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American Psycho, by Bret Easton Ellis

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The modern classic, the basis of a Broadway musical, and major motion picture from Lion's Gate Films starring Christian Bale, Chloe Sevigny, Jared Leto, and Reese Witherspoon, and directed by Mary Harron.

In American Psycho, Bret Easton Ellis imaginatively explores the incomprehensible depths of madness and captures the insanity of violence in our time or any other. Patrick Bateman moves among the young and trendy in 1980s Manhattan. Young, handsome, and well educated, Bateman earns his fortune on Wall Street by day while spending his nights in ways we cannot begin to fathom. Expressing his true self through torture and murder, Bateman prefigures an apocalyptic horror that no society could bear to confront.

• Sales Rank: #4448 in Books
• Brand: Vintage
• Published on: 1991-03-01
• Released on: 1991-03-06
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .90" w x 5.20" l,
• Binding: Paperback
• 399 pages

Features

• Vintage

From Library Journal
This review is based on the galley issued by Ellis's original publisher, Simon & Schuster, before it cancelled the book. The book is now going through the editing process at Vintage. There may be some changes in the final version. The indignant attacks on Ellis's third novel (see News, p. 17; Editorial, p. 6) will make it difficult for most readers to judge it objectively. Although the book contains horrifying scenes, they must be read in the context of the book as a whole; the horror does not lie in the novel itself, but in the society it reflects. In the first third of the book, Pat Bateman, a 26-year-old who works on Wall Street, describes his designer lifestyle in excruciating detail. This is a world in which the elegance of a business card evokes more emotional response than the murder of a child. Then suddenly, for no apparent reason, Bateman calmly and deliberately blinds and stabs a homeless man. From here, the body count builds, as he kills a male acquaintance and sadistically tortures and murders two prostitutes, an old girlfriend, and a child he passes in the zoo. The recital of the brutalization is made even more horrible by the first-person narrator's delivery: flat, matter-of-fact, as impersonal as a car parts catalog. The author has carefully constructed the work so that the reader has no way to understand this killer's motivations, making it even more frightening. If these acts cannot be explained, there is no hope of protection from such random, senseless crimes. This book is not pleasure reading, but neither is it pornography. It is a serious novel that comments on a society that has become inured to suffering. Previewed in Prepub Alert, LJ 9/15/90 and 12/90.
- Nora Rawlinson, "Library Journal"
Copyright 1991 Reed Business Information, Inc.

Review
“Bret Easton Ellis is a very, very good writer [and] American Psycho is a beautifully controlled, careful, important novel…. The novelist’s function is to keep a running tag on the progress of culture; and he’s done it brilliantly…. A seminal book.” —Fay Weldon, The Washington Post
 
“A masterful satire and a ferocious, hilarious, ambitious, inspiring piece of writing, which has large elements of Jane Austen at her vitriolic best. An important book.” —Katherine Dunn
 
“A great novel. What Emerson said about genius, that it’s the return of one’s rejected thoughts with an alienated majesty, holds true for American Psycho…. There is a fever to the life of this book that is, in my reading, unknown in American literature.” —Michael Tolkin
 
“The first novel to come along in years that takes on deep and Dostoyevskian themes…. [Ellis] is showing older authors where the hands come to on the clock.” —Norman Mailer, Vanity Fair

From the Inside Flap
Now a major motion picture from Lion's Gate Films starring Christian Bale (Metroland), Chloe Sevigny (The Last Days of Disco), Jared Leto (My So Called Life), and Reese Witherspoon (Cruel Intentions), and directed by Mary Harron (I Shot Andy Warhol).
In American Psycho, Bret Easton Ellis imaginatively explores the incomprehensible depths of madness and captures the insanity of violence in our time or any other. Patrick Bateman moves among the young and trendy in 1980s Manhattan. Young, handsome, and well educated, bateman earns his fortune on Wall Street by day while spending his nights in ways we cannot begin to fathom. Expressing his true self through torture and murder, Bateman prefigures an apocalyptic horror that no society could bear to confront.

Most helpful customer reviews

13 of 13 people found the following review helpful.
MISOGYNISTIC. CONTROVERSIAL. GRATUITOUS. SENSATIONAL AWESOMENESS
By Thomas S Flowers
Bret Easton Ellis’ novel, American Psycho, has just about as a precarious history as the contents held within its blood splattered pages. First released by Simon & Schuster in early 1991 and soon after quickly sold to Vintage by the publisher for undisclosed reasons and for an undisclosed sum of money. For us folks doing a review in 2015, almost a quarter of a century down the road, this sounds quite bizarre for a publisher to boot such a phenomenal piece of horror fiction -- however, apparently during the early 90’s, American Psycho was received a tad bit differently than one might expect today. Today, American Psycho is heralded as a postmodern cult classic, used no less in hip English lit classes and sociology classes, hell maybe even psychology classes, and if teachers were really smart, criminology classes! Its very strange looking back at American Psycho’s first release and reading all the vile contemptuous swings reviewers and readers and the media alike took at Ellis. Especially considering how during the same year Silence of the Lambs was released theatrically and went on to win dozens of awards, including: The Academy Award for Best Picture, Best Actor, Best Director, etc. etc. How can a movie and book about cannibalism, the most taboo thing imaginable, shine with audiences while at the same time American Psycho can be chased away by a mob with flaming torches and pitch forks? According to Ellis, who stated in a somewhat recent interview, “It was feminists and The New York Times. Hand-wringing liberals [who] were upset about ‘American Psycho.’ I don't think there was a single peep from conservatives or anyone like that. It was a liberal witch hunt and I was at the center of it” (The Oregonian, 2010). In a previous interview with Roger Cohen, from the New York Times, back during his books initial release, in response to the numerous death threats he had received in the mail, Mr. Ellis said that he “had no idea the novel would provoke the reception it's gotten, and I still don't quite get it” (New York Times, 1991). It is so bizarre how Anthony Hopkins chewing some dudes face off can be considered highbrow, while American Psycho, which had more to say regarding the quiet submission to consumerism and desensitization of the silent majority than any other work of fiction at the time, can be held with such contempt.
In retrospect of heavy criticisms, Mr. Ellis follows with one of the most profound statements regarding the craft of writing, something I believe all writers should well remember, when he states: “You do not write a novel for praise, or thinking of your audience. You write for yourself; you work out between you and your pen the things that intrigue you” (New York Times, 1991). And with American Psycho, as this humble reviewer understands it, Ellis was “working out” how society during the late 1980’s had considered the “surface” things, such as: food, clothes, money, etc., to be the only means in which a person can be defined. And this comment on society becomes obviously apparent and satirically metaphorical when you begin to read his book. In the very first pages, Ellis numbs the mind by using the narrator, Patrick Bateman, who also so happens to be a complete lunatic, to list off in excruciating detail all the many “surface” things he sees on the day to day, such as: designer suits, Walkman’s, music, movies, furniture, TV shows, restaurants, food, etc., etc. These things are important to him, while at the same time, not important. Even the murders are so brutally detailed, eventually at least (the book does have a sense of pace to it), that we become, in a way, desensitized to the violence just as much as we are desensitized to the material. Everything becomes banal. Here is what Pat Bateman has to say for himself towards the end of the book after he emerges from a near-psychotic break:

