Books about Malcolm from Amazon.com

"The best way to understand the dramatic transformation of unknown books into bestsellers, or the rise of teenage smoking, or the phenomena of word of mouth or any number of the other mysterious changes that mark everyday life," writes Malcolm Gladwell, "is to think of them as epidemics. Ideas and products and messages and behaviors spread just like viruses do." Although anyone familiar with the theory of memetics will recognize this concept, Gladwell's The Tipping Point has quite a few interesting twists on the subject.

For example, Paul Revere was able to galvanize the forces of resistance so effectively in part because he was what Gladwell calls a "Connector": he knew just about everybody, particularly the revolutionary leaders in each of the towns that he rode through. But Revere "wasn't just the man with the biggest Rolodex in colonial Boston," he was also a "Maven" who gathered extensive information about the British. He knew what was going on and he knew exactly whom to tell. The phenomenon continues to this day--think of how often you've received information in an e-mail message that had been forwarded at least half a dozen times before reaching you.

Gladwell develops these and other concepts (such as the "stickiness" of ideas or the effect of population size on information dispersal) through simple, clear explanations and entertainingly illustrative anecdotes, such as comparing the pedagogical methods of Sesame Street and Blue's Clues, or explaining why it would be even easier to play Six Degrees of Kevin Bacon with the actor Rod Steiger. Although some readers may find the transitional passages between chapters hold their hands a little too tightly, and Gladwell's closing invocation of the possibilities of social engineering sketchy, even chilling, The Tipping Point is one of the most effective books on science for a general audience in ages. It seems inevitable that "tipping point," like "future shock" or "chaos theory," will soon become one of those ideas that everybody knows--or at least knows by name. --Ron Hogan.
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Malcolm X's searing memoir belongs on the small shelf of great autobiographies The reasons are many: the blistering honesty with which he recounts his transformation from a bitter, self-destructive petty criminal into an articulate political activist, the continued relevance of his militant analysis of white racism, and his emphasis on self-respect and self-help for African Americans. And there's the vividness with which he depicts black popular culture--try as he might to criticize those lindy hops at Boston's Roseland dance hall from the perspective of his Muslim faith, he can't help but make them sound pretty wonderful. These are but a few examples. The Autobiography of Malcolm X limns an archetypal journey from ignorance and despair to knowledge and spiritual awakening. When Malcolm tells coauthor Alex Haley, "People don't realize how a man's whole life can be changed by one book," he voices the central belief underpinning every attempt to set down a personal story as an example for others. Although many believe his ethic was directly opposed to Martin Luther King Jr.'s during the civil rights struggle of the '60s, the two were not so different. Malcolm may have displayed a most un-Christian distaste for loving his enemies, but he understood with King that love of God and love of self are the necessary first steps on the road to freedom. --Wendy Smith.
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"Wake up, sir. We're here." It's a simple enough opening line--although not many would have guessed back in 1991 that this would lead to one of the most popular and critically acclaimed comics of the second half of the century

In Preludes and Nocturnes, Neil Gaiman weaves the story of a man interested in capturing the physical manifestation of Death but who instead captures the King of Dreams. By Gaiman's own admission there's a lot in this first collection that is awkward and ungainly--which is not to say there are not frequent moments of greatness here. The chapter "24 Hours" is worth the price of the book alone; it stands as one of the most chilling examples of horror in comics. And let's not underestimate Gaiman's achievement of personifying Death as a perky, overly cheery, cute goth girl! All in all, I greatly prefer the roguish breaking of new ground in this book to the often dull precision of the concluding volumes of the Sandman series. --Jim Pascoe.
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In this stunning new book, Malcolm Gladwell takes us on an intellectual journey through the world of "outliers"--the best and the brightest, the most famous and the most successful He asks the question: what makes high-achievers different? His answer is that we pay too much attention to what successful people are like, and too little attention to where they are from: that is, their culture, their family, their generation, and the idiosyncratic experiences of their upbringing. Along the way he explains the secrets of software billionaires, what it takes to be a great soccer player, why Asians are good at math, and what made the Beatles the greatest rock band.


