Julie Andrews Books

Julie Andrews Edwards says her idea for the story occured while she was working on a PBS program, Broadway: The American Musical. They were filming in one of the famous Broadway theaters when a mouse came out to observe. The theater people admitted the lower levels of the theater were quite overrun with the critters.

A troupe of mice are putting on a New Year's Eve extravaganza in the basement of of Sovereign Theater. Their little theater is the architect's model of the the original theater. The actors include an older, Shakespeare quoting, character actor named Harold; the ingenue, Wendy; the handsome leading man, Curly and every other stock character from any musical you can think of. The characters' names themselves, all come from American musicals.

The new owners of the Sovereign, plan to tear the theater down and replace it with a television studio. This news shocks the acting company. Disaster strikes again when the diva, Adelaide, is caught in a humane mouse trap up in the costume shop. The group must put aside their distress and and rework the show because "the show must go on."

Adelaide is released near the docks and befriended by a professor of mouse lore named Henry who promises to help her get back to the theater in time for the performance.
The traditions of the musical theater are included: the ingenue who must step-up to take a star turn, the young theater-struck Pippin who just wants a chance to show what he can do, and Adelaide, the grande dame whose star-power cannot be matched. The musical numbers, although not named, obviously come shows like My Fair Lady and Fiddler on the Roof.

The pen and ink illustrations by Walton support the storyline. The scenes of NYC are nicely done with an excellent degree of detail. A pleasant read, the book offers an opportunity for youngsters to learn more about the American musical theater. An extended glossary of theatrical terms is also included. I like a book for kids that uses words like "proscenium."

A teaching guide is available on the book's website.

I read this to my cousin the other night as a bedtime story and I may have enjoyed it more than she did.
It's written by Julie Andrews (the one and only) and her daughter. It's not their first book (they have done about 15 books together), but the first that I've read and I loved it. It's about mice at the theatre who are rehearsing for their own musical.
It's part of a collection of stories and both Julie and Emma want to create quality books that nurture kids sense of imagination, and to hopefully have these turn into classics one day.
All the characters in here are named for real characters of musicals (so there is Adelaide from Guys and Dolls etc). The pictures are great and cute. There is even a glossary in here so hopefully kids can learn a little about the theatre and musicals and want to go see some shows.
This is such a cute book for little kids, and based on the work that has gone into this I definately want to check out their other stories because I'm sure that if they are even half as good as this, then they are brilliant.

It figures that mice would hold theater productions in the basement of a Broadway theater! Okay, maybe this only happens in fiction, but how wonderful if it were true. In this story such a troop exists, complete with the players you'd expect: the character actor, the diva, the handsome lead, and the plethora of behind-the-scenes mice needed to run the show. Offstage drama--the sudden disappearance of Adelaide, the diva--puts the show in peril. Adelaide, thanks to her robust appetite, has been captured in a humane mouse trap. The young son of the theater's new owner hands the trap to a truck driver, who dumps it onto a snow bank in Brooklyn. Despite their grief at her loss, the cast agrees "the show must go on." Hours outside the city, Adelaide is freezing--and facing her first obstacle in her journey back to the theater. She is saved from Scud, a thuggish rat, by Henry, a mousy professor who specializes in mouse lore. Henry (with other mice and unknowing humans) helps Adelaide to regain the stage in time for her big number. The cast and audience go wild, as they assumed they'd never see her again. A second story line involves Pippin, the junior assistant mouse, who helps to save the decayed theater from a wrecking ball. This tale bops along, never sagging. It is bolstered by Walton's delightful black-and-white illustrations, and a back glossary of theatrical terms.

If my house was on fire, this is the one book I would grab. The pictures are outstanding, the book features much information about her early career and lots of memorabilia from her childhood years. These are not the overused pics of Julie that we all see over and over again. Not sure why Julie had it pulled from the shelves, but I would certainly describe this book as a love story to Julie from Arntz and Wilson. This book just warms my heart.

