E Books

I've read this book several times. Every time I pick it up, I end up laughing until I almost cry. As a bachelor myself, I relate to the grains of reality underneath O'Rouke's great sarcasm.

Not as good as "Eat The Rich" or "Parliament of Whores" or "All The Trouble in the World" or "Holidays in Hell" or "Give War A Chance"; those books are thought-provoking as well as screamingly funny. This one is just screamingly funny, but this might actually be a plus for people whose response to some of P.J.'s better works is a defensive "That's not funny!"; P.J. has a tendancy to poke fun at EVERYTHING, including the sacred cows of people who he disagrees with (and sometimes those he agrees with.)

As a 32 yr old bacelor, this book had me literally HOWLING with laughter! I let my girlfriend read it. We aren't dating anymore, LOL. As ridiculous and as obscene as some of it seems, it is startling to realize that I have actually LIVED like that!

FIVE STARS,..!!!!!!

I've been on a tear of P.J. O'Rourke's books lately, starting with Republican Party Reptile and so forth. This is by far one of P.J.'s best. I'm on the other side of the coin politically (fairly liberal) myself, but P.J. usually spares no one, and I admire that (Rush and his wacko friends could learn a thing or two).

This book is just about how to get by if you're a bachelor. It's incredibly funny for the most part (the cooking sections should not be read if you've just ate!). This is a fantastic little book, very helpful if you plan to live like a slob or like a typical college freshman.

The Bachelor Home Companion: A Practical Guide to Keeping House Like A Pig written by P.J. O'Rourke is a very funny, keep you in stiches book.

You'll never keep a house neat and tidy after you read this book. Of Course, that's assuming that you already do. What its like as a bachelor in theory as to actually being one is, according to O'Rourke, a great disparity. If you want to laugh and be entertained at the same time then this little tome is for you to enjoy.

Humor abounds and your life will definately take a turn... for better or worse will depend on you.According to O'Rourke... "How often does a house need to be cleaned, anyway? As a general rule, once every girlfriend. After that she can get to know the real you."

I love this book! I understand the reluctance to pay huge amounts of money for - even if it's worth it. I found mine on eBay, I've been practicing ever since.

Unless you are a rabid collector, do NOT give your money to these ridiculous people who are selling this book for $170. Yeah, this book is out of print, so what? Everything in this book can be found online for FREE. In fact, you can even watch video demonstrations of the techniques discussed in this book, showing you how to do them better than any text could. And again, it's all free. Don't waste your money.

It is crazy that I would have to pay over $200 to own this book! Is it bound in human skin? Does it have the secret of eternal life and youth?As another reviewer noted,reprinting this book will NOT result in frenzied card throwing mobs overturning cars and looting stores.The first press run seems to have come and gone without causing civil unrest on the part of card throwers-I've never met a card thrower in my life.In fact,I've never met anyone who mentioned WANTING to learn card throwing.The audience to whom this book appeals is tiny and nothing will ever change that.Relax, folks.This will turn out to be "too hard" for 9 out of 10 people who try it-all 50 of them.Now, REPRINT THIS BOOK, Please!

I was "forced" to get this book online without paying for it because no economical alternative exists. I completely disagree with the people on here who don't want this book reprinted because they think that the world would soon become saturated with card-slingers, thus taking away some of the glory of being the only guy in town who can chuck an Ace of Spades through the Washington Post. Please keep in mind that like ALL hobbies that require:
a) reading a book
b) lots of practice and dedication
...means that 99% of the population will buy the book, skim through it and put it on the shelf next to their dusty diet, magic coin trick and gardening books.
Even if his fellow slingers & magicians busted his ballz for releasing trade-secrets, Jay should definitely reprint this book so 1% of people who read the book and follow through with it will keep the art alive.

This book is amazing, as previously stated, but I am STRONGLY against any reprinting of it. One of the things that makes card throwing so amazing is the fact that so few people know about it / how to do it. Imagine everyone being able to throw cards. Personally, I think this book is perfect in its current rare form, and should NOT be reprinted.

The novel length Conan work. An aging Conan is now in a position of responsibility, being King of Aquilonia.

His reign is threatened by a very powerful sorcerer, whom Conan is unable to stop by mundane means, and must take himself off hunting for a mystic artifact.

Having done this, there is some wizard smiting to be done.

Top notch work.

This book actually began life as a serial in "Weird Tales" in the 1930s. Robert E. Howard (REH) never actually wrote any Conan novels, all of Conan's tales were written for the magazine marketplace. But this is his only novel length Conan tale so it is considered by many to be the only REH Conan novel.

That being said, it is easily one of the best Conan stories written. In the tale, Conan is the king of Aquilonia, but he has plenty of people conspiring to dethrone him. These conspirators raise the wizard, Xaltotun, from the dead to use his magic against Conan.

They succeed in dethroning Conan when he is paralyzed by the wizard and unable to ride out into battle. After the battle they believe Conan is dead (big mistake) for a time, only he is actually in hot pursuit of the Heart of Ahriman, the only thing capable of defeating Xaltotun.

Naturally, the Heart is not easily obtained and Conan journeys far and wide in his pursuit of it. The story is incredibly fast paced and for a relatively short novel, its packed with action and story. Of course, Conan succeeds at the end and regains his kingdom (as well as gaining a wife).

Even though the story is at a mid-point in Conan's career, its an excellent starting point for those who are new to REH's work. As other reviewer's have noted, this story also exists in paperback as "Conan the Conqueror," although it has been edited to correct grammer and some of REH's politcally incorrect references. Heck, it was the first Conan story I ever read and it got me hooked.

