Anton Lesser Books

Unbelievably inspiring. I challenge you to compare his reading with any one else's or your own in your head. He makes it alive. Not perfect, mind you. You'll find yourself suggesting to him in certain spots that he missed the meaning by putting some emphasis or other on the wrong words. Nevertheless, you know you couldn't do better overall. A real treasure.

My review is of the library binding edition released by Buccaneer Books. It is a very plain and small volume which is wonderfully bound. It contains nothing but the poem itself (including the prose arguments) with the original spelling and punctuation. That means no notes, commentary, or introduction, so if you're looking for lots of in-text help, this isn't what you want. The Fowler, Hughes, or Norton editions are all laden with helpful material like that. But if you just want to experience Milton's masterpiece alone, this is a lovely edition. I found that the book could be purchased much more cheaply if I ordered directly from the publisher's website.

Great for a long drive or while driving cross town in Manhattan. You can debate the issues of suffering with Milton in your head.

Sure do wish it were the whole work.

Contains extensive information in the introduction that is lends an understanding to anyone reading any of Milton's work. This particular version is very inexpensive, and contains everything one would need to understand PL. Excellent!

Milton in Paradise Lost unfurls a morning star banner heralding the cosmic story of the fall of angels and men in language eminently civil. I am sure that Homer and Dante were Milton's schoolmasters yet Milton exceeds them in the slendid language and poetry of this epic creation. Philip Pullman said "No one, not even Shakespeare, surpasses Milton in his command of the sound, the music, the weight and taste and texture of English words". This is a poem of majesty and sublime lyricism as in Milton's description of Mulciber falling: "from Morn
To Noon he fell, from Noon to dewy Eve, @@@+PARADISE LOST+@@@
A Summer's day; and with the setting Sun @@@+JOHN MILTON+@@@
Dropt from the Zenith like a falling Star".
Each book of Paradise Lost is introduced with an argument, or summary. These arguments were written by Milton and added because early readers had requested a guide to the poem. Milton's purpose in this masterpiece is to tell about the fall of man and justify God's ways to man. When the angels battle in heaven at one point they pull up mountains and hills and throw them at each other: "So Hills amid the Air encounterd Hills Hurl'd to and fro with jaculation dire, That under ground, they fought in dismal
shade." After their coup attempt in heaven Satan and the other rebel angels are lying stunned on a lake of fire. Satan rises from the lake and makes his way to the shore. He calls the other angels to do the same, and they assemble by and above the lake. Satan tells them that all is not lost and tries to cheer his followers. Led by Mammon and Mulciber, the fallen angels build their capital and palace Pandemonium. They decide to get at God through his new creation and Satan sets off on this mission. In reading Paradise Lost the poem reads the reader while being read. What I mean is that Milton lets his readers go awry in their affections and he corrects and instructs those misreadings as well as anticipates them. In this way the poem becomes a live text with meaning apprehended through the interplay between the peruser of the poem and the text itself. Milton allows the reader to subjectively question the justice of the current religious paradigm and then leads them back to the perspicacity of deity. Ultimately Paradise Lost is Milton's paean to a vast pattern in the universe, the disruption of that pattern by rebels, and the weaving of those rebellion threads back into an ever more beautiful tapestry.

this is a great kids book. and even i love anything that rhymes. thank you so much.

The original "St. George and the Dragon" story is a frightening tale. Depending on which version you read, the townspeople give the scaly, stinking, vicious, dragon tribute of two sheep per day, and, when they invariably run out of sheep, they begin feeding it their own children. The King is obviously horrified, but what can he do? However, when the lottery selects his own daughter, who should appear but Sir George, (later the patron Saint of England) just in time for the king, if not for the subjects. The daughter worries for his safety, but the knight spears the dragon in its one vulnerable spot, then in a gallant display, borrows the daughter's girdle to drag the wounded dragon down to the town. For his own tribute, George asks only that the citizens become baptized; after this, he cuts off the dragon's head. Not a good ending for the dragon, but then, he wasn't a very nice dragon.

