English Classics Books

When I was living in the Philippines, my dad brought this with him from the States (I asked for it). I read it in a day and a half. Going to a school I hated and feeling trapped and boxed up, being an outcast, was a lot easier with this book (and a guitar, but mostly that came afterwards). This was my first Bukowski book and I love his work. I wanna read everything they've got of him.

In the previous review I was telling that this book was published in spanish but ONLY the stories, not the poems. I can't understand why the guys at Anagrama did this. I cant understand why none of Bukowski poetry books are published in spanish either. And I say that this book is good, not Buk best, but good. (you'll wonder why 5 stars then? Because the good books deserve 10 or more stars)

Este libro apareció en Anagrama como "Hijo de Satanás", pero sólo conteniendo los cuentos, lo que es una verdadera vergüenza. Es incomprensible por qué mutilaron un libro. Tampoco alcanzo a comprender por qué la poesía de Bukowski es ignorada olímpicamente en castellano. Ah, este libro es muy bueno, leanló, etc., o sea.

HE WAS never a very good suicide. 'I gave it a go now and then but something always used to go wrong.' As we stand on the brink of war and global recession, what better than to trash the poll tax demand, order a hat trick of tequilas and settle down with an uplifting collection from Bukowski? These poems and prose are so clean and sparse one almost wants to rummage through Bukowski's bin for all the adjectives and adverbs. They are cut-throat tales of the back alleys of America, ergo the West, of a world more dire than that of Ivan Denisovich.

Of course, Bukowski always has a companion, wherever he walks there is always another, wrapped in brown mantle, beside him. But it's only a chemical. It produces a kind of gin-soaked doggerel that is surely the perfect form to describe sleeping on park benches, working the assembly lines, and pensioners with a dollar to their name who pull triggers to alleviate terminal disease. Tragic humour is strewn liberally. In one poem, the Barfly who thanks to Mickey Rourke now drives a BMW, muses on suffering for art as he fingers his Gold Card. He writes of how the critics prefer the poems about him freezing and starving on cheap wine.

With his easy transition into post-Hollywood prosperity he has shown himself to be not just another angry young man although his 'difficulties with women' as the press release puts it, show him to be no less misogynistic. But luckily, the years of body-abuse have not affected the clarity of his vision. It is of a people for whom the word 'change' means distraction, for whom thinking is painful. They move in circles of hopelessness. This sometimes infects his words with the sour, if inevitable, tang of decadence. But then, as he himself demonstrates in his poem Nowhere, most English-language authors are writing dross. With so little competition, he can only soar.

(from 1990 and by the author of "The Dream of the Decade - The London Novels")

This is my second favorite volume of Bukowski. I know this because it has the second greatest number of pages dog-eared over so I can find them again.

Why do I like it? OK, it is because when I read most modern stuff, or watch modern films for that matter, I wonder what planet they are living on. It is seldom anything I recognise. When I read Bukowski, either the poems or the short stories or the novels, I recognise the real world. It is just so damn refreshing to see that there is someone being published that is not totally disconnected with reality- at least working class reality.

Will you like this book? Well, skip to page 282 and read "the masses." If you don't like it, then you ain't going to like the rest....

There is another reason that I like this book. It emphacises that the old horseplayer beat the odds and actually made it into his seventies. He "Buk'd" some steep odds there....

No fault of amazon or author.

Vivian Gornick never disappoints me. Her intellegence and insights abound and this is a particularly stimulating and revealing book.

Gornick manages to analyze exactly what makes a personal essay successful without sounding didactic or sentimental. I'm not surprised, as she is a terrific writer herself. She uses examples of pieces and excerpts from well-known and not-so-well known writers. For anyone who has written creative non-fiction and hasn't always known what to do to improve their work, Gornick offers an unusual way of looking at things, an interesting combination of intuitive and analytical. If you are new to writing, she offers suggestions on how to read other writers, and what to look for. I would add this to "Bird by Bird," by Anne Lamott, as excellent and inspiring books for writers.

The Situation and the Story although easy to follow is a tough read. Gornick's book tells how to read memoirs as well as how to write them. She strives for the highest standards and lays great responsiblity on the wrier's shoulders. Beyond just relating a good story that happens to be true, Gornick expects the writer to impart wisdomto the reader gained by the writerfrom the act of writing the memoir. If the writer didn't gain wisdom, t she probably shouldn't write the memoir.
For serious memoirist the book is a must read, and reread, and reread.

