; Valpolicella Ripasso from Veneto; Cannonau from Sardinia.

• From Spain: Rioja , especially the lighter Crianza bottlings, as well as wines from Bierzo (made from the Mencia grape), and Navarra (which, like Rioja, focuses on the Tempranillo grape). These wines are tremendously food-friendly with white meats, lighter red meats, and cheeses.

• From France: Fall is a great time for Beaujolais-Villages, or the under-appreciated Cru Beaujolais (such as Moulin-�-Vent or Brouilly). These wines are great with grilled fish as well as white meats and lean red meats, and will certainly enhance the flavors of seasonal root vegetables. Of course, the Pinot Noir wines of Burgundy are great during this time, but focus on the more accessible, simpler, less expensive wines (Bourgogne, C�te de Beaune-Villages, Mercurey, for example), which are excellent matches for a wide range of foods, from roasted vegetables to beef. Also, try the red wines of the Loire Valley that fly under the radar – Chinon, Bourgueil, or Saumur-Champigny; all of them made from the Cabernet Franc grape, and all of them will work beautifully with roasted white meats.

What new trends are you seeing in wines this year?
A welcome trend is balanced wines with lower alcohol levels, which in a time of climate change/global warming and the resulting super-ripe fruit is a tough trick to pull off. It is important to achieve balance in the wine if it is to play its part at the table as an accompaniment to food, not as a tool to make you drunk.

Another trend that I like is less emphasis on oak to carry the aromatics and flavor profile of the wine, especially white wines, and specifically Chardonnay. We see a lot more unoaked Chardonnay, or when oak is used, the winemakers seem to be exhibiting a lighter touch.

Perhaps the most welcomed trend I’ve observed has to do with the price point of wines. Although hard economic times has led to too much suffering by far too many people, when it comes to wine pricing, we are seeing a “new normal.” That is, good wines are more affordable than ever before, and wine drinkers are discovering that they don’t have to spend a lot of money to enjoy wine. This is a trend that even after our nation returns to good economic health – whenever that is – will, I believe, remain in place. The United States is already the largest consumer of wine in the world (based on dollars spent), and reasonably priced wine as a daily beverage with meals, or even as an “affordable luxury,” will only enhance that standing.

Any recommendations for dishes to pair with this fall’s top wines?
In the fall, thoughts turn to Thanksgiving, and the traditional holiday feast is a blessing for both white and red wines. I love Gew�rztraminer with turkey and all the accompaniments – sweet potatoes, stuffing (that’s “dressing” down South), cranberries, etc. Chardonnay will work well, too, but with less of a wow factor. For reds, I love Zinfandel, especially if there’s sausage and sage in the stuffing/dressing, and plenty of dark meat from the turkey. For subtlety and balance, go with Pinot Noir or Gamay (the grape of Beaujolais).

What can people learn about other seasonal wines and trends in Exploring Wine?
The completely revised new edition of Exploring Wine goes into great depth about current trends in the international wine market, from California to China, from Italy to India, from Germany to Greece, from Canada to Cyprus. We consider the wines of all of these countries, and many more (France, Spain, Portugal, etc), complete with beautiful maps indicating the wine regions of each nation.

In Exploring Wine’s chapter on wine and food pairing, we emphasize the “how” and “why” of matching food and wine, and that, of course, includes notes on enjoying foods and wines “in season.” While wine may not technically be a “seasonal” beverage, clearly our enjoyment is enhanced when we think of it that way; lighter wine with lighter foods in warm weather, more complex and full-bodied wines to accompany heartier foods when the weather gets colder and the snow begins to fall.

