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“Mad Men for the literary world.” —Junot Díaz

Farrar, Straus and Giroux is arguably the most influential publishing house of the modern era. Home to an unrivaled twenty-five Nobel Prize winners and generation-defining authors like T. S. Eliot, Flannery O’Connor, Susan Sontag, Tom Wolfe, Joan Didion, Philip Roth, and Jonathan Franzen, it’s a cultural institution whose importance approaches that of The New Yorker or The New York Times. But FSG is no ivory tower—the owner's wife called the office a “sexual sewer”—and its untold story is as tumultuous and engrossing as many of the great novels it has published.

Boris Kachka deftly reveals the era and the city that built FSG through the stories of two men: founder-owner Roger Straus, the pugnacious black sheep of his powerful German-Jewish family—with his bottomless supply of ascots, charm, and vulgarity of every stripe—and his utter opposite, the reticent, closeted editor Robert Giroux, who rose from working-class New Jersey to discover the novelists and poets who helped define American culture. Giroux became one of T. S. Eliot’s best friends, just missed out on The Catcher in the Rye, and played the placid caretaker to manic-depressive geniuses like Robert Lowell, John Berryman, Jean Stafford, and Jack Kerouac. Straus, the brilliant showman, made Susan Sontag a star, kept Edmund Wilson out of prison, and turned Isaac Bashevis Singer from a Yiddish scribbler into a Nobelist—even as he spread the gossip on which literary New York thrived.

A prolific lover and an epic fighter, Straus ventured fearlessly, and sometimes recklessly, into battle for his books, his authors, and his often-struggling company. When a talented editor left for more money and threatened to take all his writers, Roger roared, “Over my dead body”—and meant it. He turned a philosophical disagreement with Simon & Schuster head Dick Snyder into a mano a mano media war that caught writers such as Philip Roth and Joan Didion in the crossfire. He fought off would-be buyers like S. I. Newhouse (“that dwarf”) with one hand and rapacious literary agents like Andrew Wylie (“that shit”) with the other. Even his own son and presumed successor was no match for a man who had to win at any cost—and who was proven right at almost every turn.

At the center of the story, always, are the writers themselves. After giving us a fresh perspective on the postwar authors we thought we knew, Kachka pulls back the curtain to expose how elite publishing works today. He gets inside the editorial meetings where writers’ fates are decided; he captures the adrenaline rush of bidding wars for top talent; and he lifts the lid on the high-stakes pursuit of that rarest commodity, public attention—including a fly-on-the-wall account of the explosive confrontation between Oprah Winfrey and Jonathan Franzen, whose relationship, Franzen tells us, “was bogus from the start.”

Vast but detailed, full of both fresh gossip and keen insight into how the literary world works, Hothouse is the product of five years of research and nearly two hundred interviews by a veteran New York magazine writer. It tells an essential story for the first time, providing a delicious inside perspective on the rich pageant of postwar cultural life and illuminating the vital intellectual center of the American Century.

• Sales Rank: #184941 in eBooks
• Published on: 2013-08-06
• Released on: 2013-08-06
• Format: Kindle eBook

From Booklist
John Farrar (1896–1974), a quick-to-anger “High Episcopalian editor,” and Roger Straus (1917–2004), a wealthy, charismatic “Jewish prep-school jock,” joined forces in 1946 to launch a New York publishing house. In 1955, Straus hired the immensely talented editor Robert Giroux (1914–2008), a working-class “Jersey City Jesuit.” Journalist Kachka tells Farrar and Giroux’s intriguing stories with zest, but Straus is the sun around which this scintillating history revolves. Possessed of “lordly benevolence and canny calculation,” Straus ran a cosmopolitan, intellectual, if shabby kingdom where sex was the currency of the realm, a CIA connection opened doors to overseas writers, parties served as publicity campaigns, and the prestigious literary house of Farrar, Straus & Giroux published a record-making 25 Nobel laureates. Writing with vigor, skill, and expertise and drawing on dozens of in-depth interviews, Kachka shares risqué gossip and striking insider revelations and vividly profiles the house’s world-shaping writers, including Flannery O’Connor, Tom Wolfe, and Susan Sontag. Kachka’s engrossing portrait of an exceptional publishing house sheds new light on the volatile mixture of commerce, art, and passion that makes the world of books go round. --Donna Seaman

From Bookforum
For anyone with a sweet tooth for the book world or a thought and a care for American culture after the Second World War, Kachka's book is a brightly lit, well-stocked candy store. Its pages are stuffed with tales of book parties and Nobel Prizes, of Edmund Wilson meeting Susan Sontag at a dinner with Straus, of former employees looking back on their time there, of good ideas gone to the remainder bin and suprising ones to the best-seller list, of advances written off and royalties piling up for some of the best books of our time. Like other essential books about publishing, Hothouse is a rousing reminder that, virtually alone among the professions and trades, a publishing firm is called a "house"--and, to paraphrase Le Corbusier (a rare midcentury culture grandee that FSG didn't publish), what a wonderful machine for living a publisher can be. --Matt Weiland

Review
A Wall Street Journal, Boston Globe, and IndieBound Bestseller

“Swashbuckling . . . Exhaustively researched and sometimes gossipy . . . Hothouse is the hot book that book people are talking about, and understandably so.” (Maureen Corrigan NPR)

“Gripping . . . [A] wonderful book . . . Hothouse is Pepys for our time, an unblinking account of publishing history as it was made by Roger’s firm, the last of America’s major independent publishing houses. Roger would have been thrilled to publish this fine book, including its frequent and deserved criticisms of himself.” (Jason Epstein, The New York Review of Books)

"Riveting . . . Stellar . . . A vivid narrative . . . Hothouse fits nicely on a shelf next to entertaining business books such as Walter Isaacson’s Steve Jobs or Michael Lewis’ Moneyball." (Dallas Morning News)

“Valuable . . . [A] vigorous and often diverting trot through the history of an important cultural institution . . . No one has previously anatomized a publishing house in such depth . . . Farrar, Straus & Giroux, moreover, is well worth anatomizing. It’s had a larger-than-life central character, an amusing cast of secondary characters, and a history replete with drama. Most important, it has maintained an amazingly consistent level of quality.” (Robert Gottlieb The New Yorker)