Brilliant and entertaining, OUTLIERS is a landmark work that will simultaneously delight and illuminate..
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The immense popularity of Neil Gaiman's Sandman series is due in large part to the development of his characters In The Doll's House, the second book of the Sandman magnum opus, Gaiman continues to build the foundation for the larger story, introducing us to more of the Dream King's family of the Endless.

The Sandman returns to his kingdom of the Dreaming after nearly a century of imprisonment, finding several things out of place; most importantly, an anomaly called a dream vortex has manifested itself in the form of a young girl who unknowingly threatens to rip apart the Dreaming. And there's the smaller matter of a few nightmares having escaped. Among them is Gaiman's creepiest creation: the Corinthian, a serial killer with a miniature set of teeth in each eye socket. Because later volumes concentrate so much on human relationships with Gaiman's signature fair for fantasy and mythology, it is sometimes easy to forget that the Sandman series started out as a horror comic. This book grabs you and doesn't let you forget that so easily. --Jim Pascoe.
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The third book of the Sandman collection is a series of four short comic book stories What's remarkable here (considering the publisher and the time that this was originally published) is that the main character of the book--the Sandman, King of Dreams--serves only as a minor character in each of these otherwise unrelated stories. (Actually, he's not even in the last story.) This signaled a couple of important things in the development of what is considered one of the great comics of the second half of the century. First, it marked a distinct move away from the horror genre and into a more fantasy-rich, classical mythology-laden environment. And secondly, it solidly cemented Neil Gaiman as a storyteller. One of the stories here, "A Midsummer Night's Dream," took home the World Fantasy Award for best short story--the first time a comic was given that honor. But for my money, another story in Dream Country has it beat hands down. "A Dream of a Thousand Cats" has such hope, beauty, and good old-fashioned chills that rereading it becomes a welcome pleasure. --Jim Pascoe.
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“Many brave hearts are asleep in the deep, so beware, beware,” goes the chorus of an old sailors’ sing-along that celebrates the allure and danger of the seafaring life. But make no mistake–there truly is much to beware for those who are drawn to risk their lives and seek their fortunes upon the waves. And perhaps none take more chances than the men and women who brave the tempestuous, bountiful waters of the Bering Sea. Season after season, they bond and battle with its icy depths, determined to reap yet one more rewarding harvest while eluding the ever-present threat of sudden, certain death. And among the rapidly diminishing ranks of these die-hard salts, brothers Andy and Johnathan Hillstrand have forged a reputation as fierce masters of their treacherous, enthralling trade. If you’ve watched their exploits on TV’s Deadliest Catch, you’ve only scratched the surface. To read Time Bandit is to step into their skins, smell the sea air, feel the frigid wind, and know with all your senses the exhilarating, and terrifying life on the edge.

Natives of tiny, fishing hamlet, Homer, Alaska; sons of a hard-bitten, highly successful fisherman; and born with brine in their blood, the Hillstrand boys couldn’t imagine a life without a swaying deck underfoot and a harvest of mighty Alaskan king crabs waiting to be pulled from the ocean floor. In pursuit of their daily catch, the brothers brave ice floes and heaving waves 60 feet high, the perils of 1000-lb steel traps thrown about by the punishing wind, and the constant menace of the open, hungry water.

Even the brothers’ downtime on land–where the deadly realities of the unforgiving sea are never far from their minds–is lived as if borrowed: fast and hard, haunted by the knowledge that the next season at sea could end asleep in the deep.

Here is the Hillstrands’ own heartfelt hymn to the brutally hard, gloriously independent, and mysteriously soul-satisfying life that has earned them their daily bread and defined their existence. By turns raucous and reflective, exhilarating and anguished, enthralling, suspenseful, and wise, Time Bandit chronicles a larger-than-life love affair as old as civilization itself–a love affair between striving, willful man and inscrutable, enduring nature..
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