English Books

this is the best book i've ever read and by far the best translation of it. i can't really say anything more.

Lushly, sensuously, decadently overwritten, a fatal literary intersection where Baudelaire, Rimbaud, Poe, and Sade collide and out of the spectacular wreckage something lopes off into the surrounding woods declaiming like Nietzsche's Zarathustra with head trauma--Lautreamont's *Maldoror* is one of those ten or twelve books that aren't like any other. Part hallucination, part philosophy, part prose-poem, part prophecy, it's a bizarre stitched-together Frankenstein's monster of a text, a virtuoso improvisation animated by an electrifying genius who appears--and disappears--on the literary stage like a bolt out of the blue.

Here is a work where the first-person protagonist is an arrogant, cruel, disdainful superhuman egoist--sometimes seeming to be Satan; other times, something considerably less, but at all times evil incarnate. Dramatic and arbitrary shifts of narrative perspective and authorial points-of-view, a fractured, nonlinear plot-line, similes and metaphors of Homeric proportion that bring together the most disparate items in absurd conjunctions virtually without meaning. Was it all a joke? A parody of Romantic literature and the self-indulgent, self-pitying, overheated imagination of those who struck the Romantic stance of poetic revolt and existential defiance? What must the French public have thought of this black mass "celebrating" vice, blasphemy, pederasty, and murder--a work that held nothing--including itself--above disgust?

Predictably enough, *Maldoror* caused barely a ripple in the bourgeoisie calm when it was first published--by Ducasse himself incidentally--and remained unread by the general public who continues to not read it today. It remains a text ahead of its time--or perhaps more accurately--outside of time altogether. And yet it's had a huge influence on the writers, artists, and intellectuals of our time, from the Surrealists to the Situationists to literature in theory and practice to this day. *Maldoror* is a quintessentially postmodern text--a pastiche of genres with its penchant for self-parody and its direct address of the reader, breaking the illusion of "fictive reality" and authorial authority.

The translator argues forcefully that this is the edition of *Maldoror* to read--that other editions, most egregiously the Penguin--are rife with errors that stumble along the borderline of sheer incompetence. I've got no good reason to doubt this is the truth--and why not read this edition? It's attractively formatted, fully annotated, and contains all the known works of Lautreamont ((Ducasse)) including a few apocryphal tidbits, a chronology, biographical notes, and even a reminiscence by an old dude who once went to school with the Dark Prince of Letters. If there's a better edition, I'm unaware of it.

As for the heavily annotated *Poesies* that round out the main bulk of this volume--I had far less enthusiasm for them than for *Maldoror.* A series of gnomic axioms and aphorisms ala Pascal, indeed, many apparently in direct reply to Pascal, I didn't find them very interesting, often barely intelligible, even with the help of the comprehensive annotations--much of it in French which was unfortunately of no use to someone monolingual like me. What I did understand of the *Poesies,* the opinion of enthusiasts to the contrary, I found, for the most part, bombastic or banal, and very often both. A young man's ((Ducasse died in his early twenties)) bold, world-shattering, and consequently somewhat naïve proclamations on life and literature, any and all of which were likely to change if he'd lived to see even five more years of either. At twenty-three, you can be a genius and produce a literary masterpiece, but you still don't know much--certainly not even most--about life.

Indeed, even in the *Poesies,* Ducasse radically reverses field, mercilessly ridiculing Romanticism and its heroes, mocking the Satanic defiance that inspired such works as...*Maldoror!*

So was *Maldoror* all a goof then--a black spoof, a devastating satire? Had Ducasse turned a new leaf as he claimed in the *Poesies* and now dedicated himself to composing uplifting works of classical order and clarity? Was he pulling our leg then...or again? Was it all a joke--on us, on him? Was he simply insane, or just young, or both? Are we reading too much into all this--and is *that* the point?

These are some of the very potent post-contemporary questions that Ducasse has left us to contemplate in the wake of his great literary disappearing act--questions that remain in addition to, and beyond, those raised by the actual content of his enigmatic, and abbreviated, corpus of work.

An author--and a book--as important for being important as for the substance and merit of what he wrote, Ducasse and *Maldoror* is essential reading for the serious student of post-19th century literature. Ducasse/Lautreamont/Maldoror is a major signpost on the way to a new kind of writing, some of which we see today, more of which we'll see tomorrow.