“There is an idea of a Patrick Bateman, some kind of abstraction, but there is no real me, only an entity, something illusory, and though I can hide my cold gaze and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable: I simply am not there…” (American Psycho, pgs. 376-377).

The above statement was made popular with the release of the theatrical version of the book, staring Christian Bale, back in 2000. And the madman goes on, of course. Bateman questions the very banality of evil, “is evil something we are or something we do?” etc. etc. And by the end, he finds what we “normal” folks might consider to be the deeper things in life, such as: war and politics, family, discoveries, sunrises, heroes, falling in love, blah-blah-blah, to be also utterly dull. Bateman can only find one clear emotion within him, greed – oh and perhaps, as he suggested -- disgust. The most pungent scene, for me, that invokes this macabre bland worldview is at the beginning of the book. Patrick is waiting on Patricia who so happens to be late for their date. When she finally arrives, Patrick narrates, nonchalantly, that she is safe from his knife, safe from him cutting open her throat and watching her bleed with mild disinterest, not because of any kind of luck, and not really because she comes from a wealthy stock, but simply and callously because Bateman made the choice. Bateman states: “Patricia will stay alive, and this victory requires no skill, no leaps of the imagination, no ingenuity on anyone’s part. This is simply how the world, my world, moves” (American Psycho, pg. 282). When I first read this line…my bones were chilled by the eerie ordinariness of it. The stylization is so humdrum you can actually feel madness slipping on like an old pair of slippers as you read the narrators ghastly horrific plunge further down into the rabbit-hole. When he finally emerges, you’re expecting some earth shattering revelation, but his only revelation is that nothing matters. It is what it is. He is what he is. The world is what it is. And there is nothing special in that. And there is nothing special in monotony.

When thinking what American Psycho means to me in 2015, I’m struck by an overwhelming sadness in how some horror books and movies are never appreciated in their day. The heinous reception of American Psycho in 1991 and how it has now become this beloved cult classic reminds me so much of John Carpenter’s adaptation of “Who Goes There” with The Thing (1982). Both were completely hated and bashed by not only critics (which we should expect) but also by audiences. American Psycho stands out to me, not only because of its quip attitude toward yuppie culture during the 1980’s, an excellent timepiece for modern day writers to resource, but also because you can feel the character, the crazed loon, desperately trying to be normal even though he is anything but normal, till the end when he finally snaps and the story whips from first person to third and finally back to first when Pat Bateman realizes there is no “normal.” It’s oddly human and somewhat farcical, something we might even call dark comedy. Everyone around Bateman is, in a lot of ways, similar to one another. They have little to no empathy towards others, not even with each other. This is often seen in not only how they talk and what they discuss, what’s of importance to them, but in how grossly they mistreat the homeless, which during the 80’s was witness to some of the highest percentages in American history. And the very same brutal detail in what they wear and what they eat and who they sleep with. In this, they are mirror images. The only difference, the only way Patrick sets himself apart, is his murderous and sexual appetites (though you could argue his sexual desires are also in line with everyone else). But this is all beneath the “surface,” and when it comes to the criticisms of the book, perhaps those same voices who threatened Bret’s life could only see what was floating on top. On the “surface” are the boring albeit grim details of every little aspect in Pat Bateman’s life, the clothes, the music, the food, the women, and even the way he imagines lacerating those same women. Beneath are metaphors, how we see society, how we place value on meaningless things, how we look at those around us as things, how we’ve become completely callous toward suffering. This is why the book is still so popular and important for readers today. If we can get past the brutality and sink our heads beneath the lapping waves of the mundane, to peer into the depths of consequentialism, for a moment at least, before we’re gasping up for air, we can walk away with some realization or dare I say an awakening. If even for only a moment.
If you have yet to read Bret Easton Ellis’ 1991 masterpiece, American Psycho -- well, as the saying goes: there is no time like the present. Just be forewarned that the book is written from the first person perspective. Today, few stories are told from the first person narration. Personally, the only first person stories I’ve read are Lovecraftian. However, I suggest you give the book a fair amount of patience. And patience you will need. As mentioned in my review above, the author goes into grave detail about everything. You will be numbed -- but isn’t that the point?

2 of 2 people found the following review helpful.
This is not an exit
By HH
"American Psycho" has a ton of literary merit, offering readers a fascinating look at a serial killer relating his own experiences and insecurities. It is neither misogynistic garbage nor is it a mere series of gruesome killings from cover to cover. In fact, I tested both of these theories. First of all, I took a body count. Counting deaths that occur in the present of the story -- any references to past killings or mutilations did not count -- my final count was seven men and seven women killed. On the other hand, the killings of women take much longer. Rather than quote from the book, here's an inventory: p. 217, Bethany, nail gun, scissors, dead; p. 290: Elizabeth and Christie, butcher knife, two dead; pp. 304-305: Tori and Tiffani, skinned one alive, burst the other's eyeballs with match, two dead; p. 328: inserts starved rat in girl's vagina, one dead; page 344: girl killed, made into sausage and meat loaf.

