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Customer Reviews: 2011
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Nexcon® Solar Panel Charger 5000mAh Rain-resistant and Dirt/Shockproof Dual USB Port Portable Charger Backup External Battery Power Pack for iPhone 6 5S 5C 4S 4, iPods(Apple Adapters not Included), Samsung Galaxy S5 S4, S3, S2, Note 3, Note 2, Most Kinds of Android Smart Phones,Windows phone and More Other Devices (Black)
Nexcon® Solar Panel Charger 5000mAh Rain-resistant and Dirt/Shockproof Dual USB Port Portable Charger Backup External Battery Power Pack for iPhone 6 5S 5C 4S 4, iPods(Apple Adapters not Included), Samsung Galaxy S5 S4, S3, S2, Note 3, Note 2, Most Kinds of Android Smart Phones,Windows phone and More Other Devices (Black)
Offered by Nexcon, Inc
Price: $24.99

1 of 1 people found the following review helpful
5.0 out of 5 stars Finally a solar charger, rugged and durable, October 19, 2014
This is a handy device I'd been waiting for. It is water-resistant, and much more durable than the usual chargers with plastic or metal casings. It also packs a respectable capacity of 5000 mAh, whereas many smaller ones have 3000 or so. This means it may be able to charge a smartphone fully and have some power left over for a second device to charge. Perhaps not to that capacity, but something...which is sometimes all you need.

The ports are both covered on the sides by rubber covers, and 1A. So, they are not the 1A/2.1A option some larger 10000 mAh chargers offer, but on the other hand, this is lighter, more rugged, and more portable. The size imitates a phone, too, which may confuse you if you grab it from a pack or purse where your phone is! But I like the size, and it can fit in a pocket or pouch. One suggestion is to keep the charger in a small bag, with the USB plug, firewire adapter for Apple, and the lanyard (a nice touch) if not in use. Some makers package chargers in a box for storage, but as this one only has a blister pack type of box, it's not as useful.

It took much of the day to charge in the sunlight, as expected. No problem, but realize it takes longer than the typical few hours a charger plugged into an AC outlet will. As the insert paper instructions say, the green light shows it is charging, and the blue ones the capacity range. The blue also kicks in if the charger is juiced via the USB wire. Also, a small LED flashlight is on the side, another smart addition.

All in all, this is a useful addition to a backpack. I have been wanting to try one (as asked by the maker) for a long time. While slower to charge in the sun, it is good to know that (somewhat?) reliable solar source is ready to help charge my battery-powered devices, far from outlets.


YogaAddict Yoga Mat Bag "Compact" With Pocket, 28" Long, Fit Most Mat Size, Extra Wide, Easy Access, Satisfaction Guarantee - Black
YogaAddict Yoga Mat Bag "Compact" With Pocket, 28" Long, Fit Most Mat Size, Extra Wide, Easy Access, Satisfaction Guarantee - Black
Offered by YogaAddict
Price: $29.95

1 of 1 people found the following review helpful
5.0 out of 5 stars Sensibly designed, meets a need, October 15, 2014
This is another sensibly designed product from Yoga Addict. While designed as a yoga mat carry bag, there is a small bit of room added so a mat cover, or towel might also be added, or perhaps a thin garment, if folded and lightweight. The bag, as the description tells, is made with small air holes and it has not only ah outside covered pocket, but a small inside mesh one, adding to its utility.

While the strap clicks into a plastic latch, and this may cause small concern as plastic is less durable than metal here, the price and design meet a need. The bag is basic, but fulfills the need for a user who wants to place his or her mat (or blanket or similar item, as long as it is 28 inches and no more in width when folded tightly), in it. I was asked to review this, and this is my fair review, after having tested it.