Like others before him, Kenneth Grahame modified this bloody tale for the consumption of the very young, and turned it completely on its head. This dragon would rather sleep than slay, purr than prey, and his true nature is discovered by a tow-headed young boy who gradually becomes friends with the pacifist, poetry-loving beast ("why I wouldn't hurt a fly."). Lay low, he advises him. Naturally, though, St. George arrives, and everyone acts as expected--except for the dragon. He simply refuses to attend his own demise:

"Well, tell him [St. George] to go away," said the dragon. "I'm sure he's not nice. Say he can write if he likes. But I won't see him." The boy, however, understands the underlying social pressures (which echo those of the British class system during Grahame's time) and replies: "But you've got to," said the boy. "You've got to fight him, you know, because he's St. George and you're the dragon."

The dragon, the knight, and the young boy, a person with neither power nor social distinction, make a plan. The plan is simple: Fake it. And so, like one of Vince McMahon's TV "wrestling" matches, St. George and the Dragon have it out, with flames and fury, and, as St. George just barely pierces the dragon in a pre-arranged safe spot. The townspeople, who have brought picnics for the presumed slaughter, were satisfied with the spectacle: "And all the others were happy because there had been a fight, and-well, they didn't need any other reason."

The original story, one of several short studies published in Grahame's "Dream Days" (1898, ten years before Grahame's most famous and beloved work, "The Wind in the Willows") may be found at http://etext.lib.virginia.edu/etcbin/toccer-new2?id=GraDrea.sgm&images=images/modeng&data=/texts/english/modeng/parsed&tag=public&part=7&division=div1. Grahame wrote "The Reluctant Dragon" long at times, and one sees his concerns with religion and nature so evident in the river adventure scene of Wind in the Willows. Inga Moore takes out most of the slower, descriptive narrative (which might be enjoyed by older readers), and focuses instead on the dragon/boy/St. George relationships and the exciting battle. Compare the following excerpts (the first is Grahame's); this is great abridgement except for the inexplicable deletion of the last sentence, a very funny, modernist touch by Graham:

1. Then a cloud of smoke obscured the mouth of the cave, and out of the midst of it the dragon himself, shining, sea-blue, magnificent, pranced splendidly forth; and everybody said, "Oo-oo-oo!" as if he had been a mighty rocket! His scales were glittering, his long spiky tail lashed his sides, his claws tore up the turf and sent it flying high over his back, and smoke and fire incessantly jetted from his angry nostrils. "Oh, well done, dragon!" cried the Boy, excitedly. "Didn't think he had it in him!" he added to himself.
2. Then a cloud of smoke billowed from the mouth of the cave, and out of the midst of it the dragon himself, shining, sea-blue, magnificent, pranced splendidly forth; and everybody said, "Oo-oo-oo!" His scales were glittering, his long spiky tail lashed his sides, his claws tore up the turf and sent it flying high over his back, and smoke and fire jetted from his nostrils. "Oh, well done, dragon!" cried the Boy, excitedly. "Didn't think he had it in him!" he added to himself.

Moore also displays great taste and talent in her beautiful colored pencil and ink drawings. She draws landscapes and houses in a traditional style with meticulous shading and detail, trees show the undertones of illustration from a 1912 publication. The friendly, easygoing dragon is drawn showing an easy confidence and an engaging smile, but he's actor enough to look ferocious when required. He's drawn in one of the most striking shades of blue since the ceramic in the movie "Diva." Overall, Inga Moore honors the original Grahame story while making the story and pictures maximally entertaining for young children. Publisher Candlewick has done it again; this is an extraordinary book.

Fanciful and charming. I enjoyed reading it to my nephew and he loved it too. The artwork is lovely also. I'm looking forward to reading it again, with or without my nephew.

I bought this book for my future child (due Feb 2006) as part of my growing library. I read it through and thought it was cute, if a bit antiquated (what do you expect for a book that was written over 100 years ago?) Basically, a young boy befriends a dragon. When the townsfolk realize the dragon exists, they call upon a champion to vanquish him, blaming the dragon for crimes that he didn't commit. The boy talks to the champion about his friend and they all agree to stage a fight, rather than fight to the death. Once the play fight is over (the champion only gives the dragon a small flesh wound), it is agreed by all that the dragon will not harm anyone and the townsfolk will stop telling lies about the dragon. Nice moral story.

