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This unique book is a wide-ranging introduction to the world of Victorian tailoring, including techniques, materials, and patterns. The author, an expert in the field, has dipped into rare 19th-century tailoring sourcebooks and re-created the authentic techniques for today's budding tailor.
An introductory section includes:
--A glimpse into the 19th-century tailor's shop and the people who worked there
--How men's fashion subtly evolved through the decades, with illustrations and Victorian photographs
--Tools of the trade, and how they were used--and which ones are still worth using today
--Which cloths to use for an authentic Victorian feel, and where to obtain them
--The fundamental techniques every tailor should know, from how to sit in the traditional cross-legged manner to the full range of stitches used in the Victorian era.
The book then moves on to give detailed instructions on how to draft and cut your own patterns to fit your client exactly, and gives 18 patterns from different decdes, including capes, waistcoats, trousers, frock coats, lounge coats, and even a shooting jacket and breeches for the Victorian sportsman. These are followed by clear and concise step-by-step directions for making up your finished garments, illustrated with authentic period fashion plates showing the essential wardrobe of a Victorian gentleman, this book will appeal to all costume designers, dressmakers, living historians, and those with an interest in creating these beautiful handmade garments, and contains everything you need to create authentic menswear from the period.
- Sales Rank: #1075449 in Books
- Published on: 2011-03-15
- Released on: 2011-03-15
- Original language: English
- Number of items: 1
- Dimensions: 10.96" h x .61" w x 9.08" l, 1.65 pounds
- Binding: Paperback
- 160 pages
Review
“What I like most about this book is that not only does it teach you to create custom-fit, accurate-to-the-period garments, it also shares history and a lot of information about the period this clothing derives from, in essence, you are presented with the story behind the garments.” ―Wee Share blog
About the Author
JASON MACLOCHLAINN is a historical consultant, tailor, and patternmaker who started sewing fourteen years ago as a side hobby to gain a better insight into his living history and experimental archaeology projects. Not being satisfied with the resources available for men's costume at the time, Jason put his background in history and archaeology to work. From this he has re-created a Victorian "house style" to re-create period costumes down to the last detail.
Most helpful customer reviews
49 of 57 people found the following review helpful.
Not good enough
By boxy
I found a lot to object to in this book. The author seems to be fine when he quotes other authors or presents material already in print. However he makes a hash of it when he goes out on his own.
The author:
1. Does not appear to be qualified to write any sort of instructional book.
2. Is mistaken about certain tools.
3. Confuses period tailoring with doing an impression of a period tailor.
4. Writes in a very confusing style which is mostly unreadable.
5. Includes patterns and measuring systems that don't work in general and have errors in them.
6. Appears to have big gaps in his knowledge about fabric, period interfacing, and some techniques.
7. Includes little information about what fashions would have been worn, when, and what fabric was used.
For everything the author gets right in this book, I found an almost equal amount to be wrong, missing, impenetrable, confounding, and/or pretentious. Wasting no time, in the "Introduction" the author states, "When I started out as a casual costumer 15 years ago, there was very little material available on the subject of period costume for men. ...we made do with over-simplified, contemporary ready-to-wear techniques, which led to boxy and ill-fitting garments. As far as patterns were concerned, there were only two real options. You could either follow historical commercial patterns or those from some of the smaller pattern companies that had patterns based on historical patterns or scaled (often poorly) from extant garments. In the end both options produced similar results, as both drew from these over-simplified techniques of garment making. The study of period men's garments had grown so stagnant that even today most of the costuming community are (is) still using the same sources and techniques." And the land was dark and the world was ruled by trolls. With this single sweep the author dismisses all the work done by anyone before his arrival. I think there are a few talented individuals who would disagree. He continues in the Introduction to explain how this book came to be. "Not being satisfied with these existing sources, I decided to devote my studies purely to period tailoring. A new world was opened up to me and as I grew more comfortable in my studies and their execution, I wanted to share and teach what I had learned. Soon an opportunity showed itself in the explosion in interest for gentleman's Victorian costuming, as more men were willing to dress up and look good while doing it. From this need, I conceived a project of two volumes, which would offer the most comprehensive study of Victorian tailoring and gentlemen's costume in the past 100 years." Let's just sit here for a minute and think about the last sentence. He doesn't say he wanted to write the best books describing 100 years of fashion. He is saying he planned on writing the best books ever written in the past 100 years. Perhaps you can see my problem at this point. I am just half way into the Introduction and already wondering who else he can find to insult and who does this guy think he is?