Julie Andrews. The world's most beloved singer and actress. The darling of entertainment closest to our hearts. But, there is just one problem. When the world thinks of Julie, they immediatly think of Mary Poppins (for which she won an Oscar) or Maria von Trapp. Nothing annoys me more than that. People can't seem to undertsnad that hse is NOTHING like Mary Poppins! The only thing I think they may have in common in they are both good with children.
I encourage all of you out there to read a Julie biography book! Heck, maybe I'll write one! But do yourselves a favor and get this book! Learning about the fascinating life of Julz Andrews will be something that will both surprise and capture you- you will NOT regret it!

The appeal in this Julie Andrews biography is the amount and quality of the pictures it includes. The book covers her childhood and then divides her career into Broadway, Movie and Television sections. The text is somewhat basic; informative but not very in-depth. Robert Windler's book is much more informative as to Julie's career and an older book that only goes through 'The Sound of Music' concentrates much more on her childhood and Broadway career. The Arnzt/Wilson book is a good overview of her life and career and the pictures are truly superb!

Too much of the time, in these days of instant gratification, we don't take time to be still and truly observe the natural world around us.
We also don't take time to listen to those who have been around long enough to see and experience, what once was.
This book was an inspiration!
If you don't want to go for a walk in the woods (birder or not) after reading just one of his magical stories, well then, check your pulse.
How I wish I could've known this wonderful man, who had such a pure and optimistic outlook on the world.
If this is as close as I can get, then it will have to do.
The poetry is a song of love for nature, and those he loved.
Of course, Julie's illustrations (pencil only) are a marvel.
I will be buying a copy of this book for my mother's birthday. She's the one that taught me to appreciate the natural world. She's in her eighties. This is one way I can give back to her, what she gave to me.
Thank you Ora.

Written by journalist, conservationist, and naturalist Ora E. Anderson, Out of the Woods: A Bird Watcher's Year is a memoir reflecting upon the joys of birdwatching, the majesty of growing old, and the wondrous natural diversity of Appalachia. Wit, gentle humor, and an abiding appreciation for avian life from geese to woodpeckers to songbirds fill this appreciative guide, lovingly illustrated with beautiful black-and-white sketches of feathered friends feeding, migrating, flying, or raising their young. A treasure by a birdwatcher and bird lover, for birdwatchers and bird lovers.

I would compare this book to sitting at your grandfather's knee, listening to the old stories, rambling on. Maybe you heard that one before, maybe a similar one someplace else? Just a comfortable, sit by the fire while it's raining outside kind of book. Doesn't require a great deal of thought, conveys no remarkable insights. Comfortable....

This is a very good paperback book. It contains all details explaining the questions in the back of each chapter in the textbook Forensic Chemistry.

This book is exactly what I was looking for as far as a forensic chemistry book. It came in great condition and relatively quickly.

It is a classic and, therefore, deserves a close reading. Norton editions are great. The text size is good, the print tends to be first-rate, and the critical essays usually include classic essays and major critics. This doesn't strike me as being worthy of the "A" list of literature, but that is a prejudice. I can't really accept any genre lit on the list, including detective, gothic, or science fiction. It is an interesting sample of this period, but I didn't get a lot out the the book itself. For one thing, the atmosphere of doom and gloom doesn't work for me. Everyone is sick and morbidly depressed and sad. This is not explained and I don't think one can easily guess. The writing works, sure, but I don't find the prose style uplifting or thrilling, as writing. The story is very familiar. As a child of the 60s, I remember well watching reruns of the classic film on TV. It is hard to divorce the brilliant film from the wordy novel. The film has some brilliant set-pieces. The novel has a lot in it and it certainly can and should be read at multiple levels, but in the end it is Victorian intellectual thought of the low order. There are other, better thinkers and novelists of far greater talent.

This is a classic and that is the reason that I read it. I liked the movie but the book is a whole other experience. I liked the format; I like the style; I liked the prose; I liked the intellectuality. I really didn't analyze it. I just read it for the fun of it. It was good. It was fun.

The chronological table in the back of the book helped me situate Mary Shelley within the time of the writing of Frankenstein. Percy B. Shelley's critique of the book, published after he died, was interesting. I liked the Criticisms in the back of the book. Most of all, I loved the Being Frankenstein created. This is the saddest, most thought provoking, book I've read in recent times (even though it's old).

