David Horowitz is one of the great intellectuals of our time.
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Horowitz writes something of the story he lives by. As he says, we all live by stories to give our lives significance. This statement reveals something of the skepticism that pervades the book -- accepting the narratives we live by may just be our own creativity, our own way to deal, not the truth itself. XV is a very brief representation encapsulating peoples' use of narrative, just as authors write, with the belief that someone will read it.
Horowitz does not affirm someone will read it, but questions whom. Accepting narrative as justification, he writes, "I still return to the security of my stories, and am content to live in their worlds" Horowitz writes of other authors whose works have contributed to his own, such as Marcus Aurelius' Stoicism and Dostoyevsky's dystopian vision of socialism -- the sacrifice of freedom for the security of the state provider. Beside the philsophical segments Horowitz includes the personal experiences with mortality, those being the death of his daughter, Sarah, and his own health issues. The book, as a whole, is coming to terms with mortality.
Love the book but then again I love all his books. I know his history and have always been intrigued by him, but haven't ever read any of his books. I heard him a couple days ago on "Caravan to Midnight", the John Wells program, and decided to look into his writing. I picked this book from a kindle list and was blindsided. My mom is suffering from stage four cancer, and after about an hour of reading, I was so moved I was sobbing. I just finished it and think I might read it again. His love of animals hooked me by page 2.
Poignant, intelligent, and literate. Even having read and enjoyed a lot of David Horowitz, I found this a touching and warm surprise. Clearly, he has mastered Robert Heinlein's aphorism from Time Enough for Love, "It is not enough to accept the inevitable, we must learn to enjoy it. See all 34 reviews. Most recent customer reviews. Published 1 year ago. Published on January 22, Published on March 12, Goska Save Send Delete.
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He said something that silenced me, and that I pondered repeatedly: Camden, Newark, and Paterson have had Democratic leadership for decades. I grew up among people who vividly remember Newark and Paterson as thriving, even enviable cities. That they are now slums breaks many New Jerseyians hearts. Horowitz's comment was a significant paving stone in my own turn away from the left. It is meditative, serene, and stoic. It is not a Christian book, but it treats Christianity and its impact with respect. Horowitz talks about death using dogs, pet ownership, homes, and writing.
Dogs live for about a decade, much shorter than the average human lifespan. We must watch our beloved four-footed friends age and die at a more rapid rate than our own. Homes are our carapace. We experience them almost as extensions of ourselves, renovating them with a sense that our lives might go on forever. Moving into, and then out of a home, also reminds us of mortality. Horowitz's daughter Sarah was a writer who never married.
She died relatively young, and having published relatively little. Horowitz contemplates her one bedroom apartment, and her writings, her most significant material legacy. Medical diagnoses, too, remind us of mortality. If we go on living long enough, eventually we will get cancer, or diabetes, or something. We will fight the illness as long as we can. We lose the fight in increments, as Horowitz has in the amount of walking he can do before fatigue reels him back home.
We turn to bookcases. Marcus Aurelius provides a stoic model; Dostoyevsky a Christian one. Horowitz's selection of quotes from Dostoyevsky convinces me that I need to read more of him, or at least about him. The quotes Horowitz selects are stunningly apropos to American college campuses today. Horowitz positions Dostoyevsky as the antidote to atheist nihilists and Utopians. Horowitz considers faith, but acknowledges that he is an agnostic. He briefly describes a few unspeakable crimes from current headlines.
With a few spare sentences, he describes the kind of sadism that occurs every day. How do we believe in God in a world in which not just children, but even dogs, are subject to cruel and meaningless tortures? If God is omnipotent, how do we avoid assigning responsibility to God for horrible events? Rejection of God has been for many a sort of religion of its own. Horowitz's father did not believe in God, but he did have a myth and a telos. It makes a divinity out of a new and different object, but there is nothing new about the deification itself.
Dostoyevsky describes how radicals justify "wading through blood. The book's intimacy is typified by a lovely passage on page Horowitz lays awake at night, "haunted by reflections of death. I felt a little wince on page when Horowitz identified Poland only as a country that harbors antisemitism. I hope Horowitz will read my own book and discover Poland as much more than that. And I love the book's cover by Bosch Fawstin.