What to say about Maldoror that hasn't been said yet? What to say about the mysterious son of a diplomat who appeared in France, wrote this book and died, vanishing from the world, yet leaving his mark for decades and centuries yet to come?
The first time I had the pleasure of reading this exceptional work, I was taken aback. Barely seventeen, I hungrily swallowed the disturbing images leaping at me from the pages, not to fully comprehend them until years later. This work, over a century old, is believed to be the first work, the foundation stone of the surrealist movement, a movement that penetrated into every aspect of art, life, being; whether we are willing to admit it or not, this work is as important today as it was when originally published in 1868 (well, at least a part of it was). The world was not ready to receive the complete self-awarness of evil Maldoror so fully comprehends, and the world is still not ready. This work is certainly not to be read by a "closed" mind. It is said that to be creative, one must borderline insanity, yet, Lautreamont was playing with genius; a genius of a caliber capable of scaring away even the most immodest of us. But get deeper into his work, walk past the disturbed images, surpass your fears and you shall see the light. This work cannot be ignored, cannot be left to collect dust. I have owned several copies over the past 14 years, and I am still finding new meanings, new passages and new understanding in this wonderful work. This trully is the one book that will never get old, that will always keep on giving, as long as one is ready to listen.

This review is of *Maldoror*, alone.

Lautreamont's *Maldoror* is legendary for its bold and complex phrasing and imagery, for its reputation of embodying Surrealism *avant la lettre*, and for its remarkably extreme, savage imagery. Less frequently remarked is its obvious debt to the earlier literature of the *Frenetiques*, such as Petrus Borel. Given the very few English translations of the latter, one may pardon those who do not read French for overestimating the originality of *Maldoror*. Francophones such as the Surrealists and Lykiard, however, have no such excuse.

The descriptions of *Maldoror* in the various reviews here describe the content and style of the work perfectly well, so I shall neither repeat them nor try to outdo them. Instead, I shall offer a slightly less breathlessly adoring view of the work, in general, and of Lykiard's translation of it, in particular.

My view of *Maldoror* is that it is primarily a parody of the extreme tendencies of the "dark side" of Romanticism, in general, and of Byron, in particular. Although Lykiard dismisses Mario Praz's view of Lautreamont and *Maldoror* rather abruptly, Praz's observations seem quite germane, to me:

"[Lautreamont/Ducasse is] a macabre humorist in whom it is impossible to distinguish where sincerity ends and mystification begins".

Those who doubt this observation should have a look at Ducasse's extant letters, many of which bear witness to his desire merely to be a successful writer, and to be judged by the literary critics of the day. In a word, Ducasse/Lautreamont appears to have been precisely the sort of careerist *litterateur* whom the Surrealists excoriated and excommunicated from their ranks with tedious regularity!

As for Lykiard's translation, it is adequate, but far from inspired. Although, as he trumpets *ad nauseam*, his version of *Maldoror* may be in the main less error-riddled than those of his competitors, it is frequently leaden and awkward. Compare, for instance, the following tin-eared rendition to the original, and then to Paul Knight's rendering of the same passage:

The original: "[...] car, à moins qu'il n'apporte dans sa lecture une logique rigoureuse et une tension d'esprit égale au moins à sa défiance, les émanations mortelles de ce livre imbiberont son âme comme l'eau le sucre".

Lykiard: "For unless he bring to his reading a rigorous logic and mental application at least tough enough to balance his distrust, the deadly issues of this book will lap up his soul as water does sugar".

Knight: "[...] for, unless he brings to his reading a rigorous logic and tautness of mind equal at least to his wariness, the deadly emanations of this book will dissolve his soul as water does sugar".

Granted, such evaluations involve much subjectivity, but there's no doubt in my mind which version reads both more accurately and more elegantly in English. Lykiard does, however, deserve credit for demonstrating Knight's faults, as well.

Lykiard's notes are not necessarily much better than his translations. To take but one instance, Lykiard tells us that "God is here (and *passim*) ironically addressed as *tu* rather than the more formal *vous*". If Lykiard were as clever as he'd like to appear, then he'd know that the French *always* address God as *tu*, and not as *vous*. Therefore, there is nothing ironic on its face about Lautreamont's usage, at all.

