English Books

If any wiccan or pagan wants to do any kind of prayer...you might as well do it right the first time. Also, get the prayer to the Goddess..the 2nd book of this book.

There is a sacred energy around this volume. The wisdom of design, yes, but this is not a hollow package. The comfort and spirit inside far exceed the outer beauty.
The word "prayer" is not commonly heard among Pagans, why? The Book of Hours fills a deep need for simple daily devotion, meditation and joy, that requires only you. When you may not have time to perform a New Moon ritual, you'll have an outlet that allows your dedication. It is the purest ritual you can undertake.
Light and thin, this is a book you can carry with pride that won't cause stares or unwanted questions, as well. To tell non-Pagans that you are "praying" is a spiritual bridge and shield at the same time. This is a book to which people of other religions are very receptive, because it is after all, a book like their own.
There are modest poetic prayers for waking and sleeping, morning and night, each day of the week, and the Moon cycles and Sabbats. Most blessed is the (too short) section of "Common of our Lives Prayers" which has the wonderfully memorable "Prayer for a Safe Journey", among others. This also contains the "Prayer for the Loss of a Pet" which was what sold the book to me. Anyone who writes with such compassion should be rewarded.
The Book of Hours is inexpensive as well, and my copy still looks new after a year and a half of reverent use. I cannot recommend it enough. Dare I say it's like a bible to me?

Llewellyn has outdone themselves with the presentation of this book. It comes in a hardcover edition with lovely gold cover writing and a ribbon marker. It looks like a book to treasure and leave by the altar, which is exactly what I do.

After such a spectacular outside, the inside doesn't disappoint. There are 3 prayers for every day of the week (Morning, Evening, and Night) and 3 prayers (likewise Morning, Evening, and Night) for each Sabbat. She even includes 3 daily prayers for each moon phase. Galen Gillotte has an absolutely amazing way with words. Even the introductions to the sections roll beautifully. As for the prayers themselves, I have found spiritual insight in every single one, and I find it comforting and relaxing to make time every day for prayer. Using this book, I definitely feel like my spiritual practices have been kicked up a notch.

You might think "3 prayers a day! No one has time for that!" but really it only takes a few minutes for each one, and the result is a closer connection to the divine. If you want to add daily prayed to your spiritual practices, then this is the book to have! I highly recommend it for pagans and those exploring Goddess spirituality. Both beginners and the highly advanced can get something out of this book.

While I really enjoy this book, and think that the prayers included are wonderful expressions of the masculine side of pagan spirituality, I personally liked the organization of the second book, Prayers to the Goddess, better.

If any wiccan or pagan wants to do any kind of prayer...you might as well do it right the first time. Also, get the prayer to the gods..the 2nd book of this book.

Geoff Dyer's But Beautiful: A Book about Jazz is much more than an extended critical essay on a still-evolving, vital musical genre and a great deal more than fictional portrayals of Jazz legends. Here, Dyer focuses his considerable talents on creating a kind of Jazz-in-print, seeking to emulate the frenzied riffing, explosive spontaneity and creative interplay, which has given Jazz music so much more vitality than many other genres' created in the 20th century. Without question, one would have to agree that he has succeeded, totally to the readers' enrichment.

But Beautiful hits the reader on several levels; we are taken on a series of journeys into the lives, thoughts, conversations and seminal events of eight Jazz musicians. Between each chapter is inserted a fictional, road-tripping almost ghostly presence of Duke Ellington, a father figure of modern Jazz who may well have known, recorded and very likely influenced all eight men whom Dyer chose to write/riff about. What's real about the eight musicians are the bare-bones facts known to many Jazz fans; Lester Young court-martialed by the Army because of an inability to cope with a racist Drill Sergeant, Chet Baker's teeth knocked out by an angry drug dealer in a seedy, San Francisco diner, Art Pepper sentenced to five years in prison on a Heroin possession conviction and so on. What's possible, and perhaps no less real to the reader are the details of their lives, their anguish and the self-destructive passions which attend the day to day living of so many creative people. Dyer draws these details in part through listening to the music and inspiration gained by looking at photographs of some of the musicians. 'Not as they were but as they appear to me....' Dyer asks the reader to see the musicians as he sees them, to believe in the memory of what these photos inspired. The men and their lives are portrayed, much like Jazz itself, with a kind of heart-stopping intensity and a poignant, empathetic acknowledgement of lives spent creating and being swallowed whole by the gift that makes creation possible. On Thelonious Monk; "Whatever it was inside him was very delicate, he had to keep it very still, slow himself right down so that nothing affected it." On Ben Webster; "He carried his loneliness around with him like an instrument case. It never left his side."

Very little, insightful criticism or critical essays have been produced regarding Jazz and the people who play it and live it. Dyer has done more than write mere history or criticism in But Beautiful, he has written (and played) a genre-exploding, lyrical meditation on Jazz and on the terrifying, exhilarating possibilities of the music itself and what ought to be recognized as a new form of fictional riffing.

If you ever loved a jazz tune, you will love these pages. Not for anything else but for beauty in the art itself. Sobering, BUT BEAUTIFUL.

