English Classics Books

This book is a must have for any family. I have shared with family and friends many of the poems such as Learning to Read by Frances E.W. Harper page 26. It is so inspiring in times that require a reminder of how important education is and how much sacrifice has been made for us to have it! I enjoy reading it to my 2 year old and 3 year old because I am learning so much at the same time. I think this book is so important to have that I am now including this with my gift for every baby shower!

Read this book! It is a wonderful celebration of race, culture, and heritage. It has some of everything and is a great resource. It covers all different types of values and approaches each from different genres. I use this book every time I do a research paper because it touches everything that has worth.

Steven Barboza has done a wonderful job! It's the kind of book you can pick up again and again! Very entertaining and thought-provking. I was surprised how much I enjoyed this book! A real find!

This book has everything that is traditionally and newly important to the African American. Not only are some of the leaders of literature included, but there are essays from leaders in all fields, science and technology, medicine, law, religion and education. All too often when the world gets its views of who our representatives are, it is none too flattering, I give accolades to Mr. Barboza for changing and challenging that. This book is sad, funny, inspirational and eccletic. One could not ask for a better read.

The book is like a library of our people's trials and tribulations. A collection of poems and stories that will inspire you to do great things. African Americans come from royalty and we can do anything because we are doers and achievers. I wish every "American" could read this book, perhaps African Americans wouldn't be looked down upon. I learned so many things that our people had accomplished that are not taught in school, but should be known and should be printed in text book form.

This book is now being used a bedtime ritual for my children. This means that each night I read a story or poem from the book to them, "about them (African Americans)". About their creativity, their inner strength for survival, their ability to do anything they want to do, about their ancestors that were forced to travel from afar, about their people who invented items that we use today, about their people that broke the color barrier, about their people who walked for freedom, about their people who used the pen to fight their battles, about their people who were forced to feign ignorance in order to survive, about their people who prayed and had faith that God would free them from bondage, about their people who loved each other and encouraged each other, about their people who stepped out there on faith.....

This book is awesome!

This book has inspired me to go back to school which is the least I could do after seeing what my people endured just to give me an opportunity to "step out on faith" "act accordingly" "mind my manners" "represent my hood" "believe in myself" "reach for the stars" and broaden my horizons. For they paved the way through sweat, tears, backbreaking work, picking cotton, washing Missy's clothes, raising Missy's children, eating in the backroom, riding in the back of the bus, being treated as second class citizens.

Thank you, my people past and present.

Thank you Steven Barboza (Editor) for having a vision and seeing it through.

The last review that I did on George Orwell's work was Homage to Catalonia, his compelling story of his involvement in a Party of Marxist Unification (POUM) left-wing militia regiment in the Spanish Civil War. I noted there that this is the Orwell that today's militant leftists need to read. The current compilation of articles that he did during World War II and shortly thereafter are not in that same category although they are, as always with Orwell, well worth reading. No matter the subject matter of the articles they conform to the points that he made in Politics and the English Language about using precise, clear and rational political language. Unfortunately, at the time of the Tribune writings Orwell had already made his peace, even if critically, with British imperialism. This is obvious from the subject matter of some of the articles, particularly those in defense of holding on to the old empire or at least its prerogatives. The articles themselves vary from the topical and mundane under war time conditions to the speculative but as always written in a bit of a tongue and cheek manner. That said, although Orwell by this time was an anti-Stalinist socialist of some sort he preferred to outsource the fight against Stalinism to world imperialism. Apparently, as the recent furor over his naming names of British communists to British intelligence indicates, he had no such qualms about doing so. Certainly this was not his finest hour. He left that in Spain.

Sorry for the prank in the headline, it is not a comment on Orwell but a quote from the book, from the essay 'The English People', written in 44, but published later. Orwell tries to characterize the English. I would never have dared to write that myself.
This is volume 3 of 4, and the first that I give 5 stars. It is less uneven, less self-contradictory, probably more honest than the previous 2. GO had grown up, I assume. The bulk of the book are his leaders under the name that the collection carries: As I please. He comments on events of the time, and does it with lasting interest.
I don't want to repeat my friend Jim Egolf's summary of the book, nor his assessment of its historical value. All true.
But Jim left out an important subject that Orwell also included, and that I want to bring to your attention. The fact is that GO was an impossible romantic about England. He honestly thought that there was merit in English cooking! One essay is called: In Defence of English Cooking.
He lists a few items that we are supposed to accept as proof of his odd point of view. Believe it or not, one of the items which supposedly prove the high standard of English cooking are English apples. I rest my case.
'It is not a law of nature that every restaurant in England is either foreign or bad.' Written 1945. My regular visits in recent years, all in basically friendly intention, make me conclude: if anything changed, then for the worse, because now even many of the foreign restaurants are bad.
Dui bu qi.

I don't know if George Orwell is the best writer this century has produced, but he is among the most decent human beings who was also an extremely talented writer. And that decency, that honesty and sense of fair play come through loud and clear through this wonderful mix of editorial pieces and personal letters. It does not matter whether he is writing about the Socialist movement, the Monarchy, the manner in which Americans were treated in England during WWII, the English language, writing, colonialism, nationalism, anti-Semitism, or how to make a proper cup of tea, his honesty is ever-present. For he wrote these essays (I think) because although "emotional urges which are inescapable, and are perhaps even necessary to political action, [they] should be able to exist side-by-side with reality. But this requires a moral effort." If you are prepared to make such a moral effort-or simply want to spend a few nights with a truly wonderful human being and gifted writer, I highly recommend this book.

George Orwell' (1903-1950)anthology titled AS I PLEASE is an interesting collection of his careful literary criticism and political insights which were much more often right than wrong. Readers can learn so much about not only the situation and conditions in Great Britian between 1943 and 1945, they can learn much about the international situtation and Orwell's complete disillusionment with the "Left" both in Great Britain and in Europe.

This reviewer thinks that Orwell's literary criticism of Arthur Koestler is the best article of literary criticism. Orwell focused on Koester's DARKNESS AT NOON which Orwell thought was Koestler's best work. Orwell argued that Koestler was a supporter of the "Left" during the Spanish Civil War and was arrested and faced the prospect of being shot. Koeslter escaped but had to know how the Stalinists betrayed the Spanish Left during the Spanish Civil War. Koestler was a member of the Hungarian Communist Party, knew of the Stalinist purges of Lenin's Bolsheviks, and saw a repeat of all this in Spain.