Gornick's approach to the subject and her analysis of personal narrative = priceless. A thoroughly engaging read for those who are exploring how to become stronger writers of essays and/or memoirs. Highly recommended.

Although the book chronicles the life of Edna Earl from childhood into adult life, it was titled, 'St. Elmo.' Edna Earl maintained a very high sense of morality, and strongly valued her belief system and her integrity. It was this sense of morality, expressed through her confident personality, that resulted in the eventual 'spiritual reawakening' of St. Elmo Murray. St. Elmo was truly 'born again' as a man and as a spiritual being. His turnaround from an angry, misanthropic individual into an enlightened individual was remarkable. It was Edna Earl who triggered this awakening in him. Therefore, naming the book 'St. Elmo' was a testament his receiving of grace. Agusta Jane Evans was an outstanding writer, as good as any whose books I have ever read.

This classic Victorian novel popular in its time is a fine example of descriptive writing at its best. It will entertain as well as educate the most prolific of readers with references to world-wide geographic locations, foreign phraseology, and descriptive paragraphs that are refreshing different to 21st century reading. A tale of romance and intrigue woven with Christian morality will delight the reader into imagining themselves present in an era now passed. I can see why it was a favorite of my grandmother and will remain a favorite with me.

Deep reading with good Christian standards. I loved all the references and quotes from famous authors and philosophers. It's all about a real-life hero who has real-life problems to conquer. Definately recommended!

I found St. Elmo at my grandmothers house last year and decided to read it since I live in Columbus, GA around the area where it is set. I couldn't put it down. I've just finished reading it a second time and it is more wonderful the second time around.

I have read this book threetimes. The first was when I was a teenager no more than l4 years. I read it again soon after I was married at twehty three. The first two times were borrowed books - I then found it still in print so I finally bought my own copy. I treasure it and probably will read it again for the fourth time. It is the greatest book I have ever owned not counting the Bible.

This book was purchased as part of a study prior to a production of 'A Fiddler on the Roof'. It proved invaluable by providing background to the way of life and conditions during the period of the musical play. Since it is the 'base work' for the musical there can be no better reference for director, actor and all the cast.

A set of short stories - some lifeless, some fairly amusing. Much to my surprise, I found Aleichem's other stories to be livelier than the Tevye stories. I especially liked some of the stories with surprise twists, such as "It Doesn't Pay To Be Good." (If I told you the twist, it would of course spoil the surprise!)

I really enjoyed the entire book! The ones associated with Fiddler on the Roof as well as all the others. These stories gave a more in depth perspective of the Russian Jews and the pogroms that they as well as other targeted Russians had to endure. It showed their incredible strength, faith and sense of community that helped them survive. Thank you for a really good book! History at its best!!!

Hillel Halkin is a master translator. His translation of the Sholem Aleichem stories takes out what might be called a 'corny archaic ' element in some other translations.
Sholem Aleichem's humor and pathos, the non- ending dialogue of his Tevye with God, the Yiddish world of Eastern Europe now lost, the questioning ironic often tender tone, are all here.
Read and enjoy.

What struck me most about these stories, in addition to the sensitive and thoughtful translation and the wonderful Tevye character, is that they don't really depict the long-lost, static, traditional culture of the Eastern European shtetl (Jewish village). By the time Sholem Aleichem wrote these stories, the life of the shtetl was disintegrating. It was a transitional time, when emigration to America, the influence of Western culture, the pull of socialism and other radical movements, and many other forces were already acting upon traditional Judaism. Tevye, whose knowledge of Jewish sources is picturesque but not very deep, was one of the most knowledgeable people in his town. That pretty much says it all.

The Tevye stories are unforgettable, the "railroad" stories of more mixed quality. That is why I only gave the book four stars. Still, highly recommended.

Hooper's book is no less than a work of a genious. What makes this work so great on the one hand is its scope as it covers chinese literature from its beginings up to the twentieth century, the various genres of literature and poetry that existed along the Chinese history and the fact that it provides excellent introductions to each and every subject it deals with (including historical introductions), and on the other hand, it's greatness lies in the fact that many of the works in it are lesser-known pieces by Hong Kong authors that Hooper discovered. The treatment of Lee Ding Fai is not as good as the rest of the book, but otherwise absolutely recommended.

This is an excellent resource for students/scholars of commonwealth and postcolonial literatures--I recommend it highly.