“Hothouse simmers with gossipy tales of publishing . . . and [is] blessed with real-life characters who could star in any sexy novel. . . . It’s not a book just for intellectuals.” (USA Today)

“Vivid . . . Witty . . . Immensely enjoyable . . . Kachka sets forth a strikingly unexpurgated history of FSG, impressively researched, rich in anecdotes and journalistically balanced.” (Michael Dirda The Washington Post)

"Excellent . . . Hothouse is as engrossing as a biography of any major cultural icon." (Elissa Schappell NPR)

“Hothouse is a thrilling look at the heyday of the publishing industry . . . [and] the man who, as Kachka points out, shaped the postwar intellectual tone in this country through the sheer dint of his brazenness and charm.” (Entertainment Weekly)

“Irresistible . . . Juicy history . . . A delectable story about the intersection of art, commerce, passion and personalities. . . . Hothouse feels like a party where you’re surprised to discover that you know—and admire—most of the other guests.” (Los Angeles Times)

“What is it about literary types? Oh, the sex! Oh, the emotional drama! And, oh, what tremendous fun it all is to read about when we’re in the hands of a writer who knows how to spin a savory tale. So it is with Boris Kachka’s delectably gossipy Hothouse, a deeply researched, jam-packed, surprisingly hard-to-put-down history of the eminent publishing house Farrar, Straus & Giroux that escapes lit-nerd ghettoization by the sheer force of its storytelling. . . . Hothouse is a ripping read.” (Laura Collins-Hughes The Boston Globe)

“Colorful history . . . Hothouse isn’t a management book; it’s a narrative of large personalities at play. Yet out of it comes a clear account of how to thrive in a tough commercial environment. . . . Kachka tells the story of the house’s ‘class-mass’ success in delicious detail.” (Paul Elie The Wall Street Journal)

“Dishy . . . Entertaining . . . [A] vivid account.” (Mary Dearborn The New Republic)

“A roaring chronicle . . . For anyone with a sweet tooth for the book world or a thought and a care for American culture after the Second World War, the book is a brightly lit, well-stocked candy store. . . . It’s also a superb business story, revealing how an enterprise became an institution. . . . [An] essential book.” (Matt Weiland Bookforum)

“The truth about industry books is that they rarely interest those who live and breathe outside of the industry in question. In other words, people on the street rarely clamor for tours of the office buildings above them. The rare ability not only to lead the reader in, but induce him to want to stay and peer into the filing cabinets is what makes Boris Kachka’s first book Hothouse something of a masterpiece of business biography. . . . The real success of Hothouse lies in its telling, and Kachka manages a commanding momentum through decades at full wingspan.” (Interview)

“A rough-and-tumble, heroic tale . . . Kachka takes us back to the black-and-white era when good old-fashioned hard­covers stood unassailably at the very heart of the culture. . . . I loved reading the spiky, spicy evocation of the company’s good old days.” (Jonathan Galassi, New York magazine)

“Scintillating . . . Crammed with delicious anecdotes . . . [A] compulsively readable tale of the creation, triumphs and tribulations of Farrar, Straus and Giroux.” (Julia M. Klein The Forward)

“Scintillating history . . . Writing with vigor, skill, and expertise and drawing on dozens of in-depth interviews, Kachka shares risqué gossip and striking insider revelations and vividly profiles the house’s world-shaping writers. . . . Kachka’s engrossing portrait of an exceptional publishing house sheds new light on the volatile mixture of commerce, art, and passion that makes the world of books go round.” (Booklist)

“Essential reading . . . A lively and entertaining story any book lover will devour with relish.” (Harvey Freedenberg Shelf Awareness)

“A juicy account of the postwar New York book world . . . Not your average beach read, Hothouse, out August 6, is one nonetheless—a Gossip Girl for those fascinated with the literary elite.” (Harper’s Bazaar, Summer 2013 “Hot List”)

“Farrar, Straus and Giroux is the Versailles of American publishing. . . . But every palace has its intrigue, as Kachka shows us in this lively, witty account. . . . The extramarital (and often intramural) affairs conducted by publisher Roger Straus in the 1960s and ’70s were legendary—his wife called the company a ‘sexual sewer’—but the entire office apparently would have made Don Draper blush. Kachka dishes up these cold cases piping hot, but his research reveals an equally fascinating business story: How do you balance fine art and filthy lucre?” (Mark Athitakis, AARP Magazine)

  “Juicy . . . The New York book world, poised between scruffy glamour and crass commercialism, emerges in this lively chronicle of an iconic institution . . . Entertaining, accessible, smart, and thought-provoking, this is a book very much in tune with the lost literary milieu it re-creates.” (Publishers Weekly)

“Lively history . . . A smart, savvy portrait of arguably the country’s most important publisher . . . complete with sex, sour editors, and the occasional stumble into financial success. . . . A smart and informative portrait of the mechanisms of modern publishing.” (Kirkus)

Most helpful customer reviews

15 of 18 people found the following review helpful.
A Letdown
By Beowulf
I was looking forward to this very, very much: many of my favorite writers began at FS&G and I had recently learned what a terrific editor (and stand-up guy) Robert Giroux was. But this is a dull, dull book that, I suspect, would have been far better as long essay, perhaps serialized in The New Yorker. Almost every page follows the same pattern: paragraphs filled with names of people that the reader (at least this reader) couldn't hold in his head after a few paragraphs. Lots and lots of names are dropped of minor players, office assistants, etc. The total effect is a nest of quacking ducks. I challenge anyone who reads this to retain over 10% of it after an hour or two, other than vague impressions ("Straus was a vulgarian . . . his son didn't like him . . . the FS&G offices were shoddy . . . Straus may or may not have slept with his assistant . . .") A blurb on the back cover (by Toni Morrison) says, "To call Boris Kachka's prose 'brilliant' is not a cliche; it has meaning." Really? "Brilliant?" What in the world is she talking about? He's a fine enough writer, but there are no diamonds in this mine. The one memorable utterance comes from T.S. Eliot on the subject of whether most editors are failed writers. (Eliot said yes, but also added that so were most writers.)