1. The author does not appear to be qualified to write any sort of instructional book.
From the beginning I wondered how the author was qualified to write this book. He calls himself a scholar but has never earned a single degree. He claims to be a master tailor but has no formal education in it, has neither worked in a professional tailoring establishment, nor has he apprenticed to anyone. He has written an instructional manual but has never taught in a formal academic environment. His qualifications seem to be that he sews for people and does a lot of copying of other people's instructions and patterns. That makes him equally qualified to write a book as my Aunt Betty.
There are no photographs of the author's work. None. There are photos in the book so it's not as though he has some objection to them. How are we to know if he can actually sew, much less tailor? For the most part, he uses illustrations instead of photographs. The illustrations meant to show techniques are often from the 19th C, hard to make out, too small, and too few.
To further explain why I found this book particularly bad was the attitude with which it was written. There is something I like to call "The sliding scale of correctness" when discussing period reenacting. Every group and even individuals have one. For instance, you might not want to drink a Coca Cola from the can on the battlefield but you might have a cell phone tucked away for emergencies. This scale moves to and away from doing things the period way for the hobbyist depending on their interest level, skill, and time and money available. An additional multiplier is whether the materials needed are still available. A skilled writer will acknowledge this and supply a range of choices when giving information and instruction. The author does not do this at all. He gives one way, his way, only. The risk one takes when taking this approach is that you not only appear to be pedantic but if you should slip off your high horse at any point, also unintentionally funny. The author manages both. He forcefully insists that everything be period correct except when he doesn't. A small, early example is in the tools section. For his sponge and bucket recommendation he commands you use a natural sea sponge or undyed modern but "The bucket could be a plastic bowl with a flat bottom."
2. The author is mistaken about certain tools.
The author states in the shear's section, "While you may already have dressmaking shears, they are not recommended for period tailoring because they will not stand up to the heavier weights of fabric used and lack a longer cut to give smooth results." This is not true. Any sharp pair of dressmaking shears will go through just about anything, and the smooth cut comes from the skill of the cutter, not the shears. And further, he claims the size 13.5 inch shear is the best. A 13 ½ inch shear is enormous; clearly too big for most people. If you are doing an impression of a period tailor, it would be good for the gee whiz, scare the children effect, but not very useful all around. He discusses other sizes but still insists that only Wilkinson shears will do. His advice shows a clear disconnect from his readers. The prices for large Wilkinson shears are between $200 and $300 before shipping to the USA from the UK. There are many other manufacturers who make very good shears at a more reasonable price. The author does not provide any information about alternatives.
In the tools section the author discusses irons. He says, "It is worth seeking out a vintage iron for your period tailoring projects because there are no modern irons that can do what you will need them to do." This is not true. He goes on to say "When you try to press a period seam with a modern steam iron there are always three results: Seams are not flat and have a `rolled' appearance, almost as if they has not been ironed; the fabric along the seam is fluffed or outlines of the turn-in edges appear; or a strip of "shine" or discoloring along the seam is produced. " First, what is a "period seam"? Does he mean hand sewn, because he admits to using a sewing machine himself? Secondly, everything he claims is not true. Once again, a good pressing comes from the tailor, not just the iron. In the first and second case, the author simply has not applied enough steam and pressure. Also, the firm application of a clapper after pressing while the heat subsides and the steam dries will give a sharp crease no matter the iron, as long as it gets hot and damp enough. In the second and last case apparently the author has not learned how to use a press cloth. As Mr. Doyle writes in his book "The Art of the Tailor", "For centuries tailors have known that the most important tool in the tailoring process is the pressing iron, usually weighing from five to ten pounds. Over the years this weighted iron has changed as new and improved lightweight irons with forced steam reservoirs have been developed. They provide a steady pressure-per-square-inch of live steam, sufficient to shrink and form almost any woolen fabric. Whether from a steam iron or from the steam generated by a wet cloth placed on top of the fabric, the steam and a sensitive hand are key to achieving fine workmanship." Once again the author insists on using something that belongs in an impression of a period tailor, not in period tailoring. Getting pressing wrong in a tailoring book is a very big mistake.