REH is a moody, atmospheric writer and much of his work, including this one, carries a sense of darkness to it. Even this book, where Conan ultimately is victorious carries that feeling to it. It tends to almost carry an air of that darkness, a feeling that no matter what Conan does, his victories will be short-lived and even he will not be able to defeat death when his time comes.

For sword and sorcery fans, this is as good as it gets. Ignore the hoard of imitators who followed and stick to the master-- Robert E. Howard.

Howard's only full-length Conan novel features the real deal. If you read this book before you read any of the more recent attempts to rewrite Conan, you will be hard-pressed to find its equivalent. While the role of king doesn't quite seem to suit Conan, most of this book portrays him in his role as the savage, independent wanderer, in search of a jewel with sorcerous powers. This book waxes more powerful as it progresses, with Conan finding himself among black pirates, searching through gloomy subterranean lairs, and confronting horrifying creatures. Conan meets a number of intriguing friends and foes along the way. Unlike many Conan novels, the feminine characters in this book have somewhat minor roles. So if you read Conan books for the "babe factor", look elsewhere. If you like the raw, full-orbed Conan as he was intended to be, you'll be very satisfied with this novel.

A note on the Berkeley Medallion paperback edition - the cover proclaims this to be an "illustrated" edition. This is a slight exaggeration as only two rather mediocre pen-and-ink illustrations are found within! These have been taken from the original Weird Tales publication. The "full color fold-out poster" is all of 12 1/2 x 7 inches, and features a larger version of the cover, a rather fanciful Conan.

He lives on in an infinite amount of spin-offs and new interpretations but Howard's Conan is without a doubt the definitive and best. This second volume in the Fantasy Masterworks Series presents the last of his stories and ends with his only Conan novel.

Hour of the Dragon (itself an expanded rewrite of The Scarlet Citadel) sees King Conan overthrown by a bunch of villains too arrogant for their own good. The furious Cimmerian then goes on a urgent quest across the Hyborian lands to retrieve a peculiar MacGuffin and unite his allies to smite the rascals out of existence.

And they bloody deserve it.

Having read a few dark fantasy novels in my day, I would definately classify this work as belonging in that sub-genre.

If you are into good hard-hitting violence and are up for a rip-roaring ride through Robert E. Howard's Hyborian world, then this book is for you. Having been the only full length novel written featuring the legendary barbarian, Conan, Howard delivers a very solid piece of work with Hour of the Dragon.

Powerful mages resurrect a being of astonishing power and set out to conquer the world. Of course, one of their first acts is to dispose King Conan who is a direct threat to this conquest. With some supernatural help, they succeed in this venture. The rest of this novel features a mad Conan that hacks his way back to the throne of Aquilonia. Recommended.

Each time I teach Boethius' Consolation of Philosophy in my Medieval and Renaissance Philosophy course, I'm struck by what a wonderful text it is. There are at least three reasons for this.

First, it's as good an introduction to the worldview of the late antiquity/early medieval periods as one's likely to find. That worldview is likely to strike contemporary ears as foreign--Boethius' conflation, for example, of the good, happiness, and God in Book III--but it's well worth attending to.

Second, reading Boethius is an education in good argumentation. One can disagree with the premises upon which his arguments rest while still admiring and profiting from the rigor of the arguments themselves. Boethius himself tells us that his method is to "unfold" conclusions "without the help of any external aid"--tradition or authority--"but [instead] with one internal proof grafted upon another so that each [draws] its credibility from that which preceded" (p. 82). And he lives up to his word.

Finally, the existential questions Boethius explores in the Consolation are astoundingly vital today. Here's a guy who was once one of the most powerful men in the Roman empire fallen from grace and facing a very messy death. In writing the Consolation, he tries to come to terms with the fickleness of fortune, the problem of evil (why do bad things happen to good people), the secret of happiness, the issue of free will, and the meaning of human existence. Boethius finally concludes that he, like most humans, had been suffering from what might be called philosophical amnesia. He'd allowed his fast-paced lifestyle to induce forgetfulness of who he was and the way he should live his life. In those final months of his life, living in a solitary jail cell and pondering his own mortality, Boethius begins to remember. Reading his wonderful little book can help us, fifteen hundred years later, to awaken from our own amnesias.

Of all the translations of the Consolation I've read, Victor Watts' is my favorite. But be forewarned: his Introduction to the book will tell you almost nothing about the contents and issues of Boethius' book.

"Consolation of Philosophy" was on the syllabus for a "History of Philosophy" class I took my senior year in college. To say that I loved it would be an understatement. I still have the copy I read back then (academic year 1980/1981) and I have re-read it several times over the years. I treasure this book like none other.

I looked through my copy to type out a passage that I find particularly inspiring, but found that I couldn't because there are so many. I've recommended it to literally dozens of people, and every one to took me up on my suggestion thanked me for it.

Boethius, in his "Consolation" written in prison shortly before his death, turns to the pre-Christian philosophers and the tradition of Rome and Greece for aid and comfort. The work is one of the most historically important works ever written: it is through Boethius that we had knowledge of Aristotle during the middle ages.

The work takes the form of a Platonic dialogue, mixing prose and poetry as the author slowly convalesces with the aid of Philosophy, his "nurse." This literary style has been imitated many times since.

The work ought to be read not only for its historical and literary appeal, but for its arguments, which are as cogent as they were nearly two thousand years ago.

I don't read a lot of philosophy texts, but I read this one after my father died and was surprised to find it very meaningful and truly consoling.