My only problem with the book is that it has been "sensitively abridged". I'm not sure what that means for "The Reluctant Dragon", but my "sensitively abridged" copy of "The Wind in the Willows" (also by Kenneth Graham) edits out silly things like "splashes of whitewash all over his black fur". If the book has to be so politically correct that it can't even refer to the color of an animal's fur, I'm not sure that I really want to associate with the edition. I'd be curious to compare this edition of "The Reluctant Dragon" with the original text now.

(The following is a review of "The Reluctant Dragon" by Kenneth Grahame, illustrated by Ernest Shepard and published by Holiday House. It also appears on reviews for other editions.)

Just as Ernest Shepard's illustrations for "The Wind in the Willows" set the standard, so, too, do his drawings capture the essence of "The Reluctant Dragon."

The tale itself is well known. A dragon emerges from a cave overlooking the Downs at the outskirts of a village and only a spunky shepherd's son is brave enough to befriend the sonnet-composing critter. Over time, the dragon's existence becomes the talk of the town and St. George is called in to dispatch this evil scourge that has wrought so much death and destruction, uh, so much theft and vandalism, er, well, actually, hasn't kidnapped a princess, devoured a horse or even stolen a single chicken, but, blimey, he's a dragon and he jolly well might, you know!

The Boy is caught in the middle with St. George insisting that he must battle the dragon, and the dragon solidly refusing to raise so much as a single claw against anyone, let alone St. George. All three put their heads together and formulate a plan to satisfy the battle-monger villagers while sparing both the life of the dragon and St. George's reputation.

Ernest Shepard's illustrations are masterpieces of understatement featuring nothing but line work to portray the Boy's book-learned confidence, the dragon's sheer size and bulk, and St. George's movie-star pin-up good looks. They are illustrations in the truest sense, tickling the reader's imagination instead of repeating in visual form what the author has already drawn with words in the reader's mind. Particularly humorous is St. George's wide-eyed horse, who appears to be never fully at ease with the dragon.

Newer illustrated editions might be more detailed and in full color, but compared to this one, they appear overblown and overdone, an illustrator's showcase at the expense of the story. Ernest Shepard had the good sense and restraint to let the story tell itself and simply embellish a moment here, a bit of action there. Holiday House honors both creators by avoiding unnecessary alteration or abridgement. The result is a literary and visual picnic.

This recording is beautifully done and makes a great companion to the written text. It's great if you are doing a study on the text, or just want to listen to the poetry.

I tend to be a very fast reader, and unfortunately that doesn't work well with poetry. A few years back I read the "Divine Comedy" and couldn't help racing through it. I missed a lot of the beauty of the work because of my reading habits. I have been listening to several audio books on my daily commute and saw that this work was available and decided to give it a try. I felt that listening to poetry in a spoken format would allow me to enjoy the beauty of it more since I believe most poetry was originally designed for oral transmission.

I found that listening to "Paradise Lost" did meet my expectations. I had to concentrate, but the effort was well worth it. I couldn't race through it and enjoyed it as intended. Anton Lesser did an excellent job as usual as the reader. His voice seemed appropriate for this type of work; though I agree with another reviewer that a more powerful voice may have been appropriate for the voice of God.

I really enjoyed Milton's vision of the creation and fall. The epic descriptions of the heavens and Satan and the other characters were vivid and I could see why this is considered such a great work. From a theological perspective, it was interesting to see his view of the origin of the angels, the Son, and Satan. He did a very good job of taking cryptic verses from the Bible and other sources and expanding them out into a powerful story.

I highly recommend this audio book and feel that this is a very good way to be introduced to Milton.

A person considering buying a recording of Paradise Lost might have two questions. First, Am I going to be able to follow the poem without notes and guidance? Second, should I buy the complete version or the abridged one?

Paradise Lost is a notoriously difficult text, full of learned references to mythology, history, and geography; the language is dense, the syntax twisted, the sense frequently obscure; and the poem is just plain long. Perhaps surprisingly, Anton Lesser's reading makes it possible to ride over all these difficulties; his intelligent and varied readings make the sense clear even when the language isn't. One hears the infinite variety of the poem, the delicate and touching parts as well as the stirring and sublime, the innocence of Paradise and the magnificent evil of Satan. I've read Paradise Lost perhaps half a dozen times over the years, always with notes; this is the first time I was sorry to reach the end of it.