8 of 10 people found the following review helpful.
Every author hoping to be published should read this book
By G. Landry, Author of The Bridge Tender
From start to finish, "Hothouse" is a fun, engaging, almost mesmerizing read. This book is part history, part Toto pulling back the curtain on the inner workings of an esteemed publishing house, part "The Devil Wears Prada" grafted onto the New York publishing scene, and part New Orleans style jazz funeral for that once independent house of legends and lovers of the written word. With the conglomerate-corporatization and hyper-commercialization of the New York publishers that began in earnest a quarter of a century or so ago, and the attendant, insipid primacy of the bottom line that has since so woefully cast its dark shadow on what was once a precious harbor of hope for aspiring authors, we may never again see the kind of nurturing of serious talent that was once upon a time the true bottom line of places like Farrar, Straus, and Giroux.

This book was particularly enlightening on a personal level since I submitted a manuscript years ago to someone who was then barely known but is now one of the most powerful literary agents in the country (one of his authors, like FS&G's Jonathan Franzen, had his novel selected by Oprah for her book club). He called me up the morning after receiving it, said he had stayed up almost all night reading my novel, and not only told me that he loved my book but also paid me one of the kindest compliments I have ever received, telling me that I reminded him of, and was as good of a writer as, Pat Conroy. But although he tried for two years to get a publisher to take my novel, he could not do so despite his considerable talents. He noted that the corporatization of the major publishing houses had resulted in a fixation with publishing franchise authors who were not only already known but who were bound in golden handcuffs that resulted in them becoming purveyors of franchise characters who could be packaged into virtually guaranteed annual bestsellers. In retrospect, after reading "Hothouse," I realize that he was telling me that a golden era had passed for aspiring new authors. This wonderful book has now laid out for all to see just how that came to be. For new writers, so many doors have now been slammed that we now have little choice but to follow the yellow brick road of ebooks and cling to a hope eternal that a real life "Glenda" will come along and be our savior.

Gary P. Landry, author of "The Bridge Tender" (a historical murder mystery/romance/courtroom drama shining the spotlight on the utter idiocy of prejudice) and "River of Mist and Light" (a contemporary thriller/murder mystery set in New Orleans and the adjoining river parishes). [...]

6 of 7 people found the following review helpful.
Suffers from Too Much Detail
By Cynthia C.C.
This isn't a bad book. It is clearly exhaustively researched and contains some good and interesting information. But getting through the entire volume is an exhausting slog. It is not entirely the author's fault. The book covers many decades and hundreds of people. After a while, the endless litany of personalities and unconnected anecdotes blur together until a reader ceases caring. I read the book cover to cover, as I always do when reading. But perhaps this book would be more interesting if a reader just opened to a random page, skimmed a few vignettes, and then picked another random page. It is a good reference, perhaps, but not a great read.

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• Sales Rank: #2030764 in eBooks
• Published on: 2012-07-21
• Released on: 2012-07-21
• Format: Kindle eBook

About the Author
Geboren am 17.04.1852 in Bergedorf bei Hamburg, gestorben am 13.05.1928 in Travemünde. Ihr Vater war Reichstagsabgeordneter, Büchereibesitzer und Journalist. Er unterhielt Kontakte zuGutzkowundHebbel. Ida Ed heirate mit 17 Jahren den Lübecker Kaufmann Karl Johann Boy. Sie verließ ihren Mann und zog mit dem ältesten Sohn nach Berlin. Dort machte sie Bekanntschaft mit vielen Literaten (u. a.MauthnerundLindau). Sie schrieb mehr als 70 Romane und Erzählbände.

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One of Rolling Stone’s 20 Best Music Books of 2013 and one of Slate’s Staff Picks for Best Books of 2013

The ebook edition now includes Nathan Rabin’s "Extended Jam Session"—a two-part bonus chapter about what writing this book did to (and for) his life. The first part chronicles the author’s melancholy yet hilarious excursion on the maiden voyage of the Kid Rock Chillin’ the Most cruise, and the second part depicts the life lessons gleaned from getting sued by American Express over the charges the author racked up writing the book. The chapter sheds new light on a singular and unique exploration of personal and musical obsession and further highlights the book’s theme of transcendence through utter, abject failure.

When memoirist and former head writer for The A.V. Club Nathan Rabin first set out to write about obsessed music fans, he had no idea the journey would take him to the deepest recesses of both the pop culture universe and his own mind. For two very curious years, Rabin, who Mindy Kaling called "smart and funny" in The New Yorker, hit the road with two of music’s most well-established fanbases: Phish’s hippie fans and Insane Clown Posse’s notorious "Juggalos." Musically or style-wise, these two groups could not be more different from each other, and Rabin, admittedly, was a cynic about both bands. But once he gets deep below the surface, past the caricatures and into the essence of their collective cultures, he discovers that both groups have tapped into the human need for community. Rabin also grapples with his own mental well-being—he discovers that he is bipolar—and his journey is both a prism for cultural analysis and a deeply personal exploration, equal parts humor and heart.

• Sales Rank: #434189 in eBooks
• Published on: 2013-06-11
• Released on: 2013-06-11
• Format: Kindle eBook

Review
"A universal [story] about the ways we connect with the music we adore. By making it personal, and by profiling such a broad spectrum of fans, Rabin puts a human face on what would be caricatures." (Publishers Weekly)

"An extremely funny and engaging book about how fandom provides people with surrogate families and a way to escape day-to-day banality." (Rolling Stone (four-star review))

"[A] deftly told tale." (The Huffington Post)

“I love this book. Not only is it funny and well written, but it is, dare I say… beautiful. People could learn a thing or two from Nathan. Instead of judging new things and keeping them at bay because they’re 'scary' or 'shitty,' he embraces them and walks away with rich life experiences. So, give yourself a rich life experience of your own and read this book. Then, when you’re finished, go and see a Phish show. What do you have to lose? Nothing. What do you have to gain? – maybe they’ll play a thirty minute “Tweezer” and you’ll get to see god.” (Harris Wittels )