Orwell also had intelligent commentary of literature and humor. Orwell stated that good humor had all but disappeared in Great Britian because of political and religious sensitivity. Orwell stated that the best comedy was that which attacked hypocrisy and pretensioness. Orwell cited Aristophanes, Rabelais, Shakespear,Voltaire, etc. who did not hestitate to mock and write comedy of the self righteous and "high and mighty." Orwell was bothered by the fact that such humor almost disappeared from English litature during his life time. An interesting aside is that Orwell complimented Hillaire Belloc and G.K. Chesterton for their humor. Orwell was critical of both in some of the other essays in this anthology.

Orwell not only wrote good literary criticism, he wrote solid political commentary. Readers can see the beginnings of his best known novels-ANIMAL FARM and 1984. Orwell's comments on ill feeling between British and American troops. Orwell stated that since American troops were paid at least five times as much as British troops, social divisions and hard feelings were almost inevitable. Orwell also commented that many American troops refused to admit that British casualties were larger than American casualties which indeed they were.

Orwell's best political commentary dealt with such concepts as Fascism, Pacifism, the Trotskyites, the Stalinists, etc. Orwell's major criticism of the "Leftists" was that because they were anti-Fascist, they would not become anti-totalitarian because of refusal to oppose the Stalinists and Big Communism and its obvious record of mass murder and concentration camp brutality. Orwell makes hash out of the accusation that the Internatianl Jews heavilty subsidized Britian's Trotskyites. Orwell commented if that were true, one had to ask why Trotsky's supporters were always so poor. Orwell accused much of the "Left" of refusing to accept facts and assessments of World War II. For example, many of the British and American leftists commented that the Soviet Union was an example of the biblical inscription that the meek shall inherit the earth. Orwell noted that those who made this remark obviously had not read Soviet anti-German propaganda which was full of hatred and violent vengence. Orwell also noted that the Left expected British military failure while extolling Soviet victories during World War II.

Orwell also expressed serious concern over the distortions and falsification of history. For example, both the "Allies" and "Axis" claimed victory when their was defeat. Casualty figures were distorted as were events. What was worse was the description of non-events or events that never occured. Orwell commented that the Leftists never wrote a word about the SovietGerman "Non-Aggression Pact" which was negotiated in 1939 with the secret protocol of the Soviets and Germans to invade Poland.

Orwell made comments that his novel titled ANIMAL FARM was censored or kept from publication because of British concerns of offending their Soviet "allies." Little did Orwell know that this novel would be a best seller after he died. Orwell can also see the outlines of his 1984 in this collection of essays.

One development that concerned Orwell toward the end of World War II was the emerging anti-Semitism in Great Britain and to a lesser degree in the United States. Orwell was clear that accusations and slurs agains Jewish people were patently false. Yet, Orwell was clear that facts and reason were of no avail to many because they were immune to knowledge and reasoned thinking. Orwell attributed much to a weakened Great Britain at the end of World War II, and the British Empire would soon be dismantled. Orwell argued that nationalism and the fear of the loss of Empire incited anti-Semitism among people who would otherwise not fall for such nonsense.

While Orwell was wrong in some of his earlier predictions, he was honest enough to admit this and explained why which something most "intellectuals" are loathe to do. If Orwell had lived another 50 years, he would know that his important predictions came true. This reviewer was pleased to see Orwell admit he was wrong as this showed a degree of honesty that is sadly lacking.

This reviewer did not like the format of the book. As this reviewer stated elsewhere, the book should have been arranged by topic rather than by chronology. However, this is a matter of taste. This reviewer strongly recommends this anthology which is part of a four volume set of Orwell's thought. This is yet another excellent collection of Orwell's great writing.

It is a pleasure to read Orwell. I think that there are two major reasons for this. Stylistically he an exceptionally clear writer. His work has a quiet elegance. Secondly, he is a writer who says meaningful things. Whatever subject he writes about he writes about not only with knowledge but with real ' sense'.
In this third volume of his collected essays, jouralisms, and letters there are a number of outstanding longer pieces, including those on 'The English People' 'Notes on Nationalism' and 'Anti- Semitism'
He is an excellent letter writer and I especially enjoyed his insights into literature. His remarks on Conrad and Koestler and European as opposed to British Literature are sensible and insightful.
All through this work there are scattered gems of humane perception.

As a lover of the french philosopher and his time i can only
recommand with passion his works and especially Candide together with the other stories issued by the so prestigious Oxford
world's Classics -its a genuine pleasure

A great selection of stories where Voltaire shows off his literary style and espouses his philosophy on different topics.
He is a great story teller and has a great sense of humour too.

Voltaire is a master saterist, not a comedian. As with all satire, it hslps if we understand the contemporary world in which the author writes, but Voltaire's skill raises Candide above this level of satirical writing. He is masterful in the use of comedy to poke fun at the customs, mores, and beliefs of his time and show us the silliness to shich theunenlightened mind can go in the pursuit of perfection in an imperfect world. As a commentator on human culture he is followed by Mark Twain. Not that Twain can match Voltaire in his skill, only in some of his perceptions. This is an "old" book by new world reckoning, but as a masterpiecce well worth the time and effort of exploaration it is a timeless masterpiece. I highly recommend it to both believer and non-believer.

This was a first source cited in "A Visit From Voltaire" which turned me on to the man with its lightly comic approach to a formidable subject, BUT I have to add that I only understood it bettert after knowing what role Candide played in the political mayhem of his life fighting "infame," and only after I knew more about his social/irreligious context, did I really "get" what he was doing in Candide. I'd send light readers to "Voltaire in Love," and wannabe scholars to the Portable Voltaire and whatever basic biographic texts they can find, as well as Visit from Voltaire, A which is hilarious fun.

Voltaire's Candide is a scathing satire on one of the more popular metaphysical theories of his day: that is, we live in the best of all possible worlds. In spite of the disasters and disappointments that befall mankind, Candide and an array of companions attempt to make sense of their personal tragedies while shoehorning it into the Leibniz theory.

Candide is well-written, and sprinkled with cute and clever irony. I also enjoyed the references Voltaire makes to his personal enemies in Candide. However, the optimistic theory that prompted this satire has been rejected, which leads me to believe there isn't much purpose for this book any longer. Really the only reason left to read Candide is to become 'culturally literate', I suppose. Don't get me wrong; the ultimate message of this book is a good one. However, I hope readers don't think Candide's lesson must preclude optimism all together, or love, or friends, or God. That fact is obscured to make a literary point.