But what about the abridged version? I don't recommend it; Milton builds up his climaxes on a vast scale, and a "great moments from Milton" approach weakens their effect. Also, on the abridged version, Eve is read by an actress. This seems to me a mistake; Paradise Lost is full of voices -- Satan and all the demonic throng, the allegorical figures of Sin and Death (Sin is also a woman), God, the Messiah, the angelic host, Adam and Eve -- and to single out one of the voices is to falsely highlight and distort. (Plus, the part is read with an odd accent, almost Irish; what is that about?) It must be granted that all of Lesser's skill can't make God Himself more than a cold and distant abstraction. But that is what Milton wrote, and probably what he intended.

So, my recommendation is to spend the extra and get the complete set. It's something you wouldn't want to miss!

If possible, I would have given this recording 4.5 stars. Lesser's reading is in many ways masterful; as an experienced Shakespearian actor, he has absolute command of blank verse and makes Milton's often convoluted syntax sound almost like natural speech. Throughout the poem, he reads in a slow-paced, majestic manner that adds appropriate gravitas to Milton's Biblical subject, especially with lines spoken by God and Satan that could easily become unintentionally humorous in the hands of a less skilful narrator. Unfortunately, Lesser never really varies from this style in parts of the text where he probably should - unlike other Naxos unabridged audiobooks, all the characters are read in almost exactly the same way, a potential source of confusion in scenes where there are multiple speakers. Lesser also doesn't pick up the tempo much for the more dramatic, suspenseful sequences where his ponderous tone is less appropriate. This is by far the best recording of Paradise Lost currently available, but I would personally have preferred a more "dramatic" reading that brought out Milton's plot and characterisation to a greater extent.

Mark Twain remarked that "a classic" is a book that people praise, but don't read.

Prior to listening to this unabridged audio version, I was only dimly aware of PARADISE LOST. I knew it was an epic poem about Satan's fall from grace, and knew that it was quoted in the Star Trek episode "Space Seed." ("It is better to rule in Hell than serve in Heaven.")

British thespian Anton Lesser brings the saga dramatically to life. It is a delight to hear a great actor speak great verse and tell an epic tale.

You still have to pay close attention to the proceedings. Multitasking throughout will leave you baffled and doing much rewinding. This is not for those with short attention spans. Focus is required, but you will be rewarded.

For those who revel in marvelous spoken word performances, this is highly recommended.

I remember this book from my childhood. I had my parents read each story to me over and over. When I learned how to read I read this book until the pages fell out. In short it is a great book that encourages youthful imaginations. And, it makes for great bedtime stories. A real classic. I bought it for my children.

As a child I didn't have the books of Oscar Wilde but rather the records. My imagination soared with his descriptions of life, and my eyes overflowed with tears at each story. The record of the Happy Prince was read by Bing Crosby and Orson Wells and each year at Christmas we still play that old scratched thing, just to hear it's wonderous love story and that of The Selfish Giant. Now I have to get the book so my nieces and nephews will share in my treasures of love!!!! What is this world if it isn't all about Love?

In these tales, most of them being sad and even very sad, Oscar Wilde looks for a way to save one's soul in front of the misery of the world. Anyone in society who lives in the upper classes does not necessarily see the ugliness and suffering of the world when one looks at the lower classes. But in these tales the Happy Prince, or the Selfish Giant, or any other character will manage to get salvation out of their upper class blindness, by opening their eyes to misery and suffering and by doing what they can to repair these pains and evils because they will realise they have to feel responsible for the world, because they are more powerful and could easily impose their selfish rule. But the giant will discover nature, if not God, punishes him for his selfishness. The nightingale will try to redeem a young student by giving him a red rose in a season when read roses do not bloom. And yet the student will not get the love he wants because he is nothing but a non-entity for the girl he would like to be loved by. There is also a very sad note in A Devoted Friend and how friendship can become a mask for selfishness, a nice appearance for an ugly and egoistic attitude. Those tales are sad and at the same time they convey a moral full of hope. All is not lost if the Happy Prince can give away his happiness for those who suffer, even if later the powerful of his society will reject him when he does not look happy and beautiful any more

Dr Jacques COULARDEAU, University of Perpignan

Three British actors bring Buddhism's "Three jewels" to life in and engaging and entertaining manner. About 4 1/2 hours long. Includes history and teachings. If you are looking for on audio book to give you a good general knowledge of Buddhism, this is it. It may even spur you on to other teachings!