In the same section the author makes his suggestions about pressing boards, also known as ironing boards. He suggests that if you are in the business of costuming, you will need no less than 9 of them and you will have to make them yourself. Once again, having 9 pressing boards would make a great impression of a period tailor, but aren't required for period tailoring. Nowhere does he explain why so many boards are necessary for the professional. He has included an Appendix 2 that explains exactly how big to make the boards and of what wood, but does not explain how they are to be employed. No mention is made of legs so they are apparently just flat boards. It was only a brief mention in the section on the tailors shop did I come across this quote. "A comfortable sized sewing bench for one person should be around 40 x 40 inches and 32 inches high if your sleeve and press board has a rise, or 34 in. high if the board is to be placed flat on the bench." Apparently you are allowed to put a rise of some sort on your boards to get them off the table but what kind is not described. Slinging around heavy, flat pieces of wood is impractical and not necessary. What's worse is the implication, that he doesn't explain in Appendix 2, that the boards are to be placed and used across the knees in the magical cross-legged sitting position. This information was found randomly in the section called "Thread the needle". "Once done, place your board (without the press cloth on) across your knees, ..."More about this ergonomic disaster later.
3. The author confuses period tailoring with an impression of period tailoring
The very first "fundamental" in the section "Fundamentals of Victorian Tailoring" is where the author insists, no joke, that you must sit cross-legged on a bench while you do hand stitching. Some people find sitting cross legged comfortable, just as some people like to play the accordion and yodel. That doesn't mean we all have to join in. Sitting cross legged for the long periods of time it would take to stitch a garment is for most an ergonomic nightmare. It causes certain ailments so often they have their own name; specifically Meditator's Knee and Tailor's Toe. The author does acknowledge that it can be very uncomfortable and may in fact cause swelling. I don't know about you, but personally, if something causes swelling, I try to stop doing it. Further he recommends strategically placed pot holders or a yoga mat to obviate the pain. This is hilarious. I'm sure he just forgot to mention it should be a period pot holder or yoga mat. Some readers will be willing to pay the discomfort price, buttress themselves with pot holders, and be OK with swelling up to be one of the cool kids. I had a frightening momentary mental picture of me trying to scramble up on my dining room table so I too could be a "real period tailor". I had to keep in mind it is from IKEA and would probably give way under my considerable heft. Barring that, I would have to call the fire brigade to actually get me back down again. So realistically, I let it remain just a ridiculous thought. Sitting cross legged, where essential to doing an impression of a period tailor, is otherwise a very silly affectation. From now on, I suggest you snigger at anyone doing it. Stitches do not know if they were done while sitting on a comfortable ergonomic chair or while hanging upside down in a church belfry.
4. The author writes in a confusing style.
The author complains about how little space he was given by the publisher yet he uses one whole page on how to thread a needle. These instructions include this inexplicable bit of advice, "You can do this either prior to sitting or while sitting." He certainly can't get over this sitting thing. Please see belfry reference above. This is quite typical of his style of writing. The author can't seem to discern the pointless from the important.
The section on stitches is unnecessarily long winded. Hand stitches are adequately described and illustrated, though with their modern names, in any basic sewing or tailoring manual. The author's long, drawn out explanations add nothing.
As for buttonholes, the author writes, "As I cannot explain it any better than Mr. Byrne or Mr. Shaw can, I will reproduce the section from Practical Tailoring in its entirety...etc." I have no doubt the author could not explain it better than the spectacular Mr. Byrne or Mr. Shaw, but almost anyone else could. The author goes on to quote for two pages Messrs.' Byrne and Shaw's arcane 19th C wording and then adds his own comments as well. The whole thing adds up to 4 ½ pages! Although, I must give proper respect to Mr. Byrne and/or Mr. Shaw for using "general approbation" in a sentence.
Section 6, "The Art of Cutting" has a strange flow. The author seems to jump from topic to topic and then back again. It begins with the anatomy of a pattern, jumps to measuring for a coat and vest, jumps to making tapes, jumps to drafting a coat pattern, then measuring for pants. He then jumps to drafting a pant pattern which does not use tapes, then trimming the pants, then back to pattern drafts again. All of which is so difficult to read it is mostly unusable. Then he goes to back to coat patterns again, then to pockets, then to collars, where he makes the following incorrect statement, "Outside collars should always be cut with a seam...". This is not true. Next we go to linings and the canvas, about which he says, "... in tailoring there are no patterns for trimmings. So study the diagrams and try to copy the shapes in relation to the garment patterns." In other words, you are on your own. The reader is dropped there and he goes back to pattern drafts again. It is difficult to use something so badly organized and written as a reference book.