In sum, *Maldoror* is a sometimes powerful, but often puerile, *reductio ad absurdum* of *Frenetique*-era late Romanticism. Enjoy it for its over-the-top style and its infrequent passages of genuine and sincere poetic power. Do not, however, take it too seriously, because, although we shall never know for certain, my bet is that Ducasse/Lautreamont was little more than a prodigiously gifted adolescent who sought, as most adolescents do, simultaneously to shock and to impress the grown-ups.

I like my writers drunk, blasphemous, decadent and French. If any of that list sounds even vaguely familiar then this is the book for you. Set the absinthe fountain to a slow drip, light some candles and prepare to tour an alchemical end-of-the-century underworld.

I loved this book. As a matter a fact I think this whole series was great. I think the girls' antics were hilarious. Peyton and Linc are a very cute couple and I think the concept for this story was verrrryyy different. I had never read a story that involved the gay brother pretending that the love interest was his boyfriend. What can I say they're just whacky.

I am not going to bother to tell you what the premise of Ms. Byrd's book is about because you can read the other reviews for that information. Most of which are accurate.
The reason I am writing a review is because this book was an easy and very entertaining read. Not juvenile. But fast paced and imaginative.
She holds your attention because her characters are always doing something. They are never boring and her plot is active and imaginative.
The love scenes are provocative and romantic which makes you want to be the female character of the story.
This is the first book I have read by Ms. Byrd. I have decided to read the sequel, 'When You Were Mine.'
Keep up the Great Work Ms. Byrd.

Wonderful book. A true page turner, I could not put it done

This is about Peyton and Linc... Linc is also friends with Peyton's (Gay) brother Flex... of course both Peyton and Linc are unaware of this, which leads to a whole bunch of misunderstandings which makes you laugh out loud! This was an enjoyable read, filled with just enough passion between Peyton and Linc and some nosey sisters. Just one more thing to add, I recommend all books by this author and Niobia Bryant!

Adrianne Bryd tells a wonderful story of love, family, and the sometimes humorous ties that bind. This book is a good, quick read. Lincoln was a true friend to Flex and definitely a man that any woman would love to have in there life. Thumbs up to Ms. Byrd. I look forward to her next book about the Adams' family.

Who is the scariest writer of all...
Even after reading as a many items by Masterton as I have, this was a Chiller in the Extreme.
Although it's hard to choose, I'd Rate MIRROR as a scare alongside of Masterton's CHARNEL HOUSE, PARIAH, and THE HOUSE THAT JACK BUILT.
Oddly enough the paperback copy I got had a double cover ( something I was told is rare)... however I'm not sure on that one :-).
Anyway, it's a real thrill to experience Masterton's topflight scare books.
When He Kicks the fright in, he does so better than most writers, not simply horror in the currently fashionable slash-gore sense, but Horror in the full sense of the "Touched by another realm" type of horror.
Masterton is consistently good, and fires on all cylinders in this and many other books.His first person narratives take you with him down the nightmare road that leads over and through the looking glass in this case. If you can find copies of this book, its worth it, as are copies of THE WELLS OF HELL, TENGU, PARIAH, THE MANITOU, REVENGE OF THE MANITOU, CHARNEL HOUSE ( The First Masterton Horror Book I read); all of Mastertons Horror genre work are first rate, and are so good that it is very clear that either his ideas have been ripped off, or he has sold his scripts on the q.t. and made his influence known. If you like Supernatural, real deal, spooky horror, then Masterton is the way to go.
Highly recommended.

I read this book a couple of years back and remember vivdly how downright freaky it is. The kid appears out of nowhere and wants to finish a movie that was started inthe 30's, but something is amiss when things began to happen. Make sure you cover your mirrors and that your back is to the wall.

This book has a atmosphere of dread around it and it is well written. A true demonic, ghost story where good vs evil is a constant.



Graham Masterton, once again, has proven himself in this book to be above and beyond all mortal horror writers! It is really sad that the U.S. do not recognize him much (do not publish his out of print books) and would rather recognize such writers as Stephin King.

Mirror,

What happens when you buy a piece of Hollywood memorabilia from a little old, innocent woman? Boofuls happens, that what.

This book was a great read. I usually find Graham Masterton to be hit or miss. This time he knocked it out of the ballpark.