The Decameron
The Decameron
by Giovanni Boccaccio
Edition: Hardcover
Price: $25.06
56 used & new from $16.51

5.0 out of 5 stars A welcome edition of a classic anthology, October 14, 2014
This review is from: The Decameron (Hardcover)
This handsome edition fulfills the need for a brisk American English version of these hundred tales. This interpreter of Dante a generation before, and friend (or rival?) of Petrarch occupies the third position in fame among the Italians who championed energetic tales and vivid verse. As this U. of Texas professor emphasizes in his helpful introduction, "being in the middle of things" not only sums up Dante as he started his epic, but Giovanni Boccaccio. Around 1348, nearly half a century after the Commedia took place and the Inferno began, this Florentine set his prose in the wake of the Black Death. Rebhorn reckons that Boccaccio followed the Renaissance-minded Petrarch in turning away from the medieval mindset, as well as the vernacular which Dante had championed, but luckily Boccaccio took time from his classic endeavors to copy his manuscript and to preserve it from a pious mood later in his life when he threatened to burn it and the other salacious or sly stories.

These, of course, kept his reputation, more than what Chaucer took from the classical tales and moralistic concerns before and after the hundred tales. It "takes a set of medieval genres and fills them with Renaissance themes and characters." (xxvi) More women, more merchants, more ribaldry and fewer nobles than before. Seven women and three men tell the tales, ten a day with breaks for all to pray and the women to bathe for the Sabbath, in retreats just outside plague-ravaged Florence. These follow in Rebhorn's interpretation a ritual community of ten tellers, considering as if case studies (for the book ends abruptly and the return to normal life is sudden) of four themes: the power and the temptations of intelligence, fortune, desire, magnanimity (a more sly virtue than it seems).

The stories have unsettled some; their sexual content is famous but the real tug against convention persists beneath the rather decorous tone Boccaccio sustains for his properly raised tellers. That is, the tales test our understanding of why they draw us so much into a morally ambiguous array of characters, and how they often carry out their subversion free of any comment from author and usually the teller. Sophisticated prose in longer fiction was, after all, starting to emerge back then. I will leave explication of the tales aside, for the bulk of this encourages slow reading, as too many rushed by make their themes blurred, and a sensation is dulled of contents. Like Chaucer or Dante, this collection of adventures merits a more thoughtful pace than we modern readers tend to cultivate.

Don't expect, therefore, a quick rush as you make your way through. These tales reflect an early stage in narrative, and they do not display the links between themes and characters or tellers as sharply as Chaucer's tales started to do, a few decades later. As an aside, it's noteworthy to consider how Chaucer seemed to side with Petrarch's advice to Boccaccio to move to the classics for inspiration, even as of course how Chaucer supported his own polished vernacular phrasing, and mixed wittier or earthier content with the very learned and dogmatic pronouncements akin to those three Italians.

Rebhorn strives for the long, periodic and sinuous sentences of the original, but he admits he cuts some for clarity, as the tone of Boccaccio can elude the more direct phrasing our own time favors. He suits a modern ear, although he often avoids the more elegant diction of British predecessors. He captures the register and the class or dialect range of the original, and the endnotes assist users, who need a sturdy large-format edition that can hold up under use, as opposed to smaller paperbacks from preceding translators and presses, which have small type and fewer notes, let alone a lovely typeface.


Chaucer: His Life, His Works, His World
Chaucer: His Life, His Works, His World
by Donald Roy Howard
Edition: Hardcover
132 used & new from $0.01

4.0 out of 5 stars 1987 biography combines speculation + fascination with 1387, October 14, 2014
This provides one of the liveliest narratives on medieval times that I can recall; the added bonus that a leading Chaucerian wrote this just before his death in 1987 adds poignancy, given the final line of the text proper contemplates eternity. Donald R. Howard navigates the difficult path between speaking to his fellow scholars and welcoming a wider audience into the author's works, life, and times. He does this with verve; he shows what Chaucer would have seen and what he did read and where he did travel. He reminds us of how far Chaucer roamed, even if he was a bookworm who preferred staying in London.