So it's gory, but Ellis is not completely hopeless. It takes him until p. 131 of his 399-page book to get to the first major act of violence, and until p. 166 to get to his first actual killing (both of which, by the way, are men, apparently a deliberate ploy to make the book look even-handed in its treatment of the sexes.) Before that first killing and in between the subsequent ones, there is some very funny parody of 1980s culture, and Ellis is dead on target. The call-waiting/answering machine culture takes its share of shots, as well as trash television. A running joke in the book is Bateman's favorite talk show, which discusses topics as diverse as dwarf tossing and home abortion kits.

There is a marvelous, if unappetizing, scene where Bateman steals a urinal cake from a restaurant bathroom, coats it in chocolate, wraps it in a Godiva box, and has it delivered to his girlfriend as they dine together in a fancy restaurant. She eats it, refusing to admit how awful it is because it came in a Godiva box. "I adore Godiva," she says, not understanding why Bateman won't join in. It's a very funny and shocking jab at people who see the label rather than the product. She gags, forcing it down, saying, "It's just so minty."

The funniest three chapters in the book are the "musical group" chapters, in which the narrator suddenly spends a few pages discussing one of his favorite singers or bands. Being a vapid soul, he likes only the most vapid bands; Huey Lewis and the News, Whitney Houston and Genesis are the three bands he discusses in the book. By taking these pop bands so seriously, so analytically, Ellis succeeds in showing just how soulless and transparent these bands are.

Bateman is constantly telling his friends what he does, but they are all so wrapped up in themselves that they don't hear him or don't believe what he's saying. After feeding his girlfriend the urinal cake, he tells her quite openly that "My need to engage in homicidal behavior on a massive scale cannot be, um, corrected." She responds to his admission by saying "Patrick, if you're going to start in again on why I should have breast implants, I'm leaving." Bateman calls another character and leaves a long, detailed admission of guilt on his answering machine. The man responds, "Bateman killing Owen and the escort girl? Oh, that's bloody marvelous!", forgetting about the "joke" immediately. It's black humor, and pretty funny at that.

2 of 2 people found the following review helpful.
Incredible Indictment of America's Excess
By Ellen Jo
An incredible indictment of the American tendency to be excessive in all things. The tale was inspired by Yuppie culture of the 1980s, though Patrick Bateman's dead soul transcends all eras. (Patrick Bateman is out there today, as vapid as ever, though he's probably much more evil... and his mobile phone is no doubt much smaller.)

Throughout the story Bateman hypnotically drones on and on about brand names, designers, furnishings, status symbols, pop music, numbing us (and himself) to the moments of sheer terror, gore and sexual violence that punctuate the book. The fashion houses, the expensive restaurants (with their corny fusion cuisine, each concept funnier than the next) and the fellow stockbrokers are all interchangeable. Don't pay too much focus trying to differentiate the characters. Nobody else in the book can either. Bateman is frequently mistaken for someone completely different, just as he frequently names others incorrectly. In the end it helps him carry on his double life for much longer than he otherwise could have.

The story is populated by a nameless swarm of bored big spenders, unhappily socializing in 1980s NYC. Patrick is different though. His mind is not right. He cruelly murders homeless people, prostitutes, small dogs...escalating to kill people from within his circle of friends. His taste in music is crap.

This book made my blood run cold, yet I was unable to put it down. Bret Easton Ellis is an incredible writer, bringing us into this highly deviant mind.

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[X708.Ebook] Ebook Physical Metallurgy, Second Edition, by William F. Hosford

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For students ready to advance in their study of metals, Physical Metallurgy, Second Edition uses engaging historical and contemporary examples that relate to the applications of concepts in each chapter.

This book combines theoretical concepts, real alloy systems, processing procedures, and examples of real-world applications. The author uses his experience in teaching physical metallurgy at the University of Michigan to convey this topic with greater depth and detail than most introductory materials courses offer.

What’s New in the Second Edition:

• Chapter on crystallographic textures and their influence on microstructure and properties


• Expanded section on aluminum-lithium alloys


• Information on copper and nickel


• Rewritten chapters on other non-ferrous metals and low carbon steels


• Discussions of compact graphite and austempered ductile iron


• Expanded discussions of cemented carbide tools


• Updated table on metal prices

Following an introduction to metals, the author covers topics that are common to all metals, including solidification, diffusion, surfaces, solid solutions, intermediate phases, dislocations, annealing, and phase transformations. He also focuses on specific nonferrous alloy systems and their significant metallurgical properties and applications, the treatment of steels (including iron-carbon alloys), hardening, tempering and surface treatment, special steels, low carbon sheet steel, and cast irons. The book also covers powder metallurgy, corrosion, welding, and magnetic alloys. There are appendices on microstructural analysis, stereographic projection, and the Miller-Bravais system for hexagonal crystals. These chapters address ternary phase diagrams, diffusion in multiphase systems, the thermodynamic basis for phase diagrams, stacking faults and hydrogen embrittlement.

With ample references and sample problems throughout, this text is a superb tool for any advanced materials science course.

• Sales Rank: #588750 in eBooks
• Published on: 2010-04-05
• Released on: 2010-04-05
• Format: Kindle eBook

About the Author
University of Michigan, Ann Arbor, USA

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1 of 1 people found the following review helpful.
Waaaayyyy too many typos
By Gavin
Hosford knows his stuff and presents the concepts clearly and concisely, assuming the reader has basic background knowledge in materials science and metallurgy. Additionally, the miscellany presented at the end of each chapter provide an interesting historical perspective. However, the real issue is with the phenomenal amount of typos in this edition. A friend of mine has the first edition and noticed mistakes that were in the second edition but not in the first! Spelling issues are one thing, but mathematical mistakes (and not just one or two, it happens multiple times in each chapter) in worked examples are extremely unhelpful to students. Further, the equations in examples are presented inline with the text. This saves space, but it makes the examples quite difficult to follow.

All in all, this text is okay for presenting the general concepts, but don't intend to rely on it for the quantitative aspects of metallurgy. There has got to be a better physical metallurgy text out there.

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Take your supply chain to the cloud with this guide to SAP IBP planning processes and configuration. Begin with the basics, from loading data into SAP IBP to exploring the planning model. Then dive deep into key functionality and implementation steps for S&OP, demand planning, supply and response planning, inventory management, and supply chain analytics. Using in-depth SAP SCM industry case studies, discover what it takes to ensure a successful adoption of SAP IBP.