The Consolation is a philosophical treatise written by Boethius (c. 480-524 A.D.) while awaiting his execution after being imprisoned by the Gothic emperor Theodoric. The first time I heard of Boethius and his most famous composition was, as so often is the case, when I was reading another work. The work in question is A Confederacy of Dunces by John Kennedy O'Toole. The main character of O'Toole's novel, one Ignatius J. Reilly, had based his entire life and worldview around the philosophy of Boethius and his assessment of Fortune. A great work in its own right, A Confederacy of Dunces left a lasting impression in my mind and, when by chance I came across a copy of the Consolation in the used bookstore I jumped at the opportunity to see for myself what Boethius had to say.



The work is composed of five books beginning with Boethius struggling to make sense of his imprisonment and pending execution. Confronted with a fate that is seemingly at odds with the virtue and faith with which he has conducted his life, Boethius is about to succumb to the sorrow that is filling his thoughts. Just then he notices the presence of a woman in his cell, the awe-inspiring Philosophy. She bemoans that Boethius, once such an avid student of hers, is now about to abandon all that he had previously gained. Thus begins a journey of reason and contemplation between the two until Boethius in the end finds the consolation that he had almost given up upon. Interspersed between the dialogues of Boethius and Philosophy are a number of poems that range in subject matter and content. More numerous at the beginning of the work, the poems often times serve as transitions between arguments or help to put difficult concepts into a clearer light. Thus a remarkable harmony is reached between prose and poetry that can be appreciated even in an English translation, a rare feat indeed.



It is perhaps significant to understand the time in which Boethius lived a bit better to gain a more accurate reading of his work. Living long after Constantine's conversion to Christianity in the 4th century A.D., it is widely accepted that Boethius was a Christian and believer of the tenants of the Catholic Church (at a time when the Gothic emperor Theodoric, also a Christian but belonging like all Goths to the heretical Arian sect that believed that the father and son were not of one substance). One must find it a bit peculiar than that at no point in Boethius' text is Christianity mentioned in any overt context. To find a believer in his last days before death turning not to theology for comfort, as one might expect, but rather to philosophy has raised many questions about the nature of Boethius' belief. But one only has to look to the title of the work to see that Boethius is choosing philosophy for the subject of his work and could very well indeed have thought theology a better consolation, although one that would be and should be treated in an altogether separate treatise. With this in mind, Boethius draws on the works of the great philosophers and thinkers of antiquity; Homer, Plato, Aristotle, Cicero, Seneca, St. Augustine, the Stoics, and the Neo-Platonists. This feat being all the more remarkable because Boethius apparently relied on his own memory to produce the arguments and passages seeing as he had no access to any literary sources while imprisoned.



Boethius has rightly been called the last classical man. Indeed his thoughts and works can be seen as forming a bridge etween the classical world and the Middle Ages. The Consolation influenced countless numbers of theologians throughout the Middle Ages and direct references are to be found in the works of masters such as Dante and Chaucer. His lonely contemplation of good and evil, fate and free will, fortune and the nature of happiness certainly still have an allure to inquisitive minds to this day.

The shipment was out to me in a couple of days! This book is awesome, too! Thanks!

It's hard enough for a kid to absorb and become part of American culture. This book provides a glimpse into Choi's attempt to master two cultures. Choi's memoir is both very funny and thought provoking. She has a wonderful storytelling style - she lets the characters dish out the plot with "kettles" of unabashed humor. I haven't read a book this quickly in years.

The book was hilarious, I couldn't put it down. All the situations that she describes in the book are just great. It made me feel better that I'm not the only one with a crazy family, especially since I also come from a Korean background. The book def puts a smile on your face and if you want more she keeps up a blog, so check that out too.

I have a Korean mother, and an American father. I was raised in as much of the Korean tradition as possible, and often thought my mother was out of her mind. Having American friends, I would see how their families and mothers were and thought that my mom was just neurotic and out to make my life miserable.

Annie's book is so well written. I felt that I could relate to everything she wrote. By reliving vicariously through her words, I was finally able to see that my family dynamic was not about control and disappointment, rather more about love and wanting the best for me, albeit in a very strange, stressful, mind game sort of way.

Annie says on page 196: "Though we hate to admit it, we care what our family thinks; we've been brainwashed to seek approval and obey, just like the rest of Korea's children." I've repeated this line again and again, and not one of my Korean friends (and siblings) haven't laughed out loud at the funny, but very true statement.

You will fall in love with Annie's family. You will adore her mother. You will feel like you know her in some strange way. This is probably because her spoken English is written as is, and you feel like she is talking to you. If you have a Korean parent, you will laugh at how the English language is somewhat butchered, yet that you are able to read and understand every bit of broken English, mispronounced and incomplete words. You will laugh at the different logic that cultural differences bring, and you will find yourself in stitches over the similarities that seem to be universal in the Korean family dynamic.

This book is a joy to read. It is side splitting funny, and not dull for one second. You'll start reading and not put it down. Then you will go through withdrawal when you are finished. You'll find yourself ordering copies for friends of similar backgrounds, and referring to over and over again.

Annie is comical and quick witted. I only hope that she will continue her memoir into the future.

hilarious and heartfelt, Annie Choi's book made me laugh out loud, and explained to the rest of the world what it's like to grow up Asian American or specifically, with nutty but loving parents who can barely communicate with you. Except in "Engrish" that is. However, the funniest thing she has written in my opinion was her "Open Letter To Architects" which is not in this collection. Good stuff though.

We came into this series from the back end. Then purchase preceding works to catch up on the story line as the characters were compelling enough to warrant further reading. Deborah Crombie's Inspector's Kincard and James is such a pair. Their personal lives intermingle with their cases. As readers, we root for each installment. Her stories are keepers as we weed our shelves to make room for new favorites.
With "In a Dark House," Ms. Crombie apply demonstrates her ability to rank with Martha Grimes in creating the stark and brutal side of human relations. Knowing how the personal issues evolve, we concentrated on the deftly plotted case and the steps taken to reconstruct the crime from almost non-existent clues in this great police procedural.
Nash Black, author of "Qualifying Laps" and "Sins of the Fathers."