Being largely ignorant of the religion, I always found Buddhism to be little more than an odd philosophy masked as psuedo-religion. I bought the CD so that I could get a quick rundown of the the religion for my Easter Religion class (Religion 102). What I ended up doing after listening the the CD a few times was absorbing more literature on buddhism, and I have now converted. The CD was compelling--and it is so without sounding or being a overzealous propaganda recruiting tool. Loved it.

I never knew what's Buddhism is about. Well, may be common knowing: re-incarnation, white clothes and Buddha was a king. My friend gave it to me. I listened it in my car for 3 month, from work to home, every day. Especially the second CD - Dharma, to me is a teaching. This set simply changed my life. I recommend it for anyone who is in any stage of life. Stop, realize and stop the drama of your life. Today I've read many other books, scripts and famous Buddhist works, but this will be always favorite.

I've read almost every book in print on London social history, so I thought no author could hold my attention on this topic, yet Liza Picard's book was a delight to read, as she put a new spin on well-tread ground.

The author covers every conceivable aspect: the infrastructure, daily lives of all social classes, and every other topic you can think of. Liza Picard puts a special emphasis on the perspective of Victorian women. This was an era when the only way a woman could have a reasonable life was to marry someone who could support her; women defined "a good marriage" far more generously than they do today. The options open to an unmarried woman - even a well-educated woman - were incredibly bleak.

Every chapter provides unexpected tidbits of historical trivia, such as the fact that London homes had a mail delivery every hour for twelve hours per day, which also gives a clue about the typical workday. In this book, no leaf has been left unturned, yet the prose flows very smoothly in a tightly organized structure. The 23 chapter headings are: Smells [sewers], river, streets, railways, buildings, practicalities, destitution, working class, middle class, upper class, domestic service, houses, food, clothes, health, amusements, The Great Exhibition, The Crystal Palace, education, women, crimes, religion, and death. There are 45 illustrations, mostly period drawings, some in color.

Ms. Picard is 79 at this time, and the biographical blurb says this completes her series of four books on London social history. Surely she isn't thinking of retirement? There is plenty of scope for a fifth book and beyond.

This is the fourth book the author has written on the history of London. The others dealt with Elizabethan, Restoration, and Dr. Johnson's London. Much as its predecessors, this volume on early Victorian London is a treasure and a delight to read. While the author focuses upon some of the physical aspects of the city (i.e., rivers, streets, buildings), the book really is much more concerned with the daily life of the city during the (1840-1870) period, and that is its great strength. Therefore, there are chapters for example on poverty, the class system, domestic service (a hard way to go), houses and gardens, food, clothing (surprisingly interesting), health, the Crystal Palace exhibition, education, religion and death. The author's research is extensive and she really knows the city. Her discussion is very informal and breezy to read--almost as if one were sitting across from her at tea time. The abundant illustrations add greatly to the narrative. This is apparently the finale of her series--this is too bad, for volumes on the late Victorian and Edwardian periods would have been of great value as well.

Long awaited,finally published,immediately ordered-I LOVE IT !
As with Picard's three earlier works,the amount of total immersion in the period,that the reader can experience,is a quality hallmark.
I can,without too much trouble,read textbooks on these subjects,but,as I am not professinally engaged in history-why should I?
Picard's approach is a lot more fun,her fine british humour,her understatements,but also her undisputable knowledge and perfectionism,make this a worthy pillar in her hitherto published work.
It is pure,undiluted JOY !