The only interesting question that remains to be asked from this book is: why does such cyncism accompany 'enlightenment'? Both French and American societies are rife with it after all, so much that I doubt even Voltaire could manage much of a smirk. All he could do would be to join the choir and tend the garden he has sown.

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.

I cannot think of another writer whose prose reads with as much poetic power as Emerson. The poetic aspect comes from the richness of meaning that continue to manifest as one lingers and thinks about the words Emerson writes rather than anything contrived or artsy. He created many powerful sentences and phrases that still live in the American spirit, and yet, for all the ringing words we love and hold close there are many thoughts and arguments that many people, including myself, find difficult to accept on any level other than being by Emerson.

For all that we love in Self-Reliance and The American Scholar, we still have to deal with his mystic essay on the Over-soul. Many conservative Christians have problems with his Transcendentalist views of religion and Christ. Reading his thoughts on "The Lord's Supper" might be interesting simply because it is Emerson. However, most orthodox believers will not come close to being convinced and today's non-believers will find it difficult to work up the energy to try and figure out what the fuss is about.

His famous essays collected under the title of Nature are fascinating and poetic views of the natural world. At least they seem that way to our more technical age. We see his Enlightenment confidence in reason and man's ability to discover the mechanisms of the Universe. While our science is remains rational, it is not quite so confident that everything can be easily discovered. We have found that for every depth we sound we discover that the bottom is only apparent. Things are deeper and stranger than the thinkers of Emerson's time ever dreamed.

This volume collects his essays and lectures into more than 1,100 pages of fascinating and wonderful reading. His poems and translations are collected into a separate volume also offered through the wonderful Library of America (don't hesitate to support them). The volume opens with a collection called "Nature; Addresses, and Lectures" and contains the eight chapters of Nature plus the four addresses The American Scholar, An Address to the Senior Class of Divinity College from 1838, Literary Ethics, and The Method of Nature. It also has five lectures: Man the Reformer, Introductory Lecture on the Times, The Conservative, The Transcendentalist, and The Young American.

There are then two collections of essays that contain famous titles such as History, Self-Reliance, The Over-Soul, The Poet, Manners, and Nature [yeah, I know it can get confusing]. This is followed by a collection called Representative Men. The seven chapters here are wonderful, but I cannot imagine anything like them being written today. The first chapter is titled "Uses of Great Men". I think I can here the deconstructionists swallowing their tongues. Then follows a chapter each for Plato the Philosopher, Swedenborg the Mystic [millions ask, WHO?], Montaigne the Skeptic, Shakespeare the poet, Napoleon the Man of the World, and Goethe the Writer.

The last two collections contain a number of short papers on English Traits and The Conduct of life. All interesting and full of Emersonian insight and beauty of language. The volume concludes with a Chronology of Emerson's life, notes on the texts, other notes, and an alphabetical index of titles (which is particularly useful given the re-use and similarity of some of these titles).

Ralph Waldo Emerson was and is by far one of the most brilliant writers of American Literature. His writings are his collection of thoughts...both wise, and complicated. As if he is writing his deep most private thoughts into a diary meant to be read. You read his essays and lectures, and just feel as if you have just been exposed to something different in your life.

However, don't just take my word for it. After all, I am only sixteen years old. But this book is brilliant.

I think it is probably safe to assert that to read Emerson is to be forever indebted to him. His wording, his clearness of thought, his determination, his warmth... He has all the qualities one could ask for in a writer, and all one could ask for in a mentor. Nietzsche held Emerson's books the closest, and said they were above his praise; Borges added: "Whitman and Poe have overshadowed Emerson's glory, as inventors, as founders of cults; line by line, they are inferior to him." James, the very Whitman, Proust, Frost, have all also praised him sincerely. Judging from other reviews, the love for Emerson hasn't diminished, more than a century after his passing.

For those who are not familiar with his works, it should be noted that Emerson is, without a doubt, a very unique writer. I was surprised when I realized that there is more poetry in his philosophy than in most verse books, yet he is always lucid; and that his poems, although hued by an impressive depth of thought, remain always passionate. He was renown as a brilliant lecturer, and his essays have all the force and immediacy of the oral form. Few people are so rich in memorable aphorisms - one finds a treasure of a quote in every sentence: "A drop is a small ocean"; "We are not built like a ship to be tossed, but like a house to stand"; "Whoso be a man, must be a non conformist"; "Punishment is a fruit that unsuspected ripens within the pleasure which concealed it"...

This was one of the first books the Library of America ever published, and with good reason: Emerson's writings are a Library of America on their own. This volume contains most of his major works, with the usual LOA excellency: beautiful green-cloth binding, a silk-ribbon marker, clear, acid-free, bible-thin paper, a short chronology, and a few useful notes. (No introduction of any kind, also as usual.) In short: a must buy, whether you are new to Emerson or not. My only complain is that this represents only about a half of his actual output, leaving out such important pieces as "The Lord's Supper", "The Fugitive Slave Law", the books Society and Solitude and Letters and Social Aims, his writings on Thoreau, Carlyle, Lincoln, and John Brown, and many other pieces just as revealing as the ones included here - not even counting the 15 volumes worth of journals he wrote throughout his life.

The fact that it's been more than a decade since the publication of the slight Complete Poems and Translations makes me fear LOA has neglected one of America's most beloved authors by giving priority to comparatively minor releases -like those on journalism and film criticism. Why can't Emerson get the same deserved treatment as Henry James, who by the way has now over 12 well-earned LOA volumes published? Just one more book would make this the definite edition of RWE's works; as it is, the huge and expensive Centenary Edition remains untouched as the most comprehensive one available. Furthermore, the "Uncollected Prose" section is no longer included; I can only hope it means they are saving it for a future volume. (It's been 15 years since they took it out, so I'm not holding my breath.)

Those looking for a cheaper introduction should probably check out the excellent Modern Library's The Essential Writings of Ralph Waldo Emerson, which besides a very generous collection of essays has a nice introduction, a selection of poems, and a few important pieces not included here.

To put it simply, if you have any interest in philosophy, literature, poetry, religion, or life, read Emerson. You may not be convinced by his arguments, but there's no point in nodding your way through a book. What remains after you finish reading it is what counts, and few writers can be found whose works are as pervasive and fondly remembered as Emerson's are.