* Learn how to configure and use S&OP, demand, response and supply, and inventory planning applications
* Measure your progress with critical planning KPIs in the SAP Supply Chain Control Tower
* Deploy SAP IBP and set it up in your landscape

Getting Started
Develop a holistic understanding of your supply chain in SAP IBP: learn to navigate the new UI and load data into SAP IBP, utilize the basic planning model, and plan your SAP IBP implementation.

Implementation
Follow comprehensive steps for configuring SAP IBP, starting with baseline functionality and SAP IBP deployment, before moving on to functionality and implementation with the five primary applications.

Case Studies
Explore real-world case studies from the high-tech, CPG, life sciences, and manufacturing fields and see how peers and competitors are achieving value through best practices.

* Sales and operations planning (S&OP)
* Configuration and deployment
* Planning model
* Demand planning and forecasting
* Supply planning
* Response management
* Control Tower
* Inventory management and optimization
* Supply chain analytics
* Implementation methodology
* Use cases

• Sales Rank: #211566 in Books
• Published on: 2017-04-17
• Original language: English
• Dimensions: 9.20" h x 1.30" w x 7.20" l,
• Binding: Hardcover
• 449 pages

About the Author
Sandy Markin is the senior director of supply chain solutions at SAP and the solution owner of SAP Integrated Business Planning. Before SAP IBP, Sandy worked extensively with the design, development, and launch of SAP APO as well as with other supply chain solutions.

Amit Sinha is a leader for SAP supply chain practices at Deloitte Consulting, LLP. He has more than 13 years of experience with business transformation projects using SAP integration technology. He has worked extensively for industry groups across the globe on S&OP, demand planning, supply planning, inventory optimization and supply chain analytics. He is an expert in SAP IBP and other SAP supply chain applications. Amit is a trainer and researcher and is also the author of multiple research articles and a text book on supply chain and logistics management.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Valuable addition to the SAP Integrated Business Planning library
By Tom Wright
I’ve been awaiting the release of “SAP Integrated Business Planning – Functionality and Implementation” since I wrote my eBite on IBP a year ago. I even gave them a “shout out” in advance: “… for more on this subject, consider SAP PRESS’ upcoming book SAP Integrated Business Planning: Functionality and Implementation by Sandy Markin and Amit Sinha (available early 2017)”
So I was glad to be able to get a copy and confirm that Sandy and Amit have, as I expected, done the heavy lifting to address the considerations of IBP configuration in detail. To which I say, thanks! There’s a lot of content here, covering the full spectrum of IBP applications.
As with any SAP solution, a comprehensive understanding can be obtained in many ways. IBP is different enough from other applications to require a multi-faceted approach. I’m a great fan of SAP training for IBP, and recommend it to any who will be intimately involved with a project. There is also comprehensive content on SAP HELP.
But not everyone needs that deep an immersion… though many will need more than my book provides.
This book fills that gap, addressing the high level business issues as well as detailed configuration processes that the team will need to understand when entering into an implementation project.
With comprehensive screen shots and examples based on the SAP Standard deliverable, the book will be a valuable companion to exploration of the content in any company’s newly installed SAP IBP instance. Linking examples in the book to screens the reader will be able to view online provides the reader an understanding of what they see on line to the business and technical interpretation, and how changes might be made to address different business requirements.
As with every SAP Press book I’ve read (and that’s a bunch….) each reader will find a different set of chapters of value, which is the design intent. The book meets readers of different experience and interest levels with a structure that enables reading from a business or technical focus.
This book deserves a place in the IT Library of every organization implementing Integrated Business Planning from SAP…

See all 1 customer reviews...

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[N101.Ebook] Ebook My Grandmother Asked Me to Tell You She's Sorry, by Fredrik Backman

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A charming, warmhearted novel from the author of the New York Times bestseller A Man Called Ove.

Elsa is seven years old and different. Her grandmother is seventy-seven years old and crazy—as in standing-on-the-balcony-firing-paintball-guns-at-strangers crazy. She is also Elsa’s best, and only, friend. At night Elsa takes refuge in her grandmother’s stories, in the Land-of-Almost-Awake and the Kingdom of Miamas, where everybody is different and nobody needs to be normal.

When Elsa’s grandmother dies and leaves behind a series of letters apologizing to people she has wronged, Elsa’s greatest adventure begins. Her grandmother’s instructions lead her to an apartment building full of drunks, monsters, attack dogs, and old crones but also to the truth about fairy tales and kingdoms and a grandmother like no other.

My Grandmother Asked Me to Tell You She’s Sorry is told with the same comic accuracy and beating heart as Fredrik Backman’s bestselling debut novel, A Man Called Ove. It is a story about life and death and one of the most important human rights: the right to be different.

• Sales Rank: #293 in Books
• Brand: Washington Square Press
• Published on: 2016-04-05
• Released on: 2016-04-05
• Original language: English
• Number of items: 1
• Dimensions: 8.25" h x 1.00" w x 5.31" l, 1.00 pounds
• Binding: Paperback
• 372 pages

Features

• My Grandmother Asked Me to Tell You She's Sorry

Review
"Bring tissues when you start My Grandmother Asked Me to Tell You She’s Sorry, but bring your funnybone, too. It’s that kind of book – one that, if you miss it, you’ll never forgive yourself."
(Business Insider, Best Books of 2015)

“Fredrik Backman has a knack for weaving tales that are believable and fanciful. Backman’s smooth storytelling infuses his characters with charm and wit… a delightful story.” (St. Louis Post-Dispatch)

“Every bit as churlish but lovable as Backman’s cantankerous protagonist in his debut, A Man Called Ove (2014), precocious Elsa will easily work her way into the hearts of readers who like characters with spunk to spare. A delectable homage to the power of stories to comfort and heal, Backman’s tender tale of the touching relationship between a grandmother and granddaughter is a tribute to the everlasting bonds of deep family ties.” (Booklist (starred))

“Full of heart, hope, forgiveness, and the embracing of differences, Elsa’s story is one that sticks with you long after you’ve turned the last page.” (Library Journal)

“Firmly in league with Roald Dahl and Neil Gaiman. A touching, sometimes funny, often wise portrait of grief.”