This book captures the essence of jazz. Every nuance from languid to livid, sad to sublime is etched out by Dyer's poetic and harmonious flow of prose. If you are familiar with these artists, his stories encourage you to say, put on your favorite album by Monk while you read about him -- or after you read about him, so you can reflect on how the writer has connected with the soul of the music. If you aren't familiar with the artists, this work will definitely urge you to acquire some of their music. This book is simply an extended poem, traced so delicately that it allows the experienced and the novice alike, the opportunity to peer through a window and into the soul of Jazz.

Picture this: "Onstage at Birdland, eyes shut, one arm hanging at his side....trumpet raised to his lips like a brandy bottle--not playing the horn but swigging from it, sipping it."

Geoff Dyer's employs his exquisite imagery as a starting point for his "imaginative criticism" of the celebrated and tragic lives of several iconic jazz musicians (including figures such as Chet Baker, Lester Young, Thelonious Monk, Ben Webster, Charles Mingus, and Bud Powell). While photographs are the inspiration, Dyer's writing is so precise and sensual that he need only describe the photographs (the book has only one small photo). And this is just right for a book about music, his writing is so lyrical that we almost hear the sounds while reading. (In fact. the least effective aspect of the book is the Duke Ellington "road trip" that introduces each chapter, perhaps because the narrative is not connected to any particular Ellington sound.)

Many of the scenes and dialogue (especially the inner dialogue) are necessarily fictions, "assume that what's here has been invented or altered rather than quoted." But Dyer's explains that while his version may veer from the truth, "it keeps faith with the improvisational prerogatives of the form." He mixes truth and fiction into portraits that illuminate what strictly factual history cannot always convey. (Think of Robert Graves' in his WWI memoir/fiction "Goodbye to All That."). Dyer explains that while a photo depicts only a "split second," its "felt duration" may include the unseen moments before and after that split second. "But Beautiful" invites us to improvise (as Dyer does) into that unseen time, and discover our own subjective relationship to the music.

Listen to this: "Chet put nothing of himself into his music and that's what lent his playing its pathos...Every time he played a note he waved it goodbye. Sometimes he didn't even wave."

The evocative word pictures are unusually perceptive and sensitive. Although personal and often imagined, it's really like an improvised solo that either feels "right" or not. I think "But Beautiful" hits the right notes and rhythms: his words evoke the music, and, after reading it, the music will evoke the words. Not without its flaws, it is still an astonishing feat.

This work, along with James Baldwin's short story, "Sonny's Blues," is as good as any I've read about the jazz life, its creators and innovators, and the high cost of such terrible beauty. I had the advantage of being present while Lester was lost on stage in an alcoholic stupor; Monk was dancing around the piano, knocking over cymbals, rather than playing the instrument; Chet Baker, unable to stand, was expending his last breaths on "The Thrill Is Gone"; and Duke was waiting for Harry Carney to swing by with the car to chauffeur him through the wintry night from Kenosha, Wisconsin to Kansas City. But how a young writer like Dyer managed to capture these moments before his time, freezing them unforgettably in a literary living moment, I can't imagine.

Dyer knows that the foremost responsibility of a music critic is not to critique but to verbalize his non-verbal subject, bringing it to life for the reader. He does so admirably, creating believable, recognizable, fascinating portraits in unlabored, unpretentious prose.

His portraits of the artist ring completely true to the ears of this fellow observer--penetrating glimpses of the creative child trapped in a man's body now reduced to fighting a losing battle against physical and mental entropy. Yet his faith in the living tradition of jazz is refreshing, as is his characterization of the jazz musician's struggle as a valiant contest with the precursor, not unlike that of the strong poet's.

Though there's an elegaic tone throughout the book, it's never ponderous or depressing. In fact, its human portraits are more likely to interest newcomers than the many text books that catalog styles and names.

This is not to say the book is without shortcomings. The author is much better at capturing the musicians for us than their music. And his appreciation and understanding of Duke Ellington's music seems somewhat limited. Too bad he didn't give at least as much attention to the colorful cast of characters on the band bus as to the private conveyance preferred by Duke.

Yet any listener who has the slightest interest in jazz and its makers simply cannot afford to pass this one up. And it goes a long way toward fleshing out some of the caricatures served up on the Ken Burns' television series.

first edition half this size by same author for $6.50
'beyond the dictionary in spanish'

In an earlier commentary about this book, a reviewer wondered how a $7 paperback could be going for upwards of $140. Well, the answer is: scarcity. This is where you have to be careful. The book listed under the title "Cassell's Colloquial Spanish" is said to be the third revised edition, published in 1981. That edition is indeed quite rare, which accounts for its fetching big bucks. However, that's not the end of the story. A couple of other reviewers lamented that there isn't an updated version of this book. It turns out there is, but with a different subtitle.

