Dante Books

This book was well written, easy to understand,straight to the point. Would recommend to everyone.

This is an excellent autobiographical novel about the coming of age of a young, Black, male homosexual. He grapples with issues of insecurity and shame.

Anyone familiar with the work of Amiri Baraka (formerly known as Leroy Jones, and then LeRoi Jones) knows that he is extremely homophobic and heterosexist. He is vicious and searing in his hatred of gays. And yet he himself is gay. Of course he covers that up now and will not admit to it.

The physical discription of the character matches up with his own appearance. The locations and dates in the novel match up with the wheres and whens of his own life. So do other details, such as the main character being in the military and traveling to specific military stations.

Despite of the terrible things he says about gays, I can't help but feel sorry for him after reading this novel.

These two present a wonderful, comprehensive insight into Dante's Divine Comedy. Their commentary is enjoyable as well as easy to listen to. Even though Dante is both the icing and the cake (all should read)
these lectures are very much worth the time to listen and appreciate the knowledge of literature they share in their presentations.

This book was in excellent condition. I am more than satisfied with the purchase and pleased with the service.

Anyone who has read Dante's legendary "Divine Comedy" will know of his passion for a woman named Beatrice, who was his tour guide through heaven.

But that is only the tip of the iceberg, as "La Vita Nuova (The New Life)" shows in detail. This exquisite little book describes Dante's passion for Beatrice, and the emotional rollercoaster he went through as a result. This is Dante's unsung, more intimate masterpiece.

"La Vita Nuova" is a series of poems and anecdotes centering around the life-changing love of Dante for a young woman named Beatrice. The two first met when they were young children, of about eight. Dante instantly fell in love with her, but didn't really interact with her for several years.

Over the years, Dante's almost supernatural love only increased in intensity, and he poured out his feelings (grief, adoration, fear) into several poems and sonnets. During an illness, he has a vision about mortality, himself, and his beloved Beatrice ("One day, inevitably, even your most gracious Beatrice must die"). Beatrice died at the age of twenty-four, and Dante committed himself to the memory of his muse.

It would be a hard task to find another book overflowing with such incredible love and passion as "La Vita Nuova"; it's probably the most romantic book I have ever seen. Dante's feelings might seem a bit odd by modern standards, because Dante and Beatrice were never romantically involved. In fact, both of them married other people. But at the time, courtly love was considered the best, purest kind there is, and Dante's emotions are a perfect example of this.

But Dante's love for Beatrice shows itself to be more than infatuation or crush, because it never wanes -- in fact, it grows even stronger, including Love manifested as a nobleman in one of Dante's dreams. There is no element of physicality to the passion in "La Vita Nuova"; Dante talks about how beautiful Beatrice is, but that's only a sidenote. (We don't hear of any real details about her)

And Dante's grief-stricken state when Beatrice dies (of what, we're never told) leads him to deep changes in his soul, and eventually peace. And though Beatrice died, because of Dante's love for her and her placement in the "Comedia," she has achieved a kind of immortality.

One of the noticeable things about this book is that whenever something significant happens to Dante (good, bad, or neither), he immediately writes a poem about it. Some readers may be tempted to skip over the carefully constructed poems, but they shouldn't. Even if these intrude on the story, they show what Dante was feeling more clearly than his prose.

It's impossible to read this book and come out of it jaded about love or passion. Not the sort of stuff in trashy romance novels, but love and passion that come straight from the heart and soul. A true-life romance of the purest kind.

This book is a masterpiece! When this book was recomended to me, i was skeptical about it because after all it was published in 1978 and the game has changed a lot since then. Recently I have been slicing the ball badly and couldn't figure out what the problem was. I have been playing since I was twelve and feel I know the mechanics of the swing very well. I did everything I knew to correct it, asked friends, videotaped myself and checked out about every good golf book in my local library. Finally I got this book and the results were amazing. Dante breaks the swing down into: the grip, the takeaway, top position and downswing. He is so complete in stating every detail and I found out my slice was the result of poor wrist position on the takeaway. Months of agony and pain on the practice range because of not knowing what I was doing wrong were resolved after an hour of reading this book! I will recommend this book to every golfer who is having problems from now on.