Tips from Exploring Wine

Understanding Wine Color
Understanding Wine Barrels
Understanding Food and Wine Pairings

From Library Journal
Why another wine book? First, this one is by wine educators from the Culinary Institute of America, whose other fine works (The New Professional Chef, LJ 8/91) and outstanding reputation lend it gastronomical authority. Second, Exploring Wine has an unfettered clarity, whether explaining formulas to calculate a reasonable price range or steps to produce the most beneficial wine-tasting experience or ways to select from the deluge of international choices. Third, there is a superb chapter on matching food and wine, full of tables and menus, which simultaneously honors classical principles of experimentation and personal preference. If these reasons aren't sufficient, there's the concise background information on wine-making, the world tour of producers, the coffee-table-book photographs, the section devoted to collecting, appendixes of American appellations and official classifications of Bordeaux, and a 12-page glossary. Definitely not just "another wine book." Highly recommended.
Wendy Miller, Lexington P.L., Ky.
Copyright 1996 Reed Business Information, Inc.

Review
"...lively guide..." (New Yorker, 10 December 2001)

Most helpful customer reviews

46 of 47 people found the following review helpful.
A Must Have For Wine Lovers/Learners
By A Customer
I cannot even begin to describe how fantastic this book is. I've been working in gourmet restaurants for about three years now and have checked out many books on wine to try and understand every nook and cranny of wines; most of the time I still felt a little confused. The way the book is organised helps you to easily understand every aspect of wine including the varietals (grapes), laws of appellations for each country and so much more. It's so easy and detailed to understand (studying is still required, trust me) and also uses graphs, maps and tables to make the information even more clear. Yes, the book can be considered a bit pricey, but if you are a student, in the industry or want to know more about your hobby, I can't think of a single reason why this wouldn't be a worthwhile investment. There are cheaper books out there, but the information they provide is no where near the quality you can get with this book; believe me, I've got a mini-wine library where most of the books will now be collecting dust because all the information I need is in this book.
Also recommended: The Oxford Companion to Wine (detailed definitions to wines, regions, etc...); Wine Lover's Companion (nice pocket guide for quick definitions to wine)

17 of 17 people found the following review helpful.
Encyclopedic, informative, and loads of fun.
By Miles D. Moore
If you're looking for a step-by-step guide to the winemaking process, or to the myriad types of wine the world offers, there's no better choice than "Exploring Wine." It's also a great resource for such arcana as the wine industry in Texas, the different estates of Pomerol or an exhaustive list of the prestige cuvees of the various champagne houses. "Exploring Wine" gives you all the minutiae of the history, business and esthetic properties of wine, without ever becoming dull. This being a production of the Culinary Institute of America, "Exploring Wine" even gives you detailed charts of recommended wine and food pairings, as well as sample menus pairing national cuisines with indigenous wines (including South Africa, South America and the Middle East as well as the different regions of France, Italy and California). There's also an informative chapter on the health benefits of wine. "Exploring Wine" is an invaluable resource for the dedicated enophile as well as the average reader with a casual, but real, interest in wine.

16 of 16 people found the following review helpful.
Possibly the best Wines text in the world
By A Customer
I an currently enrolled at the Culinary Institute of America and taking the management of wines and spirits course given by the authors of this wonderful book, Michael Weiss and Steven Kolpan. With, what I would call, a more extensive background of wines and spirits than most CIA students, this book has taught me so much more. It has truly inspired me. The authors have truly inspired me. I can't wait to open its pages every day. "Exploring Wines" has absolutely and undoubtedly "consumed" me. Best wishes. Lynn Pritchard, CIA '97

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• Published on: 2012
• Binding: Misc. Supplies

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This Edition Features
● A Detailed Biography of Mary Shelley
● A Fully Interactive Table of Contents
● Superior Kindle Formatting

It is the twenty-first century, and England is a republic governed by a ruling elite, one of whom, Adrian, Earl of Windsor, has introduced a Cumbrian boy to the circle. This outsider, Lionel Verney, narrates the story, a tale of complicated, tragic love, and of the gradual extermination of the human race by plague.

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• Sales Rank: #522603 in eBooks
• Published on: 2013-05-27
• Released on: 2013-05-27
• Format: Kindle eBook

From Publishers Weekly
Set in an apocalyptic future ending in the year 2100, Shelley's 1826 novel concerns a plague that destroys almost all of humankind.
Copyright 1993 Reed Business Information, Inc.