It depicts the scene at Dostoyevsky's mock execution by czarist police. Feb 25, Dale rated it really liked it. He will literally go anywhere to debate anyone about any political topic - the more strident the opponent, the better he seems to like it. My local news and talk station interviews Horowitz once a week and I have heard a great deal of those interviews over the years.
Horowitz is a formidable debater - a partisan of the first rank. To be honest, it never occurred to me that Horowitz had ano A Big Change of Pace for Horowitz David Horowitz is best known as a fearless in-your-face political brawler. To be honest, it never occurred to me that Horowitz had another gear which, of course, is silly - we all have other interests so when I read the description of this short book I knew I had to check it out. In A Point in Time: The Search for Redemption in This Life and the Next, Horowitz waxes philosophical on time, how things change in this world or more properly, how nothing ever seems to change , the way dogs live their lives compared to the way people live their lives, the paradox of the fragility and strength of horses, how out history is not really "going" anywhere and how living in a world with no faith at all is worse than living in a world with follower that follow their faiths imperfectly Sep 04, Art rated it really liked it.
Raised as a red diaper baby, Horowitz did a in adulthood and rejected his father's belief in atheism and communism. In this book, Horowitz meditates on the possible meaning of life.
A Point in Time: The Search for Redemption in This Life and the Next
In trying to make sense of life, he spends time meditating on the writings of Marcus Aurelius and Dostoyevsky, taking walks, communing with pets, and wondering about his daughter's untimely death. Redemption and utopia are not to be found in the confines of mortality. Belief in God and immortality offer humanity Raised as a red diaper baby, Horowitz did a in adulthood and rejected his father's belief in atheism and communism. Belief in God and immortality offer humanity hope in a cruel, seemingly meaningless world.
Such a pleasure to read One of the few books whose ending I dreaded. Though short, it's dives quickly into history and philosophy in ways most writers will not or cannot. Thank goodness for the aged perspective of David Horowitz. May 08, Joshua Nuckols rated it liked it. Making peace with despair. May 26, Todd Hansink rated it liked it. I like David Horowitz and I liked this book but I cannot recommend it because of its nihilistic conclusions. In my opinion, there are two ways to view the world: The legislature sends a library donation that includes a recording of The Marriage of Figaro ; Andy plays an excerpt over the public address system and is punished with solitary confinement.
After his release from solitary, Andy explains that hope is what gets him through his time, a concept that Red dismisses. In , Norton begins exploiting prison labor for public works, profiting by undercutting skilled labor costs and receiving bribes. Andy launders the money using the alias "Randall Stephens". Tommy Williams is incarcerated for burglary in A year later, Tommy reveals to Red and Andy that his cellmate at another prison had claimed responsibility for the murders for which Andy was convicted.
Andy approaches Norton with this information, but Norton refuses to listen and sends him back to solitary confinement when he mentions the money laundering. Norton has Hadley murder Tommy under the guise of an escape attempt. Andy attempts to discontinue the laundering but relents after Norton threatens to destroy the library, remove Andy's protection from the guards, and move him to worse conditions. Andy is released from solitary confinement after two months, and he tells a skeptical Red that he dreams of living in Zihuatanejo , a Mexican coastal town.
Red promises that if he is ever released, he will visit a specific hayfield near Buxton and retrieve a package Andy buried there. He worries about Andy's well-being, especially when he learns Andy asked a fellow inmate for six feet 1. At the next day's roll call , the guards find Andy's cell empty. An irate Norton throws a rock at a poster of Raquel Welch hanging on the cell wall, revealing a tunnel that Andy dug with his rock hammer over the last 19 years.
The previous night, Andy used the rope to escape through the tunnel and prison sewage pipe, taking Norton's suit, shoes, and ledger , containing proof of the money laundering. While guards search for him, Andy poses as Randall Stephens, withdraws the laundered money from several banks, and mails the ledger and other evidence of the corruption and murders at Shawshank to a local newspaper. State police arrive at Shawshank and take Hadley into custody, while Norton commits suicide to avoid arrest. After serving 40 years, Red is paroled. He struggles to adapt to life outside prison and fears that he never will.
Remembering his promise to Andy, he visits Buxton and finds a cache containing money and a letter asking him to come to Zihuatanejo. Red violates his parole by traveling to Fort Hancock, Texas , and crossing the border into Mexico, admitting that he finally feels hope. He finds Andy on a beach in Zihuatanejo, and the two friends are happily reunited. The cast also includes: The film has been interpreted as being grounded in Christian mysticism.