Which leads me to my story. After seeing the book offered from one of the online sellers at a "bargain basement" (compared to all the others, that is) price, I ordered what I thought to be the 1981 edition. When the book arrived, though, I noticed some differences from the picture and publication info I'd seen at Amazon. So I went back and compared ISBN numbers. The book I'd ordered was not the 1981 edition; the ISBN number for that one is 0020794304. The ISBN number on the one I received is 030407943X. Confused, I typed in that number and was startled by the result. The title of the book with that ISBN number was listed as "Spanish Colloquial", and no author's name was listed anywhere (BTW, Amazon has corrected the title and added the author's name). What's more, the publisher was listed as Orion Publishing Company, not Cassell's. The particularly strange thing about that is the name Orion appears nowhere in the book I have, while the name Cassell's appears several times (I found out later that Orion owned the printing rights to the Cassell's line for several years, but no longer). In addition, the book's cataloging info indicates that the 1981 edition was reprinted three times: 1985, 1988 and 1993. The copy I have is the 1993 reprint, even though the concluding words of the introduction are "Abingdon, 1980, A. Bryson Gerrard." My guess is the 1993 reprint is far less rare than the 1981 third edition. To top it all off, several sellers were offering the 1993 printing at prices lower than what I paid.

So was I duped? It appears that way. But I'm not going to send the book back, because it does contain everything I was hoping to find in the first place. And I concur wholeheartedly with all of the other reviewers. Gerrard has done a tremendous service to English speakers who are passionate about learning Spanish. Some of the information in Gerrard's book is a bit dated, though, which obviously can't be blamed on him. Just try to recall the state of the Internet in 1980 and you'll understand. I don't know if Mr. Gerrard is dead now, but don't let the passage of two and a half decades dissuade you from enjoying his fine work. However, taking into account the need for a more contemporary reference, I would also recommend "Streetwise Spanish" -- both volumes, the dialogue book and the dictionary/thesaurus.

This book is a gem for the student of Spanish, providing the various colloquial meanings of a good many useful Spanish words. The author's various first-hand anecdotes about the situations in which he heard the words used in a particular way will amuse even the casual monolingual reader. Some of his warnings about linguistic etiquette might be a little out of date in the more modern, and Americanized, parts of the Spanish-speaking world, but it's always better to err on the side of propriety. Your command of colloquial Spanish will break down barriers that mere conversational proficiency cannot overcome , and this book has proven to be an excellent teacher for me.

As a speaker of fluent Spanish, this book was invaluable in getting subtle nuances, learning false cognates and distinguishing between meanings from one country to another. It's a fun read as well. I have about 5 copies for my own references and to give away given how valuable and well-written it is.
What I don't understand is how a $7 paperback is going for $40 to $140 on the Internet!

I'm an intermediate Spanish learner, and when I get sick of grinding memorization, etc, I pick up this book. It's enjoyable, and you really can read it straight through.

Here's a representative entry that shows how many examples the author gives from various countries --

carpeta: A Friend of unusual Falsity since not only does it not mean "carpet" but has very diverse meanings within the Hispanic world. In Spain and Mexico it means a "file," of the sort used in offices. In Peru it means a "desk" of the sort used in schools (elsewhere usually pupitre) and in Colombia it means a "table-cloth" (ornamental; not for meals). I have also heard it used for a "brief-case."

A carpet, as you know, is una alfombra. Wall-to-wall carpet is hecha a medida, "made to measure," but is often referred to as moqueta, "moquette" (carpet-material).

When I tried to find a replacement for my old editions of Oxford Concise and Cassell's (both printed and edited in the UK), I unwittingly bought a version of the americanized Oxford. Shocking! Full of pictures of sports stars & actors with some definitions interspersed. It's adequate for a high school student, but I'm glad I discovered Chambers. I adore it - just lots and lots of words. So, if you love English and don't have enough dough for the big OED, buy Chambers for a fraction of the cost.

Clearly printed, with loads of useful extraneous information. At last I have the definitive dictionary to allow me to finish my crosswords!

The Chambers Dictionary (10th Ed.) is truly an outstanding dictionary especially with the updated words added.I owned an older edition and was really glad to get this edition.I also bought the Merriam-Webster's Collegiate Dictionary(11th Ed.) and I can safely that it cannot compare to the Chambers.

Having worked in the Printing & Publishing industry for 45 years, I can recommend Chambers. The old 'Proof Readers' of Fleet Street along with Newspaper Editors always kept the latest version close to hand.
BPW

By far the most comprehensive dictionary I have bought. Very pleased with it.

The only thing wrong with this book is that there should be more of it.
Roethke represents a watershed in American letters, a watershed we kids slobbered down the wrong side of, the side not his. For delicacy of daring the difficult to bear, even to notice, he can hardly be surpassed, and this almost without ever choking up the voice -- his or ours.

"A late rose ravages the casual eye," writes Roethke in A Walk in Late Summer, "a blaze of being on a central stem." In such images we see the symbols of nature fully tapped in modern poetry -- and tapped in American English, in fresh, vivid language that overpowers the reader with its grace and presence. The poetry of Theodore Roethke is written by a man profoundly alive -- skirting the edge of suicide, losing his voice in the awe of love, reeling wildly in the throes of "the pure fury," and looking at last with calm eyes into infinity and his own undoing in the Far Field. Roethke was a true descendent of Whitman where the latter wrote "This is no book / Who touches this touches a man." But Roethke's poetry moves us as much by its lyrical language as by the power and wisdom of its experience. Roethke himself was, as represented by his art alone, a "blaze of being."