From Library Journal
Thanks to yet another film incarnation, 1818's Frankenstein is again a hot property and may even make the best sellers lists. These two editions mark both ends of the publishing spectrum, with Signet offering the inexpensive movie tie-in version complete with photos from the film and an afterword by Howard Bloom. The California version is the Pennroyal edition, featuring gorgeous illustrations by Barry Moser and an afterword by Joyce Carol Oates. Published in 1826 after the death of her husband and three children, The Last Man is Shelley's dark look at an apocalyptic future.
Copyright 1994 Reed Business Information, Inc.

Review

“Anne McWhir’s edition of The Last Man is first rate! Mary Shelley’s novel is well served by a careful editor who provides an informed introduction, comprehensive annotations, and well-chosen appendices that contextualize this richly complex novel―Shelley herself would have been pleased!” ― Charles E. Robinson, University of Delaware

Most helpful customer reviews

110 of 117 people found the following review helpful.
'All The World Has The Plague!'
By mp
Mary Shelley's novel, 'The Last Man' is a work which is slowly gaining the critical attention it richly deserves. Fans of 'Frankenstein' will be astounded at how much deeper Mary Shelley's indictment of 'masculine' visionary Romanticism, technology, and the faults of humanity go in 'The Last Man'. At the same time, the novel is fraught with problems and contradictions which give an already paranoid work a whirling sense of internal dementia.
The action of 'The Last Man' takes place between 2073 and 2100 AD. England is ripe for change as the last King of England abdicates his throne in response to public outcry for a more democratic form of government. Lionel Verney, a shepherd, is drawn out of a life of wildness and crime by Adrian, the former crown prince of England. The charismatic Lord Raymond enters the story as the lover of Lionel's sister, Perdita, and the newly-elected Lord Protector of England. Torn between his love of power and his affections for his wife and a persistent attachment to Evadne, a Greek woman, Raymond renounces his political position and flees to Greece. There, he leads a military campaign to establish Greek independence and bring about the end of the Turkish empire.
Then, the Plague takes over. The nondescript malady has wiped out the population of Constantinople just as Raymond conquers it, making his victory meaningless. Word of the plague's virulence comes in from Asia and America, and from the southern, eastern, and western corners of the world, the plague begins to encroach inward towards Europe and England. The remainder of the novel tracks Lionel and Adrian's attempts to save the human race from utter annihilation.
In 'The Last Man', Mary Shelley gives us a horrifying, desolate prophecy of the future, when religion, technology, and human effort are all exposed as meaningless. Although many might say that she also abandons the redemptive possibilities of art, I think that art provides the novel's only hope. Mary Shelley's dependence on art of every format is clear in the novel's influences - She has Lionel refer to literature, including the works of Daniel Defoe, Charles Brockden Brown, Ann Radcliffe, Homer, Shakespeare, and Jonathan Swift among others.
The novel is fraught with problems of gender and power relations. At any moment of emotional weakness, Lionel calls himself 'girlish' or 'womanly,' and the novel seems to privilege women who are selfless and submissive. On the other hand, as Morton Paley's introduction points out, the plague itself is consistently described as female, at one place referred to as 'The Queen of the World'. With regard to power relations, Lionel continually mentions that in the dying world of humanity, social distinctions have all been abandoned - and yet there are still references to his 'servant' or those of other people. The most problematic scene in the novel revolves around racial distinctions when Lionel encounters a dying black man in London.
There are a million things to talk about in 'The Last Man,' and a novel so rich for discussion deserves to be read by as many people as possible. This is a book I warmly recommend, so pick it up and discover that there is more to Mary Shelley than 'Frankenstein'.