"Nakedly honest." (The Capital Times)

“Awesomely funny…. I’ve rarely read something that was so good at understanding and building empathy for such an unlikely group.” (David Plotz, Slate Staff Pick, Best Books of 2013 )

"[Insane Clown Posse] may forever remain the butt of jokes, but there's a lot of community-building going on here as revealed in the acclaimed book You Don't Know Me But You Don't Like Me." (Huffington Post)

About the Author
Nathan Rabin is the head writer for The A.V. Club, the entertainment guide of The Onion, a position he has held since he was a college student at University of Wisconsin at Madison in 1997. Rabin is also the author of a memoir, The Big Rewind, and an essay collection based on one of his columns, My Year of Flops. He most recently collaborated with pop parodist Weird Al Yankovic on an illustrated autobiography titled Weird Al: The Book. Rabin’s writing has also appeared in The Wall Street Journal, Spin, The Huffington Post, The Boston Globe, Nerve, and Modern Humorist. He lives in Chicago with his wife.

Excerpt. © Reprinted by permission. All rights reserved.
You Don’t Know Me but You Don’t Like Me WHAT MADNESS HAVE I GOTTEN MYSELF INTO?
It begins, as these things generally do, with a girl. When I was twenty-five years old in 2001 I traveled to Marietta, Georgia, to visit my younger sister, Shari, and became instantly enraptured with a radiant seventeen-year-old friend of hers I will call Cadence Caraway. Though we spent only an hour together having brunch, the memory of Cadence haunted me until eight years later when she contacted me on the message boards for the A.V. Club, the entertainment monolith where I have toiled as head writer since the beginning of time. We fell in love via e-mails and phone conversations before beginning a long-distance romance that found us shuttling back and forth between Providence, Rhode Island, where Cadence was getting her master’s in teaching from Brown, and my hometown of Chicago.

In Providence one of our most beloved and oft-repeated rituals entailed compulsively watching the music video for “Miracles,” from controversial Detroit horrorcore duo Insane Clown Posse. We were mesmerized by the surreal incongruity between the gothic artifice of Insane Clown Posse’s wicked-clown persona and the video’s glorious lack of self-consciousness. The self-styled World’s Most Hated Group had been on the periphery of my consciousness since I started writing about pop culture for the A.V. Club. The band was an easy punch line for cynics, as well as the inspiration for the most mocked and reviled subculture in existence: Juggalos, the strange, often Midwestern creatures who wore clown makeup, greeted each other with hearty cries of “Whoop whoop,” “Family,” and “Magic magic ninja what!” and sprayed themselves with off-brand Faygo sodas during concerts rich in theatricality and homemade spectacle. They unite every year for an infamous multiday bacchanal known as the Gathering of the Juggalos.

Deans of pop culture had treated the duo with equal parts fascination and repulsion, but after “Miracles” my mild curiosity about Insane Clown Posse and the wild, weird, disreputable world they rule as clown-painted demon deities evolved into something more serious. Yet even as someone fortunate enough to be able to write about his obsessions for a living, I had only a fuzzy conception of what a massive role Insane Clown Posse (aka ICP) and especially their passionate, intense, and unique fans would play in the next few years of my life.

Cadence shared my intense obsession with “Miracles” even if the duo’s self-deprecating, tongue-in-cheek take on horrorcore couldn’t have been further from her usual tastes. In one of her first e-mails to me, Cadence inquired, “Do you like the band Phish?” I freaked out a little bit. Asking someone if they like Phish is a loaded question. It’s not like asking, “Do you like Squeeze?” Nobody is liable to care if you enjoy the music of the veteran British pop band behind “Tempted” and “Pulling Mussels from a Shell,” but if someone says they’re really into Phish, we’re often tempted to make sweeping generalizations about their personality, intelligence, personal hygiene, sobriety, class, education, and taste.

There’s a great T-shirt from my employers at the Onion that reads, STEREOTYPES ARE A REAL TIME-SAVER. That’s certainly true when it comes to Phish and Insane Clown Posse. Buy into the stereotype of Juggalos as uneducated, violent, racist, and ignorant, or Phish fans as unemployed, weed-smoking, unjustifiably privileged space cadets, and you don’t have to waste time listening to their music or actually interacting with any of their fans.

Part of the revulsion people feel toward Phish and Insane Clown Posse is physical in nature. Being a hardcore Insane Clown Posse fan is an intensely visceral experience involving sticky clown makeup, soda-soaked clothing, homemade tattoos, and, in the case of the Gathering of the Juggalos, thousands of Juggalos gathering in a remote, drug-sex-and-alcohol-choked rural environment for days on end with extraordinarily limited access to showers, toiletries, and other niceties. On a primal level, a lot of people find Juggalos just plain gross.

Phish fans aren’t held in the same contempt, in part because their fan base tends to be better educated and wealthier than the overwhelmingly working-class Juggalos, but as the biggest and best-known jam band in existence, Phish is one of the primary targets of our culture’s long-standing antihippie bias. By the time I went to college in Madison, Wisconsin, in 1994, Phish was the hippie band, just as the Grateful Dead was the hippie band for generations before it. Like the Grateful Dead, Phish tends to be judged by the culture and attitudes of its fans as much as the content of its music. As a college kid, I came to see Phish as the band whose music you were casually forced to listen to in exchange for a free bowl of pot. I don’t remember the music nearly as much as I remember those experiences. I think that’s true for a lot of people’s perception of Phish: The music floats away into a noodly, interchangeable blur of guitar solos and free-form sonic experimentation, but the stoned grins, tie-dyed shirts, and mellow vibes of fans linger on. In part because its oeuvre was critically unfashionable and terminally unhip, I let Phish’s music wash over me without really thinking about it or really, truly listening to it.

As I grew older I internalized our culture’s revisionist take on hippies as drug-addicted, myopic brats luxuriating in eternal adolescence. I inherited the widespread sense that hippies were getting away with something, that they were lazily opting out of civilization to get high in a field while the grueling machinery of late-period capitalism continued without them.