Among Roethke's contributions to literature are his poems that treat depression. Far from letting his manic episodes paralyze him, he used them to write some his most intense poetry. "In a Dark Time" is one of the immortal poems of the 20th century, worthy to be set aside a Van Gogh painting. Roethke was not alone in treating these subjects: two other Pulitzer Prize-winning poets of his time, Sylvia Plath and Anne Sexton, learned from him and wrote about similar themes. But Roethke's writing stands out in two ways from these poets and other poets the 50's and 60's.

One is the unity of his work and vision -- this Collected Poems traces a single spiritual journey beginning with his childhood memories of the greenhouse, and ending somewhere among "the windy cliffs of forever", last visions tragically cut short by his early death. Between those points are rendered all of the experiences of his life -- as he wrote in his first poem, "my heart keeps open-house." But he never fails to interpret these experiences and understand their significance in the larger picture of his life and poetry. Unlike so much of the poetry of Sylvia Plath and other Confessional poets, Roethke never demands that you read his biography to understand his symbolism. Rather, his symbols develop among his poems to form a kind of mythology: his recurring symbols include stones, fire, light, "the small," and the spirit.

The other difference between Roethke and other poets of his time is his technique. Roethke is never obscure; he always writes in fresh language, avoiding cliches, although his symbols are indeed personal and take time to understand. Roethke's craft is "strict and pure," such that even the staunchest defenders of Sylvia Plath have confessed that Roethke's writing is more disciplined. The Deep Image movement of poets like Robert Bly and James Wright is influenced by the kind of symbolism found throughout Roethke's poetry, and those writers have acknowledged their debt to him. Roethke retained rhyme and meter in a time when all the conventions of poetry were being ripped apart; and he did so with a consummate technical skill not to be found in the Beatniks or in the Black Mountain poets. Roethke's ear for poetry is much more sensitive than that of other poets of his time. We are gagged by the lyricism in lines like

"She came toward me in the flowing air,
A shape of change, encircled by its fire."
("The Dream")

"When all
My waterfall
Fancies sway away
From me, in the sea's silence..."
("Her Time")

"O love, you who hear
The slow tick of time
In your sea-buried ear..."
("Song")


The most exhilarating of all these are Roethke's love poems in "Words for the Wind", which justly won the Bollingen Prize and the National Book Award. These poems are unmatched for eloquence and spiritual intensity -- and it's a damn shame that modern anthologies do not reprint them, aside from the famous "I Knew a Woman." For it is in these love poems that Roethke's soul soars, and his poetic power is fully realized.

"She knew the grammar of least motion."
("The Dream")

"Light listened when she sang."
("Light Listened")

"I measure time by how a body sways."
("I Knew a Woman").


Theodore Roethke achieved greatness in art by having the courage to confront the most intense human experiences and the skill to craft them into some of the most eloquent poems of his time. If there is ONE modern poet you will read, let it be Roethke. His "Collected Poems" is a must for every poet and every lover of poetry.

To My Sister; The Heron; No Bird; Elegy for Jane; She; Her Reticence; The Meadow Mouse; and of course, My Papa's Waltz--these are all some of the great poems that Theodore Roethke wrote. Roethke is one of our American masters. I found that when he was on his game (as he was in the poems above, among others) his poetry was phenomenal, but when he wasn't, his poetry could be awful. His earlier work is better than his later work, though he seems to have gotten most of his recognition for his later work. Still, for the poetry lover this is pretty much a required volume for your shelves.

I relished Roethke when I first read him in high school, along with Hart Crane, e.e. cummings, and the Beats. I still admired him in college, when I wrote poetry myself, and regarded most other "living" poets with suspicious disdain. Many poets I loved then have lost some of their charm for me (my loss, not theirs) but, forty five years later, I still read Roethke. Does that speak to you?

At first, I was heitant to delve into this author's work simply because I'd never heard of him in all my wide readings of poetry, both modern and old.

Don't make the same mistake I did. Roethke WILL NOT disappoint you. "The Lost Son" has become my new favourite poem, and this book goes with me perpetually, and will until I finish every line in it.

Exquisite.

This book makes a complicated machine like computer very easy to understand

The best thing I love about this book is the writing style of Prof. Freedman and how easily and clearly it can crystallize, the otherwise complex computer terminology, components and concepts. The explanations used here are vivid. I have owned a copy since 1997 and I have never been disappointed with anything that I needed to look up, for instance 'kludge' is described here as - "Also spelled 'kluge' and pronounced 'klooj'. A crude, inelegant system, component or program. It may refer to a makeshift, temporary solution to a problem as well as to any product that is poorly designed or that becomes unwieldy over time."

It will be hard to obtain better explanations than they are written in here.

There are several other similar Encyclopedias around which I have never looked at, because I had no need to look for another Encyclopedia.