59 of 61 people found the following review helpful.
The Beginning of the End
By Greg Hughes
In "The Last Man" (1826) Mary Shelley conceived a plot device that would eventually be used by a string of writers: an apocalyptic plague that virtually wipes out the human race. From "The Last Man" would come books like "The Scarlet Plague" (1912), "Earth Abides (1949) and "The Stand" (1978), each work taking something from its predecessor, each work written in a separate, distinctive era. The passage of time would allow writers to be more graphic in terms of aftermath, as readers became more sophisticated and less disturbed by what earlier generations would consider "horrifying".
"The Last Man" takes place in the late 21st century: a future without telephones, cars, television or computers. In fact life in the 2090s is not that different to the 1820s, apart from a few political changes (Britain is now a republic). Readers who criticized "Earth Abides" for being dated would have even more to complain about here. Shelley could not possibly have guessed the advances, social and technological, that would take place since 1824. Therefore it's helpful for the modern reader to pretend the story is happening in an alternate 21st century, along the lines of "Pavane".
The narrator Lionel Verney spends the first third of the book describing his early life, telling us how an altruistic young man of noble stock (Adrian) took him under his wing, effectively saving him from a life of penury. Lionel and his younger sister now mix in the highest circles, the cultured world of art, literature and music (things which the working class had nothing to do with in the 1820s).
Mary Shelley's prose is formal to say the least. Containing echoes of Byron and Wordsworth, it is rich, stylish and philosophical. It is not until Part two of the novel that the plague makes its appearance. When Shelley describes the plague there is mention of bodies lying in the open and the breakdown of order, but she doesn't treat it with the kind of brutal frankness that Stephen King does in "The Stand". It does look as if King was influenced by Shelley however. Here is a quote from "The Last Man":
"The ward was filled with an effuvia that caused my heart to heave with painful qualms. The dead were carried out, and the sick brought in, with like indifference; some were screaming with pain, others laughing from the influence of more terrible delerium; some were attended by weeping, despairing relations, others called aloud with thrilling tenderness or reproach on the friends who had deserted them while the nurses went from bed to bed incarnate images of despair, neglect and death."
Here is a quote from "The Stand" one and a half centuries later:
"Wards were crammed. Patients lay on the floors. The halls were full; nurses, many of them obviously sick themselves, wove in and out, some of them weeping hysterically. Others looked shocked to the point of coma." King also adds little details like the smell of waste and the cries of the damned. While Shelley is poetic, King is direct and to the point. He was writing for an audience whose attention span has been diminished by things like television and films laden with special effects. The impatient 21st century reader may therefore find "The Last Man" more of a challenge.
Although Shelley's plague is more gradual than those of other writers, society is still crumbling. Even though extinction is in the air, the main characters still perform acts of heroism. The character Adrian has all the makings of a saint. It's just unfortunate that there will be no one left alive to canonize him. Although "The Last Man" is dated, it did pave the way for a genre that still fascinates and terrifies readers today. Mary Shelley is owed a great debt in terms of apocalyptic literature.