Mary Shelley was the daughter of the famous feminist and author, Mary Wollstonecraft, who is best known for her work The Vindication of the Rights of Women. In Mary Shelley's Frankenstein, a young university student, Victor Frankenstein, obsesses with wanting to know the secret to life. He studies chemistry and natural philosophy with the goal of being able to create a human out of spare body parts. After months of constant work in his laboratory, Frankenstein attains his goal and brings his creation to life. Frankenstein is immediately overwrought by fear and remorse at the sight of his creation, a "monster." The next morning, he decides to destroy his creation but finds that the monster has escaped. The monster, unlike other humans, has no social preparation or education; thus, it is unequipped to take care of itself either physically or emotionally. The monster lives in the forest like an animal without knowledge of "self" or understanding of its surroundings. The monster happens upon a hut inhabited by a poor family and is able to find shelter in a shed adjacent to the hut. For several months, the monster starts to gain knowledge of human life by observing the daily life of the hut's inhabitants through a crack in the wall. The monster's education of language and letters begins when he listens to one of them learning the French language. During this period, the monster also learns of human society and comes to the realization that he is grotesque and alone in the world. Armed with his newfound ability to read, he reads three books that he found in a leather satchel in the woods. Goethe's Sorrows of Young Werther, Milton's Paradise Lost, and a volume of Plutarch's Lives. The monster, not knowing any better, read these books thinking them to be facts about human history. From Plutarch's works, he learns of humankind's virtues. However, it is Paradise Lost that has a most interesting effect on the monster's understanding of self. The monster at first identifies with Adam, "I was apparently united by no link to any other being in existence." The monster, armed only with his limited education, thought that he would introduce himself to the cottagers and depend on their virtue and benevolence; traits he believed from his readings that all humans possessed. However, soon after his first encounter with the cottagers, he is beaten and chased off because his ugliness frightens people. The monster is overwrought by a feeling of perplexity by this reaction, since he thought he would gain their trust and love, which he observed them generously give to each other on so many occasions. He receives further confirmation of how his ugliness repels people when, sometime later, he saves a young girl from drowning and the girl's father shoots at him because he is frightful to look at. The monster quickly realizes that the books really lied to him. He found no benevolence or virtue among humans, even from his creator. At every turn in his life, humans are judging him solely based on his looks. The monster soon realizes that it is not Adam, the perfect being enjoying the world, which he is most alike. Instead, he comes to realize that he most represents Satan. The monster is jealous of the happiness he sees humans enjoy that he has never attained for himself. The monster tells Frankenstein that he found his lab journal in his coat pocket and read it with increasing hate and despair as he came to understand what Frankenstein's intent was in creating him. The monster curses Frankenstein for making a creature so hideous that even his creator turned from him in disgust.

Shelley's intent here is plain to see. "The fate of the monster suggests that proficiency in `the art of language' as he calls it, may not ensure one's position as a member of the `human kingdom." In a sense, she is showing that both her parents were mistaken when they advocated greater education reform for people. They thought education would make people better, which in turn would improve society for all. Mary Shelley's Frankenstein contradicts this belief.

Starting with the full title of Mary Shelley's book, Frankenstein: or The Modern Prometheus one can instantly see that mythology was integral to her book. Lord Byron, poet and friend of the Shelley's was writing a poem entitled Prometheus, and Mary was reading the Prometheus legend in Aeschylus' works when she had a dream, which was the impetus for her book. The Greek god Prometheus, is known for two important tasks that he performed, he created man from clay, and he stole fire from the gods and gave it to man. The stealing of fire really angered Zeus because the giving of fire began an era of enlightenment for humankind. Zeus punished Prometheus by having him carried to a mountain, where an eagle would pick at his liver; it would grow back each day and the eagle would eat it again.