Unlike most other computer dictionaries/encyclopaedias in its class, the inclusion of a companion CD-ROM gave this "Computer Desktop Encyclopedia" a comfortable jump-start in the superiority contest.
The book (and its attached CD-ROM) covered, in the most definitive way, all the important terms and acronyms that apply to today's computer and networking technologies. Hardware, software, and allied peripherals were adequately represented.
It is descriptive and well-illustrated, and included all the commonly used file extensions. With over ten-thousand terms and definitions, its scope is rich: in comparison to what exist now.
This computer encyclopedia ranks among the best currently on sale. However, potential buyers may be frustrated (at the moment) by its limited availability.

And too bad it's out of print. While this book will not teach you how to use a PC, it will define every computer related (and often electronics) term you can imagine. I was surprised on some of the really obsecure terms this book contained that I didn't expect it to mention. I got this book used and after reading over some of it, I'd say this is a must have on any nerd's desk as the it compares up there with as good as an internet search for explanations of PC related terms.

I work people whose computer knowledge varies from very little to a serious computer user. This reference manual is one book that all levels can benefit from. This book is the perfect manual to answer the questions in an easy to understand format without all that technical jargon.

The book is over 1100 pages and is loaded with pictures and figures to give a visual representation of the definition which makes is easier to understand some of the concepts covered. There is computer definitions, vendor breakdowns, and certification analysis and application definitions.

Some of the topics covered are networking, computers, MACs and applications. Some of the technologies included are CISCO, CompTIA, ATM, FDDI, Ethernet and token ring. Also included is a cd-rom which has over 5000 more definitions not included in the book. Overall a great addition to my technical library.

I am 56 and have been reading sci fi/fantasy since, oh, about 10. This is one of the best collection of stories I have ever read. You'll be glad you read it. The fact of the color of the writers is interesting, but not important. I have read so much sci fi, and even taken a writing course. The bottom line - this is great science fiction.

I've long suspected there were more writers of color out there besides Octivia Butler and Samuel Delany. Ms. Thomas introduces a rich collection spanning decades. My only question is when will volume 2 be published? If you love SF, add this brilliant work to your collection.

A huge sci-fi and fantasy reader I am also getting ready to be a high school teacher of special ed, reading & English. This is a book that will go on my list of books to write lesson plans about and to make sure my students read. The one complaint I have about this book is that I'd read the Butler, Delany & Saunders already. Couldn't we have gotten new stories for this historic anthology? But other writers were a revelation to me.
A great book! Nalo Hopkinson's story about a (...)gone amuck, Tannarive Due's story about the very human side of cloning and Steven Barnes' chilling almost apocalytic picture of a modern African state after a coup are all terrific reading-- and why my students -- and you -- should be excited!

Writers of African descent have played a long and important role in the history of speculative literature, even though that's not always recognized, either in the past or today. But this book opened my eyes to how much wonderful talent has gone underappreciated until now. Often raw, but always colorful and deep, many of the stories in this collection have the quality to be compared with the masters of the past and present. As both a reader and a writer, this collection inspired me greatly.

I highly recommend it to anyone who's a true officianado of speculative literature.

This is a collection that the literary world needed badly. Typical 'speculative fiction' (encompassing sci-fi, fantasy, horror, and other literary persuasions) often features humanity uniting against common enemies or disasters. But for people of color, the alternative present or near-future utopia/dystopia in any speculative story probably won't be so rosy. Technological advancement, alien contact, or astronomical disasters probably won't eliminate prejudice and inequality, as the writers of African descent collected here show us in consistently hard-hitting ways.

The settings and themes of these short stories are uniformly fascinating and thought-provoking for any intelligent reader. As with any collection of works from various writers, the quality of the stories varies a bit, and this book does have a few bumps in the road that deserve the thumbs-down for heavy-handedness. Examples include the predictable melodrama of 'The Woman in the Wall' by Steven Barnes, or the poorly-plotted conspiracy theories of 'The Space Traders' by Derrick Bell. However, these are minor quibbles, and even these stories contribute to the sheer fascination of this book as a whole.

My favorites include the supremely moving Jazz Age vampire story 'Chicago 1927' by Jewelle Gomez, an outstanding look at the human costs of cloning in 'Like Daughter' by Tananarive Due, the creepy erotic thriller 'Ganger (Ball Lightning)' by Nalo Hopkinson, and the heartbreaking dark fantasy of 'Gimmile's Songs' by Charles Saunders. Of historical interest we have 'Aye, and Gomorrah...' from the master Samuel Delany, the groundbreaking 'The Goophered Grapevine' from way back in 1887 by Charles Chesnutt, and the very chilling 'The Comet' by W.E.B. DuBois (I had forgotten that DuBois wrote fiction, and his important stories are ripe for rediscovery). Kudos to Sheree Thomas for creating this hugely important, haunting, and illuminating anthology. [~doomsdayer520~]

In the late 1860s Prussia, led by Kaiser Wilhelm and Chancellor Otto von Bismarck, engaged the French government headed by Napoleon III in heated negotiations over the throne of Spain and the sovereignty of the Low Countries. The dispute grew as France looked for a fight.