(Kirkus Reviews)

"In his second offering, Backman (A Man Called Ove) continues to write with the same whimsical charm and warm heart as in his debut." (Publishers Weekly)

“What I admire in Backman’s stories is his honesty and perspective about grief and losing those we love the most. I would recommend this book to Neil Gaiman fans, as the storytelling is fantastic and heartwarming.” (Sun-Gazette)

“I can't remember the last time that I read a book where I alternately cried and laughed, and sometimes both at the same time.” (Marilyn Dahl, Shelf Awareness)

Praise for A MAN CALLED OVE:

“A charming debut…You’ll laugh, you’ll cry, you’ll feel new sympathy for the curmudgeons in your life. You’ll also want to move to Scandinavia, where everything’s cuter.” (People)

"An inspiring affirmation of love for life and acceptance of people for their essence and individual quirks. A Man Called Ove is a perfect selection for book clubs. It's well written and replete with universal concerns. It lacks violence and profanity, is life-affirming and relationship-driven. The book is bittersweet, tender, often wickedly humorous and almost certain to elicit tears. I contentedly wept my way through a box of tissues when I first read the novel and again when I savored it for a second time.” (BookBrowse.com)

"A Man Called Ove is exquisite. The lyrical language is the confetti thrown liberally throughout this celebration-of-life story, adding sparkle and color to an already spectacular party. Backman's characters feel so authentic that readers will likely find analogues living in their own neighborhoods." (Shelf Awareness (starred review))

"Readers seeking feel-good tales with a message will rave about the rantings of this solitary old man with a singular outlook. If there was an award for 'Most Charming Book of the Year,' this first novel by a Swedish blogger-turned-overnight-sensation would win hands down." (Booklist, Starred Review)

“A funny crowd-pleaser that serves up laughs to accompany a thoughtful reflection on loss and love… The author writes with winning charm.” (Publishers Weekly, starred review)

“This charming debut novel by Backman should find a ready audience with English-language readers… hysterically funny… wry descriptions, excellent pacing… In the contest of Most Winning Combination, it would be hard to beat grumpy Ove and his hidden,generous heart.” (Kirkus Reviews)

"There are characters who amuse us, and stories that touch us. But this character and his story do even more: A Man Called Ove makes us think about who we are and how we want to live our lives. A Man Called Ove seems deceptively simple at the start, yet Frederik Backman packs a lifetime's worth of hilarity and heartbreak into this novel. Even the most crusty curmudgeon will love Ove!" (Lois Leveen, author of Juliet's Nurse and The Secrets of Mary Bowser)

“One of the most moving novels I have read this year. I defy anyone to read this book and look at a quiet withdrawn person the same way ever again.” (Cayacosta Reviews)

About the Author
Fredrik Backman is the #1 New York Times bestselling author of A Man Called Ove, My Grandmother Asked Me to Tell You She’s Sorry, Britt-Marie Was Here, Beartown, as well as a novella, And Every Morning the Way Home Gets Longer and Longer. His books are published in more than thirty-five countries. He lives in Stockholm, Sweden, with his wife and two children. Beartown is his latest novel.

Excerpt. © Reprinted by permission. All rights reserved.
My Grandmother Asked Me to Tell You She’s Sorry 1

TOBACCO
Every seven-year-old deserves a superhero. That’s just how it is.

Anyone who doesn’t agree needs their head examined.

That’s what Elsa’s granny says, at least.

Elsa is seven, going on eight. She knows she isn’t especially good at being seven. She knows she’s different. Her headmaster says she needs to “fall into line” in order to achieve “a better fit with her peers.” Other adults describe her as “very grown-up for her age.” Elsa knows this is just another way of saying “massively annoying for her age,” because they only tend to say this when she corrects them for mispronouncing “déjà vu” or not being able to tell the difference between “me” and “I” at the end of a sentence. Smart-asses usually can’t, hence the “grown-up for her age” comment, generally said with a strained smile at her parents. As if she has a mental impairment, as if Elsa has shown them up by not being totally thick just because she’s seven. And that’s why she doesn’t have any friends except Granny. Because all the other seven-year-olds in her school are as idiotic as seven-year-olds tend to be, but Elsa is different.

She shouldn’t take any notice of what those muppets think, says Granny. Because all the best people are different—look at superheroes. After all, if superpowers were normal, everyone would have them.

Granny is seventy-seven years old, going on seventy-eight. She’s not very good at it either. You can tell she’s old because her face looks like newspaper stuffed into wet shoes, but no one ever accuses Granny of being grown-up for her age. “Perky,” people sometimes say to Elsa’s mum, looking either fairly worried or fairly angry as Mum sighs and asks how much she owes for the damages. Or when Granny’s smoking at the hospital sets the fire alarm off and she starts ranting and raving about how “everything has to be so bloody politically correct these days!” when the security guards make her extinguish her cigarette. Or that time she made a snowman in Britt-Marie and Kent’s garden right under their balcony and dressed it up in grown-up clothes so it looked as if a person had fallen from the roof. Or that time those prim men wearing spectacles started ringing all the doorbells and wanted to talk about God and Jesus and heaven, and Granny stood on her balcony with her dressing gown flapping open, shooting at them with her paintball gun, and Britt-Marie couldn’t quite decide if she was most annoyed about the paintball-gun thing or the not-wearing-anything-under-the-dressing-gown thing, but she reported both to the police just to be on the safe side.

Those are the times, Elsa supposes, that people find Granny perky for her age.

They also say that Granny is mad, but in actual fact she’s a genius. It’s just that she’s a bit of a crackpot at the same time. She used to be a doctor, and she won prizes and journalists wrote articles about her and she went to all the most terrible places in the world when everyone else was getting out. She saved lives and fought evil everywhere on earth. As superheroes do.

But one day someone decided she was too old to save lives, even if Elsa quite strongly suspects what they really meant by “too old” was “too crazy.” Granny refers to this person as “Society” and says it’s only because everything has to be so bloody politically correct nowadays that she’s no longer allowed to make incisions in people. And that it was really mainly about Society getting so bleeding fussy about the smoking ban in the operating theaters, and who could work under those sorts of conditions?

So now she’s mainly at home driving Britt-Marie and Mum around the bend. Britt-Marie is Granny’s neighbor, Mum is Elsa’s mum. And really Britt-Marie is also Elsa’s mum’s neighbor because Elsa’s mum lives next door to Elsa’s granny. And Elsa obviously also lives next door to Granny, because Elsa lives with her mum. Except every other weekend, when she lives with Dad and Lisette. And of course George is also Granny’s neighbor, because he lives with Mum. It’s a bit all over the place.