The presence of fire and light in this gothic story helps to point to the similarities to Prometheus and Victor Frankenstein, the creator of the monster, in Shelley's book. The book uses light as a symbol of discovery, knowledge, and enlightenment. The natural world is full of hidden passages, and dark unknown scientific secrets; Victor's goal as a scientist is to grasp towards the light. Light is a by-product of fire that the monster learned quickly when he is living on his own. The monster experienced fires' duality when he first encountered it in an unattended fire in the woods. He is mesmerized by the fact that fire produces light in the darkness in the woods, but is shocked at the sensation of pain it gives him when he touches it. Victor is defiant of god in the same way that Prometheus was defiant of Zeus. Victor steals the secret of life from god and creates a human out of spare body parts. He does this out of an altruistic wish to spare humankind from the pain and suffering of death. Thus, Victor Frankenstein embodies both aspects of the Promethean myth creation and fire. Victor in a sense has the same experience with the fire of enlightenment similar to his monster; he is "burned" by the fire of enlightenment. Victor also suffers from the classic Greek tragic condition of hubris for his transgression against god and nature.

The book also adopts two other great mythic legends. One is Adam from the Bible. Victor Frankenstein bears striking resemblance to Adam and his fall from grace for eating the fruit from the Tree of Knowledge. The other is Satan, a mythic figure that Shelley admired from her readings in Milton's book Paradise Lost. In an interesting juxtaposition of booth myths, she expands on the motif of the fall from grace in her book when she portrays the monster comparing himself to Adam; after he read, Milton's book Paradise Lost. The monster tells Victor, that he at first identifies with Adam God's first creation. "I was apparently united by no link to any other being in existence." However, after several incidents of mistreatment that he suffered from the humans he encountered in his travels; the monster soon realized that it is not Adam, the perfect being enjoying the world, which he was most alike. Instead, he came to realize that he most represented Satan. The monster's feelings of hatred and despair stem from the fact that humans found him grotesque to look at and would not accept him as a member of human society. The monster cursed Victor for making a creature so hideous that even his creator turned from him in disgust. Thus, it is obvious for all to see that Shelley's Frankenstein is replete with mythological references and they are central to the plot.

This was required reading for a graduate course in the Humanities. Recommended reading for anyone interested in history, psychology, philosophy, and literature.

Frankenstein is a great work, though one that has consistently been underrated
and misrepresented. Frankenstein is, in the words of Donald H. Reiman, "the
most seminal literary work of the Romantic period". It is a work of profound
and radical ideas, written in poetically powerful prose. Frankenstein is not
really a gothic novel, although its author sometimes employs gothic
conventions and language, and even spoofs them. Rather, Frankenstein is an
enduring myth, a novel of ideas, and above all, a moral allegory about the
evil effects of intolerance and prejudice, ostracism and alienation, both to
the victims of intolerance and to society at large.
Since there are some good reviews here, I'll concentrate on this
particular edition -- the Norton Critical Edition, edited by J. Paul Hunter.
This is one of the two best editions of Frankenstein available (the other
being the Chicago edition edited by James Rieger). Most importantly, this is
the original 1818 edition, rather than the inferior, bowdlerized 1831
edition -- which is the most common, and the only one that was available for
well over a century. Hunter's introduction is not bad. Some of the reviews
and essays in the back are good, and some are not, but this is par for the
course. The main text is intelligently annotated.
Please check out my own book, The Man Who Wrote Frankenstein, which
makes the case that Frankenstein was really written by Percy Bysshe Shelley,
one of the greatest poets in the English language. I also argue that male
love, both idealized and demonized, is a central theme of Frankenstein.

Very short and cute. Not much on the advice side. You love babies? Or know a Julie Andrews fan? Then give it a try. Check it out of the library first.

that goes deeper into the challenges and the best of the mother-daughter-granddaughter connection I recommend That's How the Light Gets In: Memoir of a Psychiatrist by Susan Rako, M.D. The title comes from a song by Leonard Cohen: "There is a crack, a crack in everything. That's how the light gets in." Rako's book is extraordinarily insightful, gracefully written, and an overall great read. The writing just flows.

Very disappointed. 'Heard about it on the Today TV show. It is an 18 page, hardcover pamphlet, 90% photos, with captions. Total text of "wisdom" could fill no more than 3 pages.

My wife is a Julie Andrews fan, and that was enough to recommend this book. The book reflects on a mother's relationship with her child, and all that she comes to learn while "seeing" the world with a "child's eyes."