... I reread Heart of Darkness because my "guys" reading group included two who had not ever read it. The story stands up far, far better than I would have guessed. Conrad is really superb, and this shortish novel could well persuade new readers that "literary" stuff is worth their while. I had forgotten how subtle, how grown-up Conrad's expectations of his reader are. Truly quite marvelous.

With trepidation, I splurged on the Norton edition, even though I am pretty hostile to English-Professor post-modern posturing and nonsense. I am glad I got it, however. The wealth of historical documents help make the then-contemporary setting come real. The big surprise for me was Chinua Achebe's fine essay. While "bloody racist" is still over the top, Achebe has a case of some importance, and argues it well. It is even a comfort to find that the knee-jerk responses by assorted literature professors are indeed just as much postie poo as I had expected. (It's always a pleasure to find that one's unexamined prejudices are warranted after all.)

A particular pleasure for me was talking about the book with my daughter, who has taught it to her honors high school English class. She has developed views, and I learned really quite a lot from listening to her. Book, $11.90; my time, $free; finding out your daughter has deep insight and can teach you, PRICELESS.

In short, wonderful story and useful edition.

I read this book for a graduate Humanities course. Buy this edition, it is the best with great critical essays. Joseph Conrad's Heart of Darkness, written in 1899 is a seminal work about the ills of colonialism, as well as a postmodern look at the subject of mankind. Conrad's book had a crucial influence on five important works of the twentieth century: J. G. Frazier's book The Golden Bough. Jessie L. Weston's book From Ritual to Romance, T. S. Elliott's poem the Waste Land, Joseph Campbell's Hero with a Thousand Faces, and Francis Ford Coppolla's movie Apocalypse Now, screenplay by John Milius, was based on Conrad's book. Another interesting fact is that this work was read by Orson Welle's Mercury Theater Players on the radio and was to be his first movie. After doing some work on it he abandoned the project to do Citizen Kane! I would have loved to of seen what Welles could have done with this story. Conrad's story is so riveting in part, because he himself served as a riverboat captain. High school teachers and college professors who have discussed this book in thousands of classrooms over the years tend to do so in terms of Freud, Jung, and Nietzsche; of classical myth, Victorian innocence, and original sin; of postmodernism, postcolonialism, and poststructuralism.

Just a taste of the plot reels you in! Marlow, the narrator of Heart of Darkness and Conrad's alter ego, is hired by an ivory-trading company to sail a steamboat up an unnamed river whose shape on the map resembles "an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country and its tail lost in the depths of the land" (8). His destination is a post where the company's brilliant, ambitious star agent, Mr. Kurtz, is stationed. Kurtz has collected legendary quantities of ivory, but, Marlow learns along the way, is also rumored to have sunk into unspecified savagery. Marlow's steamer survives an attack by blacks and picks up a load of ivory and the ill Kurtz; Kurtz, talking of his grandiose plans, dies on board as they travel, downstream.

Sketched with only a few bold strokes, Kurtz's image has nonetheless remained in the memories of millions of readers: the lone white agent far up the great river, with his dreams of grandeur,his great store of precious ivory, and his fiefdom carved out of the African jungle. Perhaps more than anything, we remember Marlow, on the steamboat, looking through binoculars at what he thinks are ornamental knobs atop the fence posts in front of Kurtz's house and then finding that each is "black, dried, sunken, with closed eyelids-a head that seemed to sleep at the top of that pole, and with the shrunken dry lips showing a narrow white line of the teeth" (57).

I especially became interested in Joseph Conrad's Heart of Darkness from the movie Apocalypse Now. There is a scene in the movie that shows Colonel Kurtz's nightstand in his cave. T. S. Elliott's poem the Waste Land is one of three books on the nightstand. The other two are Jessie L. Weston's book From Ritual to Romance, and J. G. Frazier's book The Golden Bough. Anyone wanting to understand the movie Apocalypse Now, especially the character of Colonel Kurtz, and what Milius and Copolla are trying to tell their audience need to read these three books as well as Conrad's Heart of Darkness!

As a graduate student reading in philosophy and history I recommend this book for anyone interested in literature, myth, history, philosophy, religion and fans of Apocalypse Now.

I'll be honest - "Heart of Darkness" is a great, great work of literature, but I don't love the writing style, and it is not a pleasure to read (for me at any rate).

But it is not quite as hard as its reputation, and it is every bit as important. If there is one, "Heart of Darkness" is the definitive statement on European colonialism, especially in Africa. The symbolic meaning of the story is powerful and unanswerable.

The Norton Critical Edition of any book is usually the best - (not always: with Shakespeare I generally prefer the Signet Classics, and for "Pride and Prejudice" at least the Longman Cultural Edition is the best) - and "Heart of Darkness" is no exception. Like so many other books, you haven't understood this until you've understood what has been said about it. The NCE gives the best collection of critical essays available for someone new to the book.

Let me recommend a couple of easier reads for people interested in the genre of literature about colonialism. First is Burmese Days, which is one of Orwell's better books. It is a much more literal, tangible look at the realities of colonialism, and should probably be read before "Heart of Darkness." The other is The Quiet American (Viking Critical Library), which is less critical of colonialism, but still a very good look at the motivations of various people involved. I am very critical of "The Quiet American," but it is still among the first books that anyone interested in the literature of colonialism ought to read.

Daytime scents of nightmare horrors. Man and his insane ways - bushman, postman, commoner, who to blame? Unless you are familiar with the background of this stunning novel do yourself a favor and get the Norton Critical Edition. For a century Conrad's novel has drawn raves and rage. Each is left to decide where the sanity line lies, to the right or to the left. Upriver or downriver? Riveting every page of the way.

One of the must reads in literature. Probably my favorite novel ever written. The short length is decieving. It is not a novel to be blown through without thought. The themes of this novel resonate more in our day and age than ever before. Literary greatness.

This book is a must read for anyone interested in the inner qualities of our nation's most well-known and respected figures and the lesser-known, who were the people who shaped our country. From the early settlers and our founding fathers to people of the present, this book offers a touching and rewarding look into the lives of people during war, hardships, family life, and many other aspects of life. Letter writing truly reveals the inner part of ourselves. A wonderful book!

Andrew Carrol writes an intresting novel compiled of historic letters in various stages of our Nations history. Whether they are from prominent, well known people, or lesser known, yet just as important members of our society, they keep us enthralled.