But anyway, to get back to the point: lifesaving and driving people nuts are Granny’s superpowers. Which perhaps makes her a bit of a dysfunctional superhero. Elsa knows this because she looked up “dysfunctional” on Wikipedia. People of Granny’s age describe Wikipedia as “an encyclopedia, but on the net!” Encyclopedias are what Elsa describes as “Wikipedia, but analog.” Elsa has checked “dysfunctional” in both places and it means that something is not quite functioning as it’s supposed to. Which is one of Elsa’s favorite things about her granny.

But maybe not today. Because it’s half past one in the morning and Elsa is fairly tired and would really like to go back to bed. Except that’s not going to happen, because Granny’s been throwing turds at a policeman.

It’s a little complicated.



Elsa looks around the little rectangular room and yawns listlessly and so widely that she looks like she’s trying to swallow her own head.

“I did tell you not to climb the fence,” she mutters, checking her watch.

Granny doesn’t answer. Elsa takes off her Gryffindor scarf and puts it in her lap. She was born on Boxing Day seven years ago (almost eight). The same day some German scientists recorded the strongest-ever emission of gamma radiation from a magnetar over the earth. Admittedly Elsa doesn’t know what a magnetar is, but it’s some kind of neutron star. And it sounds a little like “Megatron,” which is the name of the evil one in Transformers, which is what simpletons who don’t read enough quality literature call “a children’s program.” In actual fact the Transformers are robots, but if you look at it academically they could also be counted as superheroes. Elsa is very keen on both Transformers and neutron stars, and she imagines that an “emission of gamma radiation” would look a bit like that time Granny spilled Fanta on Elsa’s iPhone and tried to dry it out in the toaster. And Granny says it makes Elsa special to have been born on a day like that. And being special is the best way of being different.

Granny is busy distributing small heaps of tobacco all over the wooden table in front of her and rolling them into rustling cigarette papers.

“I said I told you not to climb the fence!”

Granny makes a snorting sound and searches the pockets of her much-too-large overcoat for a lighter. She doesn’t seem to be taking any of this very seriously, mainly because she never seems to take anything seriously. Except when she wants to smoke and can’t find a lighter.

“It was a tiny little fence, for God’s sake!” she says breezily. “It’s nothing to get worked up about.”

“Don’t you ‘for God’s sake’ me! You’re the one who threw shit at the police.”

“Stop fussing. You sound like your mother. Do you have a lighter?”

“I’m seven!”

“How long are you going to use that as an excuse?”

“Until I’m not seven anymore?”

Granny mumbles something that sounds like “Not a crime to ask, is it?” and continues rifling through her pockets.

“I don’t think you can smoke in here, actually,” Elsa informs her, sounding calmer now and fingering the long rip in the Gryffindor scarf.

“Course you can smoke. We’ll just open a window.”

Elsa looks skeptically at the windows.

“I don’t think they’re the sort of windows that open.”

“Why not?”

“They’ve got bars on them.”

Granny glares with dissatisfaction at the windows. And then at Elsa.

“So now you can’t even smoke at the police station. Jesus. It’s like being in 1984.”

Elsa yawns again. “Can I borrow your phone?”

“What for?”

“To check something.”

“Where?”

“Online.”

“You invest too much time on that Internet stuff.”

“You mean, ‘spend.’?”

“I beg your pardon?”

“What I mean is, you don’t use ‘invest’ in that way. You wouldn’t go round saying, ‘I invested two hours in reading Harry Potter and the Sorcerer’s Stone,’ would you?”

Granny just rolls her eyes and hands her the phone. “Did you ever hear about the girl who blew up because she did too much thinking?”

The policeman who shuffles into the room looks very, very tired.

“I want to call my lawyer,” Granny demands at once.

“I want to call my mum!” Elsa demands at once.

“In that case I want to call my lawyer first!” Granny insists.

The policeman sits down opposite them and fidgets with a little pile of papers.

“Your mother is on her way,” he says to Elsa with a sigh.

Granny makes the sort of dramatic gasp that only Granny knows how to do.

“Why did you call her? Are you mad?” she protests, as if the policeman just told her he was going to leave Elsa in the forest to be raised by a pack of wolves. “She’ll be bloody livid!”

“We have to call the child’s legal guardian,” the policeman explains calmly.

“I am also the child’s legal guardian! I am the child’s grandmother!” Granny fumes, rising slightly out of her chair and shaking her unlit cigarette menacingly.

“It’s half past one in the morning. Someone has to take care of the child.”

“Yes, me! I’m taking care of the child!” she splutters.

The policeman makes a fairly strained attempt to gesture amicably across the interrogation room.

“And how do you feel it’s going so far?”

Granny looks slightly offended.

“Well . . . everything was going just fine until you started chasing me.”

“You broke into a zoo.”

“It was a tiny little fence—”

“There’s no such thing as a ‘tiny’ burglary.”

Granny shrugs and makes a brushing movement over the table, as if she thinks they’ve stretched this out long enough. The policeman notices the cigarette and eyes it dubiously.

“Oh, come on! I can smoke in here, can’t I?”

He shakes his head sternly. Granny leans forward, looks him deep in the eyes, and smiles.

“Can’t you make an exception? Not even for little old me?”

Elsa gives Granny a little shove in the side and switches to their secret language. Because Granny and Elsa have a secret language, as all grannies must have with their grandchildren, because by law that’s a requirement, says Granny. Or at least it should be.

“Drop it, Granny. It’s, like, illegal to flirt with policemen.”

“Says who?”

“Well, the police for starters!” Elsa replies.

“The police are supposed to be there for the sake of the citizens,” Granny hisses. “I pay my taxes, you know.”

The policeman looks at them as you do when a seven-year-old and a seventy-seven-year-old start arguing in a secret language in a police station in the middle of the night. Then Granny’s eyelashes tremble alluringly at him as she once again points pleadingly at her cigarette, but when he shakes his head, Granny leans back in the chair and exclaims in normal language:

“I mean, this political correctness! It’s worse than apartheid for smokers in this bloody country nowadays!”