When the author is not busy writing in a confusing style himself, he quotes copiously from even more confusing 19th C sources. If you would like an example of that sort of writing style the following is direct quote from Section 6 and the subsection, "Drafting a coat pattern" and is one sentence. "Form the waist seam with a round in front, as shown by the dotted lines of the diagram; now lay the back, side-body, and fore-part in a closing position (i.e. lay the pattern pieces edge to edge) at the waist, and measure from the back seam to the front the waist measure, and sufficient for making up, from 1 ½ in (2.5 to 3.8 cm) (this number greatly depends on the style, ease required, and fabric weight, so I say 1 ½ inch plus a ½ in. of ease); form the front by the beginning with nothing at A, and adding on opposite the bottom of the scye line, the same quantity that the back an side-body are reduced at the side seam (if shortened); for it must be borne in mind that the whole circumference of the coat must be made up in the breast measure somewhere, so what ever is taken off at back must be added on in front; (now) form the outline of the breast by the given at waist, at C, and the operation is complete."
5. The author includes patterns and measuring systems that do not work in general and have errors.
In section 6, "The Art of Cutting", the author makes the unfortunate decision to include pattern drafts which use graduated tapes, or a proportional system of pattern drafting. All such systems have proved to be so unreliable and unapproachable that they were abandoned in the 19th Century and early 20th in favor of direct measure. Direct measure is a way to draft actually using real measurements. Direct measure drafting not only creates a pattern that actually fits, but also eliminates complicated and inaccurate division of measures. The author admits there are lots of problems with this particular system which uses graduated tapes created by a man named John Falconer. He writes, "A word of warning: The downfall of using tapes lies in the fact that the drafts produced are proportionate and only really accurate up to about a 40-42 in chest. Beyond this the shoulders do not expand in a proportionate manner and the measure will produce a shoulder too large above this. To counter this I provide a nominal tape chart. Unfortunately, this chart will only work with tape set to number two." What? Right out of the gate this sounds bad. Undaunted I created the tapes called for in Appendix 3. I used CAD software to create it so that leaves out any human error in measurement. I decided to draft a pattern for myself. I have a chest of 40 inches. Therefore I was instructed on page 81 to use a 20 tape. I measured the distance between the markings for the size 20 tape and found them to be 1.1138 inches. Therefore, I didn't need to use the tape directly, but instead simply multiply the numbers given on the model patterns to get my drafting length. It didn't take me long to stop bothering. The draft of the back of the frock coat had a back length of 21.16 inches. The sleeve length is 29 inches. I would have to be 7 feet tall for the coat to come close to fitting. Even if I completed the draft I would have to waist hours truing the seams and altering the fit. Not only were the drafts comical in their proportions, I actually found a couple of errors in the directions for the draft of the pants.
An almost universal design element in 19th C pants is the back strap or cinch belt. The author makes no mention whatsoever about them, despite the fact they are clearly shown on the illustration on page 38.
6. Appears to have big gaps in his knowledge about fabric, period interfacing, and some techniques.
Appendix Four:
In the first paragraph the author again demonstrates his basic lack of knowledge about textiles. He states, "While all wool fabrics are shrunk in the process of manufacture, it is advisable for you to do your own shrinking, as fabrics that are kept in stock have a tendency to become relaxed." This is not true. Fibers and fabric are spun and woven under tension that stretches natural fibers, much like you can stretch your own hair. Fulling is a process that makes the fabric denser but does not take all the stretch out of the fibers. Sponged wool has been preshrunk to a certain degree but the vast majority of wools available have not been sponged. So, wool is not shrunk during manufacture. That's why you have to shrink it on your own. Also the idea that wool will stretch while in kept in stock is laughable. What force is stretching it? Wool and other natural fibers and fabrics are woven under tension that stretches the fibers. They stay that way until dampened again. After manufacture the fibers need to have water applied to them so that they will relax back to their natural length. So the author is using the term "relaxed" in the exact opposite way of the true definition when used to describe fibers and fabrics. He uses it to mean "stretched". "Relaxed" should be used as a synonym of "shrunk".