The challenge, as Howard admits, is that facts for the Middle Ages are few, and liable to change. For much of this, Howard has to reason on probabilities. For instance, I consulted this wanting more on Dante and Boccaccio, given as a grad school prof (himself a medievalist) asserted Chaucer was likely the first person in England to read the Commedia, as he knew Italian so as to make his diplomatic visit there. Howard supplements this fact with supposition--Chaucer may have met Boccaccio, may have had a quarrel with him, may have therefore not cited him by name in his later literary works, may have rubbed a man twice his age the wrong way. This is all intriguing, but as Howard might have admitted, he has had to fill out much of the bare bones of Chaucer's record with such insights, and so the book turns more a depiction of Chaucer's world and works than his life, and this does fill the book. It is more readable, but it does have to make tangents.

It does, however, with insight. As Howard presented the pilgrim's perspective well in earlier studies, so here. He shows how the mental map of a traveler inverted, so a vague Earthly Paradise atop the half of the sphere named Asia beckoned, whereas Jerusalem was at the center, and bisecting the other half are Europe on the left, and then near the Devil's sinister hand, and Africa on the other quarter. He adds that the Southern Hemisphere was debated as possible back then, and that Columbus did not think any more than many then that the earth was flat. So, in a few pages, Howard corrects crucial ideas many have about medieval lore. He aligns his pitch at both scholars and everyday readers.

This tone sustains the interest that keeps the pace moving along. Howard has to compress a lot about the Canterbury Tales into the latter parts, the sections many may want expanded. Howard's previous The Idea of the Canterbury Tales book may be recommended as is his shorter one on pilgrimage as more in-depth on crucial topics. What provides this book's verve and infuses its pages is Howard's fascination with Chaucer and his time and influences, and now, as fewer turn to this author and his works for pleasure or even for coursework, this biography merits your time and your immersion.


Family Furnishings: Selected Stories, 1995-2014
Family Furnishings: Selected Stories, 1995-2014
by Alice Munro
Edition: Hardcover
Price: $21.78

4.0 out of 5 stars Her second anthology, October 13, 2014
Vine Customer Review of Free Product (What's this?)
Certainly Munro needs no introduction. This collection follows her Selected Stories (1996) which collected 28 of them. Her Nobel Prize recently reminded readers of her calm insight into the lives of quiet people in small-town Canada, and her careful tone, cloaking psychological scrutiny and complicated characters, epitomizes a type of fiction found in The New Yorker for so many decades. This anthology, then, sustains her command of this milieu, and readers wanting not bluster or shock, but a commitment to serious but not always somber portrayals of women (and men and children, too!) managing to survive and carry on regardless will find here satisfaction. While I admit I sometimes prefer the more barbed or the more bewildering, Munro conveys her craft reliably once again.


Dante in Love
Dante in Love
by A. N. Wilson
Edition: Hardcover
Price: $25.84
65 used & new from $5.15

4.0 out of 5 stars In-depth review: balances Christian + secular influences, October 12, 2014
This review is from: Dante in Love (Hardcover)
This English academic turned journalist and novelist combines an explication of Dante's political milieu with an overview of his life and times. While it ranges sometimes so deeply into the endless Guelf-Ghibelline contentions that non-historians may find their attention flagging, Wilson's "Dante in Love" fulfills Wilson's wish: a primer for those who need to learn more before reading his epic poem.

Wilson does take some liberty, given that much in Dante's crafting of his Commedia eludes precise documentation. For instance, on pg. 35 Wilson points to Pope Boniface's conniving to literally rake in cash at the altar of St. Peter's at the 1300 Jubilee as a way to profit from the newly formulated doctrine of Purgatory as a place as well as a state, where the souls of the dead might be assisted by donations as well as sacrifices by the living. Wilson then claims this set in Dante's "brain a sequence of inspirations which would create a literary masterpiece, the beginnings of modern literature with human singularity and self-consciousness at the center of it." But where's the proof for this brainwave?