This is a creepy tale about a murdered childhood actor who wants his life back, and a poor unsuspecting down on his luck screenwriter who holds the key.

The writing was simple, straightforward and to the point. This time around, Mr. Masterton kept me interested with every new page I turned. I do not find that to be the case with some of his other works. (I wont mention titles)

It seems Masterton had Alice in Wonderland on the mind when he wrote this one. (More like Alice in Demon Land.) Horror and fantasy elements fill this book; the alternate worlds separated by the mirror give it this affect.

If you have not read Graham Masterton, this would be a great one to start with. He rarely gets better than this. (He may have never written better than this.)

Masterton is my favorite writer, ever. I read this a few years ago in high school, and let me tell you, its one of his very best, and i havent been dissapointed with anything he wrote yet.
The child itself, from its werid name to how creepy it can be, is one major wacky character! And the cat-snake scene left me wondering wether i will ever be able to look at my own cat the same way again! This book kept me in suspence, and it was a smooth read, i totally recommend it to anyone who had 2 eyes and an ability to read!

Mirror, a horror novel originally published in the late 80s, is one of Masterton's finest. The story is top notch, well-crafted, and well-delivered. When TOR was publishing horror novels on a monthly basis, you could always look forward to a new Masterton title at least once a year.

The story centers around an fan obsessed with a child star who was murdered fifty years in the past, at the age of eight. The fan was so devoted to keeping the memory of the child star alive that he writes a musical based on the child's life. However, Hollywood has no takers for filming it.

The fan later discovers that some of items belonging to the child are available for sale. He purchases a mirror, later discovering that the child is still "alive" in the mirror. Later, when things take a turn for the worse, the fan discovers the truth behind the child's presence in the mirror. Then the real terror begins...

If you can find a copy of this one, it would be well worth your time to read. If you can't, pick up one of Masterton's recent novels published by Dorchester Publications under the Leisure horror line.

I don't know why this book is so little known - it's very clever and it's hilarious fun. I wish I knew about it sooner. But if you're thinking of buying it, beware: there's no key. You'll have to figure these puzzles out on your own.

If you can read French and if you grew up heaaring Mother Goose rhymes (in English) this book is a MUST HAVE. It presents an almost credible scholarly work about some fragments (in French) from an old civilization. If you will read those fragments aloud, you"ll be able to hear (in English) well known nursery rhymes. Truly fascinating, and soetimes challenging! (Especially if you had never known THIS rhyme in English!)
--And the "scholaraly" footnotes are great!

Zebu qui se regrette: there's no question about that, and I _am_ grateful that it's back in print. BUT, buyers beware: the print in this edition looks like it came out of a cheap photocopier. Van Rooten deserved better.

This is a wonderful book - I laughed myself silly the first time I encountered it (even though my French comprehension is NOT wonderful). Will give this one to a friend to whom I know it will give hours of pleasure.

Mots D'Heures: Gousses, Rames is one of the greatest literary entertainments ever written. It runs the gamut from touchingly nostalgic to raucous. Above all, it is howlingly funny. It makes me laugh so hard it hurts.
You need two things to enjoy Mots D'Heures: Gousses, Rames. You should know some French, and you should know some nursery rhymes. With that, the book will hit you from line to line with waves of jaw-dropping hilarity, endless wit, and moments of poignant reminiscence.

There is nothing more to say except: bah, six boucs! [The author apparently thinks you should pay six goats---or a sheep?]

PS -- Having unguardedly purchased a copy of the paperback edition listed above, I must agree with a recent reviewer that the production is dreadful. A reader interested in this masterwork would do well to seek out a copy of the original 1967 edition (long out of print), even at considerable cost. But not from me, though. I wouldn't part with mine for less than tartines fortunes.

All hyperbole aside, this book saved me six figures on my home purchase. I cannot encourage you enough to read this book before beginning your home search.

Excellent book! Bought copies for friends (rare event) because it's so informative about sales psychology overall- not just realestate. You may get this book on buying realestate, but after reading it you'll be quite informed about buy anything else & negotiation potential is involved. The book has helped me - saved me lots of $$$. It's an easy read too.