I liked this book, but I disagreed with the author's view on the functin of chiasmus in Timoth Mo's work. Other than that, first rate.

This is indeed a path-breaking book. Hooper has not only brought together in a most readable, even entertaining, manner a mass of widely different writings and sources; he has also provided us with a persuasive historical framework within which the further study of the hitherto neglected history of Hong Kong literature will be pursued. The book's steady attention to the diversity of Hong Kong literature is one of its striking achievements.

This pioneering volume explores Hong Kong culture and identity through the work of three writers--Timothy Mo, Ding Fai Lee, and Patrick Acheson--in the light of the region's literature as a whole. Sophisticated yet accessible, this book is a unique contribution to ongoing debates about identity and culture in Hong Kong. I found this an excellent introduction to Hong Kong writing from a studied, academic viewpoint, and I highly recommend it for anyone interested in postcolonial literature in the Asian context.

When I leave San Quentin's death row, and I feel I am not qualified to carry the lessons I've learned, the truth I have seen, I read Asha's words and find strength. Her words are a gift to all of us, words I find myself reading again and again. Thank you, Asha. May you find continued courage to speak.

one line in the title poem for Audre Lorde: " "you left me there with / your head raised and still dreadlocked walking/ toward the beginnings of your death"

one poem: 4:15 a.m./ a jailhouse luv story: "in this institution that is rank with the bizarre & vicious oder of/ annihilation,/ we have only ourselves to hold up as light and possibility/ and i hold you up & i hold you in as/people tell me i am crazy,/loving you across barbed wire & time/ but i believe in our love because you struggle with me"

OK next poem your turn to pick.... as you can tell I love this poet.

I stumbled across Bendele during an Amazon.com search for new poets and ordered this book as a gift based only on the reviews. I feel SO lucky to have found it. Bendele writes raw, powerful, honest poetry that causes the reader to draw in a deep, sudden breath time and time again as each poem surprises and enlightens. Bendele says the things that need to be said, and she does it so well that her message is unforgettable and undeniable.

And the best thing? You may be reading her poetry silently to yourself, but it reads like it's being spoken aloud to a packed auditorium. As a reader you get the sense that you're on the edge of something big and brilliant - the end of denial, and the acknowledgment of survival and hope in a painful and unjust world.

Please, Ms. Bendele, more, more, more!

Asha Bandele is the Maya Angelou of my generation. I have read this book over a hundred times and have bought numerous copies for my friends (both men and women). Asha blesses each page with her truth and ability to express it so fluently. She gives back to all that are reaching out for a positive yet realistic voice.

Asha Bandele has a way with words. As always she calls us to dissect ourselves. To dig away at the surface in order to reach the core. Her words of poetry float over each page, and is able to attack the mind and force us to think. She is able to deliver and articulate what we think but so often afraid to say. She is the voice of my generation. A voice demanding to be heard.

Imagine living in a world where life is governed by intricate rituals; a world "balanced so precariously that its harmony [can] be shattered by a whisper" (Wharton); a world ruled by self-declared experts on form, propriety and family history - read: scandal -; where everything is labeled and yet, people are not; where in order not to disturb society's smooth surface nothing is ever expressed or even thought of directly, and where communication occurs almost exclusively by way of symbols, which are unknown to the outsider and, like any secret code, by their very encryption guarantee his or her permanent exclusion.

Such, in faithful imitation of Victorian England, was the society of late 19th century upper class New York. Into this society returns, after having grown up and lived all her adult life in Europe, American-born Countess Ellen Olenska, after leaving a cruel and uncaring husband. She already causes scandal by the mere manner of her return; but not knowing the secret rituals of the society she has entered, she quickly brings herself further into disrepute by receiving an unmarried man, by being seen in the company of a man only tolerated by virtue of his financial success and his marriage to the daughter of one of this society's most respected families, by arriving late to a dinner in which she has expressly been included to rectify a prior general snub, by leaving a drawing room conversation to instead join a gentleman sitting by himself - and worst of all, by openly contemplating divorce, which will most certainly open up a whole Pandora's box of "oddities" and "unpleasantness:" the strongest terms ever used to express moral disapproval in this particular social context. Soon Ellen, who hasn't seen such façades even in her husband's household, finds herself isolated and, wondering whether noone is ever interested in the truth, complains bitterly that "[t]he real loneliness here is living among all these kind people who only ask you to pretend."