This particular version of Nicccolo Machievelli's "The Prince" was incredibly easy to read. There was no rubbing my noggin wondering what he was saying. Nope it was as clear as day and the way that he described retaining power is still the same today as it was in his day. Albeit a little less bloody.

Without a doubt, Nicolo Machiavelli has to be the most dissembling, evil man I've ever read. Though he covers it well in his constantly changing subjects and demeanor I would have not wanted to be around him in the 16th century. I would have never trusted him not to ensnare me in one of his plots!

Heard THE PRINCE by Niccolo Machiavelli, one of those books
that I've always meant to read . . . but just never got around to do so.

Now I finally had the opportunity (as a result of being able to listen to it
while driving) and am glad I did--particularly because of its relevance
to what's currently happening in politics . . . also, as a result, I now
have a better understanding of the term Machievellianism . . . or
that any means, however unscrupulous, can justifiably be used
in achieving political power.

Though originally written in the 16th century, THE PRINCE is still
remarkably up to date . . . the examples used by Machiavelli
feel like they come from today's headlines . . . also, they pertain
to many situations wherein power is utilized--both in business
and in the political arena.

There were many quotes that got me thinking; among them:
* Hence it is necessary for a prince wishing to hold his own to know
how to do wrong, and to make use of it or not according to necessity.

* We have not seen great things done in our time except by those
who have been considered mean; the rest have failed.

And this final one:
* If men were entirely good this precept would not hold, but because
they are bad, and will not keep faith with you, you too are not bound
to observe it with them. Nor will thee ever be wanting to a prince
legitimate reasons to excuse this nonobservance.

I found it interesting to learn that Machievelli wrote this book
after he was fired as Secretary to the Second Chancery of the
Signoria . . . methinks that had he been around now, Tim Russert
and/or other political commentators could well be out of job.

Machiavelli's "The Prince" is a guide of morality-void techniques for acquiring and maintaining political power and ultimately, political fortune. Written nearly 500 years ago, this blueprint for tyranny is just as relevant today. As his compass, Machiavelli uses history, both ancient and contemporary. In 500 years, no one has proven him wrong. Here's a flavor for you innocents out there: "For, in truth, there is no sure way of holding other than by destroying, and whoever becomes master of a City accustomed to live in freedom and does not destroy it, may reckon on being destoyed by it". War is Machiavelli's wet dream: "A Prince, therefore, should have no care or thought but for war, and for the regulations and training it requires, and should apply himself exclusively to this as his peculiar province; for war is the sole art looked for in one who rules". Espousing the virtues of the noble lie, Machiavelli follows up with, "men are so simple, and governed so absolutely by their present needs, that he who wishes to deceive will never fail in finding willing dupes". And with this quote, I now challenge anyone to dispute the Machiavellian nature of the American Corporate State as written about in Don't Weep for Me, America: How Democracy in America Became the Prince (While We Slept). All the parallels are brought to light, always through the eyes of George Orwell. Get informed. Your city (country) is being destroyed...

A young colleague of mine recently said `management is easy'. I smiled enigmatically and considered buying him a copy of `The Prince' but I fear it would be wasted. I am now on my third copy of this book which, alas, I can only read in English. The George Bull translation (as reprinted in 1995) is the version I currently refer to.

I first read this book when studying economic history at high school in the second half of the last century. I was intrigued by Machiavelli's advice even though I had little understanding of the Florentine Republic. I next read the book when looking more generally at political models and at Renaissance history. Since then, I've always had a copy: it is as relevant to understanding the art and practice of management as it is to a broader understanding of the models and processes of governance. It also provides some valuable contextual setting for those interested in the Medici.