His title repeats that of Harriet Rubin's 2004 attempt (reviewed Oct. 2014; earlier in '14 reviewed, see the recommended thematic treatment from Prue Shaw, "Reading Dante"), in similar fashion to provide an introduction full of guidance and ideas for the doughty reader of Dante. But Wilson wanders from the straight path similarly' Shaw's thematic take is as challenging but probably more cohesive. It's difficult to follow a chronological presentation integrating Dante's formation as a Papal backer turned imperial supporter, and how this gets embedded into the poem and his earlier texts. So, Wilson like Rubin goes on tangents and down byways, like Dante the pilgrim, to indulge his curiosity. Along with the political allegiances and the "allegorical autobiography" Wilson notes in the poem a third concentration, unlike that of Chaucer or Shakespeare: Dante's ambition to further his professional credentials as a poet, given the competition such as Guido Cavalcanti, around Florence.

While Wilson's title promises love, Dante also is "the poet of hate, the poet of vengeance, of implacable resentment and everlasting feuds." (40) Hell fills from "hard cases"; those who binge, addicts who choose desires or ambitions rather than God's plan. While the infernal realm itself gains less evocation in Wilson than one may expect (lots of politics, lots of papal intrigue dominate this narrative), he does show the careful reader how Dante used the text to integrate bits of his own life, a confession of sorts aimed at, as the epic unfolds, "universal application" rather than the Rousseau model of self-promotion. Even as Dante filled Hell with Italians and post-dated it to settle his scores.

Wilson finds Dante veering between tenderness and "Tourette's Syndrome" (280) on his quest, and suddenly lurching from one register to the other; at least it stays animated. As in Rubin, Wilson wisely varies the translations to show the variety of ways English voices try to echo the propulsive line of Dante. Certainly terza rima cannot be duplicated, meaning any word-for-word cadences of the language must give way to English sentence structure and can turn stilted or clunky. Wilson cites how the Commedia increased the stock of written Italian from 60% to 90% with its inventive vocabulary.

As one who had left Christianity as an adult and later returned to an Anglican observance, Wilson discerns hints of proto-Reformation unease in Dante's critiques of the Catholic Church, however hidden for understandable caution. Wilson finds a Catholic innovation of purgatory guided by the Aeneid's example in its sixth section of how souls were hung up on the winds or purged by fire, but he does not elaborate this intriguing claim. While endnotes often do point to sources, not all his readings or assertions are grounded, but the list of works consulted does attest as he says to a life spent studying Dante since his teens and a visit to Florence, as well as learning Italian early on there.

One advantage of this study is while Wilson eschews the step-by-step commentary through the poem, he does spend more time in Paradise than, say, Rubin or many readers. They tend to lose steam after the Inferno, bogging down as they hike up Mount Purgatory. The lack of a single translation of the last cantica by a poet to set along Robert Pinsky, Ciaran Carson, or many other versifiers of Inferno, or the elegant W.S. Merwin rendering of Purgatorio, speaks perhaps to this lack of interest for us. Wilson does not say this straight out. But he recommends that "months" spent in the last section may reward, as the verses can be pondered a very few at a time per day, slowing the pace to allow insight.

"Heaven is crowded, but it draws its citizens one by one." (303) Wilson finds beauty in Dante's difficulty, as he moves from observer in Hell to participant in Purgatory to guest in Heaven. By then, we readers find we have entered the allegory, to join Dante "to be unclothed before the searchlight of heaven." In his chapter on Paradise, Wilson reaches his own heights, and this portion merits acclaim.

He follows with "Dante's Afterlife," a fine tour through the ways mainly how Europeans since have kept Dante's memory buried or alive. We glimpse how Henry Francis Cary's 1814 version excited the Romantics; Gladstone himself immersed himself in Dante, as did many Victorians and Edwardians, later in a Temple Classics bilingual edition. From the troubadours to Ezra Pound, Wilson avers the "great European mainstream" endured in its canon, but that this died with T.S. Eliot and Pound's generation. We are walled off from Pound's "common Kulchur" and in that poet's fumbled attempts, Wilson finds "danger" in how moderns might interpret Dante's obsessions. Wilson rightly regards the attempts of today's readers to tackle the Comedy as a classic akin to starting the Bhagavad-Gita. A classic, but a remote one from Western secular mentality, and full of references we lack nowadays.