Ellen finds a kindred soul in attorney Newland Archer, her cousin May Welland's fiancé, who secretly toys with a more liberal stance, while outwardly endorsing the value system of the society he lives in. Newland and Ellen fall in love - although not before he has advised her, on his employer's and May and Ellen's family's mandate, not to pursue her plans of divorce. As a result, Ellen becomes unreachable to him, and he flees into accelerating his wedding plans with May, who before he met Ellen in his eyes stood for everything that was good and noble about their society, whereas now he begins to see her as a shell whose interior he is reluctant to explore for fear of finding merely a kind of serene emptiness there; a woman whose seemingly dull, passive innocence grinds down every bit of roughness he wants to maintain about himself and who, as he realizes even before marrying her, will likely bury him alive under his own future. Then his passion for Ellen is rekindled by a meeting a year and a half after his wedding, and an emotional conflict they could hardly bear when he was not yet married escalates even further. And only when it is too late for all three of them he finds out that his wife had far more insight (and almost ruthless cleverness) than he had ever credited her with.

Winner of the 1921 Pulitzer Prize and the first work of fiction written by a woman to be awarded that distinction, "The Age of Innocence" is one of Edith Wharton's most enduringly popular novels; the crown jewel among her subtly satirical descriptions of New York upper class society. By far not as overtly condemning and cynical as the earlier "House of Mirth" (for which Wharton reportedly even saw this later work as a sort of apology), "The Age of Innocence" is a masterpiece of characterization and social study alike: an intricate canvas painted by a master storyteller who knew the society which she described inside out, and who, even though she had moved to France (where she would continue living for the rest of her life) almost a decade earlier, was able to delineate late 19th century New York society's every nuance in pitch-perfect detail, while at the same time - seemingly without any effort at all - also blending together all these minute details into an impeccably composed ensemble that will stay with the reader long after he has turned the last page.

The book begins with wit and irony, as Edith Wharton describes the small élite of New York society in the early 1870s. They lived within a whole series of well-understood conventions and assumptions which included nice and minute distinctions within the social hierarchy, a censorious and gossipy attitude towards any member of the set who strayed from what was expected of them in the manners, appropriate cultural interests, dress and furniture, and relations between the sexes. Those who were felt not to conform, such as the American-born Countess Olenska who had returned from Europe, leaving her husband and intending to divorce him, imperilled the reputation of their entire families. In that society, young unmarried women, in particular, were brought up in ignorance of the ways of the world, into which they were initiated only after their marriage. Until then, theirs was the age of innocence of the title.

That is the state in which May Welland was when she was engaged to Newland Archer. May Welland belonged to the same family as the Countess. They were cousins and the granddaughters of the powerful and wealthy matriarch, Mrs Mingott, a pivotal and superbly drawn character, both as to her personality and to her vast appearance. Newland was in a dilemma: he had really shared all the assumptions of his class; but now, to protect his fiancée, he felt he had both to defend the Countess and to dissuade her from going ahead with the divorce. The Countess is `unconventional' in other ways: she consorts with artists, who never mix with the social élite of New York, and she claims the right as a woman to live her own life. She is also very attractive, and Newland, in taking her side, not only finds himself unaccustomedly critical of the conventions in which he has been brought up, but falls in love with her, as she does with him. Then of course he wants her to divorce her husband so that they can marry, though he is engaged to May. The Countess thinks this impossible - perhaps out of loyalty to her cousin May (though this is not made explicit at the time); and Newland then does in fact feel bound to marry May, though he already feels the dread that he would be sucked into the conventional life which he was beginning to find stifling.

May's interests and attitudes indeed turned out to be much the same as those of the society into which she had been born (though she was no fool, understood more than her innocent air suggested, and knew how to use the coded language which said so much more than its surface would suggest). After a year and a half of marriage, Newland was just getting used again to the world in which he had after all also spent most of his earlier life, when the Countess Olenska reappeared in his life. Their love for each other has never died down, but they are no nearer to being able to make a life with each other: his code forbids divorce, and hers forbids the role of a mistress and the betrayal of other members of her family. And of the two, the enigmatic Countess is always the stronger and the saner one.

The strength of the tribe is irresistible, and it is brought out especially in the superlative description, both sardonic and touching, of the farewell dinner given, at May's insistence, in honour of the Countess' return to Europe.