My wife loved the book. It makes for a wonderful gift.

This book is filled with beautiful photographs and inspiring words about Mom's and kids. It brought tears to my eyes...

A great book with lovely pictures. I just couldn't put it down.
The writer obviously knew her well and shared her amazing story. It was witty, sad and yet it often made you smile. She's also a gutsy lady with a gentle kind nature and very, very talented. Recomend this to anyone..

Julie's a great actor, but this bio isn't as interesting as its subject. An editor is needed for Mr. Windeler's overdrawn overdone prose.

What's with the cover picture? I mean, I love Victor/Victoria, but Julie is a beautiful woman... why did he choose this picture? Also, there were times in the book where Windeler's personal opinion was a little offensive to me. I suppose that is alright, because he is allowed his opinion, but it seemed to me like he was bashing the movie "Star!", which happens to be one of my favorites. Other than the difference in opinion that occurred occasionally between the reader and the author... this book was a delightful, yet 'real' holiday about Julie Andrews. It's loaded with anecdotes and great accounts of 'The Adventures of Julie and Carol (Burnett)' (as I call them). Over all, this is a good read for the Julie Fanatic, just keep in mind that you don't always have to agree with what this biographer has to say . ;)

This book about Julie Andrews is extremely interesting. Julie has had many inspiring experiences in her life and continues today to have many more. This book explains how she became what she is today. Also, this book tells the reader many interesting facts about Julie Andrews personal life and career.

Julie Andrews: A Life on Stage and Screen is a great read and I have to say that I found it rather informative. Aside from a few spelling and grammatical errors, it was a good book. Any serious Julie fan should read this!

Frequently overshadowed by his mentor and climbing partner, George Mallory, Sandy Irvine is long overdue a biography worthy of his accomplishments. I can understand the frustration that people have with encountering someone not driven by ego or the incessant need to belittle others. In that respect perhaps Sandy is a bit too normal by modern standards and can be accused of being a little too nice. Nonetheless in his short life he still managed to accomplish some very great things and this book does a wonderful job of highlighting those moments. It is not perhaps all one could hope for in a study of the 1924 Everest Expedition but then no other book has set a suitably high standard to be considered authoritative. As a collection of data which many overlook this has to be considered a must read for the Everest fanatic.

I'm afraid I have to disagree with other reviewers of this book. The writing is often awkward and grammatically challenged (to use a current euphemism). And Sandy Irvine comes across as a rather ordinary young man, self centered, good at sports, and good with his hands, but lacking in any sort of intellectual sophistication. It was this very sophisitcation and intellectualism that made Mallory the interesting figure he remains. Had Mallory been a mere hearty, he would have far less interesting. In contrast to Mallory, Irvine strikes one as eactly what this biography tries to convince one he was not, i.e., a follower who had little idea of what Mallory was leading him into.

Because of Irvine's commoness and the bad writing (Where oh where was an editor!?), this is hardly worth the time, and certainly not worth the money.

This is a very well-written and researched book. It provides an introspective and analytical look into the man of mystery on the expedition...Sandy Irvine. The photos, family anecdotes, and treasure trove of memorabilia recently discovered provided a full and satisfying read. You can't know all about the 1924 expedition until you know about what made Sandy Irvine tick.

Julie Summers sensitive telling of the story of Sandy Irvine is not only a great read, but is written with intelligence, grace and wit. Irvine's personality looms large in the book, and the reader is easily captivated by his infectious personality. Explorer, lover, adventurer, journalist -- one can easily imagine Summer's Irvine on the silver sceen, portrayed by Harrison Ford or Mel Gibson. This wonderful book will be enjoyed by climbers, mountaineers, armchair explorers and laypeople alike. A real tour de force, the only question that arises after reading is: who is going to option it, and when is the movie coming out?