“How do you spell that?” asks Elsa.

“What?” Granny sighs as you do when precisely the whole world is against you, even though you pay taxes.

“That apartight thing,” says Elsa.

“A-p-p-a-r-t-e-i-d,” Granny spells.

Elsa immediately Googles it on Granny’s phone. It takes her a few attempts—Granny’s always been a terrible speller. Meanwhile the policeman explains that they’ve decided to let them go, but Granny will be called in at a later date to explain the burglary and “other aggravations.”

“What aggravations?”

“Driving illegally, to begin with.”

“What do you mean, illegally? That’s my car! I don’t need permission to drive my own car, do I?”

“No,” replies the policeman patiently, “but you need a driver’s license.”

Granny throws out her arms in exasperation. She’s just launched into another rant about this being a Big Brother society when Elsa whacks the phone sharply against the table.

“It’s got NOTHING to do with that apartheid thing!!! You compared not being able to smoke with apartheid and it’s not the same thing at all. It’s not even CLOSE!”

Granny waves her hand resignedly.

“I meant it was . . . you know, more or less like that—”

“It isn’t at all!”

“It was a metaphor, for God’s sake—”

“A bloody crap metaphor!”

“How would you know?”

“WIKIPEDIA!”

Granny turns in defeat to the policeman. “Do your children carry on like this?” The policeman looks uncomfortable.

“We . . . don’t let the children surf the Net unsupervised. . . .”

Granny stretches out her arms towards Elsa, a gesture that seems to say “You see!” Elsa just shakes her head and crosses her arms very hard.

“Granny, just say sorry for throwing turds at the police, and we can go home,” she snorts in the secret language, though still very expressly upset about that whole apartheid thing.

“Sorry,” says Granny in the secret language.

“To the police, not me, you muppet.”

“There’ll be no apologizing to fascists here. I pay my taxes. And you’re the muppet.” Granny sulks.

“Takes one to know one.”

Then they both sit with their arms crossed, demonstratively looking away from each other, until Granny nods at the policeman and says in normal language:

“Would you be kind enough to let my spoilt granddaughter know that if she takes this attitude, she’s quite welcome to walk home?”

“Tell her I’m going home with Mum and she’s the one who can walk!” Elsa replies at once.

“Tell HER she can—”

The policeman stands up without a word, walks out of the room and closes the door behind him, as if intending to go into another room and bury his head in a large, soft cushion and yell as loud as he can.

“Now look what you did,” says Granny.

“Look what YOU did!”

Eventually a heavyset policewoman with piercing green eyes comes in instead. It doesn’t seem to be the first time she’s run into Granny, because she smiles in that tired way so typical of people who know Granny, and says: “You have to stop doing this, we also have real criminals to worry about.”

Granny just mumbles, “Why don’t you stop, yourselves?” And then they’re allowed to go home.

Standing on the pavement waiting for her mother, Elsa fingers the rip in her scarf. It goes right through the Gryffindor emblem. She tries as hard as she can not to cry but doesn’t make much of a success of it.

“Ah, come on, your mum can mend that,” says Granny, trying to be cheerful, giving her a little punch on the shoulder.

Elsa looks up anxiously.

“And, you know . . . we can tell your mum the scarf got torn when you were trying to stop me climbing the fence to get to the monkeys.”

Elsa nods and runs her fingers over the scarf again. It didn’t get torn when Granny was climbing the fence. It got torn at school when three older girls who hate Elsa without Elsa really understanding why got hold of her outside the cafeteria and hit her and tore her scarf and threw it down the toilet. Their jeers are still echoing in Elsa’s head. Granny notices the look in her eyes and leans forward before whispering in their secret language:

“One day we’ll take those losers at your school to Miamas and throw them to the lions!”

Elsa dries her eyes with the back of her hand and smiles faintly.

“I’m not stupid, Granny,” she whispers. “I know you did all that stuff tonight to make me forget about what happened at school.”

Granny kicks at some gravel and clears her throat.

“I didn’t want you to remember this day because of the scarf. So I thought instead you could remember it as the day your Granny broke into a zoo—”

“And escaped from a hospital,” Elsa says with a grin.

“And escaped from a hospital,” says Granny with a grin.

“And threw turds at the police.”

“Actually, it was soil! Or mainly soil, anyway.”

“Changing memories is a good superpower, I suppose.”

Granny shrugs.

“If you can’t get rid of the bad, you have to top it up with more goody stuff.”

“That’s not a word.”

“I know.”

“Thanks, Granny,” says Elsa and leans her head against her arm.

And then Granny just nods and whispers: “We’re knights of the kingdom of Miamas, we have to do our duty.”

Because all seven-year-olds deserve superheroes.

And anyone who doesn’t agree needs their head examined.

Most helpful customer reviews

307 of 323 people found the following review helpful.
When fairy tales aren't just an allegory of life but are real life
By TooManyHobbies
This book was an interesting read with a lot of emotional scenes that tug at your heart strings. Elsa is a seven-year old that is mature beyond her years. Her wacky but devoted grandmother is Elsa's best and only friend. Granny (a former globe-trotting surgeon) fills the lonely girl's world with adventures and stories about the make believe Land-of-Almost-Awake. When Granny suddenly dies Elsa finds that her grandmother has left her a series of letters that must be delivered to the other tenants that live in the same apartment building as Elsa. As written, the letters are apologies from Granny, but they are really a way for Granny to build bonds of friendship between the lonely Elsa and the other tenants in the building. Through the letters Elsa also comes to realize that the make-believe characters in her grandmother’s stories are all based on real people and real events.

Overall I found the book a thoroughly enjoyable read. It was both funny and heartbreaking at the same time. But while I loved the middle and the end of the book, I found the beginning a little muddled. In the beginning I found it hard to relate to the wacky almost senile character of Granny, and the convoluted stories about the Land-of-Almost-Awake were confusing and difficult to follow. (I actually found myself skimming the sections about Miamas and the Land-of-Almost-Awake.) But after Granny's death all those random pieces started to come together in a very structured way. (At this point I had to go back and re-read the parts I skimmed). In the end I found that all of Granny's madcap actions had a reason, and all her stories had a point.

So a very enjoyable read, just pay attention to all those stories that Granny and Elsa tell in the beginning. They really are important.