The hippie ethos and Phish’s mythology are inextricably intertwined: Phish isn’t a band; it’s a way of life. It’s a name that conjures up images of lost children with scruffy beards and tie-dyed shorts and sad, emaciated pit bulls on rope chains accompanied by dreadlocked white women habitually clad in flowing dresses.

“Do you like the band Phish?” implicitly means, “How do you feel about jam bands? How do you feel about people who follow Phish? How do you feel about marijuana and Ecstasy and nitrous and acid and mushrooms? How do you feel about traveling from town to town and devoting your life to the music of a group of middle-aged men? How do you feel about the Grateful Dead? How do you feel about the sixties? How do you feel about sex and freedom and the liberating powers of rock ’n’ roll? How do you feel about the open road? How do you feel about earnestness and sincerity and sneering, protective irony?”

Did I like the band Phish? I had no idea. I’d lazily bought into the overriding cultural assessment of the band and its fans, but now I had a whole new frame of reference: my beloved Cadence.

Phish had made my Cadence happy. I wanted to be part of anything that gave her joy. I fell in love with her in a way that paradoxically made me feel powerful and powerless, bulletproof and vulnerable. I felt like I could accomplish anything with her by my side but the prospect of losing her terrified me. I didn’t just want to be her present and future: I wanted to retroactively become her past as well. I wanted to somehow Photoshop myself into her memories. I wanted to travel back in time and twirl ecstatically at half-forgotten festivals. I fell in love with the woman Cadence had become but I was also in love with the beautiful child she had been. Maybe that’s what my sudden urge to see as many Phish shows as possible was ultimately about: rewriting Cadence’s history with me as the romantic lead.

How could I hold on to my knee-jerk anti-Phish prejudice when the band meant so much to the greatest source of happiness in my life? As a freakishly smart, preternaturally verbal, obscenely well-read teenager in the sprawling suburban wasteland of Marietta, Georgia (Newt Gingrich’s district), Cadence followed Phish to escape a dispiriting universe of jocks and skinny blonde girls, a soul-crushingly homogenous realm where everyone became a real estate salesman or stockbroker, got married in their early twenties, voted Republican, and traded lawn-maintenance tips at the country club after work. To Cadence, Phish fandom was a way of both asserting her individuality and joining a tribe.

Though we grew up nearly a decade apart and several universes away from each other, we both sought out books and music and movies and ideas as a way of escaping a world where we didn’t belong. For me, that meant throwing myself into art that expressed the bottomless rage I felt. I lost myself in the anarchic anger of Johnny Rotten or the righteous rebellion of the Coup. For Cadence, it meant traveling in the opposite direction, seeking out music and a scene that stumbled toward grace, toward transcendence, toward the eternal ideal of one nation under a groove.

We are born with open minds. We want to explore, to learn, to grow, to see and experience everything. But as we get older our minds begin to close. We become stuck in our ways. Preferences become prejudices. Yes, yes, yes is replaced by Bartleby’s “I’d prefer not to.” New movements and stars and genres strike us as strange, incomprehensible, objectionable, and ridiculous. Our lust for knowledge and adventure is replaced by a desire for those damned kids to get off our lawn and turn down that crazy jungle music while they’re at it. We fetishize the music and movies and movements of our youth....

Most helpful customer reviews

21 of 25 people found the following review helpful.
Unfortunately narcissistic and rambling
By MvR
I hate that I can't finish this book.
I usually finish everything, but I'm going to go with the "life's too short to waste on boring books" philosophy for this one.
It seems like the author (and he admits this) is just trying to fill pages. Very repetitive (how many times can you write that a show was a good time? (Answer:257 pages of times).He admits to being anxious that he would't be able to fill a book and the reader can tell.

Also, there is no mention of his mental illness... just all of a sudden, one day, he is "falling apart" by his own definition. However, there is no evidence of this behaviorally, no explanation of how it came on, if it's ever happened in the past, is he used to it or is this something totally new, It's confusing to the reader. We get 4 chapters of normal mental acuity and then all of a sudden, there are a few pages saying he's crazy. Since it's so out of nowhere, and doesn't have much to back it up, it seems kind of... I hate to say this but... self-indulgent. (For the record, I have a mental illness and I also treat people with MI. I don't look down on it. I just don't think he writes about his experience very convincingly.)

The main topic of the book (the author's experience following two very different bands) is such a weird concept that the writing would have to be really tight and focused to pull that off and it wasn't. It could have been a great book, but he let it slip away. The author rambles and seems lost in his writing. It's one thing to be emotionally lost and write about it, while it's another to have lost your focus and subject matter completely.

I don't give reviews that often and I don't enjoy giving bad ones but I really had to put this book down after giving it a couple of weeks of tries.

14 of 16 people found the following review helpful.
Excellent - like reading someones tour journal
By Adam L. Oconnor
This book caught my interest when I read about it in the back of a Rolling Stone magazine. Being a Phish fan I naturally wanted to check it out as anything about my favorite band sparks my interest. However, the thought of mashing ICP with Phish seemed appalling. I have to admit I've had zero interest in ICP - if anything I've been snobby and judgmental towards them. My knowledge of them has been the tidbits I've heard in the media.

After reading this book I have respect for ICP and realized that I'm simply guilty of judging a book by its cover. Judging ICP and their fans is like judging Phish heads for what they do w/o fully understanding why they do what they do. Fact is when music touches you and you find your 'people' it truly is the gift of a lifetime and no one has the right to judge that.

I think the line that really hit me hard was when the author and his girlfriend were standing in line to see ICP and a man with a scar on his face turned around and mentioned that this is the only place where he doesn't feel like a freak. That really hit me because even free thinking people can become jaded and judgmental. Though I don't consider myself a juggalo and probably won't go see ICP my eyes are open and I have respect for them and their tribe.

The Phish portions were great as I feel like the author maintained a presence in the audience/crowd vs. got in the inside. I've been seeing Phish for almost 20 years now and during that time I've bumped into them in the lot, hotels, etc... Each time I found myself with nothing to say. There's something mystique about Phish and sometimes I wonder if meeting the band would ruin it. That's what I found cool about this book is it kind of maintained that aspect and kept it real.