I am ashamed to say that though I have struggled through the Odyssey in Greek I was unaware that Cowper had done a translation--of which I have now read portions. It is superb. We think of Pope as the great 18th century translator of Homer but as another reviewer has written, a careful reading of Cowper provides great pleasures--I like it as much as Pope. Do be aware that it takes some getting used to since the cadence of an 18th century line takes getting used to. If you like the language of Jane Austen however I think you will appreciate Cowper's achievment. Enough said.

For lovers of language and epic drama, Homer and the Bible brook few competitors. For readers up for a slightly higher degree of difficulty, William Cowper's eighteenth-century English translation of the Oddyssey provides a second layer of beauty. Not only do you get Homer's genius. You also soak in the resonant and ironic tones of an English dialect that is familiar enough to be almost completely understood but also different enough from modern American dialect to bring astonishing and pleasing insight into the language we speak.

Odysseus gets lost on his way home from the Trojan War.

And what a piece of luck that is, for it generates this tale of epic suffering, nobility, vice, vengeance, and freshly requited love that is so riveting that one almost aches for his neighbor who has not read or heard Homer.

Moderns unfamiliar with the classics may want to approach the Odyssey by way of the film Brother, Where Art Thou? Though a retelling of the Odyssey that all but redefines the word 'loose', the plot structure is similar enough to serve as a point of reference while reading Cowper's Odyssey translation or - better still - listening to Naxos' recording of the same.

Reviews are intended to be about the book, not about the reviewer's pleading. But forgive me just this: you really *need* to meet Homer and his most elevated and elevating narrative poetry. You won't be sorry. Bite the bullet. Grit your teeth. Fight those inner demons. Forget everything your boring literature teacher told you.

Discover the Odyssey.

I really enjoyed this recording of A Tale of Two Cities. The reading is masterful. I will issue one warning--I bought this for a family car trip and quickly found that this recording (and maybe most Dickens) are not for the casual listener. It seems to help to have some experience with literature in general and/or with Dickens's style specifically. It wasn't easy for some members of my family to follow by ear.

I love this novel, though, and this presentation is quite good.

Anton Lesser provides a fine British accent and flair to Dickens' complete unabridged classic A Tale Of Two Cities. Here's where audio really shines, providing an award-winning Dickens reader who excels in dramatic characterizations and flair. Listen to A Tale Of Two Cities and you'll see why the written word - especially in the classics - has the ability to shine forth in audio much more than on the page.

Not having known very much at all about Chopin, I cannot vouch for the accuracy in the Naxos entry in their CD and cassette Biography series; but I can vouch for the enjoyment (NA 421912) afforded me.

Written and produced by Jeremy Siepmann, this audio-bio not only tells the strange story of Chopin's life but also includes generous examples of his music, drawn from the bottomless pit of Naxos musical CDs. An excellent idea was to use actors for the voices of Chopin (Anton Lesser), George Sand and other females in his life (Elaine Claxton and Karen Archer), and other male acquaintances (Neville Jason). It is the kind of reading that would fascinate even if the work were fictional.

His letters are particularly fascinating, especially as they are read dramatically by the small cast; and one would rather hear about all his faults--physical and psychological--from people who knew him well. Perhaps his strange epistolary relationship with his Titus is dwelt upon a bit too much, but such are the times (then and now).

My only criticism in a negative direction is the length of the musical examples. I do not really think the entire "Revolutionary Etude" had to be played or the entire "Funeral March"; a minute or two with a fadeout would have been fine, especially on repeated hearings where one wants the facts. Nevertheless, highly recommended.

By the way, the listing above of this work as "abridged" is simply inaccurate since the text (I am told by the publicity person at Naxos) was written specifically for this recording and is by definition "unabridged."

Pelinka is one of the most poetic political writers I have ever read. He clearly takes on the leadership of Poland, both defending it and tearing it apart at the same time. Although the book's title, would lead you to believe that it is just about Jaruzelski, Pelinka provides an in-depth analysis of international leadership and the role of "democracy" in Eastern Europe and in the internationl arena. He brings in bits from every area of study and introduces new views on international politics that I have rarely seen. One of the most memorable anectdotes is what Hitler told the Lord Halifax of Great Britain to do about civil uprising in India, "Shoot Ghandi." Although I stumbled upon it for a research paper, I now have the book in my library and consider it a necesary component--much more valuable than Huntington or Kant.