Deborah Crombie continues to deliver a series worth reading and rereading...this entry is no exception. Balancing jurisdictional disputes, personal life distractions, and a strong sense of historical detail, In a Dark House is another superb example of Crombie's sensitive portrayal of character, place and pitch-perfect plot. If you haven't read her work yet, get them all and be prepared to enter a world you won't want to leave.

I thought that the two books previous to this in the Duncan Kincaid/Gemma James series were slight disappointments. Kincaid seemed relegated to a side character with Gemma taking the lead. IN A DARK HOUSE is an excellent mystery that brings the two back to equal ground and re-establishes them as one of the best partnerships in mystery fiction.

'In a Dark House' is my first foray into the world of Duncan Kincaid/Gemma James and, mostly likely, it will be my last ... which is strange because the book has all the hallmarks of a good detective/mystery series. The author has obviously done her research on the story's setting (Southwark section of London) and criminal investigation procedures. And the story, an interwoven affair involving arson and murder, has surprising yet plausible plot twists. But why is "In a Dark House" so forgettable?

Well it strikes me that the characterizations, especially of our investigative duo of Duncan Kincaid and Gemma James, are just a bit too manufactured. It felt something out of EastEnders (a UK soap opera) rather than anything realistic. I also felt the author, who is obviously a talented writer, played too safe in her narrative. I wanted high drama, conflict, and the tangible feeling of suspense ... and I didn't find any of it.


Bottom line: a competent mystery perfect for the beach but certainly the sort of book you won't want to keep on your bookshelf afterwards.

Deborah Crombie's James & Kincaid series just gets better and better. Here the setting is Southwark, not a usual venue for London-loving writers. As always, Crombie provides a physical map with her text, although her descriptions of place are so excellent that it's ironically unnecessary. The aged warehouses oozing toward oblivion in the Thames, the aggressive marks of gentrification (for an even better take on this hot topic, see _Kissed a Sad Goodbye_) mingle with the tang of traditional cheeses from the open market by the cathedral and the wacky/wonky lives of the fringe business people who flourish in spaces between the run-down and the rave restaurant review.

Crombie's characters are equally vivid, not only the series stars, but also the agoraphobic in her doll's house and the oddly honest self-made politician. The characters are given dead-on details that call them to mind for the reader, even after an absence of many chapters. Yet Crombie never falls into the grey-page plague of prose. She uses her omniscient narrator's voice and swaths of unforced dialogue to convey both news and nuance. Her skill at plotting really shines here, as she moves among three sets of self-absorbed characters and the police, never once making the reader feel that "now for something completely different" sense of dislocation.

This is a mystery worthy of a re-read - first class!

King Fortis the Brave was a fun book to read. The first chapter was a little slow, but the pace quickly picked up when Rodney and Aimee made it to Daak, and there was no looking back. From the Dismal Forest to the castle of Haeron, every page was an adventure. The book itself read like a movie, I could picture every scene in my head and know that someday this story will make a great movie. My only complaint is that it ended too soon. I WANT MORE!

My daughter isn't much of a reader, and I almost hesitated picking this book up, but I had heard good things about it from a friend who is a teacher. I gave it to my daughter for her birthday, and she carried it around with her everywhere until she had finished it. I've rarely seen her as captivated by a book as she was by King Fortis the Brave

I loved this book. I can't really wait until the next book comes out. I think Ward was the funniest character and made me laugh. Ward and Rodney made good friends. That is why I really liked this book.

I read this on recommendation from a Harry Potter fan, trying to read something else while I anxiously wait for the next one. I thought the story was pretty good, not good or great, and though I tired of reading it once or twice, I was generally swept through the story.

The only gripe I have is that there are obvious misspellings and incorrect words used, which distracted from the story as I had to figure out what should have been used and how it was intended to be read.

Overall a good read, but the author needs to get a new editor!

I have long been a fan of fantasy and science fiction but usually avoid those that I feel are "young adult". So, when my niece coerced me into reading this book, I was delighfully surprised by how good it actual was.

The characters are well-developed and portray a morality that has been missing in the genre since the Wizard of Oz.

The authors pull no punches to suit the politically correct. This is a tale of good versus evil, of tenderness and brutality, of loyalty and betrayal. But the scenes, while very well detailed, are not filled with the gore or the kitsch that is the trap of all new authors.

This is a classic story in the classic sense.

Buy it, read it, enjoy it. I did.

_Lost in the City_ (1992) - a collection of short stories - is Edward P. Jones' first book, followed by the Pulitzer Price winning novel The Known World (2003), and All Aunt Hagar's Children (2006), a second collection of short stories. Both Lost and Aunt Hagar are about blacks in Washington, DC where Jones grew up in the neighborhoods he writes about. His stories are like mini novels with lush detail, multiple fully evolved characters and densely colloquial prose.

The stories have a common theme surrounding an old colloquial saying "Don't get lost in the city". The word "lost" means having no direction, aimless, with no intention, and the stories are about people in that sort of state of mind, simply doing time with no direction home. It also means alienation, being lost is the opposite of family and compassion, the stories involve broken and dysfunctional families, coldness. Charles Dickens wrote about London and the poor of the 19th century, but his stories were the opposite of Jones. Instead of that "coming home to family" Christmas time spirit of Dickens, Jones invokes coldness, alienation, purposelessness. I hesitate to call Jones "anthropological" because it is also very aesthetically pleasing, but like Balzac did for Paris in the early 19th century and Dickens for London, Jones invokes the spirit of a time and place that, while not full of good feelings and happy endings, does speak truthfully. The last story of the book, "Marie", ends with an old woman listening to an audio oral-history and I think Jones is telling the reader how he sees his own work, a history of a people and place.