Anyhow - I rec'd picking this one up its a good one.

P.S. As messed up as your life was during the course of events while writing this book - it seems fitting much like a Phish song. Perhaps like Antelope - starts out normal, gets crazy, then finds itself again to land everyone home peacefully. ;-)

24 of 32 people found the following review helpful.
Pretty Bad
By Anchovies
I loved the idea of this book. Maybe I was projecting too much of what I wanted it to be. An anthropological look at ICP and Phish fans through the lens of a funny pop culture writer? Sounds like a great read. Too bad that's not what this book is. I think the author started out with this intention, but halfway through, he admits that his vision for it had changed. Instead it would be a love letter to his Phish-fan girlfriend.

Then again, the book didn't turn out to be that, either. Lacking vision, it becomes a druggy travelogue. Basically the author tells his drug stories, which later in the book he admits aren't very interesting if you aren't the one experiencing them. Exactly.

It's a real shame, because I really would like to learn more about ICP fans and Phish fans. I'd like to hear their stories and what motivates them to follow these bands. There's maybe three or four pages in the book that talks about it in a quick summation. The rest of the book is about the author doing drugs and talking about his mental breakdown. The mental breakdown is supposed to be the arc of the story, but it doesn't really work because we're really not invested in the author. The author does seem to have interesting back story, but since it's only hinted at, I don't really know him or care, and therefore really don't care about his mental breakdown.

The writing is hard to follow and changes direction often. When he does talk about certain fans, they're forgotten sentences later as the direction shifts yet again. I wonder if this is more a function of the author being hazy and under the influence during most of the encounters.

The only good thing I'd say about the book is it would make a good beach read -- you know, when the material is light, you can look away often to check out the surf and other beachgoers, and return to it without having to really worry about where you last left off.

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"An anecdotal reminiscence of America’s chief living genius by his son — short, unconventional, amusing and on the whole revealing." — Book Week.
Frank Lloyd Wright is widely regarded as the twentieth century’s greatest architect — an unconventional genius who transformed both residential and commercial building design with his concept of “organic” architecture. During a long and productive life, Wright designed some 800 buildings, received scores of honors and awards, and left an indelible imprint on modern architectural theory and practice.
In this charming, readable memoir, Wright the architect and father comes to life through the vivid recollections and firsthand knowledge of his son. John Lloyd Wright characterizes his father as “a rebel, a jolt to civilization, whose romantic theme — purposive planning and organic unity in inventing and combining forms — is an epoch in the architecture of the world.” His unique view of the “epoch” will intrigue architects, students, and all who admire the work of this visionary and uncompromising spirit. An added attraction of this volume is the inclusion of the complete text of William C. Gannet's The House Beautiful, an extremely rare work designed and printed by Frank Lloyd Wright.

• Sales Rank: #468942 in eBooks
• Published on: 2012-04-19
• Released on: 2012-04-19
• Format: Kindle eBook

Most helpful customer reviews

16 of 17 people found the following review helpful.
A Son's Point of View
By R S Lund
It was a pleasure to read something about FLW from one of his children's point of view. In all that I have read about this man I have often thought about his children and how they felt. John Lloyd Wright gives an honest account of his relationship with his Father whether it be happy or sad. FLW was a genius when it came to architecture. He built buildings according to his own desires and influenced architecture for generations to come. He was a free thinker and put his heart and soul into everything he did, including being a wonderful Father when he was with them. Who are we to judge someone who opened the world's eyes to think out of the box. I recommend this book to people that are highly critical of his morals. He too had his own demons but his art was his escape.

3 of 4 people found the following review helpful.
it is a good
By bob Moyer
If you are interested in this man's life, it is a good book

0 of 0 people found the following review helpful.
unique insight
By Pawtuxet
Loved the story... such a different insight to a genius' personal relationships.

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One of the seventeenth century's most important thinkers, Gottfried Wilhelm Leibniz exercised enormous influence on the philosophy of Herder, Feuerbach, and Hegel as well as on the writings of Schiller and Goethe. Two of Leibniz's most studied and often quoted works appear in this volume: Discourse on Metaphysics and The Monadology.
Published in 1686, the Discourse on Metaphysics consists of Leibniz's expansion of a letter to his theologian friend Antoine Arnauld, in which he explains that through our perceptions we express the rest of the universe from our own unique perspectives. The whole world is thus contained in each individual substance as each represents the same universe and "the universe is in a way multiplied as many times as there are substances, and similarly the glory of God is redoubled by as many completely different representations of His work." It is here that Leibniz makes his famous assertion that God, with perfect knowledge and goodness, freely chose to create this, the best of all possible worlds.
The Monadology, written in 1714, offers a concise synopsis of Leibniz's philosophy. It establishes the laws of final causes, which underlie God's free choice to create the best possible world--a world that serves as dynamic and perfectly ordered evidence of the wisdom, power, and benevolence of its creator.

• Sales Rank: #438344 in eBooks
• Published on: 2012-03-09
• Released on: 2012-03-09
• Format: Kindle eBook

About the Author
Gottfried Wilhelm Leibniz, ne a Leipzig le 1er juillet 1646 et mort a Hanovre le 14 novembre 1716, est un philosophe, scientifique, mathematicien, logicien, diplomate, juriste, bibliothecaire et philologue allemand. Il exerca une grande influence sur les cours d Europe, fit passer les mathematiques dans une nouvelle ere. Il est considere comme l un des plus grands penseurs europeens.

George Montgomery is the Grandson of W. R. Montgomery and Lives in Daytona Beach, Florida.

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0 of 0 people found the following review helpful.
AN EXCELLENT COLLECTION OF THREE IMPORTANT WORKS BY ONE OF THE GREAT 17TH CENTURY "RATIONALISTS"
By Steven H Propp
Gottfried Wilhelm von Leibniz (1646-1716) was a German mathematician and philosopher; He developed calculus independently of Isaac Newton. Other works of his are collected in Leibniz Selections.