30 of 33 people found the following review helpful.
"The Last Man," the best of Mary Shelley's "other" works
By Lawrance Bernabo
Mary Wollstonecraft Godwin Shelley published "The Last Man" in 1826, eight years after her classic "Frankenstein" and four years after her husband Percy Bysshe Shelley died. Of all of her other novels, "The Last Man" is clearly the one that is of more than passing interest. In her Journal in May of 1824 Shelley wrote: "The last man! Yes, I may well describe that solitary being's feelings, feeling myself as the last relic of a beloved race, my companions extinct before me." The result was one of the first novels to tell a story in which the human race is destroyed by pestilence, which we have seen in novels from Richard Matheson's "I Am Legend" and Stephen King's "The Stand," and films such as the recent "28 Days Later..." However, "The Last Man" is also an early example of a dystopian novel set in the 21st century when England is a republic being governed by a ruling elite. Adrian, Earl of Windsor (and a representation of Shelley's late husband) introduces the narrator of the tale, Lionel Verney, who is the required outsider to describe and comment upon the world of the future.
Shelley's vision of the future is essentially a reaction against Romanticism and the failure of the movement to solve the problems of the world with art and imagination. This would stand in contrast to earlier English utopian works such as Francis Bacon's "The New Atlantis," which reflected the Age of Reason's belief that science would solve any and all problems. Shelley begins the story as a romance, with Lord Raymond (presumed to be modeled on Lord Byron) winning the hand of the lovely Perdita and being elected Protector. In contrast to the dire predictions of Thomas Malthus regarding unchecked population growth resulting in mass starvation, an ideal world seems to have been created. But then the plague breaks out in Constantinople and starts spreading. This plague is grounded more in fantasy than science, with Shelley clearly relying more on Boccaccio and Defoe, for her pandemic, which is not contagious (an interesting plot choice to be sure).
The point of the plague is that it allows Shelley to show the best and the worst of human nature. When the demagogue Ryland abdicates being Lord Protector, the altruistic Adrian takes his place and makes an appeal for brotherhood, even as anarchy runs rampant in the streets and eventually the main characters are forced to flee England, which has strong parallels to the expulsion from Eden. This sets up the idea at the end of the novel that the last survivors might be able to establish an earthly paradise and rebuild the human race after the plague has disappeared. I was rather surprised that Shelley kills off her female characters because I had expectations that this would be more of a feminist work. Of course, this is because I remember who her mother was, but "The Last Man" is clearly concerned more with her late husband.
"The Last Man" was probably Mary Shelley's least successful work during her lifetime, but today, which the interest in science fiction, as well as the real world threats of biological warfare and other weapons of mass destruction, this idea of how the world ends is quite pertinent. This is clearly her most important work after "Frankenstein," although obviously we are talking about a significant gap.

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Anthony Kronman describes a spiritual crisis affecting the American legal profession, and attributes it to the collapse of what he calls the ideal of the lawyer-statesman: a set of values that prizes good judgment above technical competence and encourages a public-spirited devotion to the law.

For nearly two centuries, Kronman argues, the aspirations of American lawyers were shaped by their allegiance to a distinctive ideal of professional excellence. In the last generation, however, this ideal has failed, undermining the identity of lawyers as a group and making it unclear to those in the profession what it means for them personally to have chosen a life in the law.

A variety of factors have contributed to the declining prestige of prudence and public-spiritedness within the legal profession. Partly, Kronman asserts, it is the result of the triumph, in legal thought, of a counterideal that denigrates the importance of wisdom and character as professional virtues. Partly, it is due to an array of institutional forces, including the explosive growth of the country's leading law firms and the bureaucratization of our courts. The Lost Lawyer examines each of these developments and illuminates their common tendency to compromise the values from which the ideal of the lawyer-statesman draws strength. It is the most important critique of the American legal profession in some time, and an an enduring restatement of its ideals.

• Sales Rank: #977048 in Books
• Published on: 1995-03-15
• Released on: 1995-01-25
• Original language: English
• Number of items: 1
• Dimensions: 9.25" h x 1.09" w x 6.13" l, 1.24 pounds
• Binding: Paperback
• 440 pages

From Library Journal
America's lawyers are viewed with ambivalence. The best, perhaps embodied by Atticus Finch in Harper Lee's To Kill a Mockingbird , combine judgment and principle with something of the scholar's love of the pursuit of truth. Yet Dan Quayle questions lawyers' basic honesty and trustworthiness at the annual American Bar Association convention. Kronman (law, Yale Univ.) worries about the decline of the "lawyer-statesman," that lawyer who possesses more than just technical proficiency in legal persuasion. Kronman sees Abraham Lincoln and, more recently, the late Chief Justice Earl Warren as just such "lawyer-statesmen." Both possessed those traits of prudence, wisdom, and judgment that counted far more than legal expertise. Their absence underlies the crisis facing the American legal profession. This is an interesting book, but it won't change many of the well-entrenched opinions about lawyers. For academic and larger public library legal collections.
- Jerry E. Stephens, U.S. Court of Appeals Lib., Oklahoma City
Copyright 1993 Reed Business Information, Inc.