A quarter of a century elapses between then and the last chapter of the book. This, too, is quite outstanding, describing not only how Newland`s family and public life had developed respectably in that time, but also what changes had come over New York society in the interval. Newland's son Dallas is so much less inhibited than his father had been; the stuffy mores of his father's generation have long passed away. In the brief portrayal of Dallas and of the relationship between him and his father Edith Wharton again shows herself as both a brilliant social historian as well as a sophisticated novelist.

This literary drama is a far cry from Noh Drama's long haired monster dwelling in a cave in a mountain top. Yet the mangitude of restrained subtlety of expressions veiling wide gamut of human passion from each drama is the same. Set in Jim Crow and Chinese Exclusion Act days, Edith Wharton offers unique insight of the subject matter and extraordinary foresight in what she knows best, her own social milieu. The uneasy relationship that Wharton describes so honestly and tenderly is provocative simply because Archer considers Ellen his "team" notwithstanding.

For general readers Wharton has constructed a book that is everything the other reviewers here claim for it regarding their enjoyment of it.

For a writer, as in my case, I needed more than entertainment.

I read Age of Innocence as a source of information on the era Wharton knew so well - Old New York and Newport in the Gilded Age. For that purpose I found it outstanding indeed. But Wharton's selection of characters and the plot suggested a lot more reading would be valuable. I started with her latest biography by Herminone Lee, a striking work in itself. (Knopf, 2007.) I recommend it to anyone interested in Wharton. This aroused curiosity as to the extent Wharton's life may have contributed to her selection of material and her dark brown treatment of it. She always seems to be trying to get even with someone, as Louis Auchincloss has observed as well. He is must reading on Wharton. Curious on that point, I ended up reading at least two dozen books that I would not normally read, such as Henry James, parts of Balzac, another reading of Madame Bovary, even Pride and Prejudice by Jane Austen, which I thought was more soundly written than Age of Innocence. It certainly was a lot happier book.

I was disturbed by Age of Innocence, especially it's conclusion. Other professional writers have told me of a similar reaction. One, a lady friend of my wife's, who is a highly successful writer of mysteries, said, "When I got to the end I simply screamed!" Figuratively, so did I.

Tastes in books are obviously subjective. I tend to history and biography. Neither I, nor anyone else, is qualified to criticize Wharton simply based on individual taste. But there is a fair basis of more objectively considering her work: her own book about how to write novels and short stories. After reading Age, I was surprised to find that, as a writer, I agree with almost everything Wharton wrote about the subject. She doesn't follow her own views in any of her writing that I have read and I have read a lot of it recently.

Wharton and I agree on the first principle of all good writing: "Write only about what you know about." Next in importance, and of equal weight are: (1) know your characters thoroughly (2) keep characters in character (3) after that turn them loose and let them write the plot in interaction with each other and don't meddle. This was Mailer's approach, but there are striking contrasts in approach that produced sterling writing, such as Steinbeck (his Winter of Our Discontent is a masterpiece of plotting). (4) avoid contrived situations which always involve unsound motivation (an annoying offense that almost every reader will catch, since people are basically logical). There are many more good rules to follow, such as avoiding Acts of God (the Deus ex Machina of Greek drama.) Instead let the characters get into their own scrapes due to their own limitations and out by their own ingenuity. If she had not ignored her own rules and allowed her two main characters to step out of character, Age would have demanded a different ending.

Therefore, judged by herself, I think Age of Innocence and many other of her works flunk the course.

Although I had read this earlier, and seen the sumptious Martin Scorsese film, knowing beforehand what happens so well, let me linger over the many exquisite passages. Such a beautifully written novel. And, I hope, the saddest one I shall ever read. Choices made, society's demands adhered to. Newland Archer, what a tragic figure. This is a must-read for anyone who cares about good literature. And a great history of early New York upper crust society.

Probably, the only reason I can not give this 5 stars is because I was spoiled by Shakespeare's "The Comedy of Errors." This is a sparkling piece of art. It is easy to see how Greek Mythology inspired Shakespeare. The Greek gods have human desires, impulses, and weaknesses. And often, their people suffer because of them. In this play, several characters are hindered (although unintentionally) by the bickering Oberon and Titania. It is easy to see the similarities between Zeus and Hera. The play also offers situation comedy, young lovers, frustrated parents, sparkling images, and a happy ending. CAUTION-ENTER THIS MYSTICAL WONDERLAND AT YOUR OWN RISK.