In his Discourse on Metaphysics, he wrote, "Against those who think that God might have made things better than he has... It seems to me that the consequences of such an opinion are wholly inconsistent with the glory of God... To show that an architect could have done better is to find fault with his work. Furthermore this opinion is contrary to the Holy Scriptures when they assure us of the goodness of God's work." (Pg. 5-6) After observing that "God does nothing which is not orderly," he adds, "I use these comparisons to picture a certain imperfect resemblance to the divine wisdom, and to point out that which may at least raise our minds to conceive in some sort what cannot otherwise be expressed. I do not pretend at all to explain thus the great mystery upon which depends the whole universe." (Pg. 10-11)

He argues, "certain philosophers... have constructed a demonstration of God that is extremely imperfect. It must be, they say, that I have an idea of God, or of a perfect being, since I think of him and we cannot think without having ideas; now the idea of this being includes all perfections and since existence is one of these perfections, it follows that he exists... it is when he is assured of the possibility of a thing, that one can boast of having an idea of it. Therefore, the aforesaid argument proves that God exists, fi he is possible. This is in fact an excellent privilege of the divine nature, to have need only of a possibility or an essence in order to actually exist, and it is just this which is called ens a se [`being out of itself"]." (Pg. 40-41)

Of miracles, he says, "These are a part of the general order and conform to the principal purposes of God and consequently, are involved in the concept of this universe, which is a result of these designs. Just as the idea of a building results from the purposes or plans of him who undertakes it, so the idea or concept of this world is a result of the designs of God considered as possible." (Pg. 109)

In his Correspondence, he asserts, "I maintain that every substance involves in its present state all its past and future states and even expresses the whole universe according to its point of view, since nothing is so far from anything else that there is no relation between them." (Pg. 233)

In his Monadology, he begins with the statement, "The Monad, of which we will speak here, is nothing else than a simple substance, which goes to make up composites; by simple, we mean without parts... These Monads are the true Atoms of nature, and, in fact, the Elements of things." (Pg. 251) He asserts, "Therefore God alone (or the Necessary Being) has this prerogative that if he muse necessarily exist, and, as nothing is able to prevent the possibility of that which involves no bounds, no negation, and consequently, no contradiction, this alone is sufficient to establish a priori his existence. We have, therefore, proved his existence through the reality of eternal truths." (Pg. 260-261) Later, he adds, "Thus although each Monad represents the whole universe, it represents more distinctly the body which specifically pertains to it, and of which it constitutes the entelechy." (Pg. 265)

He states his famous "principle of Sufficient Reason, in virtue of which we believe that no fact can be real or existing and no statement true unless it has a sufficient reason why it should be thus and not otherwise. Most frequently, however, these reasons cannot be known by us." (Pg. 258)

Leibniz's philosophy (which, surprisingly, was treated respectfully by the arch-rationalist Bertrand Russell) is less popular these days than his fellow rationalists Descartes and Spinoza; but some of this ideas (e.g., the Principle of Sufficient Reason) have had lasting influence; this is an excellent collection of his writings, and makes as useful introduction to his thought.

0 of 0 people found the following review helpful.
A great read that makes you view the world from another prespective
By Moe
A really interesting book but wouldn't recommend for people who are new to philosophy.

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## Download PDF Fifty Challenging Problems in Probability with Solutions (Dover Books on Mathematics), by Frederick Mosteller

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Can you solve the problem of "The Unfair Subway"? Marvin gets off work at random times between 3 and 5 p.m. His mother lives uptown, his girlfriend downtown. He takes the first subway that comes in either direction and eats dinner with the one he is delivered to. His mother complains that he never comes to see her, but he says she has a 50-50 chance. He has had dinner with her twice in the last 20 working days. Explain. Marvin's adventures in probability are one of the fifty intriguing puzzles that illustrate both elementary ad advanced aspects of probability, each problem designed to challenge the mathematically inclined. From "The Flippant Juror" and "The Prisoner's Dilemma" to "The Cliffhanger" and "The Clumsy Chemist," they provide an ideal supplement for all who enjoy the stimulating fun of mathematics. Professor Frederick Mosteller, who teaches statistics at Harvard University, has chosen the problems for originality, general interest, or because they demonstrate valuable techniques. In addition, the problems are graded as to difficulty and many have considerable stature. Indeed, one has "enlivened the research lives of many excellent mathematicians." Detailed solutions are included. There is every probability you'll need at least a few of them.

• Sales Rank: #80139 in eBooks
• Published on: 2012-04-26
• Released on: 2012-04-26
• Format: Kindle eBook

From the Back Cover
Can you solve the problem of "The Unfair Subway"?Marvin gets off work at random times between 3 and 5 p.m. His mother lives uptown, his girlfriend downtown. He takes the first subway that comes in either direction and eats dinner with the one he is delivered to. His mother complains that he never comes to see her, but he says she has a 50-50 chance. He has had dinner with her twice in the last 20 working days. Explain.Marvin's adventures in probability are one of the fifty intriguing puzzles that illustrate both elementary ad advanced aspects of probability, each problem designed to challenge the mathematically inclined. From "The Flippant Juror" and "The Prisoner's Dilemma" to "The Cliffhanger" and "The Clumsy Chemist," they provide an ideal supplement for all who enjoy the stimulating fun of mathematics.Professor Frederick Mosteller, who teaches statistics at Harvard University, has chosen the problems for originality, general interest, or because they demonstrate valuable techniques. In addition, the problems are graded as to difficulty and many have considerable stature. Indeed, one has "enlivened the research lives of many excellent mathematicians." Detailed solutions are included. There is every probability you'll need at least a few of them.

About the Author

Charles Frederick Mosteller ( 1916–2006) was one of the eminent statisticians of the 20th century. He was the founding chairman of Harvard's Statistics department. Dr. Mosteller wrote more than 50 books and more than 350 papers, with over 200 coauthors.

Frederick Mosteller: Harvard Man
Frederick Mosteller (1916–2006) founded Harvard University's Department of Statistics and served as its first chairman from 1957 until 1969 and again for several years in the 1970s. He was the author or co-author of more than 350 scholarly papers and more than 50 books, including one of the most popular books in his field, first published in 1965 and reprinted by Dover in 1987, Fifty Challenging Problems in Probability with Solutions.