Fearless On Everest: The Quest For Sandy Irvine is an intensely personal, candid, and informative account of the life of a young man who died at the age of 22 while on an expedition to climb Mt. Everest. Written with a narrative smoothness that completely engages the reader's attention, biographer and Irvine family member Julie Summers includes newly discovered letters and photographs and specifically addresses a long-debated question in mountaineering circles: Why did George Leigh Mallory choose the young, less-experienced Andrew Irvine as his partner on so hazardous an enterprise? Also very highly recommended for mountaineering enthusiasts are three related titles from Mountaineers Books addresses the doomed Mallory-Irvine expedition: Ghosts Of Everest: The Search For Mallory & Irvine (699-5, $.....); The Mystery Of Mallory & Irvine: Fully Revised Edition (726-6, $.....); The Wildest Dream: The Biography Of George Mallory (741-X, $......).

I read Julie Andrews' Home first and then picked this up to finish the story. It's well done with loads of details and facts that were previously unknown. Goes so far even to mention Julie's efforts to publish Home in early 2008. This books is worthwhile and quite entertaining. A must read for any Julie Andrews fan.

Of course Julie Andrews has always been my idol. Growing up watching "Mary Poppins, The Sound of Music", "Thoroughly Modern Millie", made me want to be just like her. Beautiful, sweet, and with the vocal ability of an angel! Well, I am none of those things. I have such vivid memories of her singing. I used to sit under a table all day and listen to the record of "The Sound of Music" for hours on end.
I have grown up thinking, Julie Andrews was a Queen among women.
This book made me see inside the "Queen". Whoa! I found out things about her I really didn't want to know. Ah! She is a mere mortal after all. Bummer! I did enjoy this book. Learning her background made me appreciate her even more. Long live the "Queen".

I ordered this book because since the 1960's I've adored Julie Andrews. I found here everything I wanted to know about her. But this book is not very "readable".

Mr Stirling often leads the reader down dead end paths - leaves them wondering "Where am I now?" and is often not fun to read. I enjoy a book that flows. This one jerks along like an old truck with a couple of flat tires on a bumpy forest road. Occasionally there's a well written story, but for the most part it's hard to follow and the stories he tells are truncated and with unrelated elements. It's like being in a forest and wondering where the path is. I'd rather have gotten (and will get) my information from other sources.

Unlike his subject, Richard Stirling doesn't go beyond his professional talents and requirements. He writes a good biography where his subject never stopped at simply giving us a good song perfectly delivered.

He keeps his well judged and full bodied biography within the realms of good taste and gives us, without camp or intrusion, a clear picture of the complicated life of one of the Last Great Hollywood Icons. He also gives all the information we need to decide what it was that caused that Icon to rust and fall and then eventually rise again. He takes us with insight and humour beyond the often cited unfashionable image and untimely films that caused Miss Andrews to flounder on the rocks just off the shore of superstardom.

In spite of being perceived as Englishness personified and even being the only actress listed in the results of a recent poll which looked to name the Great Britons, very early on in life she became an American; not a great but a mediocre American.
She is quoted as saying that it was America that made her a star and that the English would have left her to kick in a chorus line. This is improbable given the way her career was going in the UK before being exported to star in the Broadway transfer of The Boy Friend, but it sounds good as a piece of self justification. She went from applying her limited, specialist talent and her strong lovable stage and screen presence in the best situations possible to decades of roles and films that needed a talent entirely different to her own. In other words she stopped doing what she did best very early on in her career. The whys and wherefores of this disastrous mistake are among the core interests in this long needed biography.

Odd though it is that being a first rate live performer should be second choice to appearing in third rate films, Stirling clears up this conundrum as he uncovers the gradual Americanisation (and worse) Hollywoodisation of Julie. Star studded self-named television specials alongside theatre concerts featuring the worlds best orchestras and conductors seemingly underscored decades in a life filled by personal and professional doubt, therapy and unconvincing cinema projects that showed her up as a mediocre acting talent, constantly cost far too many millions and then flopped miserably as the studios, who eventually took their ball home, looked on in horror.