My favorite story is in the middle of the book, "The Store", it is the most uplifting and optimistic surrounded by stories of tragedy and sadness. It is about a poor boy done good by hard work and honesty. Other stories I thought were excellent include "The Sunday Following Mother's Day" about a husband who kills his wife for no reason, and the resulting years of failed relationships with his son and daughter. It's epic scope crosses generations of multiple people, but it is also grassroots, concerning people who are invisible to society. "His Mother's House" is about a street drug dealer and his relations with his family, it helped me better understand how families (mothers, fathers, sons) and the drug culture can intermingle ."A New Man" is a heartbreaking story of a 15 year-old girl who runs away from home and is never heard from again. Overall I think the stories in _Aunt Hagar_ are better - more fully realized, longer - however these are still excellent, Jones is one of my favorite authors.

Truman Capote in his masterpiece In Cold Blood (1960) has the following quote (an actual quote from a sister to her brother who is in jail) which I think sums up Jones' stories:

"Your confinement is nothing to be proud of.. You are a human being with a free will. Which puts you above the animal level. But if you live your life without feeling and compassion for your fellowman - you are as an animal - "an eye for eye, a tooth for a tooth" & happiness & peace of mind is not attained by living thus."

Synchronicity is, more or less, a random event that seems to have more than a random meaning. Such it was when I read Edward P. Jones' short story collection Lost In The City directly after having read Sherman Alexie's Ten Little Indians. The reason was that Alexie's book showed off everything that's wrong with PC Elitist art and literature, coming from a person in an ethnic minority, while Jones' book- a 1992 National Book Award finalist, reprinted after the great success of his 2003 NBA and Pulitzer prize winning novel The Known World- showed off almost everything that minority writers can do to `fight the stereotype', as Alexie preaches, but does not practice. Both men's books deal with specific peoples in specific locals- Alexie's with Spokane Indians in Washington state, while Jones' with blacks in Washington, D.C. Jones, unlike Alexie, has quality writing in all fourteen of his stories, because his characters are fully realized, and nor caricatures nor stereotypes, and the situations that they have to deal with flow naturally out of predicaments of their proscribed lives. Are there some stereotypically `black' characters? A few, but they are minor characters, and in the background of the tales, as are most walking stereotypes you or I know. And there are seeming stereotypes- such as young hoodlums and drug dealers, that are revealed to have nuances and depths. Alexie does not undermine and nuance his characters in any way in his worst stories, while his best tale- one on the life cycle of a marriage between Indians, is his best tale precisely for the fact that its focus is on the marriage, not that it is an `Indian marriage'. Race and bigotry and pain are the reason for many Alexie tales, and they quickly devolve into screeds. Jones is a much more mature writer, and his worst tales, which are merely solid stories, are so not because of predictability, screeding, nor stereotyping, but simply because they go on too long, or the conversations do not serve the tale well. Those are minor ills, though, as this is a book that well should be praised. In comparison, especially, to the pap that's published nowadays, it's a great book....Why is it so difficult to find great writers and stories? Why does not the publishing industry find and promote more Edward P. Joneses? Well, first off, there are not that many, but, these stories may not be `moneymakers' because they do not offer pat solutions, nor are the characters caricatures, and they do not skim along the mere surfaces of things. It also takes an effort for readers to fully appreciate the multi-hued, and deeply textured tales and portraits Jones relates, and most people suffer from video game or MTV languor. Yet, is there, or has there ever been, a better virtual reality machine than a great piece of writing? A great poem puts you in a moment, and a great story can arc you through events that you can feel, almost as if experiencing them for yourself.

I loathe the cheapening of thought and conversation and striving for insight. That is why I love this book, and the relative handful of other works like it that are out there. Instead of the shot at a quick, cheap, moneymaker, publishers should seek quality, and promote it, to develop careers, rather than get one hit wonders, whose one hit was dependent upon things other than the writing quality- which is usually sorely lacking. Accept lesser profits in the short term, but greater in the long run, while also contributing to literature. It then forces an upward spiral of writing, where people can look to an Edward Jones, or William Kennedy, or Charles Johnson, and say, `I want to write like them, because they're good, and I want to contribute to my culture,', rather than this several decades long downward spiral where bad writers see a Mary Gaitskill or Yann Martell or Stephen Elliott or (fill in the Oprah-type writer) being published, and say, `I want to write like them, because it's easy, and I can write better than that crap, and I want to be famous.'

It is not enough to merely say why a writer is good, but show it, praise it, and honor it as among the best an individual can do, and the highest that human beings can achieve. On that note I will close with the terrific end of The Night Rhonda Ferguson Was Killed:

She made a pallet for her daughter beside the bed and turned out the light when she left the room. Occasionally, Cassandra would drift into what Anita thought was sleep. All the while Cassandra gritted her teeth. Sometime, way late in the night, Cassandra spoke out, and at first Anita thought she was talking in her sleep: She asked Anita to sing that song she sung in the car on the way home. Anita sang; long after her parents had gone to bed, long after she stopped wondering if Cassandra was listening, Anita sang. She sang on into the night for herself alone, her voice pushing back everything she did not yet understand.
Understand yet?

An artist whose prose and narrative arcs generate irresistible pull and evoke in readers a genuine sense of entire worlds, Edward P. Jones has written two books. The first, Lost in the City, garnered the PEN/Hemingway award. The second, The Known World, won the Pulitzer Prize. African American, a luminary of American letters, Jones affirms that which is humble and human, and does so with startling power. In the words of MLK he has a "heart full of grace, a soul generated by love."