Mosteller's work was wide-ranging: He used statistical analysis of written works to prove that James Madison was the author of several of the Federalist papers whose authorship was in dispute. With then–Harvard professor and later Senator Daniel P. Moynihan, he studied what would be the most effective way of helping students from impoverished families do better in school — their answer: to improve income levels rather than to simply spend on schools. Later, his analysis of the importance to learning of smaller class sizes buttressed the Clinton Administration's initiative to hire 100,000 teachers. And, as far back as the 1940s, Mosteller composed an early statistical analysis of baseball: After his team, the Boston Red Sox, lost the 1946 World Series, he demonstrated that luck plays an enhanced role in a short series, even for a strong team.

In the Author's Own Words:
"Though we often hear that data can speak for themselves, their voices can be soft and sly." — Frederick Mosteller

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156 of 160 people found the following review helpful.
A look at the essence of probability, at all levels
By Mary P. Campbell
If Mosteller hadn't included the solutions, this would have been a short book indeed -- 56 problems simply stated in 14 pages. You'll soon find, however, that some problems, which are the shortest to set up, take a great deal of brainpower. It starts innocently enough - some simple-sounding problems on socks in drawers, flipping coins, and rolling dice. Soon enough, you end up with paper black with numbers and pictures of a flipping coin (how thick does a coin need to be so that it lands on its =side= with probability 1/3?) If you get drawn in deep (as I did), you may even wonder what probability really means.
Some of the problems are classic, such as the problem of how many people would it take for the probability that at least two of them have the same birthday is greater than a half (I'll give this answer away: 23. But do you know why?) One of the dice problems actually recalls the history of the development of probability as a separate mathematical field -- problem #19, involving dice bets that Samuel Pepys asked Isaac Newton to figure out. Some of the problems are simply openers for entire vistas in probability - avoid problems #51 and #52 if you wish to not become enmeshed in concerns of random walks (remember that one of Einstein's earliest papers was on Brownian motion - a molecular random walk.) I used problem #25, which deal with "random chords on a circle", to explore this classic probability paradox - I've ended up with three different figures, all of which seem plausible! It gets deep to what one means by "random chord".
This book, though so thin, is inexhaustible in spawning disturbing questions about probability; even more useful is that there are questions for people at =any= level of knowledge of probability. Those who wish to think about "counting" problems (like those involving rolling dice, or pulling balls out of urns) will find those here. Those who have an interest in continuous probability will find problems which will interest them. And those old probability pros who ponder the essence of chance will find meat for some productive chewing.

50 of 51 people found the following review helpful.
I passed my PhD qualifier because of this book!
By UNPINGCO
Excellent selection of problems and very explanatory and detailed solutions. This gets to the ideas behind many of the popular methods in probability, like maximum likelihood. The concepts are given centerstage and provide insights on "how to think" about many problems in probability.

41 of 41 people found the following review helpful.
useful, effective fun
By mcnicely
Working through the colorful problems in this book is a great way to (re)learn and apply basic probability principles. There is a great deal of independence between problem so you are never quite sure how tough or easy the next one will be. On the other hand, several of the problems are clearly follow-ons that allow the exploration or expansion of some of the more interesting issues.
Though I've worked through the problems a couple of times, I bought a replacement copy when my original was "permanently borrowed" from my desk at work.

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> PDF Download Arsenic & Rice, by Andrew A. Meharg, Fang-Jie Zhao

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Rice is the staple food for half of the world’s population. Consumption of rice is the major exposure route globally to the class one, non-threshold carcinogen inorganic arsenic. This book explains the sources of arsenic to paddy soils and the biogeochemical processes and plant physiological attributes of paddy soil-rice ecosystems that lead to high concentrations of arsenic in rice grain. It presents the global pattern of arsenic concentration and speciation in rice, discusses human exposures to inorganic arsenic from rice and the resulting health risks. It also highlights particular populations that have the highest rice consumptions, which include Southern and South East Asians, weaning babies, gluten intolerance sufferers and those consuming rice milk. The book also presents the information of arsenic concentration and speciation in other major crops and outlines approaches for lowering arsenic in rice grain and in the human diet through agronomic management.

• Published on: 2012-02-28
• Released on: 2012-02-28
• Format: Kindle eBook

From the Back Cover

Rice is the staple food for half of the world’s population. Consumption of rice is the major exposure route globally to the class one, non-threshold carcinogen inorganic arsenic. This book explains the sources of arsenic to paddy soils and the biogeochemical processes and plant physiological attributes of paddy soil-rice ecosystems that lead to high concentrations of arsenic in rice grain. It presents the global pattern of arsenic concentration and speciation in rice, discusses human exposures to inorganic arsenic from rice and the resulting health risks. It also highlights particular populations that have the highest rice consumptions, which include Southern and South East Asians, weaning babies, gluten intolerance sufferers and those consuming rice milk. The book also presents the information of arsenic concentration and speciation in other major crops and outlines approaches for lowering arsenic in rice grain and in the human diet through agronomic management.

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1 of 1 people found the following review helpful.
Mainly for Agronomists
By Chemistry professor
Almost all foodstuffs (and our drinking water) contain potentially harmful arsenic compounds. Rice contains, by far, the highest concentrations of these compounds. Consumers should be able to make informed decision about rice (and rice product) consumption. However, "Arsenic & Rice" contains everything you wanted to know about the global arsenic-in-rice situation--if you are an agronomist or plant scientist. The book is not a sequel to "Venomous Earth," which *was* written for the lay reader (and is a great read). None-the-less, "Arsenic & Rice" is a thoroughly researched, well-organized text, from which with the aid of, say Wikipedia, a lot of relevant material can be understood by a readership with some science background. The section likely to be of most interest to the general reader is "risk assessment from arsenic in rice;" unfortunately, the section is rather short and rather technical. The authors are careful not to use subjective language, though they do conclude a discussion of the exposure of adults in the US with the statement, "the situation is more problematic for children." The recent "Consumer Reports" article, "Arsenic in your Food," (on the web Sept 2012) is a more accessible account of the situation in the US and comes to much the same conclusion: we are eating too much of the toxic arsenic compounds.

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