I recommend this book to home buyers who are looking to buy a house in the same area they are currently living in who also have either no or manageable time pressures. Very few tips are given to aid a buyer that must shop for and make an offer on a house when time only affords him a single trip to a new city (as my husband and I had to do)...which is not surprising, given that this is no way to get the bargains promised on the cover.

That being said, the tactics that are laid out seem reasonable and workable, but are repeated ad nauseum. An additional annoying feature of the writing is the tendency to spend several pages giving the reader a drawn out anticipatory build up to the few tactics the author will convey on the upcoming pages. The point-diluted anecdotes about poorly orchestrated buyer negotiations are followed up by several paragraphs that give the reader a pep talk without really conveying any information, making the book feel like an infomercial as one reads through it.

...This buyer acted poorly and spent way more money than he needed to. Don't want to be like him? Well you should read this book! Here's another story about a buyer that did something stupid. Don't want to be like her, either? Well, keep reading! Eventually, I'll get to the 5 sentences you need to read in order to know what to do instead...

Perhaps others would disagree, but as a reader with an engineering background, unless I'm reading a book for pleasure, I skim for the pertinent information. Separating the wheat from the chaff, this book should be about a third of the thickness that it is. However, if you have the time the time to shop around for a house (and by time, I mean *at least* a month or two to actually go out and look at houses) *and* to read through and separate the useless parts of this book from the parts that actually contain good advice and tactics, I would recommend it.

If your buying a house for the first time, whether its an investment or primary residence, read this book. plain and simple.

I bought this book four years ago when I was shopping for my first house. I got fed up with my realtor and decided I didn't need one, as long as I could handle the negotiations myself. So I turned to this book.

The book is geared toward using a realtor or buying agent, but I found everything was just as applicable if used "going it alone." Especially some of the resources listed in the back for comps, etc. It's a very easy book to read and it doesn't try to make you a slick rapid-fire negotiator. It teaches you very simple yet effective techniques that may be common sense to some other readers, but they weren't to me. Admittedly, Cummins is repetitive in his messages, but I think the repetition serves to firmly ingrain the techniques in your mind so when you do actually get in front of the seller/realtor, you don't let your emotions get the best of you.

As a result of what I learned from this book (and also by not using a realtor), I saved $25K on a $185K house. I also used the techniques in negotiations during a car purchase and during salary negotiations for a new job. Best 17 bucks I ever spent.

Now I'm starting to look for my second house, so I'm re-reading the book (and going without a realtor again). I'm holding onto the first house as a rental, but I hope that if I ever have to sell, it's not to a buyer who's read this book!

I had the privilege to study the history of the Germanic languages from a photocopied version of the manuscript for this book back in the day. Though the title makes it seem targeted at students of Old English, it actually gives equal weight to all of the Germanic languages, notably Old High German, Gothic, and Old Norse (Icelandic).

Each chapter begins with the parable, "The Sower and the Seed," in the language of the chapter. This text was chosen because it's actually found in the existing manuscripts - - the Bible tended to be translated into the vernacular early on, and disseminated widely - - and because this story has a goodly amount of grammatical action. "A sower went out to sow seeds" gives you three variations on the basic stem of , and you can see how that idea is reflected in each language.

Using the same text also makes for great pedagogy. After a few chapters, the student *sees* the differences immediately, and automatically starts thinking about the language at hand.

It would be easy to make a book like this a collection of reference grammars with a boring list of similarities and differences from one language to the next. Robinson avoids this, and writes in a lively and interesting style. I highly recommend this book if you're interested in the history of the Germanic languages.

This is a wonderful book, and I doubt if any serious reviewer will give it less than five stars. It is exceptionally well-written by an author who wears his immense learning lightly. Devoting a chapter to each of the known early Germanic languages -- e.g., Old Germanic, Gothic, Old Saxon, Old English, Old Frisian, etc. -- Robinson shows how the languages developed, how they shared common characteristics and developed new ones, and how they to some extent must have cross-fertilized one another. In the process, he shares some fascinating information, such as the development of "Futhark," the runic alphabet in which Old Norse was originally written, and makes a cautionary remark which explains that we may know a good deal less about early Germanic writings skills than we think we do: "It is easier to write a letter on a stick than on a stone." He also tackles some deep linguistic issues, such as the reasons why the idea of a language-tree may be misleading, and why the analogy of biological taxonomy to language typology can be problematical. When biological species diverge, they never re-converge. But tribes, armies, villagers, etc., my split up, rejoing, form new groups, etc., so their languages may diverge, reconverge, borrow, meld, and otherwise demonstrate a more complicated history than a "divergence from a common ancestor" model might suggest. For example, Robinson concludes there never was a "common language" which could be called "West Germanic."