Richard Stirling takes us through this extraordinary life starting with the making of the child variety star with the freak adult vocal chords housed in the tiny sound box making waves that might have drowned a less determined spirit. The now extinct world of music hall is brought vividly to life before moving on to The Hit Broadway Operetta, world recognition, diva sized misjudgements of choice and behaviour, years of confused image and misuse of talent, arriving finally at a return to the musical stage in Sondheim's Putting it Together in which she showed the world exactly the thing for which it had been waiting all those years, i.e. a first rate mature singing actress at the peak of her ability. This fringe success crowning takes her onwards and upwards to royal status a second time thanks to another major misjudgement, this time in a disastrous Broadway `succès de scandale' and then on, ironically, to film stardom a second time around thanks to yet another dose of bad Hollywood which this time became a surprise mega hit franchise.

This is Stirling's first major biography. It follows on from years of cinematic study including conceiving and curating seasons at the National Film Theatre as well as more years of journalistic activity for major publications on both sides of the Atlantic. Between the pages of this biography there is magazine sensation found only in the chapter headings and in the melodrama of the hospital soap-opera operating theatre prologue. His writing is otherwise free flowing, fresh and finely detailed without being pedantic. Every aspect and face(t) of her professional and personal life including the brick wall of privacy surrounding his subject, whom he met and interviewed many times, is thoroughly researched. You'd think that the staroftheworld period in her early years is required knowledge for anyone remotely interested in musical theatre history but there are surprises for all no matter how well informed. That said, where this book scores it's biggest success is in the little known story of her life before stardom and the so easily dismissed but fascinating wilderness years of middle age.

I wanted to know more about Julie Andrews. I adored her as Mary Poppins, loved her in The Sound of Music & was delighted by her comic performance in Thoroughly Modern Millie. I somewhat remember her "falling from grace" so to speak, making some unmemorable films, dissappearing...then suddenly it seems, she's back writing children's books & making successful movies again!

So I really wanted an overview of her entire life and that is why I chose this book by Richard Stirling over HOME which ends about the time that Julie's fame begins.

The book is an engaging, easy read that has generally fulfilled my expectations. It covers Julie's meteoric rise to the heights of fame and the painfully slow slide into a lingering sort of limbo that allowed her to triumphantly hold her head up occassionally but never again made full use of her sunny personality & gorgeous voice.

This book gave me the distinct impression that instead of being "ahead of her time" that unfortunately Julie Andrews showed up perhaps 20 years too late to be fully utilized in the field of musical/comedy films. (...and it teases us with the vehicles proposed for her but never made...) However, it also points to the fact that Julie is full of tenacity & perseverance. Of course, she is still around and that's a good thing.

This is a lovely little book. However, Julie Andrews is not the author, as another commenter noted. She loved the book as a girl, and wanted to make it available again via her Harper Collins imprint (and actually wrote the introduction). Although the cover cryptically lists the author as "BB", the man listed as the illustrator actually wrote the story as well as doing the woodcuts in the text. Reminds me a little of Watership Down....

It's just terrible that I cannot look inside this book without having made a previous purchase! Time to shop elsewhere. One star is for Amazon's treatment of potential new customers, NOT related to this book.

This is a wonderful book. One can read this book over and over again and never become tired of it. Julie Andrews is a wonderful author, she just transports you into the story, very well written and a most enjoyable story for all ages.

The Little Grey Men tells the tale of three gnome brothers who left their tree house in search of a more adventurous brother who left two years before. Dodder, Baldmoney and Sneezewort travelled up and down the Folly river gleaning adventures as if they were escaping lions in the African veldt or fighting malnutrition while marooned on a desert island, a la Robinson Crusoe. Will they ever find Cloudberry?

BB paints the scenery of the Warwickshire countryside in such detail that one feels his love of this tiny patch of the world so powerfully. He ascribes this love to the gnomes, "being halfway between animals and our unhappy selves, they appreciated the world far more than a great many mortals. To them the whole year was lovely, ... and not an hour passed by but they found something to admire and relish."

As in every good quest, the gnomes make new friends, battle formidable enemies (yes! more than one!), survive natural catastrophes and finally come home to a roaring fire and a good Elderberry wine.

It is a good tale to follow as you walk along the banks of an English river, but it is just as good in the bedroom of your high-rise apartment.

I loved the details and the descriptions in this book. The author makes everything seem so real and beautiful. It is as if I were there. It gave me a tingly feeling.