Later in step 6 he correctly states that the cloth being pre-shrunk should be left flat to dry. But he follows that with advice that is wrong. He states, "If the table is not large enough then you can dry it over a door, but lay several layers of newspaper over the top of the door." When woolen cloth is thoroughly damp, laying it over a door may actually cause it to stretch again to a certain degree, thus nullifying your attempts to shrink it. Further, the ink from damp newspapers will readily transfer to your fabric causing stains.
In the section on fabrics he provides a list of fabrics that are appropriate for coats, pants, and overcoats. He barely mentions which fabrics are most appropriate for any specific type of garment, making the information general enough to be useless. He fails to mention that certain of the fabrics he lists for garments and linings are no longer being made, thus sending all his readers on a collective wild goose chase. He doesn't mention doeskin or melton which is the fabric we can actually purchase today which most closely resembles the most common cloth used in period coats.
In the section on "Tips on Purchasing Fabrics" he encourages his readers to spend as much as they can afford on fabric in order to get the best result. He says, "Just remember, the average pair of pants takes just 1 ½ yards, the average coat 2 ½ yards..." This is incorrect. The average pair of pants takes 2 ½ to 3 yards and the average tail or frock coat takes 3 ½ yards, more if coat is a large size or there are stripes or plaid to be matched.
Further he makes the bizarre statement that "Also, by following the advice in this book, you will not only be helping to preserve the tailoring trade as it was, but you will also be preserving the English mills of today." On the next page he writes under "Recommended Mills and Merchants, " This section gives me some satisfaction to write, as I am helping to expose readers to a whole new world of fabrics as well as doing my part to preserve the woolen trade." Why should we care about English Woolen Mills exactly? Also, it appears the English mills don't want to be "preserved". My polite inquiries by email to all the listed sources in the UK produced exactly one reply. It also demonstrates once again the huge disconnect between author and his hobbyist reader. The fabric he recommends costs between $37 and $137 per yard before shipping charges from the UK. Good wool can be found in the USA for less. There are several excellent cloth sellers here in the Eastern United States who cater to reenactors. Complete information about where to find good fabric at a reasonable price should have been provided.
In the section on "Canvas and Linen" starting on page 50 the author says about explaining the difference between them, "...I am able to lift the veil on this mystery." He then goes on to wander around the topic and finally finishes up by admitting, after offering no coherent explanation, he has no sources for this interfacing anyway (while using the term interlining incorrectly). This is odd because I can think of at least 3 suppliers for the same type of linen canvas I have seen in extant garments, almost right down to the thread count and thickness. He writes that he almost exclusively uses modern linen collar canvas. Modern linen collar canvas does not resemble period linen canvas and has a modern gummy finish on it that makes it too stiff and difficult to pad stitch. Further, he does not describe any of the other types of interfacing commonly used in 19th C tailored garments in this section, such as wadding and felt.
The author explains how to do pad stitches, and how the stitches must be done with the collar curved, on page 68. There is no diagram showing how the collar should be held while being stitched. He includes a diagram of how to pad stitch a collar on page 141 showing the collar being stitched as flat, which is wrong. You do not pad stitch a collar flat. There are no references from one to the other. All the information needed to correctly pad stitch a collar is 73 pages apart. The reader has little chance of connecting the two.
5. Includes no information about what fashions would have been worn, when, and what fabric was used.
What else is missing or flat wrong? The worst oversight is the plain and simple information describing the different cuts of garments worn in the period, when they were worn, and with what. The typical fabrication would have been helpful as well. Even the fashion plates are sparsely notated. The reader is left to wonder what the difference is between the classic and common silhouettes and how to believably recreate them for specific characters and events. He should have provided this information in the section called "Gentlemen's Fashion in a Nutshell". Instead he covers the bare minimum of information and then rudely tosses it back to the reader. He makes the excuse, "In this section I shall review some of the garment types and share some general observations about the evolution of Victorian men's fashion. This is by no means a complete history, but is an introductory guide to help you get started. " On the next page he writes, "It would take far more than just one chapter to go through all the details, and I can give only generalizations here, so if you are concerned to wear the right tailcoat at the right time, you will have to do your research." Thanks a lot. I thought I just paid him to do that for me. This information is missing and should have been a major part of this book.