Still, Wilson leaves us with two suggestions as to its appeal for our century. Outrage at corrupt institutions, and a quest for a "Good Place" animate the poem. Dante continues to anticipate and to articulate our own unease at the past and the present, and tells us our dreams for a better future. This narrative straddles the Christian tradition and the post-Christian attitude many of us inherit whatever our allegiance, and Wilson fairly strives to show Dante's relevance as each century reinterprets this.


Dante in Love: The World's Greatest Poem and How It Made History
Dante in Love: The World's Greatest Poem and How It Made History
by Harriet Rubin
Edition: Paperback
Price: $12.11
92 used & new from $0.01

1 of 1 people found the following review helpful
3.0 out of 5 stars In-depth review: like its subject, this digresses from the straight path, October 11, 2014
This popular take on the appeal of the Divine Comedy has been criticized for errors, but it also conveys what Harriet Rubin calls herself in the afterward: an "impressionable reader" ready to learn. Yes, she fumbles on pp. 8-9 the Guelf-Ghibelline definition (although the endnote tries to explain), and she gets wrong T.S. Eliot's tutelage at Harvard, long before he could ever have been taught by the Dantista Charles Singleton. Lord Peter "Whimsey" by translator Dorothy Sayers is another unfortunate blunder. She elsewhere claims--contrary to the norm that suggests 1269-1289, usually 1284/5 by Salvino D'Armate in Italy-that corrective lenses were invented around 1300 but not put into frames until much later for fear of altering nature; this is left as so many of her references dangling or vague, but it does show her diligent passion in recording every fact or literary snippet she comes across that may enliven what after all remains a spirited presentation of the High Middle Ages.

Rubin appears to be as interested in this period, 1290-1322 or so, as Dante. Like Henry Adams, whom she channels in a detailed evocation of Abbot Suger in Paris squaring off against St. Bernard, much of the contents here demonstrate a keen desire to organize a lot of impressions around an aesthetic theme. But like Adams (for all his splendid prose), Rubin can rely on dated sources (Will Durant is cited often) and she seems like Dante the pilgrim himself (whom she elides with the author, against critical common sense) to wander from a direct way. But as with the digressions put into the mouths of many in the afterlife, so in Dante in Love: The World's Greatest Poem and How It Made History (2004, not to be confused with A.N. Wilson's own popular account, from 2013, titled Dante in Love with no grand subtitle): much of the adventure comes off on the byways from the high way.

From early on, Rubin makes claims that don't always get backed up. "There is nothing else like it in literature: a work of genius that explains how it was created." (25) She asserts that troubadours invented the language of love between two people, and that the Romans named Paris as Lutetia which she translates from "lux/light" rather than the usual hunches which find a Celtic root from mice or one from Latin as to a swamp or a marsh. The Romans themselves may have garbled the etymology, confusing it with "lux," but the reality appears to favor, given Paris's location, a far muddier origin.

Back to the main theme, "Dante shows how to turn loss into salvation" (29), but Rubin does not to her credit wander off into making this a self-help book for today as some do. But neither does she ground Dante's poem in its time enough, despite this historical emphasis. She reckons that we enter the realm as does an ant on a Moebius strip, and we see Dante use his medieval memory palace conception to conjure up an interior space turned textual place, through his consciousness. This eludes facile explanation, but "we are in Dante's world as thoroughly as he is in God's." (94) Rubin strives to get at this core achievement, but at least in summing up Purgatorio, she reminds us of a key factor in its shift away from the Inferno and Paradiso. Dante is no longer an observer but in stage two of his quest, he participates in the process. For, between the eternal states, "time, change, and hope" transform souls undergoing cleansing, and day and night alternate, as in our own earthly world. (187)