So why is `The Prince' still relevant? What can we learn from a treatise that was dedicated to Lorenzo de Medici (1492 - 1519) but not published until 1532, some five years after Machiavelli himself was dead?

Specific settings and circumstances may change: general human psychology and motivation does not. There is politics involved in all management. The chasm between management theory and practice is occupied by politics (in all senses) and complicated by the affairs, aspirations and expedient alliances of people.

Jennifer Cameron-Smith

There have been several excellent translations of Dante in the past few years, all worth reading in their own right. But I retain a special affection for John Ciardi's version, as it's the first one I ever read, at the unprepared & overwhelmed age of 15. I knew of its reputation as a major classic & I was ignorant enough to be unfazed by the prospect of reading it.

Well, to say that I was soon in over my head is an understatement! But Ciardi's fine, lyrical translation, as well as his extensive but always clear notes, enabled me to go on without drowning. And what a journey it was! At the time, I was simply dazzled by the invention & imagery of the work; now that I'm older, I can appreciate its many psychological & spiritual levels. Both the capstone of the Middle Ages & the gateway to the Renaissance, Dante's masterpiece is a stunning exploration of the religious & political world of its time. A lifetime of knowledge went into its creation, and every intricately woven thread of poetry shines like gold, without ever becoming pedantic.

Whether you accept or reject a literal belief in God & Hell, the poem remains an astonishing revelation of & descent into the human psyche, the heart of darkness. Dante's insight that the damned have ultimately chosen their fate remains psychologically true today ... how many people trapped in the private hells of their own lives have placed themselves there, bemoaning their fate while unable to find the courage or strength to escape it?

But that's merely one level of meaning in this magnificent work. A visionary epic of learning, of faith, of poetry, it becomes deeper & richer with every new reading. If you don't know the original language, the next best thing is to read as many translations as possible -- and I still recommend Ciardi's as one of the best. This is an illumination of Hell that can't dim or fade with the years -- most highly recommended!

This is an excellent translation by John Ciardi, a fine poet in his own right. But Ciardi displays admirable grace under fire (pun intended) to let Dante shine through without intruding with his (Ciardi's) own poetic intentions. My favorite translation is actually by Sandow Birk, but this is my second favorite. Brilliant notes are a highlight of this text. Everything is explained, everything!

On page 167 of his translation of the Inferno, Anthony Esolen gives the following definition: "A comedy is a song written in the humble style wherein the main character begins in grief and trouble and ends in happiness."

Wonderful, isn't it? Who wouldn't wish to be scooped up in such a Commedia?

But this Esolen, though he aims to be helpful, can be both pushy and pious. I had a boyfriend once just like him. This boyfriend used to get me in the car and start playing cassettes of motivational speakers. At certain points, he'd pause the tape and say, "See? See? That's what YOU are doing WRONG."

This is exactly how Esolen uses his commentaries on Dante. Everything Dante says Esolen uses for some heavy-handed moral point he wants to make.

On the other hand, it seems very appropriate to argue over Dante, who was, after all, the world's most artful picker of fights. Not once in the one hundred cantos of his Commedia does he say "Why can't we just get along?"

There's a lot to be said for an argumentative version. So I read Mandelbaum for beauty, Hollander for the notes, and Esolen for arguments.

Choosing which translation of Dante's Divine Comedy to read is a very subjective and personal question. Any translation involves balancing the meaning, feel, and artistry of the work, normally at the expense of at least one of these qualities. A major consideration is the topic of rhyme. The Divine Comedy has a complex rhyme scheme that suits itself well to the rhyme-rich language of Italian (where, unlike English, many words end in vowels). Translations that attempt to maintain any type of rhyme scheme often sound forced and usually compromise the meaning of the text.

At the other end of the spectrum are straight prose (spoken word) translations. Prose translations are great for communicating the story and it's nuances, however any poetical structure is lost. A third choice is a translation written in blank verse (iambic pentameter). This format allows freedom to communicate the work without rhyme, yet maintains a metrical structure. In addition, it's well suited for English (Shakespeare wrote much of his work in blank verse).