This collection, first published in 1992, was considered Jones's first literary effort. I find this idea of firsts interesting and would like to look at it briefly before I move on to a few of the craft elements in his stories that I would most like to steal.

This collection of short stories was published a decade before Jones won the 2004 Pulitzer Prize for his novel "The Known World." Some of the stories in the collection were first published in the 1980s in literary magazines like Ploughshares and Callaloo. One of the stories "Marie" also appeared in the Paris Review in 1992. The thing that I find interesting is that these publications do not seem to register with the general public or even reviewers. Instead, his books are presented as sudden, award winning events. Instead of a writing career spanning 25 years of craft and respectable publications, we are presented with the image of a of sudden event, a spectacular storm, a writer whose first novel won the Pulitzer Prize.

In any event, the first thing I did when I opened "Lost in the City" was to read the opening lines of each story. I wanted to see how and where he began his stories. I was thinking of an essay by Debra Spark called "Getting In and Getting Out." The essay appears in "Bringing the Devil to His Knees: The Craft of Fiction and the Writing Life." There is an anecdote in the essay about a friend the author who is screening stories for the Iowa Short Fiction Prize. She says, "If I have to read another story that begins `The alarm clock rang,' I'll shoot myself."

Although I have never started a story with this particular phrase, I do tend to begin a story at the beginning. So as I read through the Jones collection I paid particular attention to the places he began his stories.

In "The Girl Who Raised Pigeons," Jones begins the narrative at some undefined future moment when the crisis of the story has already forced the characters' world to change. "Her father would say years later that she had dreamed that part of it, that she had never gone through the kitchen window...." The story never travels completely forward into the world from which these first lines are described. However, the story does end with a certain inevitability--a sort of narrative arc that points forward so that we understand how the characters arrive to the point we find them in the opening of the story.

"The Girl Who Raised Pigeons" covers a lot of ground in twenty-five pages. It outlines the decay of a Black, D.C. neighborhood and shows us how that decay affects the community. On one level it is a story about a father's coming to fatherhood as well as his young daughter's coming of age. It is about the place and the power of the natural world even in the urban environment. It is about an urban Black community on the edge of change.

The narrative is carried along by the story of the young girl and her pigeons. The story is usually told through a close third person narrator; however, the point of view does shift at times from the young girl, Betsy Ann Morgan, to other characters. These shifts offer insight into the community in which Betsy and her father live. But these shifts seldom last for more than a line or two and then quickly move back to Betsy.

I paid close attention to these shifts in point of view. But before I discuss them I would like to think a bit more about where these stories begin.

Another story that begins post-crisis is "The First Day." The story opens with the line: "On an otherwise unremarkable September morning, long before I learned to be ashamed of my mother, she takes my hand and..." This is the story about a child's first day of school. The story is short, only 5 pages, but it has taken a common event, a child's first day of school, and uses it to point out the divisions between social classes in the Black community. One of the interesting things about this story is that it is told in the first person. The protagonist never reaches the crisis described in the first line within the span of the story. The narrator shows nothing but love and admiration for her mother throughout the course of the story. We are lead by that single clause, "long before I learned to be ashamed of my mother," and the trajectory of the story to understand that the protagonists shame is inevitable.

I find it fascinating that he entire story hinges on this single clause. We never see a hint of shame in the narrator aside from her opening line. If that clause were deleted we would not necessarily know that the narrator would ever come to be ashamed of her mother. But knowing this first line and following the trajectory of the story we know that the crisis and the change are inevitable.

Jones also opens his stories from the middle. The narrator then takes the story back to that middle before moving farther forward. He does this in the story "A New Man."

"A New Man" begins with the lines, "One day in late October, Woodrow L. Cunningham came home early with his bad heart and found his daughter with two boys." The narrative eventually makes its way back to explain exactly how Woodrow came to find his daughter with two boys, but it does not stop there. The narrative continues. It carries the story farther. We come to understand exactly what this event means in the life of Woodrow and how it comes to define his essential character.

Now, rather than continue with this idea of how or where Jones begins his stories, I would like to move on to two other divices Jones uses: point of view, and the idea of epiphany and change within a character.

As I mentioned earlier, Jones does not shy away from changing the narrative point of view if it serves the story. But the places where he shifts point of view seem to be dependent on a few things. He only ever shifts in a third person narrative. The point of view never shifts for more than three or four sentences. The point of view only shifts in stories that are 20 pages in length or longer. He always quickly brings the point of view back to its original place.

It is the brevity in the shift that I find most interesting. It is like one of those little flashes of insight that Woolf wrote about--matches struck unexpectedly in the dark--or the mirror in Joyce's "The Dead." The shift lets us see for a moment how the character looks within their world. For example the title story of the collection, "Lost in the City," is told by a close third person narrator. However, there are two moments in the story where the focus shifts from the protagonist, Lydia Walsh, to her taxi driver. The first shift occurs about two thirds through the story: "He thought that maybe she had been born elsewhere, that she did not know Washington, would not know the streets beyond what the white people called the federal enclave." This shift in point of view ends quickly. The narrator brings our focus back to Lydia. "But in fact, the farther north he went, the more she knew about where they were going."

At the end of "Lost in the City," the point of view again shifts for a moment. "The cab driver thought that her crying meant that maybe it had finally hit her that her mother had died and that soon his passenger would be coming to herself."

I suspect that it is the brevity of these shifts that make them work. Another aspect of these shifts is the fact that they are subtly revealing--not deeply or overtly revealing--and they are always revealing something in the protagonist. These shifts in point of view seem to stress the importance of community in these stories. They show, however briefly, that these characters do not live in isolation, that on some level they are always aware of themselves within the context of others--or perhaps it is that we should always be aware of them within the context of a greater community.