As for the shortcomings of this book, the author often acknowledges them and makes a lot of excuses. A couple of them are noted in the paragraph above. In the introduction he variously states "it is impossible to examine every garment made" and "I cannot guarantee instant results". In the fabric section he says "The following is just a sample of the more common fabric types and finishes and is by no means complete" In the Coat-making section he writes "Despite my views, in order for this book to be a complete guide to Victorian tailoring, I have included a section on coat-making, but as we are limited on space I cannot convey all the information needed to tailor a period coat in detail" Is it complete or not? He can't make up his own mind in the same sentence. He can't resist making an excuse even in the "Fin" by saying, "I apologize for being quite wordy in places, but conveying something that is normally taught in person can be tricky". Tricky? Not really. Other authors do it all the time. These kinds of caveats do not belong in instructional books. Either provide the information or don't. Do not cosset it with gigantic escape hatches through which you may dive if questions should arise about your instructions, style of writing, or methods. If the author was constricted by a certain number of pages, he should have covered one subject thoroughly instead of several incompletely. If the author felt he needed to explain away or apologize for his book perhaps he should have kept at it until he no longer felt the need to do so.
It is in Section 7 that the author makes what might be the most revealing statement in the whole book. Under the title "Closing the Pants", I am quoting when he writes in step 3 (the 14th Step 3, mind you), "Now comes the odd-sounding bit: Place the crutch (crotch) in your mouth and, starting at the fly marks, bite the seam open to the crutch point." Bite? The reader is free to add their own sound effects. This doesn't sound odd. It sounds barking mad. This behavior would not be permitted in any type of remotely professional environment. If the author's clients did not know he chews on the crotch of their pants, they do now.
I will close by saying, once again, that the author gets some things right. And I did learn a few things. I did not know that a partial lining was called a "bug catcher" for instance. There is information that would be useful to someone who wants to do a period impression of a tailor. But you would already have to have training as a tailor to pick between the right information and wrong. There is too much wrong in this book to recommend it.
8 of 8 people found the following review helpful.
Very well done
By C. F.
This is a fantastic book with some brilliant, very detailed info on the history of men's tailoring and technique with pics. Excellent for re-enactors, historians, tailors, it contains pattern diagrams. My one complaint is that I purchased this book to make an 1860s sack suit from one of their diagrams.. but this book seems to skip over that decade and only has one from much earlier. Hm. I really wish there were more diagrams, perhaps one for each decade.
19 of 24 people found the following review helpful.
Two thumbs up!
By garlough
There are many books available on the cut and style of Victorian clothing, but very few describing how it was made. Jason MacLochlainn fills this void with "The Victorian Tailor". This book is invaluable to those seeking to accurately re-create period costume, and will also be of interest to social historians who want to know more about "the trade". The illustrations alone are worth the relatively modest price. Highly recommended!
@ Boxy:
Wow - what did he ever do to you?
"There are no photographs of the author's work. None."
The subject is Victorian tailoring, not the author's work. And where, may I ask, can we find photos of yours? Along with your professional qualifications?
"The author confuses period tailoring with an impression of period tailoring."
Some would say that in order to accurately reproduce period clothing, a tailor should be able to use period materials and tools in a period manner. Or in other words, do a functional impression of period tailoring. If this isn't "period tailoring", what is? Making costumes that somewhat resemble period clothing, at least from the outside?
"If you would like an example of the author's writing style, the following is direct quote (yadda yadda yadda)"
If I'm not mistaken, all he did was quote directly from one of his period source books.
"I measured the distance between the markings for the size 20 tape and found them to be 1.1138 inches. Therefore, I didn't need to use the tape directly, but instead simply multiply the numbers given on the model patterns to get my drafting length. "
You obviously missed the point. 19th century tailors didn't have CAD software. Arithmetic had to be done by hand, or reference to "tables of aliquot parts" as found in period cutting books. Using graduated measures saved a lot of unnecessary labor in this regard. And yes, the drafts may look funny and not fit if all you do is scale the "proportionate" model up or down. Most of these systems, if read closely, have their own "direct measure" corrections built in. If you can't get off your own "high horse" long enough to read and appreciate them that is the fault of neither the originators nor Mr Maclochlainn.
Disclaimer: I am not the author of the book, am not related to him, professionally connected in any way; nor do I owe him anything. However, reading your review reminded me that it is much easier to be a critic than a craftsman.
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