So, which version should you read? I have no vested interested in selling a particular author's work, my recommendations are just my personal opinion. My favorite version is by Mark Musa (written in blank verse). I also enjoy Anthony Esolen's translation (blank verse with some rhyme). They also both have good notes (a necessity). Ultimately, it's great to read a few and decide which version you like best, each has strengths and weaknesses.

I ended up reading this book twice. The first time, I read straight through the poem and was thoroughly unimpressed. The story, as Longfellow himself says, is "tedious" and self-congratulatory and mostly a platform for attacking his enemies. It isn't really great reading.

So what made me read it a second time? This time, Barnes & Noble seems to have found the right person to write the introduction and put together endnotes and discussion notes. The second time through, I read the poem along with each endnote, and my appreciation of the book was dramatically better.

Without the background as presented in the introduction and endnotes, the story is hobbled from the outset. You simply can't understand the story and what Dante is trying to say without a clear understanding of the history and circumstances in which he wrote it. Who are these people in Hell? Why is Hell shaped the way it is? What is the meaning of each character in Hell? The endnotes answer all these questions, and make the story interesting.

The follow-on discussion notes pose an interesting question. Can a reader read and enjoy The Inferno as a book and story, rather than as "literature"? The answer, based on the story alone is a resounding no. However, this edition by Barnes & Noble Classics turns that right around and proves that with the right supporting material, even a "tedious" book like this can be made enjoyable.

5 stars for the excellent B&N addition, but -1 for the story itself.

What a great read. This is a true urban fantasy and a real page turner!

Absolutely adored the whole serie, good pace, endearing heroine, easy to read, perfect for drowning in and forgetting about everything else.

Let me start off by saying that I loved the book. Dante Valentine is an amazing character, surrounded by other great characters. She has flaws, and a heart, and kicks butt. I only wish that we couldn't gotten into her and the others a little more. And sometimes, I found myself re-reading parts because the author has a tendancy to go on about some details or important info in the middle of an event. (Which, I am not ashamed to say I have a tendancy to do as well...) But, I had brought this book with me on a family vacation to Disney World - and it's not like I was just lounging the whole time - and I finished it. The day after I got home, I ran out and bought the next four books in the series. Just started "Dead Man Rising", and I can't wait to find out what happens next. So, all in all, I'm glad I picked this book as an after thought for something to read on the plane.

Good one--a superior example of "urban fantasy." Although I suppose it would be more accurate to say "sometime in the near future" dark fantasy.

You could also say this is a combination of J. D. Robb (near future but still recognizable society plus mysterious murders) and early Laurell K. Hamilton (Necromance/bounty hunter), but that would be a cruel disservice to Ms. Saintcrow. For one thing, she's a much better writer than LKH and the early Robbs. For another, there is so much originality here that the book is not quite like anything else I've read in this subgenre. Any comparisons would be superficial at best.

Dante Valentine is a Necromance who can bring back the dead for questioning by lawyers and suchlike, but also does bounty hunting work to pay the mortgage. She's a tough adrenaline junkie with a close relationship to Anubis, the Death God. When Lucifer's right hand man, Japhrimel, shows up at Dante's door to haul her off to Hell for a consult with the Devil himself, things in her life begin to rapidly decay. Lucifer has a job for Dante--catch an escaped demon turned serial killer which "no man or demon can kill"--and offers her no chance for refusal. The wild card in all this is Japhrimel, who's loyalty to the Devil begins to strain...

Ms. Saintcrow's voice is fast and immersive without being superficial (she even makes the flashbacks breathless), and she does an good job of trusting the reader to keep up without over-explaining things. There were a couple of instances of minor plotting by stupidity--but then, that's almost become a subgenre trope. I ignored it and went along for the ride because the story was so engaging.