The final aspect of this collection of stories that I would like to look at relates to an issue raised in an essay by Jim Shepard titled, "I Know Myself Real Well. That's the Problem." In this essay, Shepard criticizes the tendency for novice fiction to create characters who are "whooshing along the conveyor belts" of narrative toward some kind of epiphany. Given that my stories have this tendency, I am curious how Jones creates a sense of movement and revelation without allowing his characters to fall into that whooshing conveyor belt.

One way that Jones avoids this narrative conveyor belt is by beginning the story someplace other than the beginning and ending the story in a place that points to the inevitability of change or crisis, but he does not necessarily show us that change or crisis. This can also be seen in the story, "The First Day." We do not experience the moment when the narrator becomes ashamed of her mother. We are told in the opening line that the narrator will indeed one day be ashamed of her mother. We are lift at the end of the story with the inevitability that, despite the strength and character of the mother, the child will one day become as ashamed of her as other members of the community.

Often in this collection of stories the narrator is not even aware of his or her change. The reader senses that something is in fact permanently altered, but it is difficult to say exactly what that thing is. At the close of the story "My Mother's House," we do not find the protagonist, a mother whose biological son has just murdered by her godson over a dispute involving drugs and money, in the throws of some sort of epiphany.

Her husband, who is not the father of either child, works as a bodyguard for her biological son. Her husband skulks away from the scene of the crime, leaving her in the street to comfort her dieing godson. She has always known that her husband was a weak man. At the close of this story we find the protagonist drinking a fifth of vodka and walking from room to room in the house her drug-dealing son purchased for her. She unlocks all the doors and windows, "for Santiago (her son) had no key to her house. And outside that house there was a very cruel would and she did not like to think that her child was out there without a place to come to."

The protagonist knows throughout the story that the world is indeed cruel. The cruelty is not a revelation. Nor does she necessarily seem poised to make some sort of change. In fact, she opens her house in a rough neighborhood so that her son, who has just murdered her godson and pointed a gun at her face, may come into the house for comfort.

Perhaps the real change at the end of this story takes place in the reader. After we have experienced this world, we can never view these characters or their world in the same light--we will never be able to read this story in the same way again.

In the end, there are still many more aspects of this collection that will occupy me throughout the coming months. I have marked my copy of the book with many notes. I find myself referring back to them often.

Edward P. Jones's stories about Washington D.C. are unconventional in that some don't have endings. Often they just come to a stop. You are forced to reflect back on what you just read.

Some are better than others. "The First Day" is about an illiterate mother taking her daughter to register for kindergarten. She has to pay another woman to fill out the registration papers for her. If that one doesn't get to you, you don't have a heart.


Many of the other stories are quite long, some as many as thirty pages. My favorite was "The Store," about a boy who takes a "make work" job at a neighborhood grocery and ends up managing the place. The store becomes more important than his personal life and he loses a woman he loved because of it. "Young Lions" is about a violent young man who doesn't hesitate to shoot a clerk during a hold-up. In the end, his violent lifestyle impinges on his personal life, and he starts slapping around the woman he really loves.

Washington D.C. is definitely a character in the stories. The streets are Alphabetical and the Avenues are named after states, but this the Washington of the sixties and deterioration is only just beginning to envelope the black section of town. There are stories about how involvement in drugs debases the characters and their family members. There are stories about characters who emigrated from the South. I can't think of one that didn't touch me in some way, and that doesn't usually happen in a collection of short stories.

Edward P. Jones should be a better known author than he is.

This book was incredible!!! It was funny, touching, romantic, sexy..... Niqui I am a fan till the end! This book had all the ingredients of what a romance novel should be. I felt like I was one of the characters. I recommend this book to every woman who loves romance! It is honestly one of the best books I've ever read!!!![....]

I REALLY LIKED THIS BOOK! YOU GO THROUGH SO MANY DIFFERENT EMOTIONS....I LOVED THE PART WHEN SUMMER WENT TO DINNER WITH GAVIN AND SLAPPED STUNNED THE MESS OUT OF HIM....NICKY WAS A NUT AND I REALLY ENJOYED HIS CHARACTER. I ALSO LOVED........IF I KEEP ON TYPING I WOULD TELL YOU ABOUT THE ENTIRE BOOK. I WANT YOU TO KNOW THAT I READ THIS BOOK OVER AND OVER AND OVER AGAIN. WHENEVER I NEED TO LAUGH I ALWAYS GO BACK AND READ THE DINNER SCENE WITH SUMMER AND GAVIN. I AM GOING TO READ SWEET TEMPTATION NEXT.

This was a great romance novel, and my first time reading any of Ms. Stanhopes's books. The story was funny as well as steaming with the romance and passion of Summer and Garrett. These two were definitely made for each other. Both were selfish, stubborn, and did not believe that they could ever fall in love...until they met each other. I plan to read the sequel to this story and cannot wait to read the novel about Nicholas. A great read!

MADE FOR EACH OTHER is an excellent novel. I read it in 3 hours flat. I just could not put it down!!! THE STORY CONTINUES in a book called: WEDDING BELLS, and I emailed the author and found out that the 3rd book in the series, THE BOOK ABOUT NICHOLAS, comes out this September 2001, and will be called, SWEET TEMPTATION!!!

I HIGHLY recommend this series of books! GREAT READING!