Review
An eloquent and provocative book. When you listen to...[Kronman's] diagnoses of just what has gone wrong with the job of lawyering today, you begin to see that the spreading disaffection of lawyers for their work should not be underestimated. (Michael Orey American Lawyer)

[This book] is an eloquent and impassioned work of scholarship. It makes an important contribution to the growing body of literature devoted to the study of the legal profession. (Anthony V. Alfieri Michigan Law Review)

Kronman deploys philosophical acumen and wide learning to revive the ideal of the lawyer--whether counselor, advocate, scholar, teacher, or judge--as practitioner of a kind of wisdom that he argues has long been out of fashion. This is an important book. (Charles Fried, Harvard Law School)

Many thoughtful observers of the legal profession have come to wonder whether the profession's traditional aspirations can possibly flourish in the current conditions of practice. Kronman is one of several critics to conclude, regretfully, that those aspirations are doomed...If lawyers could spare any time to read, The Lost Lawyer should really make them sit up and take notice of what has happened to them. (Robert W. Gordon, Stanford Law School)

Review
Kronman deploys philosophical acumen and wide learning to revive the ideal of the lawyer--whether counselor, advocate, scholar, teacher, or judge--as practitioner of a kind of wisdom that he argues has long been out of fashion. This is an important book. (Charles Fried, Harvard Law School)

Most helpful customer reviews

0 of 0 people found the following review helpful.
Painfully Beautiful
By Robert C. Berring
:This book is beautiful. It aches for a time when the practice of law included public service. When did the function of law schools become feeding graduates to the bottom line practice of large law firms? Either everyone contemplating law school should read this book, or they should be banned from access to it. Remember, Kronman was dean of the yale law school.

1 of 3 people found the following review helpful.
Out of Touch Academic Elitism
By J. Taylor
Kronman seems to have missed the boat on the plain language movement in law. Justice Scalia would be very disappointed in him.

The Lost Lawyer is out of touch academic elitism at it's best. It outlines the ideal of the Lawyer-Statesman and then spends the rest of the book explaining attacks and erosion on the Lawyer-Statesman ideal. It's academically lazy, when you purport a fiction as reality, it's easy to find reality incompatible with it.

My question to Kronman is, if we've deviated from the lawyer-statesman ideal and lost our way, why did it take 200 years to abolish slavery and what was Thomas Jefferson thinking with Sally Hemmings? It wasn't very statesmanlike. What was Abe Lincoln doing when he negotiated slavery. In his letter to Conkling, Lincoln revealed that he gave 100 days notice of the emancipation proclamation, and that he wouldn't issue it if the rebelling states returned their allegiance. Does the lawyer-statesman negotiate the human and civil rights of men for political gain? I doubt this.

The Lawyer-Statesman is a fine ideal to strive for, but don't try to tell me that we once had it and lost it. If you want to move towards it, fine, I can accept that, but arguing that we've come from it is lost. John Adams defending the British soldiers in Boston is no different than Stephen Vladeck defending suspected terrorists at Guantanimo Bay. Nothing has been lost, your just selectively looking for the purposes of your argument.

16 of 18 people found the following review helpful.
A Misfire Worth Reading
By A Customer
Charlotte Rampling, beautiful and tear-stained, has a minor breakdown midway through The Verdict--she's fallen for Paul Newman, the lawyer she's been assigned to seduce and spy on by her boss at the big, evil law firm. James Mason, the suave evil boss, consoles her with a drink and an apothegm: "You don't get paid to do your best," Mason says. "You get paid to win." That scene (expertly written by David Mamet) explains the legal profession in America and provides a summary of Kronman's argument. Kronman, the current Dean of Yale Law, bemoans the extinction of lawyers of sound judgment, prudence, and a concern for a range of interests--the client's, the law's, society's, etc. Lawyers who were actively involved with their community and their country, who were looked to as figures of wisdom, not avarice. But Kronman is more diagnostic than prescriptive. He's right--that breed of lawyer has all but vanished. Still, he provides little in the way of practical suggestions for correcting the problem. And his focus is on the profession and the law schools. His focus should be on the free market. Elite American law schools are catering to the needs of the large firms, which are catering to the needs of their corporate clients. To graduate marketable lawyers, the schools have to create skilled technicians. The hiring partner at a Wall Street Firm wants to know that an applicant has the stamina necessary to put in the hours, and the intelligence and tools needed to grind out competent work. No one is interested in his or her views about what might be a more prudent approach to the client's problem; his or her judgment is not only not demanded, it's unwelcome. Kronman's focus is too narrow. The legal profession has become the law business. Because that's what's demanded by clients, who pay the tab. So I think he should have examined the underpinnings of the free market system, which I favor but which is responsible for the shift in legal education and law practice. Also, how does one teach prudence? How does a vocational school--or perhaps any school--instil sound judgment? Furthermore, prudence and judgment are qualities that, like beauty, are in the eye of the beholder. Finally, Kronman's assertion that much of the problem arose when the large Protestant law firms started hiring Jews, African-Americans, women, and associates from the working classes and from second and third-tier schools sounds not only wrong, but bizarrely priggish and elitist in all the wrong ways. Kronman, as far as I can tell, has never practiced law for any length of time, nor has he toiled as a judge. He's spent his career locked in the Ivory Tower of academia, and his book is the high-toned result.