She tries to cram in a lot about purgatory's evolution, as she cites Jacques Le Goff, who argued for its "intermediacy" as mathematically consistent, economically sensible (as mercantile interests and a middle class expanded clerical-lay dichotomies) and logically as a second chance by 1300. But this had arguably, as Georges Duby in his own tripartite scheme had suggested, been emerging already. She does, as many commentators do, rush past much of the second and third segments of the Comedy. Like many readers, she finds the first part the most engaging, although her close reading of it is scattered and diffused, for she makes so many detours. And she fumbles how, for instance, the Zohar and the feminine presence of the Shekinah have direct bearing on Beatrice, much as Rubin may wish to connect such suggestive influences. She keeps raising provocative or curious points, but then she drifts away from them. The book needed a stronger editor and another round of revision.

On a brighter note, Rubin varies verse translations, and these, often paired with the Italian text, allow readers to glimpse Dante's craft. I liked Philip Wicksteed's slightly more old-fashioned versions, and W.S. Merwin's from Purgatorio show as do John Ciardi's and Allen Mandelbaum's overall the translator's inability to stick to a word-for-word echo, given compression Dante exerts on his lines.

By Paradise, which Rubin claims as not the Persian word for "garden", but "par-dheigh" for dough--this again shows her wandering, for in her wish to tie this to manna and famine, she omits the PIE etymology for the latter choice (233). This derivation is much more distant and possibly in medieval times unknown, compared to the Edenic concept which appears more relevant to Dante's conception. But at least Rubin stays on task in medieval terms, to compare Dante as a palimpsest to God as text (226) by the end of the vision, and as in her earlier excitement over Bologna's grey streets and lively university in this period, Pope Boniface's humiliation, Guido Cavalcanti's boasts, and Primo Levi's powerful attempt to recall--so as to teach a French guard some Italian at Auschwitz-- the cantos when Ulysses met Dante, Rubin shares ideas and their origins with energy and enthusiasm; this may be supplemented by a book of the same main title from 2011, the English journalist-novelist A.N. Wilson's "Dante in Love" (reviewed Oct. 2014; also earlier in '14 reviewed, a recommended thematic treatment Prue Shaw's "Reading Dante").

Rubin even tells how ascetic diverged from athlete by medieval times, and how infant expresses a lack of speech in its meaning, and how company emerged from the corporate entities who boasted bread. In such asides, this book educates. Critics of it may be slightly chastened by the circumstances in which it was completed, for in the acknowledgements, Rubin dedicates it to her late partner, who the year before died of a brain tumor, revealing to them both the infernal, purgatorial, and heavenly nature of the same sort of suffering undergone by mortals whom Dante characterizes so vividly.


Dante (Past Masters)
Dante (Past Masters)
by George Holmes
Edition: Paperback
23 used & new from $0.61

4.0 out of 5 stars Explains a lot in a little space, October 10, 2014
This review is from: Dante (Past Masters) (Paperback)
Although only a hundred pages, like its counterparts in the Past Masters series from Oxford UP, this contribution by a professor at Oxford is pitched at an elevated level. It introduces Dante Alighieri and covers his life, but it emphasizes his works. Not only his most famous, but the predecessors, the Vita Nuova, the unfinished Convivio, and the crucial Monarchy prepare the reader for La Commedia.

For, Holmes stresses the tension between the younger Dante, pre-exile, debating the issues of his time, and the man who after the pivotal year of 1300 soon found himself cast out from Florence and in danger. From Ravenna, he wrote his supreme work, one which Holmes ties to earlier texts by the author's increasing immersion into a novel combination of Aristotelian and Neo-Platonic lore. Out of this ethical and cosmological concoction, Dante went from score-settling and digressive debates that enlivened Inferno to a more extended depiction of otherworldly concerns beyond the circles of hell, ones that invited Dante as pilgrim to participate.