Robinson also points out the limits of our knowledge -- so much of our reconstruction of these ancient languages depends upon translations of the Bible and other religious texts that we know very little about the idiomatic usage which surely characterized the "everyday" use of these tongues. We have to be grateful to Robinson for a book which is unlikely to be equaled, much less surpassed, anytime soon.

This book is an exceptional piece of literary work. This book compares old English to it closest continental relatives. I particularly enjoyed the preamble at the beginning of each chapter that discusses the history surrounding the people that spoke such languages as old Saxon, old Norse, old Friesian and other Germanic dialects. This would be a valuable tool to the student or to the armchair Etymologist/early medieval historian.

Orrin Robinson has done what many suggested could never be done -- or done well at any rate: he has constructed a useful, solid introduction to the whole of early Germanic linguistics, hitting all the high points, with concision, without merely paying lip service to each language. It's a terrific starting point for comparative Germanic linguistics -- from which you can move on to more exhaustive works on the individual languages.

Robinson covers seven key Germanic languages here, each in its own chapter: Gothic, Old Norse, Old Saxon, Old English, Old Frisian, Old Low Franconian, and Old High German. In each chapter, he situates the language in its proper historical context, discusses its development from Primitive Germanic, explains its phonology (useful crib notes to refer back to when you need to remember how to pronounce Old Saxon or Gothic! :), talks about the key literary texts in the language, offers two or three reading samples in each language -- with glosses and cognates in the margin and a short glossary following, provides an overview of the grammar, and more. Each chapter also concludes with a Further Reading section, telling those interested in learning more where to turn next.

This is quite a lot to have accomplished in such a relatively short book (c.300 pp.). Robinson's writing is a model of clarity, and the book never plods or becomes too overwhelming or too dry. I've read this book more than once and I refer to it often, which is a compliment of another sort. Very highly recommended indeed!

This book was my first introduction to Germanic linguistics. The book begins with a chapter entitled "The Germanic Language Family." Although the discussion is, for obvious reasons, framed in terms of the Germanic languages, this is incidentally the best and clearest exposition of the principles and techniques of historical linguistics that I have ever read.

The next chapter, "Germanic: A Grammatical Sketch", lists those features of phonology and grammar which characterize the Germanic languages, richly illustrated with examples, mostly from Gothic. That's because Gothic is considered to have preserved more archaic features than the other languages surveyed, and to best represent what proto-Germanic must have been like.

There follow chapters on each of the following languages: Gothic, Old Norse, Old Saxon, Old English, Old Frisian, Old Low Franconian, and Old High German. Each chapter begins with a short history of the tribe(s) which spoke that particular language, usually 4-5 pages worth.

Following this is a short listing of texts from which we derive our knowledge of the language. This obviously varies from language to language. In the case of Gothic and Old Saxon, the texts are few and are listed in their entirety. In the case of Old Norse, Old English, and Old High German, the number of texts which survived is too numerous to list them all, so the corpus is merely described by genre, with a few outstanding representative texts listed.

Next are two short readings in the language. These are limited by the scope of the texts that survive in the language in question. The first is usually the Parable of the Sower and the Seed from the New Testament, to allow for easy comparison between languages. The second is usually from a text unique to the language: for example, the second text in Old Norse is the story of Thor and Skrymir from the Edda; in Old High German, it's from the Muspilli; in Old Frisian, it's from a Frisian legal code.

Following the readings, there is a glossary of all words contained in the readings.

Next there is a short grammar of the language, which covers spelling and pronunciaton pretty thoroughly, and offers a less thorough treatment of grammar. The author clearly states that he did not intend to present a comprehensive grammar for each language. The intention is to give the reader the noteworthy characteristics of the language being considered, and especially to illuminate how it is similar to, and how it differs from, the other early Germanic languages.

The next section for each language covers some topic in Germanic linguistics; the author chooses a general topic which has special significance for that chapter's language. For example, for Old Saxon, he discusses Germanic alliterative poetry. This is particularly relevant to Old Saxon since our main representative text in that language is the Heliand, an alliterative epic retelling of the events in the life of Jesus.