THIS IS TRULY A GREAT READ! I LOVED THE CHEMISTRY BETWEEN GAVIN AND SUMMER. IT WAS REAL AND NOT A BUNCH OF UNREALISTIC DIALOG. THEY DIDN'T GET ALONG WHEN THEY FIRST MET BUT THEIR JOURNEY TO EACH OTHER WAS FILLED WITH FUNNY SITUATIONS AND SUMMER'S CHARACTER HAS SPUNK, SHE IS A REAL SISTAH! I LIKE THE FACT THAT GAVIN DID NOT BACK DOWN FROM HER BUT GAVE AS GOOD AS HE GOT. I HAVE SINCE READ THE OTHER TWO SEQUELS TO THIS BOOK AND ALL I CAN SAY IS THAT I HOPE SHE CONTINUES THEIR STORY AS WELL AS NICHOLAS, HE WAS HILARIOUS. GO OUT AND BUY THIS BOOK!

This play was very thoughtful and enjoyable, especially if you are able to visualize things while you read. I would highly recommend this book to anyone.

While Thoreau was living at Walden, then President James K. Polk declared war on Mexico without Congressional approval. To protest this and the government, Thoreau refused to pay his taxes and was sent to jail. This play fantasizes on what might have been going through Thoreau's mind as he spent the night in jail: reflecting on his childhood, the life and death of his brother, his idol Ralph Waldo Emerson, what lead him to his solitary life at Walden and the impetus for his refusal to pay the taxes. I enjoyed reading this very much as it gave some insight into the great thinker who influenced the likes of Gandhi with his non-violent form of protesting the government.

Henry David Thoreau may be experiencing a sort of revival as of late. His treatise on civil disobidience is a hallmark of progressive action today. Upset that his government declared an unjust war, Thoreau refuses to pay taxes to show his digust, which lands him one lauded night in jail. Thus is the basis for this extremely inventive, timely play "The Night Thoreau Spent in Jail".

Not just a night in jail, but a brave overview Thoreau's life ensues, showing snippets of his events, meetings, and philosophies that were so critical to the development of his transcendentalism. This isn't a dry biography, however. The authors weave a Thoreau that is a rich tapestry of thought and action. He is both endearing and complex, wise and unaware.

We enter the play with Henry in his cell, and begins to relive some important moments in his life. We meet Emerson and his wife, Henry's mother, and favorite brother John, as they inact with his memories and become alive themselves. The ebullience of John is obvious, which makes his passing much more severe. This play helps to maginify the brilliance of a brilliant man, while making him more human, more real.

The Night Thoreau Spent in Jail is a great read, and will springboard your interests to study this amazing thinker.

THE NIGHT THOREAU SPENT IN JAIL describes thinker Henry David Thoreau short experience in jail after not paying his taxes. Employing flashbacks within flashbacks, playwrights Lawrence and Lee take on the task of describing Thoreau's life so far. Filled with witty remarks and humorous dialogue, this book transcends what I can say about it.

After having been assigned to read this book for my AP 11 English class, I started out first assignment: Read to page 50. To my surprise, once I got to page 50, I couldn't put it down. My teacher had warned us about this scenario. She said the book was cleverly hilarious and enjoyable. Naturally--it being an ASSIGNED book--I doubted her words.

When I got into the play, within the first few words of dialogue, I was laughing out loud. The writers, whose research was obviously accurate and concise, tickled me when Ralph Waldo Emerson asked "who" his umbrella was, making a reference to his supposed contraction of Alzheimer's disease. Thoreau's teachings of God and fields and notetaking were pleasing and enriching.

Not only was I thrilled by his paradoxical dialogue,

[In a nutshell...
Thoreau to a student: Why are you taking notes?
Student: So I can remember what you say.
Thoreau: But then it's the notebook that does the remembering, not you.
(She puts away her notebook)
Thoreau: Why have you stopped taking notes?
Student: Because you said to.
Thoreau: Why would you do what I say?]

but I also took away something from it, which is a common moral you would see in books and movies today: Do things for yourself, and pay no attention to what others say or think. Though the moral is a bit overused, Lee and Lawrence refresh it and make the lesson new placing it in the midst of witticism and transcendentalist teachings.

Now, the only thing left for me to do is write a thank you card to my teacher for treating us with this wonderful book.

This play examines Henry David Thoreau, his philosophies, and some of the events in his life. During the Mexican American War, Thoreau refused at one point to pay his taxes. He felt that the war was unjust, and he didn't want his money supporting a government that he believed was doing unjust things. (He also believed that the war was not the will of the people, as President Polk had declared war without the support of Congress.)

The play, which takes place on a simple set that emphasizes the imagination of the audience (and the performers) for props/surroundings, also delves into Thoreau's love for nature and his views on sprituality. (The fact that the set is simple reflects another way that form follows content, as Thoreau encouraged people to turn away from materialism and simplify their lives.) The chief journey in the play is Thoreau's decision to return to the world, rather than remove himself from it.

Themes include individuality, the nature of spirituality, marching to one's own drummer (regardless of consequence), the belief that one person can make a difference, the idea of standing on principle/what's right, and the manifestation of the divine in nature and humanity (Transcendentalism).

It's a somewhat academic play, about ideas more than about plot (of which there is virtually none), but it reminds us that theatre can inform and instruct us as well as entertain us. Additionally, the subject matter of the play is very topical (public funds for stem cell research? or the war in Iraq?) and is sure to stimulate thought and discussion.

The authors of this play (two college professors) demanded that it not be produced on Broadway and, to my knowledge, it never has been. This, I may assume, was their own form of "disobedience," as they maintained that a few blocks in Manhattan shouldn't dictate what real theatre is to the rest of the nation. Despite their mandate, however, The Night Thoreau Spent in Jail has been one of the most produced plays in America, enjoying wide circulation in regional theatres and especially on college campuses.