Early in the film, Warden Norton quotes Jesus Christ to describe himself to Andy, saying, "I am the light of the world", declaring himself Andy's savior. But this description can also reference Lucifer, the bearer of light. Norton's appearance and public addresses can be seen to mirror Nixon's. Similarly, Norton projects an image of a Holy man, speaking down sanctimoniously to the servile masses while running corrupt scams, like those which made Nixon infamous.
Zihuatanejo has been interpreted as an analogue for heaven or paradise. The possibility of escaping to Zihuatanejo is only raised following Andy's admission of guilt over his wife's death. Freeman has described Red's story as one of salvation as he is not innocent of his crimes, unlike Andy who finds redemption. Just as Andy can be interpreted as a Christ-like figure, he can be seen as a Zarathustra -like prophet offering escape through education and the experience of freedom. Andy's integrity is an important theme in the story line, especially in prison, where integrity is lacking.
Robbins himself believes that the concept of Zihuatanejo resonates with audiences because it represents a form of escape that can be achieved after surviving for many years within whatever "jail" someone finds themselves, from a bad relationship, job, or environment. Robbins said that it is important that such a place exists for us.
Morehouse suggests that the film provides a great illustration of how characters can be free, even in prison, or unfree, even in freedom, based on their outlooks on life. Andy displays resilience through rebellion, by playing music over the prison loudspeaker, and refusing to continue with the money laundering scam.
Many elements can be considered as tributes to the power of cinema. In the prison theater, the inmates watch the film Gilda , but this scene was originally intended to feature The Lost Weekend The interchangeability of the films used in the prison theater suggests that it is the cinematic experience and not the subject which is key to the scene, allowing the men to escape the reality of their situation. Andy's and Red's relationship has been described as a non-sexual love story between two men,  that few other films offer, where the friendship is not built on conducting a caper, car chases, or developing a relationship with women.
Five years later, Darabont wrote the script over an eight-week period. He expanded on elements of King's story. Brooks, who in the novella is a minor character who dies in a retirement home, became a tragic character who eventually hanged himself. Tommy, who in the novella trades his evidence exonerating Andy for transfer to a nicer prison, in the screenplay is murdered on the orders of Warden Norton, who is a composite of several warden characters in King's story.
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- Vergleich des Zugrundegehens zwischen Goethes Werther und Plenzdorfs Edgar Wiebeau (German Edition).
- The Shawshank Redemption - Wikipedia.
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Smith Goes to Washington and It's a Wonderful Life , describing them as tall tales ; Darabont likened The Shawshank Redemption to a tall tale more than a prison movie. At the time, prison-based films were not considered likely box office successes, but Darabont's script was read by then- Castle Rock Entertainment producer Liz Glotzer, whose interest in prison stories, and reaction to the script, led her to threaten to quit if Castle Rock did not produce The Shawshank Redemption. Castle Rock offered to finance any other film Darabont wanted to develop.
Darabont seriously considered the offer, citing growing up poor in Los Angeles, believing it would elevate his standing in the industry, and that Castle Rock could have contractually fired him and given the film to Reiner anyway. But, he chose to remain the director, saying in a Variety interview, "you can continue to defer your dreams in exchange for money and, you know, die without ever having done the thing you set out to do". Freeman was cast at the suggestion of producer Liz Glotzer, who ignored the novella's character description of a white Irishman, nicknamed "Red".
Freeman's character alludes to the choice when queried by Andy on why he is called Red, replying "Maybe it's because I'm Irish. Once you're in that situation, you just toe whatever line you have to toe. Darabont looked initially at some of his favorite actors like Gene Hackman and Robert Duvall for the role of Andy Dufresne, but they were unavailable;  Clint Eastwood and Paul Newman were also considered. To convince the studio that Gunton was right for the part, Darabont and producer Niki Marvin arranged for him to record a screen test on a day off from Demolition Man.
They had a wig made for him as his head was shaved for his Demolition Man role. Gunton wanted to portray Norton with hair as this could then be grayed to convey his on-screen aging as the film progressed. Gunton performed his screen test with Robbins, which was filmed by Deakins.