Finally, there is a bibliography for each language, usually containing about 10-12 items, which directs those interested to further reading. The lists are relatively short, but I have found some real jewels there; McDonald-Stearns treatment of Crimean Gothic, for example.

The author concludes the work with a discussion of the grouping of the Germanic languages based on grammatical and phonological features, together with a chart listing some of these features and the early Germanic languages which exhibit them, for ease of comparison.

This is one of my most treasured books. I purchased it 10 years ago, and still keep it by my bedside. I've read it innumerable times from cover-to-cover, and also enjoy opening it at random.

This should give you a general idea of how good this book is: After reading the last page, I turned to page 1 and started reading it all over again.

When was the last time you read a book twice?

Ziolkowski's style is like a perfect wave--clean, gorgeous, and unique. It's not just about a surfer searching for perfection, but a boy searching for himself in post-Vietnam era of sunny Florida, where everyone is tan and bleachy-haired, Led Zeppelin is on every radio, and pot is as prevalent as palm trees.

The story begins with the author at ten, still reeling from his parents' divorce and craving diversion like any normal kid. But it is surfing that becomes his ultimate grace, giving him confidence and the room to dream outside the troubles at home. When his family begins to unravel, his heartbreak at dreams realized and lost will strike a sympathetic chord in anyone who is connected to the sea, to family, and to one's true self. The author's search for his identity comes full circle--beginning, ending, and beginning again--on a wave.

I loved this story of a young boy's passion for the ocean easing his growing pains. Very well-written.

thanks for the prompt delivery! I will definitely look for you again when ordering

Thad hits the nail on the head! Having grown up in Melbourne Beach during the time period described I feel qualified to speak on the authenticity of the scene depicted: perfect, took me back in time! Anyone who grew up in the space coast area during the 70's will be able to identify some of the characters described. This is an execellent book for the non-surfer as well as the surfer. This book will remain on my annual reading list along with Caught Inside, Lighting out and West of Jesus. Thanks Thad for an execellent read!

Excellent.This book will stay with you long after you read it. As a 50ish surfer from the Texas gulf coast this book reminds me of why I consider myself lucky.

I love this book! The illustrations are beautiful and the messages are wonderful. I especially like the way the devotions are written for the small child. They are easy for them to understand and relate to everyday situations that they have probably experienced.

Preschoolers can relate to the stories in these devotionals and have often experienced something similar in their lives. The stories are short, so a little one can pay attention throughout. The prayers fit the stories very well and again, are short and sweet. I also like that actual the Bible Verse is included in each devotional.

I read this book to my daughter every night. The messages and illustrations soothe us and help us connect with each other.

Of the fifty-some children's books I own, this is one of three I actually enjoy reading. :)

My 3 1/2 year old son and 5 year old daughter love this devotions book and so do I. It has a short 1 page story that the kids can relate to (also there is usually a question or too within the reading that lets you be interactive with your kids). A bible verse and a prayer are at the bottom of the page and relate to the story. I would recommend it for anyone that wants to put an emphasis on the Lord and bring Bible verses into their children's lives.

This book was given to my 3+1/2 year old for Christmas, 2007. We have been reading the one page devotions every night before going to bed. I really enjoy the short sweet messages, prayers and scriptures. My daughter talks about Parker, Zoe, Kaitlyn and Jack as if they are a part of our family now! The illustations are adorable. A few words of caution...some of the readings bring up subject matter that might prompt a few questions from your little one (Holy Spirit, Heaven, death etc.) I would certainly recommend buying this for a parent and child to share together.

Dazzling and intense works. Good overview of his output. Although this is not the Collected Poetry of Heaney it does contain almost all his best poems up to 1996, as well as his Nobel Prize acceptance lecture (a gem) and an excerpt from his play Cure a Troy. Essential poetry volume.