I'm 24 years old, young enough not to have lived through many of our Nations defining moments, but when I read these letters (and the helpful notes by the author!) it made me feel as though I knew exactly what was going on. Mr. Carrol did an excellent job, and I've let many others read this novel!

~Gina

This book is one of the best investments I've made over the past year (I typically buy 3-4 books a month). I teach - and am passionate about - American History at the high school level. I discovered this book on Amazon and purchased it out of curiosity and a desire to add to my stash of "primary sources." What a great find! The letters are grouped thematically, not chronologically, and offer a great mix of subjects, authors, and viewpoints. While my primary motivation for purchasing this book was its potential use as a classroom source/reference, it proved an interesting "read," as well. History really comes alive, as do the "players" and events, through reading correspondence. While these letters were not necessarily intended for public consumption, it allows for real insight into the past, and into the psyche of the people who have helped to shape our country. Each letter is "set up" for the reader with an introduction explaining the context in which the letter was written. There are also "postscripts" to let the reader know what took place after the letter (a "conclusion," so to speak). Thank you, Mr. Carroll - it's obvious that a lot of work (and editing!) was expended here for the benefit of your readers!

This book is easy to read and interesting. The editors notes in front of and behind almost every letter really make the book that little bit more. I found all of the letters interesting and many of them quite moving. Many of the letters illuminated subjects about which i was familiar but did not know that little part of the story. I recommend this book for any and every one. You do not have to be American (although much of the information is perhaps from an American perspective) to feel the things that are brought forth by the reading of these letters.

What a fantastic book. The letters I've read have brought voices to America's past. It's like reading a hundred stories in one book. For me, it's been an emotional read. The voices of people-slaves,soldiers, presidents and mothers that helped shaped our nation are still ringing in my ears. I'm recommending this to all my friends. A great trip though history.

The only reason I didn't give this review 5 stars is because I am just starting to use it for a few MA courses I am in. I will see if it can stand up to the demands of academics. This dictionary was highly recommended as a reference tool by my prof and not a required reading. It seems, then, that it will be a valuable tool.

Plus, it's pretty expensive for a dictionary. It seems it would need to stand up to my classes with a price tag like that! We will see. I probably would not have purchased it if it were not for class.

The Oxford Dictionary of the Christian Church is without question a de-facto standard text for study in medieval history, church history, or any of the myriad of related topics which fall along such themes. A massive, comprehensive volume that has been put through three major revision editions over some 50 years, the book represents a modern day "summa" that more than admirably fulfills its purpose as a research and reference text. Entries in the dictionary are comprehensive to the point that one wonders why the word "dictionary" rather than "encyclopedia" was chosen for its title, but that oddity is of little concern to us. Looking up a term in the text is just the start of an exploration of the rich and detailed information that the volume contains.

For example, let's say we wish to study scholasticism. In looking up the term, we don't just find a definition of the term as we might expect with a typical dictionary, but we instead find a detailed, expansive description that presents the historical context of scholasticism, its use in the medieval university, the pivotal roles of Abelard and Anselm in scholasticism's development, its connection with the medieval investigation of the notion of "universals," and even its roots in the writings of Porphyry's discussions of "genus" and "species" in the 3rd century AD. For each of the key terms that arise in the "scholasticism" entry, we are pointed also to each of their own specific entries within the dictionary so that we can further explore the topic to any desired level. In the specific case of scholasticism here, we end up with a comprehensive introduction of the term, learn its meaning and history, explore its implications for education, and even its philosophical underpinnings (including objections), and more. We are also given a listing of additional key references should we wish to pursue our studies in additional publications.

The best way for you to see the level of detail that these entries provide is to use the "look inside this book" link (under the listing, above) and read through a few sample entries. I have little doubt you'll be as impressed as I.

The text does not limit itself to conceptual entries. There is wide coverage of personages, philosophical positions, historical items, theological issues, church history, church liturgy, and more. The current incarnation of the text has resulted in an extended collaboration of hundreds of scholars, teachers, historians, and researchers to expand the coverage far beyond its original 1957 incarnation. The most surprising thing about the text is that it doesn't cost three times what it does. How to improve it? Well, the only thing I can come up with is that it would certainly be nice to have the book also released in electronic format, so that we can search by term, print selected entries, or copy selected references together for future study. Nevertheless, the book as it stands today easily takes its place among the premier reference works of the domain. Highly recommended.

Indispensable for many areas of Theological research - Church history, Dogmatic overviews, biographies, editions, and so many many other things.
A masterpiece! If I could afford it, I would give everybody who press the "yes" button by "was this review helpful to you?" a copy! :-)

The third edition of the Oxford Dictionary of the Christian Church retains its great reputation as the single best reference work for use when studying the Christian religion. Now in the hands of E. A. Livingstone (who took over for the late F. L. Cross), it combines excellent scholarship from all parts of the Church and presents each topic relatively free of ecclesial bias. The topics covered are not short descriptions of a few sentences but multi-paragraph articles that are well researched, very readable, and remarkably complete. For those who are developing an interest in Church history, it will be an indispensible tool for their research. All in all, it is a masterful triumph.

'The Oxford Dictionary of the Christian Church', edited by the late F.L. Cross and E. A. Livingstone, is perhaps the authoritative, one-volume encyclopedia of information on Christianity. With over 480 contributors, from a myriad of denominational backgrounds, this book has a completeness that is unrivalled. Scholars from Anglican, Lutheran, Methodist, Presbyterian, Roman Catholic and other denominations, as well as Jewish and secular authorities from all over the world, have written or contributed to articles that reflect as best possible an unbiased and authoritative compilation of history, theology, liturgy, scriptural study, art, biographies, denominational and calendrical organisation, and inter-religious attitudes.

The current edition, published in 1997, is the third edition of the ODCC to appear since its was first issued in 1957. It has an unrivalled reputation since first being published by Oxford don and cleric F.L. Cross. After his death, Dr. E.A. Livingstone took the helm to oversee production of the current volume.

There is increased coverage of the Eastern Churches, certain issues in moral theology, and developments stemming from the Second Vatican Council. Numerous new entries have been added and the extensive bibliographies have been brought up to date. Readers are provided with over 6,000 authoritative cross-referenced entries covering all aspects of the subject.

The book is over 1750 pages in length, very much the ready reference rather than the narrative sort, but many of the longer articles provide depth and detail, and articles generally include references for further research at the conclusion.