France declared war in 1870 but was ill prepared to fight the ensuing Franco-Prussian War. Poorly equipped and incompetently led, the French soldiers were badly used. The result, from the French point of view was a catastrophe. At the battle of Sedan the Prussians captured over 100,000 French troops and Napoleon III himself. France was forced to cede Alsace-Lorraine to the Germans. In the immediate aftermath of the war, a left-wing rebellion erupted in Paris. It was suppressed with brutal rigor.

Like Tolstoy's War and Peace, Zola's The Debacle is a historical novel in which the facts of the war are very accurately described, and then well-drawn fictional characters are inserted. The story is told with verve through the eyes of two soldiers. The events of the Franco-Prussian War are extremely complex, yet Zola never lets the reader get lost. The story is engrossing and compelling. This is one of the great books of French literature.

To the reader who comes to this review by way of my history of the Tour de France, this book is related to the Tour rather obliquely. Tour founder Henri Desgrange wrote extensively in the sports newspaper L'Auto, which also owned the Tour de France. Desgrange tried to model his own writing style on Zola's.
-Bill McGann, Author of "The Story of the Tour de France"

As a big student of the War of 1870-71, I was a bit skeptic when I saw this was a historical novel, especially one that was a political commentary. Well, my skepticism was destroyed after about 15 minutes of reading this book. Not only is the author a veteran of the war, his style is SO engrossing I didn't stop reading until I finished the entire book!

The amount of details that are in the narritive can only come from someone who participated in the historical events that are narrated. Zola's characters are easy to identify with, and anyone can pick one character and say "yeah, that's me" as they read the story.

I recommend this book to anyone interested in the F/P War or French/European culture/life of the Second Empire. Vivé Napoleon III!

In this novel, as in all of his greatest works (Germinal, La Terre), Zola achieves the wide-ranging scope of a sweeping, romantic epic, without romanticizing the details of his settings or the emotions of his characters. As a result, we get an in-depth examination of the effects of war, on both national and personal levels. Zola thoroughly outlines the movements of troops and supplies, the political intrigue happening within the French government, and the diplomatic relations between nations, yet he never loses sight of the individual.
The narrative focuses on the friendship between Jean Macquart and Maurice Levasseur, two French soldiers from contrasting backgrounds who are brought together by the war. Jean Macquart, who previously starred in Zola's novel The Earth (La Terre), is an experienced soldier and a sturdy, dependable, salt-of-the-earth kind of guy. Maurice is a novice in the military, was raised in a privileged background, and has an emotional, introspective, and fragile nature. In addition to these two players, Zola presents myriad perspectives on the war. The multitudinous cast includes an emperor and a king; generals, grunts, and officers in between; farmers, shopkeepers, industrialists, doctors, and their wives. The combatants in this war range from highly-skilled military men to peasants with guns thrust into their hands, from the privileged elite to penniless beggars. The chaos of war ensnares them all in a series of events beyond their control or understanding, pushing them to the climactic tragedy of the Battle of Sedan.
Throughout the book, Zola condemns the futility of war in general, and the ineptitude of the French commanders in particular. The book is not totally pessimistic, however, as he does include some romantic concessions to the glory of patriotism, the strength of friendship, and the heroism that can arise when ordinary men are thrust into extraordinary circumstances. This is one of Zola's greatest works, and I would recommend it to anyone, especially those who enjoy classic literature or historical fiction. It is both intellectually challenging and emotionally moving. I would caution the reader that it does help to have some knowledge of French geography and happenings in French history around the time of the Franco-Prussian War.

Emile Zola's La Debacle, the 19th of his 20 volume Rougon-Macquart series, describes the crushing defeat of the French armies at the hands of the Prussians in the Franco-Prussian war of 1870-71. During Zola's lifetime, this novel was regarded as his masterpiece. History has decreed that it would be Germinal that would be more enduring, but this is still an outstanding novel. All the stories in this series are linked with recurring characters and interwoven plot lines. Like Germinal, this is a story of destruction and rebirth.

This novel is divided into three sections. In Zola's typical style, each section is focused on a period of several days, with several weeks or months between sections. The main character of the story in Jean Macquart, a character from an earlier novel (La Terre) in the series. Macquart is an enlisted soldier marching to the front with his comrades to face the Prussians. Zola, never a soldier himself, describes well the lot of Jean and his comrades. Lots of marching, fatigue, boredom, and grumbling about the leadership. Hanging over the story, and unbeknowst to the characters, is the coming whirlwind. The Emporer himself (Napoleon III) makes an appearance, but it is rather tragi-comic.
The second section is focused on the battle of Sedan. There are several story threads designed to explain the action of the battle at different times and from perspectives. The descriptions are quite graphic and detailed. Ultimately, the French Army is totally destroyed, the surviving characters become prisoners of war. In the third section, Jean is reunited with his comrade Maurice in Paris at the height of the Commune. The primary theme of this novel is to describe the `rot' of the Third Empire, and how its destruction gives the survivors hope for a brighter future.

The Oxford World Classics translation is outstanding. It contains detailed endnotes to explain topical or historical references that would be lost on modern English speaking/reading audiences. There are several maps and a detailed list of characters to keep everything straight. This edition also contains a well written introduction to allow the reader to place the novel in historical and literary context.