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[M617.Ebook] Free PDF The Journey into God: Healing and Christian Faith, by Kenneth L. Bakken

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The Journey into God: Healing and Christian Faith, by Kenneth L. Bakken

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The Journey into God challenges the adequacy of the biomedical model alone in addressing the symptoms and causes of physical and mental illness. While allowing that the biomedical has its place in the treatment of disease, Dr. Kenneth Bakken argues persuasively that there are untapped resources for health and wholeness in Christian faith and practice. He invites the reader into the way of theosis, the transformation of the person in union with the divine. Opening the mystic heart of Christianity, The Journey into God gives individual Christians and the Christian communities of faith a trusty map for traversing the shifting spiritual terrain of health and wholeness issues in the twenty-first century

• Sales Rank: #3993987 in Books
• Published on: 2015-06-10
• Released on: 2015-06-10
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .62" w x 5.50" l, .70 pounds
• Binding: Paperback
• 264 pages

Review
"The bold premise of this book is that healing is a form of what the ancients called theosis, a Greek word which roughly translates as "transformed into God." The author offers much wisdom regarding healing, including practical suggestions on how we can help ourselves live physically and spiritually healthy lives." -- John Sanford

"What a compelling call this is for the Church to embrace its historic ministry of healing and wholeness in ways that are biblical and sacramental. Here is a model for the serving church as we move into the next millennium...." -- Bishop A. Donald Mains, Evangelical Lutheran Church in America

About the Author
The Most Rev. Dr. Kenneth L. Bakken is a physician, public health scientist, and Bishop in the Augustana Catholic Church (Lutheran). He is also the founder of and a staff physician for the holistic rehabilitation program for the treatment of patients with Fibromyalgia Syndrome at Bayview Medical Clinic in Tacoma, Washington (www.bayviewmedical.org). Dr. Bakken is president of HealthVision International and is known internationally for his passionate conferences, retreats, and lectures in promoting the renewal of the health and healing ministry of the Church.

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15 of 17 people found the following review helpful.
Medical and spiritual insights united in healing
By George W. Fisk
Kenneth Bakken, clergyman and physician, in his book The Journey in to God seeks to revive the numinous, the holy, amongst Christian believers. As a deeply believing Lutheran Christian pastor he somewhat surprisingly states that publishing the Bible in common tongues so that the multitudes could read was not all gain. "Without the Holy Spirit, the gospel remains an idea--a message with no power to live by. With the Holy Spirit, however, it becomes a life-changing reality." Healing also requires the undergirding of caring friends who "should be nonjudgemental and self-accepting." Not simply concerned with prescribing pills he describes the healing power of laughter stimulating 'the brain to secrete endorphins and enkephalins, powerful chemical pain relievers, adrenaline and similar hormones are released, which stimulate the heart and lungs." While believing in God's unlimited power, at the same time he recognizes some patients may continue to suffer and die while being healed in the innermost being, the soul.

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