Topical entries include:

Theology
Discussion of theological topics from the earliest days of creeds and heresies to current topics on Christology, ecclesiology, sacramental theology, and other topics Catholic, Protestant and Orthodox.

Patristic Scholarship
The early Church Fathers are covered in detail, particularly in creedal development. Likewise, recent scholarship on Nag Hammadi writings, newer Augustinian sermon discoveries, new scholarship on Gnosticism, and established work on early church history are included in the articles.

Churches and Denominations
Beliefs and organisation of the major denominations are covered, as well as lesser-known and smaller denominations such as the Amish, Shakers, Old Catholics (my own denomination); as well as particular national structures and variants on the Christian scene.

Church Calendar and Organisation
This includes feast days, saints days, calender issues (such as the date of Easter), sacramental and liturgical systems, rites, church and canon law, and discussion of religious orders.

The Bible
An entry on each book of the Bible, including apocryphal and deutero-canonical scriptures, as well as entries on major Biblical figures are included along with major schools of thought on scriptural interpretation and study.

Biographical Entries
Saints, popes, reformers, church leaders, mystics, heretics, kings and emperors, theologians, philosophers, artists, musicians and poets are included among the many people with an impact on Christianity.

New Entries
These entries include ecumenical dialogues, ethics of procreation, contraception and abortion issues, theology of religions and different religions, articles on Black Churches, C.S. Lewis, and the Holiness Movement.

I find this an almost indispensable reference book. Priced at suggested retail of [retail price], it is unfortunately out of the reach of most of those who need it most -- seminary students. But it belongs on the shelf of anyone who has intention of being scholarly in their approach to Christianity.

Sue Holt's poetry is truly inspirational. She shows how faith can overcome great difficulties, and that no matter what, survival is possible. Everyone will find strength in her poems.

Holt submerges her life experiences of manic depression within her deeply moving and inspirational poetry. Her language is dark and grabbing and she is a highly skilled poet at evoking pathos. This is my favorite book of poetry and I recommend it to anyone.

Sue Holt's book gathers dozens of vibrant poems. She has that gift which only great writers possess, that makes you very concerned about what she's talking about _in this case, mental illness_
A very emotional journey...

"Snot and Tears"

Sue Holt's portrayal of Jesus Christ is courageous to say the least. Sue admits to feeling no repentance to not describing Jesus' love through reverent verses in " Poems of Survival". Sue describes her encounters with God through "snot and tears", and makes no apology for the offence this may cause others, for Sue this was the reality surrounding her conversion to knowing the living God.
Sue knows that Jesus was with her in situations, which many may shy away from. To her Jesus is not the "untouchable" God often portrayed; He is her rock and deserves to be acknowledged through her painful choice of words. Sue knows you may find her reality uncomfortable, but her greatest wish is that you will discover the reality of God's love shining through her honesty.

Dark and uplifting poetry concentrating on manic depression, abuse, love, pity, bewilderment and love. Holt's Poetry gives you a frisson and puts a tear to your eye. Christianity gives her the faith to bounce back and rejoin life. Although it must be said that the writing process itself seems to have made a magic wand for us the reader as well.

Paul Scott's following is small, but Loyal. He is a fantastic writer. The Raj Quartet by far, is my favourite favourite series of books by him because of its complexity and such extraordinary characters. His charactres are so indepth, so well played out that the reader feels that he or she knows them thouroughly. Its a historical epic, very well written, and its absolutely a must read.

About 25 years ago I got a list of the best 100 books of all time, and found "The Raj Quartet" by Paul Scott listed. I started at the beginning with "The Jewel in the Crown" and got bogged down. Coincidentally, PBS started its Masterpiece Theatre version. I watched a few of the episodes (actually all of them, eventually) and got back to reading. What I discovered was the best set of novels I've ever read, and each one an individual "jewel" as well. A pebble thrown, the towers of silence, and many other images stay with me, as well as the memory of Scott's beautiful writing and well-developed, complex characters, and the scope and importance of the story. If there wasn't so much else to read, I'd reread the whole set--sounds like a good retirement project some day.

My yardstick for excellent writing about a foreign culture is probably Paul Scott's "The Raj Quartet", which was the basis for the BBC TV series "The Jewel in the Crown". I think these four books are a real tour de force - he writes in several different voices throughout, but remains - I think - completely sensitive to the political and social complexities and subtleties of the situation in India towards the end of the British occupation. Very nuanced, extraordinarily sensitive writing.

It's not just the writing: the stories that unfold in this masterpiece will draw you in, grip you, and break your heart.

This book (or series of books) is so sprawling and intricate, like India itself, one might say, that it is impossible to "pin down", as it were, in a review like this. The thing to do, I think, is to cover the most salient aspects of the work separately. Otherwise, one will become lost, as many of the characters herein do. So, salient aspect numbers:

1.) History - This is the novelistic equivalent of Gibbon concerning the British Empire. It might even be called "The Decline and Fall of The British Empire." As a reviewer for the Sunday Times puts it, "A history student years from now should be able to say to his professor, `Yes, but what was it REALLY like in India in the last days of the Raj?' and be told, `Read these four books and you'll not only know, you'll understand...' " The "understand" part is especially significant in that these books will have you totally spellbound by Scott's deft character portrayal and psychological insight. It is no exaggeration to say that one feels one has lived in India from 1939-1947 after having emerged from the nearly two-thousand pages that comprise this work. But the deft character portrayal leads me to a more troublesome, salient point:

2.) Ronald Merrick-A host of characters populate this work, portrayed with deep sympathy herein. And yet, one can't help but feel, upon closing the pages, that the work might also be called, "Ronald Merrick: An in-depth Portrait of a Psychotic in India". It is a tribute to Paul Scott that we do not discover the depths of the....evil (Sorry, I can't think of another word that fully encompasses the character.) of Merrick until the tag end of the work. Yes, Hari Kumar is the other major character who, to a certain extent, offsets Merrick. But he fades into the background after his interrogation by Nigel Rowan with Lady Manners looking on in the second book, The Day of the Scorpion. Merrick, so to speak, stays on until the very bitter end. Not only does he stay on, but he lingers in the mind. What is he? What does he represent? The British Raj itself, as some would have it? Partly, I would say, but there is something about Scott's obsession with this fellow that refuses to be pigeonholed. It's all very eerie. By the end of the book, you won't be able to hear the word "Merrick" without a troubling frisson running through you. - He is not mad like, say, Susan Layton, who rather resembles a character from one of the Bronte novels. - His nature and the nature of his evil are complex. They defy reduction. So, I shan't venture on a futile quest to do so but rather come to salient point:

3.) The brooding fatalism that overhangs everything here. Of course, one knows before one picks the book up that the Brits in India are doomed. But, well, I'll just let Daphne Manners' quote from the first book, The Jewel in the Crown, give the reader notice of the feeling that permeates this work:

"We were sitting on the verandah. Oh, everything was there - the wicker chairs, the table with the tea tray on it, the scent of the flowers, the scent of India, the air of certainty, of perpetuity; but, as well, the odd sense of none of it happening at all because it had begun wrong and continued wrong, and so was already ended, and was wrong even in its ending, because its ending, for me, was unreal and remote, and yet total in its envelopment, as if it had already turned itself into a beginning. Such constant hope we suffer from!"