I have several thoughts about this novel that potential readers may or may not find interesting. First, this is an outstanding novel, whether one likes war novels or not. Zola is one of the greatest novelists ever to put pen to paper, and this is arguable one of his best works. The characters in this story are detailed and realistic, the dialogue outstanding, and the plot complex and compelling, but easy to read. Anyone who is afraid of approaching Zola because of past experience with the 19th century English `greats' should not be concerned. Zola has none of the pretentiousness or Victorian puritanism of his English contemporaries, and his writing, while often gloomy, is not ponderous.

Second, with the exception of a few small tweaks for poetic license, this book is an outstanding example of historical fiction. Beyond an enjoyable novel, this book will also provide the reader a history lesson of the first order. In particular, I would highly recommend this book to American readers who know little or nothing of French history of this era. I think that the events of the Commune would be most surprising to many Americans. Certainly the Franco-Prussian war was one of the defining events for the French (and Germans), much as the Civil War was for Americans. The outcome of this war had long lasting political, economic, cultural, and military implications that affect us today.

Third, if I had one complaint about this book, it would be that the author's knowledge of the outcome of the battle weighs over the entire novel. I would almost argue that this novel is defeatist. This is definitely an antiwar novel, but no real sense of imminent destruction covers the Prussian soldiers as it does the French. That is, this is an antiwar novel from the French perspective, but not really from the Prussian. It strikes me that the message conveyed by Zola (probably inadvertantly) is not antiwar in general, but antiwar only for the losers.

Overall though, this is an outstanding novel, one of the best ever written. Highly recommended.

This was an amazing story about the Franco-Prussian war, but it could have been about any war and the destructive influence it has on men and women, and on all human relationships. Zola tells the story, in vivid, sometimes gruesome but always very compassionate and heartbreaking detail (most of the plot is based on real historical events), of the absolute disaster that was the Franco-Prussian "debacle" of 1870-1.

For anyone interested in French history, it is required reading. This was an absolutely pivotal event in the formation of the Third Republic and the death of the Second Empire, an Empire which Zola had already suggested in his previous novels was rotten to the core. Writing twenty years after the event, Zola was describing a memory still vivid in the minds of most of his readers.

The Franco-Prussian war was truly a debacle. Not only had Napoleon III provoked the French into a doomed war with the Prussians, who with their superior artillery and military tactics ended up invading France and slaughtering and starving thousands upon thousands of men, but he ultimately set the French against each other when, at the end of the war, some Frenchmen and women wanted to surrender the hopeless cause-and some wanted to fight to the death-their deaths-on principle. Many of the French showed amazing bravery and refused to surrender, even after Napoleon III was taken prisoner and a new French government acted to conclude the war.

In a famous and tragic episode, after the war was lost and many French were working to effect a surrender, political radicals staged a hopeless but heroic last stand in Paris, electing an independent municipal government-the famous Paris Commune-and holding the city. Eventually other Frenchmen were finally set against their brothers to force them to wave the white flag. In their determination to not yield one inch of the soil to the Prussian invaders, in one of the most powerful and haunting scenes in the novel (and in history), the Commune sets Paris on fire and Zola describes the entire city of lights roaring with fire, gone up with smoke and having turned the sky red.

If you've ever been in Paris it's a compelling scene and you'll remember all the places he mentions if, like me, you've spent some time there. It's odd to think that the Pere Lachaise cemetery, where so many of us go to see the graves of Oscar Wilde, Sarah Bernhardt, Jim Morrison or Abelard and Heloise (a site featured on an episode of America's Next Top Model no less!) is where thousands of French radicals-and uninvolved Parisian civilians as well- were lined up against the wall and shot point-blank in summary executions-by their own countrymen-something that Zola and others would never forget. I think it's very important that Zola dealt with these crimes in his novel.

Although Zola doesn't pretend that some of the Communards were not, in fact, war profiteers or criminals, he has much sympathy with some of them and their sincere political committments; as a man of the left he cannot help but find common ground with some of their arguments or with their feeling of betrayal by their own government. He is also disgusted, as so many French were, with the brutal way in which they were liquidated.

The hero of the story is Jean Macquart. You definitely don't have to have read any of the other books in the Rougon-Macquart series of twenty novels (!) to appreciate this book, however if you have read La Terre (The Earth) you will already like Jean for his general kindness and sensible nature. He is a sweet man who has an unlikely friendship with Maurice, the young radically-inclined soldier who ultimately joins the Commune. The introduction to my book was a bit heavy handed, (I suggest reading it after you've completed the novel since it gives all major plot points away) claiming that they represent the two "eternal sides of France", but there's a real human relationship here.

By today's standards this friendship would seem over the top and overly sentimental, but taken in the historical context it's quite a beautiful friendship. More than anything we get a sense of the senseless slaughter of a pointless war, the deep fraternal divisions it causes, and these are embodied in two very appealing characters, Jean and Maurice. Zola makes it clear that it makes sense, obviously, that Maurice would be furious and feel betrayed. I'm a pacifist, but if the invaders are at your door-which they literally were in this case-it's hard to know how you would feel.