As Holmes sums it up: "Hell is a tour conducted by Virgil; Purgatory is a purification from which Dante emerges changed and able to understand what he had not understood before." (74) That is, how the secular and the spiritual occupy their own principalities, how Dante's backing of both a divine plan and a Roman Empire open to non-Christian influences might endure in an era where the popes battled princes and the Italians had to choose allegiances, and how Thomistic theology and Franciscan controversies over poverty and millennial messages infused Dante's own mindset as well as his work.

By the end, with Paradiso, Holmes notes how the quest compelled Dante in its lines to carry back the reminder to his fellow humans about not only here "what he wished to say, but what he had 'seen.'" (92) Emboldened by divine authority, Holmes reads Dante as commissioning himself to condemn corruption and promise "imperial salvation." Despite the poem's poetic power, which can be glimpsed best in the Italian verse sometimes placed before the English snippets throughout, this book works best in conveying the way Dante took pieces of learning from classical commentaries and combined them into his idiosyncratic epic, as it evolved over decades. You don't find in such a brief study much depth about much of the vision or the verse, but you will learn how the epic unfolded and altered as it served to record and to respond to Dante's fate, his faith, and his particularly personal concerns.

Many facile readers forget how long the 100 cantos took to emerge, and Holmes places their evolution within the longer cycle of Dante's obsessions and preoccupations which flavored his sprawling work so markedly, so it lacked imitators. What it did best was merge, Holmes concludes, the emerging vision of a European mind akin to Michelangelo or Shakespeare, with a fusion of the Northern scholastic thinking and the Italian city-state mentality, for a new way of perception. The book ends with some reading recommendations, which may be updated by consulting recent translations, but the overview remains helpful, if rather austere--perhaps like the subject himself.


Shandali Mat-Sized Microfiber Hot Yoga Towel, 26.5" x 72"
Shandali Mat-Sized Microfiber Hot Yoga Towel, 26.5" x 72"
Offered by Shandali
Price: $59.00

5.0 out of 5 stars Portable and practical, October 9, 2014
I use this for exercise, although I find it can also work well for a secondary use. As a camping or travel towel, it certainly takes up less space and bulk than a yoga mat which it is meant to supplement. So, it can be used for on-the-go purposes when one needs a surface to lay out that follows the body's length and width without unnecessary added weight or heft.

As a towel, it has microfibers so it is not like a beach towel, but more of a nubby texture. This allows the toes to grip it and offers a better way for the hands or feet to meet a surface that has some support rather than slippage. I was asked to review this by Shandali, and having tested it, I can say it fulfills its purpose. Its compact size and portability provide two attractive features for its purchase.


YogaAddict Men's Yoga Stretchable Short Pants, Ideal for Any Yoga Style and Pilates
YogaAddict Men's Yoga Stretchable Short Pants, Ideal for Any Yoga Style and Pilates
Offered by YogaAddict
Price: $44.00

1 of 1 people found the following review helpful
5.0 out of 5 stars Another quality product from Yoga Addict, October 9, 2014
These are on the "short" side. I am on the lower range of a large size and these were slightly large in the waist. I'd suggest that briefs rather than boxers be worn underneath, as the fabric can bunch up inside. I am frankly not sure what the protocol is for wearing these, but I reckon that the yoga short pants alone are not the norm!

There is no button, fly, or snap. The waist is somewhat constricting but not anywhere that would impede movement. Such is the design that the fabric gives, and like the longer meet-the-knee shorts by Yoga Addict also reviewed by me recently, these shorter shorts allow the wearer freedom without unnecessary exposure, as they neither ride up nor down the leg.

There are no pockets, only the fabric, so if you want pockets or a drawstring, you may choose the longer shorts instead. Both are form-fitting without making you feel hemmed in. They are primarily spandex and not as breathable as one may expect, but I suppose on the other hand, this allows the fabric to fit the body's contours better and not to move about on the skin.

The logo is discreet and also gives one a head's up as to which way faces where. They are high enough on the leg to allow you to move about, but low enough so there is no discomfort. All in all, another quality product from Yoga Addict, who asked me to try this out for a review.


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