Salient points covered...except that the reader might do worse than to do as Perron does at the end and look up Philoctetes, not a futile quest by any means.

It has been too long since I read this book [probably 15 years ago] for me to offer an erudite and detailed analysis. But I do remember vividly that when I read it that the word "masterpiece" came repeatedly to my mind. In a league with Thackeray's "Vanity Fair" and Naipaul's "A House for Mr. Biswas". Find the time to read it; you won't regret it.

Ivan Turgenev (1818-1883) is one of Russia's greatest authors. Turgenev was a pro-Western author who portrays a vanished Russia of serfdom and
rural landowners. Tsar Alexander II liberated the serfs in 1861. It is reputed that the tsar took this action based on his reading of these sketches.
The book is divided into twenty-five sketches portraying peasant life. Along the way we meet such characters as:
Chertopkhanov who loves his beautiful, spirited horse Malek Adel. When the horse is stolen the old landowner journeys across the steppes seeking to find the majestic creature. This tale will break your heart. Turgenev is good at describing animals and the joy of awaiting a day of hunting.
We meet the Hamlet of the Shchigrovsky who falls in love with a beautiful gypsy serf. Turgenev believed the statoc social structure in Russia needed to be changed for the better. He did not live to see the Russian Revolution living most of his life as an exile in France.
Death is a story of how several Russians met their deaths. Stoicism is a characteristic we see in this harrowing and sad tale.
Singers takes us to a village drinking den where we witness a raucous singing contest among serfs.
Someone who does not hunt may believe that this classic will be boring. How wrong! The book is written with lyrical descriptions of nature in all seasons of the rural year. We almost wish we could join the unnamed narrator as he journeys from his estate meeting the men and women of Russia. Turgenev is a poetic author who wells deserves a revival of popularity.

It's taken me until now to get to Sketches From A Hunter's Album. Now I have finished it and now I am grieving. It will stay in my nonlending collection so I can savor it even after the surprise has gone. It's like losing a friend.

Turgenev calls these 'sketches' rather than stories. It's a good distinction. More story writers should concentrate on their sketch pads. The sketches are of places and people in the rural south of Russia in the 1840s. Each is strung thematically on Turgenev's wandrings through the countryside while hunting for game birds. Each begins with a mention that he was hunting in a certain place. He goes into lovely thoughtful and surprising descriptions of the woods or marsh, the sky, the smells, the sounds, the light. Even in translation, these are exquisite. He speaks of shifting light shining through the leaves onto the forest floor, or unbreatheable noonday heat, or changing skies at the advent of a storm, a dawn, or a sunset; he calls up moments from your own life that you thought could not be shared with anyone who wasn't there and he makes you relive those moments as if he had been there with you.

For anyone who has spent time out of doors, these little Aldo Leopold nature essays standing alone would be reason enough to read the 'Sketches', but these are just hors d'œuvre to his descriptions of the persons he meets while hunting. When sketching people, Turgenev does gracefully what Dickens tried to do and did clumsily; that is, he describes the physical characteristics of a person and gives you a fully formed description of their character as well, and he does this without sounding forced and without showing himself. (And you will burst out laughing at the sudden recognition that, indeed, someone does look 'like a root vegetable'.)

"Sketches" was published twice in Turgenev's lifetime and in the second edition he added to it. In the earlier sketches, Turgenev brings a character to life in a description; the character may speak a few words, and disappear from the scene, as people do in real life, leaving the reader to speculate what became of him. Yet, Turgenev has given us enough insight into the character that we think we know what probably happened next, and so the story is complete. These are elegant Aristotelian constructs with the action taking place offstage, and, oh elegance! with the final action taking place in the reader's imagination after the story has ended. If my description leaves you wondering, read them! (Would that I could spur you to act as Turgenev spurs his readers to think. Ah, but it's too much... .) This is what Turgenev does. He starts you thinking, but requires you to complete the story. In the later sketches Turgenev is just as deft in his descriptions, but perhaps to satisfy the market or his editors he adopts a more plot driven model. These later contributions can more truly be called stories rather than sketches. They are equally well-crafted, but they demand less of the reader. Curiously, they give us less as well.

The hunter's travels theme gives the collection an interrelatedness, almost like a picaresque novel. As in Huckleberry Finn or Don Quixote, neither the author nor the protagonist directly express opinions, but as stories accumulate the reader acquires the author's strong politicized view. We meet the aristocrats and peasants of rural Russia. The serf-holding system had been 'liberalized' in the early 19th century, but it is revealed as the unnamed slavery it was. Landlords control peasants' rights to marry; they name the persons to fill regional conscription quotas; they assign agricultural and residential alotments; and thoughtless and uncaring aristocrats use these powers carelessly or maliciously to destroy lives. Liberal aristocrats fare no better than traditional feudalists, as Turgenev details social reformers' well-meaning disasters which beggar both for the peasants and the bumbling aristocrats who direct them.

America often forgets that its civil war was part of a European pandemic of peasant revolts driven by the extended logic of the Enlightenment. As masters and slaves in the United States were struggling with the immorality of a divine order handed down from a prior age, the masters and servants in Europe did the same. The 1840s, 50s, and 60s were tumultuous times in central and eastern Europe. Turgenev, arrested and exiled in 1852 because of the 'Sketches', has an historical place akin to the American abolitionists of the same day, however, unlike Harriet Beecher Stowe, Turgenev draws his characters in three dimensions with humanity, with love and understanding even when he does not forgive them their moral failings. The 'Sketches' would be an interesting book to teach alongside Huckleberry Finn.