I am getting a little tired of "kickass" heroines who make stupid choices out of anger. If they were really that kickass and working in a dangerous profession like bounty hunting, they would not survive such recklessness and bad decisions. But why be a party pooper, huh? Many a Hollywood writer/director has made a good living out of reckless, bad decisionmakin' heroes who wouldn't survive ten minutes in the real world. That's why they call it "fantasy." Overall, this is a kickass opening to what promises to be a kickass series.

I am a sucker for paranormal romance, and while I knew from reviews that it was quite light on the romance, I was still very interested. Luckily, I was not disappointed at all.

Dante is a very strong female character, but she feels more real than other similar characters I've read (Anita Blake, Mercy Thompson). She's tough, but it's not unbelievable. She gets tired, pissy, and has moments where she needs to cry. I like that mix.

I also like that the book was obviously set in the future but it didn't feel like "oooh, look, I'm talking about fancy things I know nothing about cuz it's the FUTURE". The talk about slicboards and hovers and tattoos on the cheeks to identify psychically gifted folk were placed where it needed to be and not trying to take center stage.

The relationship aspect of the book was a bit weak, but I felt like it took the space it needed in the book. I do wish that it was developed better somehow. It seemed slightly forced at times that they would be together. You could see slight hints of Jaf becoming connected to Dante, and those felt realistic. But from Dante's side, it just seemed somewhat unnatural.

I also really liked the dialogue. When you're in the middle of a fight for your life with demons, I would imagine there would be cussing and frustration. Maybe it's just because I swear like a sailor myself, but I liked that her language seemed to match her "profession". Other books in similar genres that I've read seem to go into Ye Olde English land, or Hip-Hop street slang. This was definitely more ME, and it helped me get into the story more.

Overall, I really enjoyed this book. The world that was created was very well thought out, the characters were interesting, and there was definitely no Happily Ever After. I dug it. Looking forward to reading the rest of the series.

The Divine Comedy / 0-679-43313-9

This edition of the Divine Comedy is a beautiful addition to any library. The hardcover cloth binding is clean and tight, with a ribbon bookmark. I'm not an expert in translations, but this translation seems very good, true to the source material. The poetic nature of the poem is carefully preserved, with copious endnotes to explain the political, historical, and religious significance of the more obscure passages.

This book probably isn't your choice for an evening of light reading and, unless you're an expert on the subject material, you will probably spend a lot of time flipping to the back to read the end notes, but if you need to read the Divine Comedy for a class, or for edification, this is a good edition to choose. The whole Comedy is included here - Inferno, Purgatorio, and Paradiso - which is a nice inclusion since too many "Divine Comedies" out there only include Inferno, the most famous of the three. I recommend this edition highly.

The introduction by a modern poet rambles on and is not worth reading, however the stories by Dante are excellent and have been translated without losing any of the original meaning. Notes in the back make it easy to follow this 400 year old story.

Vigil, a legendary poet, saves Dante from sins and takes him to Hell in "The Divine Comedy." With Virgil as his guide, Dante witnesses horrors and endless despair. People in Hell are punished according to their sin, and the farther down they are, the worse the punishment is. Being and endless poem, the book doesn't always make sense, but in the end it turned out okay.

Clean, well bound book with ribbon bookmark. It was a perfect gift, my son loved it.

The Everyman's Library edition of Dante's Divine Comedy in an English translation makes this classic text accessible to students, interested readers, and literary researchers. In a convenient size, the volume contains not only the entire text in translation, but an excellent introduction by an Italian Nobel-prize winner, as well as very useful notes. Dante's journey through hell, purgatory, and heaven is steeped in the philosophy, theology, and social history of medieval Italy, yet there is much to learn from his grasp of the human condition. Any modern-day reader can appreciate its poetic substance; the effort to understand Dante's world is rewarded by the richness of description, insight, and transcendence in this artful and epic masterpiece. The Everyman's edition belongs on the bookshelf of all those who consider themselves to be well educated.