I needed the book for a class... I went in to reading it like it was going to be garbage... But it actually was a little bit interesting...

strong poems, there is a sadness and a resignation of fog that permeates these poems. this is a melancholy man, one for whom the all-pervading glue of inaction and paralysis bounds him to a bleak world, soiled and grey and drab. this is a weary poet, too nauseated with reality's bruised soldiers, slovenly rudeness, the uncouth glutton, the debauched fiend. i enjoy him, immerse myself in his dust-gloom, his inability to soar into elation and falcon-freedom.

author of Lorelei Pursued and Wrestles with God

After currently studying the quality of Seamus Heaney's poems, i am quite sure that this book will not dissapoint you. The quality of Heaney's poems are somewhat outstanding, they are a shock, as you dont normally read poems of this sort, and once you read one, you have to read the others. One of my personal favourites is Mid-Term Break.

Written by Kirk Aged 14

If you have not read Seamus Heaney, then you are not in touch with what the English language is in its heart. Heaney's simple, unstrained word usage, coupled with a deep knowledge of the rich Anglo-Saxon which is our cornerstone, evokes a strength which comes not so much from what we see and know as from something which is rooted deeply in our psyches as Anglo-Europeans (or at least those living in and a part of such cultures). Heaney also brings to light the beauty of the ordinary, primarily by weighting it with the yoke of history and the various passions of his fellow man.

I bought this collection because I enjoyed others of his works (especially The Spirit Level and Seeing Things), which I uncovered at the library, too much to go long without his poetry. And this collection turns out to have all of my favorites from those volumes, as well as the best and most skilled of the poems of his earlier volumes. Do I recommend it? I wouldn't have prominently displayed the fact that I was reading it in numerous public places if I didn't, now would I?

Excellent collection of non-rock pop music from 1900 to 1975, after which the authors say the kind of music they have collected has pretty well disappeared. They feature a short bio of each writer or team of writers,interesting, but nothing you couldn't find with a quick internet search.

They do not include country, rock, folk or "world" lyrics--strictly pop Americana, heavy on musicals, show tunes, cabaret and torch songs, songs that went with the big-band swing era, etc.

It can be a little hard to find songs in the book--they are arranged in roughly chronological order by author--and the index contains first lines, but no "trademark" phrases that might help you track down a song whenyou have a fragment of a lyric caroming about in your head.

It gives the lyric that we usually remember, but also includes the short preludes that these songs usually featured. "Stardust," for example, starts out with "And now the purple dusk of twilight time. . .etc." that precedes "Sometimes I wonder. . . etc."

fun to read,just to get a fix on the various eras of American musical pop culture. Occasionally it makes you wish that more of our current lyricists had the skills that the Cole Porters and Yip Harburgs posessed.

I bought this as a gift for a friend who enjoys knowing all the lyrics of songs. In this book, he discovered some intros and verses he hadn't known.
He has enjoyed the book so much that I am going to buy one for myself.

It is usual that books cover the music side of those classic songs. This one, instead, focus on the lyricists, that's the way it is organized. Chronologically, but in the writers order. A thousand songs! It covers almost the whole 20th century but,of course, mainly the 30s and 40s, the classical years for American Popular Songs. It is beautiful to follow those wonderful verses - keeping in mind always the melodies that come behind. What a powerful combination.
One more thing: if you, like me, loves books as much as music, this one has a particularity: it smells divine! try it!

Highbrow collection of the best lyrics. Creme de la creme! My 3rd copy.

This is an excellent compilation, as every other reviewer has said (and with more eloquence than I can muster). Yet, I came to the book, apparently, with an entirely different set of expectations--reading this book, you'd think the 50s and 60s and even early 70s didn't happen. Bob Dylan, not included. The Doors, not included. Joni Mitchell, not included. Marvin Gaye, Paul Simon, Bob Marley ... The Beatles?? Not included. And I'm only scratching the surface. The list of omissions begins here and goes on and on--if, that is, you think these musicians are great lyricists/songwriters (and I do). Admittedly: this should come as little surprise. The introduction states that in the process of editing, "A more painful decision was to limit the field to the song as we know it from shows, movies, and pre-rock pop. Partly this was a matter of logistics: No single volume could stretch to include folk, country, blues, and rock. And though a collection of lyrics that excludes, say, Bob Dylan or Hank Williams is obviously one that is far from complete, their stories are not the stories we can tell here (or are equipped to tell)." Fair enough. But, given the room these editors give to some more obscure songs and songwriters, it's clear that a single volume could successfully stretch to include other genres. That single volume would be outsized, but it would be invaluable.