Turgenev effectively invents a new form -- the literary sketch -- to impart a new kind of content. What is brilliant about these sketches which are in part nature meditation and in part biographical sketch is how Turgenev allows each character to speak for themselves. As a result we feel like we are hearing something we have never heard before -- the natural voice of the people. By allowing people to speak for themselves Turgenev gives us a truer and more genuine idea of how people -- serf and gentry -- really think and relate. Each sketch begins with a detailed description of the natural surroundings he is walking through and these descriptions give us insight into Turgenev's cast of mind which is infintely receptive, and discerning, even romantic and delicate at times as when he describes staring up through the forest canopy and imagining he is staring up at the world from beneath a vast body of water. These magnficent introductions set the mood for the character sketch to come. When he meets a serf it is as if he is merely continuing his communion with nature for the serfs live at one with the land. When he meets one of the gentry, however, and passes time in their company he feels removed from the natural settings and people he so values. It is a fascinating and very subtle technique but Turgenev makes the landowners seem like unnatural creatures who are disturbing the natural order. Though he is one of the gentry himself Turgenev hunts with the serfs , he values their company and conversation, and he values what they know. He knows them as individuals not just as serfs and so we too come to know them as individuals, each with their own personality and ideas about life and story to tell. Since we know these sketches are from real life we listen more carefully to them than we would if they were mere inventions; real life has a resonance that fiction does not. Given the choice of spending the day with a either serf or a landowner Turgenev would choose the serf. The serfs have not received an education and their opinions are often shaped by superstition, and yet it is these very superstitions that make them such colorful characters, the gentry may be educated but they are full of self-importance and affectations and see everything through the limited scope of their own self-interest which is merely another form of ignorance. Turgenev's most effective weapon is not bitter invective but irony. He never comes out and says serfdom is bad because the landowners are in some cases such vile creatures that there is no need to. By simply quoting them and describing their manners and actions Turgenev allows the landowners to do a fine job at condemning themselves.

The most profound sketch to my mind is "Yermolay and the Millers Wife" which relates the harsh treatment doled out to a beautiful serf woman merely because she wants to get married, and a close second is "Bezhin Lea" about a group of boys telling ghost stories around a fire as they tend a herd of horses grazing at night. The former sketch pefectly conveys what absolute power the landowners have over every aspect of the serfs life and the latter sketch perfectly conveys how the serfs pass down their own particular brand of wisdom from one generation to the next. Perhaps the most famous sketch however is "Khor and Kalinych" which juxtaposes two kinds of serfs--one resigned to his lot and the other who despite his status as serf finds his own kind of freedom by wandering the countryside. "Kasyan and the Beautiful Lands" is perhaps the most unusual story as it presents a sage-like man who speaks as though he were a living oracle. Deprived of education the serfs remain in thrall not only to the landowners but to ignorance as well; nonetheless there is a beauty and tragic grace in the voices of these serfs that remains in memory long after you have read these sketches. The sketches are complex and layered enough to invite you back to them again and again.

The biggest joy of the sketches is their casualness. Nothing is ever overly stated or stated in black and white but everything nonetheless appears clear as day. It seems at times as if Turgenev is the only enlightened soul in Russia and yet he is absolutely civil even when with a pernicious landowner because he innately knows what is right and he trusts that we know as well. Turgenev reminds me of Thoreau in his devotions which are equally divided between nature and the forwarding of liberal ideas. Though Pushkin and Lermontov both came before him Turgenev was the first Russian writer to achieve fame outside of Russia. Fathers and Sons is considered his masterpiece but these sketches stand as something unique in all of literature.

There was a moment, long back, when you lay in the dry, brown grass on Blueberry Hill, listening to the whispering wind on a bright September day. A catbird mewed off in the little green woods down by the tracks. A rabbit thumped once or twice; a white sea gull soared over your head in the brilliant blue sky that held promise of a crisp New England fall to come. The gull headed out to sea, that dark blue Atlantic lying just beyond the old seaside mansions of Boston executives, already boarded up for the season. Your thoughts flew off with the gull, to life beyond that little town on a rocky peninsula, but the clear light, the smell of the sea, the tiny mewing of a catbird--these stayed with you forever. Fifty years later, it's all gone except the sea. A writer tries to catch the world around him (her). The best create word-portraits that preserve the past into the future.

Turgenev caught the Russian countryside south of Moscow as it was in the 1840s, when serfdom still ruled, and hunters could roam properties at will. His lyrical descriptions of nature, in my opinion, have never been surpassed; on every page, you feel as if you were there. Your head fills with the beauties he saw, you cannot remain untouched. Turgenev wrote of the enduring peasantry warts and all, no simplistic pictures for him, and he lambasted the vanity or predatory nature of the landlord class. SKETCHES FROM A HUNTER'S ALBUM is just that, only a series of separate pictures composed around the author's trips through the countryside to hunt. Religion and poetry suffuse the pages along with insightful portraits of many individuals. "Bezhin Lea", "Kasyan from the Beautiful Lands" and "Bailiff" will impress you with their psychological excellence along with the beauty of their descriptions. "Singers" has to be one of the most powerful stories of music ever told. "The Living Relic" reminded me of India in its acceptance of human fate, though it is certainly a Russian tale of those times. Almost every story is a masterpiece by itself. In short, in all my readings throughout my life, I can scarcely recall a more beautiful book than this. I recently re-read it. It is ridiculous to give it five stars. If Russian literature contained only this book, it would already be world-renowned. Read some of my other reviews---you'll see I don't say this lightly.

Simply, one of the greatest book ever written. Turgenev's style is wonderfully evocative, and yet it has not an ounce of sentimentalism: its depictions of natural landscapes are incredibly lucid, almost detached, in a sense; today, we could say his writing has a "zen-like" clarity. His human character are little parts of this whole, but Turgenev's panteism has nothing of the desperate, ferociously ironic pessimism of, say, Thomas Hardy; his vision is perfectly impartial, and yet sympathetic: each of his characters appears in his fundamental, intact dignity of human being. I'm not myself a starry-eyed dreamer: but reading this book, with its wonderfully easy and aimless wanderings, is like psychoterapy; you can't get out of it but feeling calmly hyper-oxygenated, as it were; you can't read this book but thinking that this man, Turgenev, mysteriously understood what it is like to be fellow sharers of this strange place, Earth, and of this strange thing, life. If something like "occidental buddhism" does exist, this book is a lesson in it.