On a side note there is one thing that still confuses me about the book: What was the deal with the Leaseholds? Why would the conversion from flats to leasehold make some tenants a profit and force other tenants out of the building?

35 of 37 people found the following review helpful.
A Wonderful Book
By Goldenoldy
I thoroughly enjoyed this book by Backman. I was curious about it because I read his other novel A Man Called Ove which was absolutely delightful. I was not disappointed; in fact, I enjoyed this one as much or more than A Man Called Ove. The book explores the relationship between a seven-year-old and her seventy-seven year old grandmother who is quite a character. These two characters lives are surprisingly entwined with the other residents of this particular apartment house where they live. Also, the grandmother and her grandchild are involved with an imaginary world called The-Land-of-Almost-Awake, its kingdoms, and its inhabitants. When granny dies, seven-year-old Elsa must embark on a quest to deliver letters from Granny to various people living in this apartment house. With the delivery of each letter, we see how the characters are tied to Granny and, in a very entertaining and surprising way, characters in The-Land-of-Almost-Awake. It would, in my opinion, be delightful to actually read this book with a grandchild. I strongly recommend the book and can hardly wait for Backman's next one.

13 of 13 people found the following review helpful.
One of the best novels I've read in years
By Kay
I am a regular reader (I tend to read several books a week) and still I have to say that this is the best work of fiction I've read in ages. I laughed out loud on almost every page of this book, but also sobbed periodically as this precocious little girl learns to deal with the reality of life. I fell in love with Elsa- her voice was so strong and true. She reminded me a lot of myself as a child- too large a vocabulary and understanding of the world for children to enjoy her, but not "cutesy" enough for adults to be able to wrap their minds around, and as such often left feeling lost and alone in a world that doesn't know what to do with her. As I cheered for her to find herself and her place in the world, I felt as though I was doing the same for my childhood self.

The characters were both extremely real and larger-than-life all at the same time. Through an almost-8-year-old's mind we see their struggles and extreme humanity, but with a touch of humor as the somewhat strange ways of adults are viewed through the eyes of a pragmatic child. I found myself examining my own habits and wondering how Elsa would describe me, what she would find strange about my life and of those around me. And her grandmother has joned the ranks of my all-time favorite characters. She's exactly the kind of woman that I would probably struggle to get along with in real life, but is enchantingly amusing to read about. Her antics on one hand are completely barmy, and yet somehow the author makes her relatable. She's the kind of character you want to see win battles- and seen through the eyes of an imaginative (however rational and hard-nosed) little girl, she's nothing short of a superhero.

I listened to the audiobook as well and found it to be simply delightful. The reader, though being older herself, embodied Elsa's voice perfectly- just the right amount of snark mixed in with an innocent quality. And the grandmother, too, was perfect. She exemplified a gloriously bonkers old lady- the kind of woman you want in your army when you go to battle.

I loved the author's style. Novel reading for me is all about the characters, and he has characterization down to a tee. I greatly look forward to reading anything else he produces.

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• Sales Rank: #12685138 in Books
• Original language: French
• Dimensions: 6.69" h x .71" w x 9.45" l,
• Binding: Paperback

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[F669.Ebook] Free Ebook The Primacy of Structure: Psychotherapy of Underlying Character Pathology, by Althea J. Horner PhD

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In "The Primacy of Structure" Althea Horner argues that effective psychotherapeutic intervention depends on the understanding of clinical symptoms in terms of the patient's underlying character structure. For example, obsessive behavior that functions to hold together a fragile, inadequately integrated self must be distinguished from obsessive behavior that defends against awareness of guilt and anxiety. In evaluating patients, Dr Horner asks herself whether he or she was well integrated and well differentiated before the presenting complaint, or a borderline individual already at risk. These facts are critical for the patient's therapy. In Part I Dr Horner discusses the development of character, in Part II character pathology, and in Part III the treatment of character pathology. Mental health professionals will find this a useful guide to psychotherapy of the character problems that lie behind their patients' presenting symptoms.

• Sales Rank: #2442133 in Books
• Published on: 1977-07-07
• Original language: English
• Number of items: 1
• Dimensions: 9.26" h x 1.08" w x 6.42" l, 1.40 pounds
• Binding: Hardcover
• 328 pages

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0 of 0 people found the following review helpful.
Brilliant.
By Amazon Customer
This book is being one of her most important ones in terms of describing and explaining the development of character in relationship to a spectrum of psychopathologies and their implications for transference based psychotherapy.
The author brings together the theory of Sigmund and Anna Freud, Margaret Mahler and a number of British object relations theorists, Kohut's psychology of the self and psychoanalytic authors who seek to integrate object relations/interpersonal approaches with systemic and family theory. She does this in a manner that is consistent and integrative and not just a shallow eclectic collection of ideas.
It's a brilliant book, very accessible and suitable for psychoanalytically oriented psychotherapists/psychologists and mental health professionals.

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[A442.Ebook] Ebook Download Top MBA Programs W/CD-ROM: Finding the Best Business School for You, by David Petersam

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• Sales Rank: #1848333 in Books
• Published on: 2009-09-01
• Original language: English
• Number of items: 1
• Dimensions: 1.09" h x 7.40" w x 9.18" l, 1.95 pounds
• Binding: Paperback
• 496 pages

Features

• ISBN13: 9781593576738
• Condition: Used - Very Good
• Notes: 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

About the Author
David Petersam is the founder and president of AdmissionsConsultants, which provides personalized MBA admissions assistance to thousands of clients via a global network of consultants, all with admissions committee experience from top US and international business schools, who guide clients in targeting best-fit schools and preparing applications that maximize clients strengths and potential.

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3 of 3 people found the following review helpful.
Must read for all MBA hopefuls
By Nicole Witt
What a great book! It provides a perspective that other books miss with the focus on "fit" in determining your personal school rankings. I highly recommed this book to all MBA applicants who want to make sure that they focus their time, money, and energy on only the schools that are right for them.

3 of 3 people found the following review helpful.
Very Detailed and In Depth
By FS Young
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Ok, but CD does not work!
By Franck Lin
Well, this book gave a pretty good introduction of MBA's. However, it emphasis too much on MBA's within the U.S.. Furthermore, the CD enclosed with the book does not work at all.

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