Reviews for A Treatise on Philippine Practice; Including the Law of Evidence Applicable to All Courts an...

The average rating for A Treatise on Philippine Practice; Including the Law of Evidence Applicable to All Courts an... based on 2 reviews is 5 stars.

Review # 1 was written on 2013-09-28 00:00:00 Marco Deyasi Turns out, that you can become whoever you want, with your own developed intelligence.

Review # 2 was written on 2017-07-04 00:00:00 Fausto Gonzalez Buried Alive was originally published in 1973, less than three years after Janis Joplin's death. As her publicist and personal friend, Friedman cannot and should never be expected to be objective or unbiased in her account of Janis's life. While it is impossible to remove any writer from their subjective place in the world, it remains an absurd demand of any biographer who is as close to their subject as Friedman was. Once the writer makes their place in the story clear, it is irresponsible for anyone consuming biographical works to assume otherwise. In Buried Alive, the raw ambivalence Friedman seems to feel about Janis is exactly what makes this biography remarkable and its refusal to betray the author's position within the social and cultural framework from which her friend operated is part of the work's overall integrity. It is in the spaces of feeling and experience, interpretation and perspective, that both biographies and autobiographies accomplish what other historical accounts cannot (and, honestly, should not). Friendships and love are hardly ever felt in the "this or that" of binary philosophical relationship, as Friedman indicates, "Janis lit my life in innumerable ways for almost three years, as she dominated it too. If the zany creature that the public saw, all that campy, trivial bluster, was real enough it its way, it was far from the substance of her deeper glow...She was my friend; I loved her" (254-255). What the author saw and what the consuming counterculture wanted to believe may be at odds, she suggests, and it would be a disservice to Janis to emphasize only what the public already believed, saw, or wanted to know. The realities of her life illustrate the unreachable mirage of hippie cultural philosophy and the construction of Woodstock idealism that could only disappoint. Pointing this out, for Friedman, is hardly a conservative jab at a meaningful youth movement. Her discussion of Powder Ridge should calm any concerns about right wing agendas, as they are today or were then. I relish her accounts of such events and the ways the Joplin crew had to maneuver through the cultural and political obstacles that started littering her shows. The characters with which Janis surrounded herself were invited to play in this book and were generously developed with a devoted afterword updating their whereabouts. All in all, Buried Alive offers a nuanced alternative to the dominant Joplin narrative offered in other contexts.