On the other hand Jean's view is portrayed with sympathy-he's endured tremendous suffering due to this ridiculous war, and like Maurice he's shown tremendous bravery and courage, like so many Frenchmen did at that time (take that everyone who makes fun of the French tendency to surrender-I wish all of you had to read this book!) but he is an ordinary person who would like to get back to ordinary life-which really is a normal emotion to have. He also hates to see Paris burning-it's the epitome of craziness to him, and to us, even while we also see Maurice's view, that no one should care anymore, France is dead and defeated.

At the end, when Jean perseveres and goes on to build a new France, we're hopeful for him. But we can't help feeling the looming shadow of two World Wars to come, and it's also a sad book, reminding us of the vast physical and emotional wounds war leaves behind.

An absolute masterpiece!

After wanting this book for along time and being a somewhat hard core Edward Gorey fan, I finally ordered and received this book. I sat with it and experienced an intimate glimpse into his private world and found myself feeling and learning so much about this man and our times. I seriously laughed and cried and everything in between by the time I finished my first page-though. The rich content of the images took me on a journey through his home and collections that touched many familiar and unfamiliar bases. I not only gained insight into the man, but into a window in time in the art and collecting world that was very familiar to me as a baby-boomer aged art/literature/theater type. I highly recommend this book to anyone who is the least bit interested in Edward Gorey and the late 20th century arts milieu. I was/am profoundly moved by this book and know that I will revisit it often.

This is a beautiful book of photographs and text that allows the reader an intriguing view of the home in which Edward Gorey lived and the collections of curious objects, books, and cats he filled it with.

The photographs are large and beautiful - haunting even - and there are lots of them. There is just the right amount of text to cast some light on the man behind the house and his elusive character - anecdotes about his life, his work, his friends and the things that inspired him.

If you are fan of Edward Gorey, or of eclectic interior decorating and design, and displaying collections of antiques, this book will be a treasure in your library.

That's really all I can say. I have been waiting for this book for a long time, and it was the most incredible thing. Amazing photos. Read up on Gorey first, though. The details are some much better when you get the little visual jokes Gorey set up in his day-to-day life.

This book wouldn't mean much to anyone who isn't already a Gorey fan. I own (and love) the compilations 'Amphigorey', 'Amphigorey Too' & 'Amphogorey Also', so have a head start. I also have the auto(?) biography 'Ascending Peculiarity', which is almost a necessary co-requisite to this book - it helps explain the cats, and many other Gorey details. Now that the individual books are available again, I'm tempted to get them too, because they are such nice objects - but only if the kids promise to share with me!

If you are an Ogdred Weary fan...this is a truly wonderful book. Photographs of the exterior (peeling paint and kind of saggy porch) and the interior rooms of the house on Cape Cod in Gorey lived and worked, along with his cats and figbashes, piles of thousands of books, assorted rocks and oddish things, and the expected miriad of curiosities. Alas, or delightfully...just the environment one would expect of the eccentric Edward. A cabinet of curiosities...a delight!

Like fine wine, these essays get better with time. Beware of trying to rush through these fine philosophical teachings. Like Maxwell house, it's good to the last drop!

I haven't even bought this Lib. of America edition and I know it is important. I have the Thoreau collection and all I have to say is that these New England writers of that era were critical thinkers and universal in their thoughts. Of great importance is the understanding of true spirituality, which both Emerson and Thoreau embody. Thoreau once said "We are rich in proportion to the number of things we can afford to leave alone."

It is wonderful to have all of Emerson's essays in one volume. Like his great pupil and friend Thoreau , Emerson is a poetic thinker of the highest order. His essays are filled with aphoristic gems . They contain not simply thoughts on different subjects but an organic and coherent way of seeing and understanding the world. They are the work of a genuine American philosophical voice.
There is so much to read here that it is difficult to know where to begin, though I have an especial feeling for 'Representative Men' with its exaltation of great individual human beings .Because he is so poetic and because his writing is so dense with meaning it does not always make for easy reading. But it is firm in principle and great in suggestiveness.
The way to understand where Whitman and in a sense even William James are coming from is to read this work.

If you're considering more than one selection, stop. This is the only collection you need from Emerson. It's not only an exquisite read for the insights, prose, and poetry, but also for the overall experience of handling this volume--the lightness of the paper, the weight of the book. I am reading this on the heels of Walden, by Emerson's good friend, Henry David Thoreau, and I continue to be inspired and enthralled with every page. If you are an aspiring writer, you will find the finest of mentors, the most courageous of advocates. This is all the motivation you need to take your own chance in sharing your own deepest insights about the human experience.

I have lately developed a love affair with the Library of America, and this is its most important book. Emerson more than any other struck a course for the future of American letters outside the confines of the British tradition. This edition has all of the standard essays you would find in any one volume paperback (Self-Reliance, Harvard Divinity School Address, etc.), plus many more less known yet important (e.g. the complete Representative Men).

I once was a paperback junkie, but there is something so beautiful in a well bound hardcover, and there are few hardcovers as both elegant and durable as the LOA.