After being confirmed for the role, he used the wig in the film's early scenes until his hair re-grew. Gunton said that Marvin and Darabont saw that he understood the character which went in his favor, as did the fact his height was similar to Robbins' allowing Andy to believably use the warden's suit. Portraying the head guard Byron Hadley, Clancy Brown was given the opportunity to speak with former guards by the production's liaison officer, but declined believing it would not be a good thing to say that his brutal character was in any way inspired by Ohio state correctional officers.
I remember having a bad moment with the director, had a few of those. For example, the scene where Andy first approaches Red to procure a rock hammer took nine hours to film, and featured Freeman throwing and catching a baseball with another inmate throughout it.
The number of takes that were shot resulted in Freeman turning up to filming the following day with his arm in a sling. Freeman sometimes simply refused to do the additional takes. Robbins said that the long days were difficult. Darabont felt that making the film taught him a lot, "A director really needs to have an internal barometer to measure what any given actor needs.
Darabont favored more scenic shots, while Deakins felt that not showing the outside of the prison added a sense of claustrophobia, and it meant that when a wide scenic shot was used, it had more impact. Marvin spent five months scouting prisons across the United States and Canada, looking for a site that had a timeless aesthetic, and was completely abandoned, hoping to avoid the complexity of filming the required footage, for hours each day, in an active prison with the security difficulties that would entail. The acre reformatory, housing its own power plant and farm, was partially torn down shortly after filming was completed, leaving the main administration building and two cell blocks.
The interior of the boarding room used by Brooks and Red was in the administration building; exterior shots of the boarding house were taken elsewhere. Internal scenes in the prison cellblocks were filmed on a soundstage built inside a nearby shuttered Westinghouse Electric factory. Since Darabont wanted the inmates' cells to face each other, almost all the cellblock scenes were shot on a purpose-built set housed in the Westinghouse factory  except for the scene featuring Elmo Blatch's admission of guilt for the crimes for which Andy was convicted.
It was filmed in one of the actual prison's more confined cells.
Just as a prison in Ohio stood in for a fictional one in Maine, the beach scene showing Andy and Red's reunion in Zihuatanejo, Mexico, was actually shot in the Caribbean on the island of Saint Croix , one of the U. While the film portrays Andy escaping to freedom through a sewer pipe described as a "river of shit", Robbins crawls through a mixture of water, chocolate syrup, and sawdust. The stream into which Robbins emerges was actually certified toxic by a chemist according to production designer Terence Marsh.
So you will do things as an actor that are compromising to your physical health and safety. As the footage was too costly to procure from Paramount Pictures , producer Niki Marvin approached The Shawshank Redemption ' s domestic distribution rights-holder Columbia Pictures , who offered a list of lower-priced titles, one of which was Gilda.
A Point in Time: The Search for Redemption in This Life and the Next by David Horowitz
The final cut of the theatrically released film runs for minutes,  and was dedicated to Allen Greene, Darabont's former agent who died during filming from AIDS. In Darabont's original vision for the end of the film Red is seen riding a bus towards the Mexican border, leaving his fate ambiguous. Glotzer insisted on including the scene of Red and Andy reuniting in Zihuatanejo. She said Darabont felt this was a "commercial, sappy" ending, but Glotzer wanted the audience to see them together. Darabont agreed to include the scene after seeing the test audience reactions, saying: The film's score was composed by Thomas Newman.
He felt that it already elicited such strong emotions without music that he found it difficult to compose one that would elevate scenes without distracting from them. The piece, "Shawshank Redemption", plays during Andy's escape from Shawshank and originally had a three-note motif, but Darabont felt it had too much of a "triumphal flourish" and asked that it be toned down to a single-note motif.
The piece was initially written for a solo oboe, until Newman reluctantly agreed to add harmonica—a reference to the harmonica Red receives from Andy to continue his message of hope. According to Darabont, harmonica player Tommy Morgan "casually delivered something dead-on perfect on the first take", and this is heard in the finished film.
Leading up to its release, the film was test screened with the public. These were described as "through the roof", and Glotzer said they were some of the best she had seen. Following a Hollywood tradition of visiting different theaters on opening night to see the audiences view their film live, Darabont and Glotzer went to the Cinerama Dome , but found no one there.