This was truely one of Shakespear's best plays. The way it was put into a movie was absolutely brilliant. I've seen few of his plays on film. But I bet even if I saw them all, A Midsummer Nights Dream would be my favorite along with Taming of the Shrew.

This is one of my favorite, if not my VERY favorite of Shakespeare's works. It is certainly my favorite of the comedies and I do not hesitate to rank this as one of the greatest works of literature of all-time. By the way, I LOVE this play. Oh yeah, have I mentioned that...well enough of that. "A Midsummer Night's Dream" is one of the funniest plays of all-time. I was literally laughing out loud during the performance of "The Most Lamentable Comedy..." at the play's end. The "dream" world within the forest is a magical fantasy world in which the humans are manipulated by faries to fall in or out of love. Within this world, in which most of the play occurs, the powers of the imagination are heightened and the characters are helpless against their imaginations, which guide everything they do and say. This is one of the play's major themes: the imagination. Even out of the "dream world" the characters are guided by their imaginations. Duke Theseus (the plays strongest critic of such a notion) even admits that in order to enjoy such a performance (as the one put on by the unforgettable Bottom, and his comrades-in-folly), one must use one's imagination. I honestly believe that this is Shakespeare at his best. I would recommend this work to anyone!

Anyone who has read this play will say that it was a riot. What's even better than reading it, though, is seeing it performed live. My face hurt because I was laughing so hard! But if you do read it, and you have that problem about understanding what it's saying, not a big deal! The flavorful but easy to read dialouge makes it simple to understand what's going on. But, you can always get the New Folger edition that has explanations of certain parts on the opposite page (very helpful for when Shakespeare makes a joke that doesn't make any sense to us now). This play is laugh-out-loud funny and almost anyone can enjoy it.

I disagree with the reader who said there is no substance in this play. Certainly, all works of good literature have substance, espcially this one. One of the great aspects of A Midsummer Night's Dream is the fantasy that the characters are led to believe. Compare this to As You Like It, where the only fantasy is the fantasy that characters want to believe.

Scotsman of high ideals and weak moral fibre spends several months in London crashing dinner parties, schmoozing aristocrats and chowing down on free food. On his way to and from these shindigs, he nails hookers and gets the clap. (Quote of the book: "She is in all probability a most consummate dissembling whore.") Resolves to change his ways. Doesn't. Writes lots of nasty things about various fifteen-minuters of his day and also meets a few bona fide intellectual lights like Johnson. This book is a salacious page-turner, beautifully written by a young man with an indiscriminate penis but a keen eye for character. Highly recommended for teenage boys with summer reading lists; it offers enough smut to be interesting, while you get credit for reading a classic.

Tired of all those solemn "memoirs" and "remembrances" that are on the library shelves? Well, this one will knock your socks off!
If Boswell were alive today and using videotape instead of a quill pen, the talk shows would have him as their constant guest.

I'm not sure if I'd want to have known him, but this lecher, alcoholic, and moocher had a keen eye for London high- and low-life that will keep you hanging on every page.

To anyone who, like myself, has found a real and deep enjoyment in reading the Life of Johnson, I can only recommend Boswell's own diaries. The first volume - his 'London Journal' starting in the year he met Johnson - is pure delight. Boswell always saw himself as a character acting in the drama of life, and he could be almost excruciatingly honest and objective about himself. His voluminous diaries record all the trivia, triumphs, and despairs of his own life, day by day and year by year.

My own opinion is that Boswell is a far better diarist than Pepys, though not nearly as well known in this respect. There is a fascination about seeing his whole life recorded from youth to shortly before his death, with all the same force and liveliness that went into his Life of Johnson. His inner life is at least as entertaining as his outer life. He seems totally determined to write about himself as he wrote about Johnson - warts and all.

It's this courage and honesty about himself that makes us respect Boswell even when he is at his most foolish or debauched. The diaries make it extremely clear that he was no idiot, and that the Life of Johnson was no fortuitous masterpiece. From his diaries he comes across as a deeply sensitive, romantic, self-conscious man. Charming, likeable, and often playing the clown to his acquaintances; but often filled with self-doubt, frustration, insecurity, and a deep depression that he concealed from all except his closest friends.

We see Boswell puffed up with vanity at some silly social success, and the same Boswell quietly devoting large amounts of time and money that he could ill spare to helping people in trouble. We see Boswell in love again and again with totally unsuitable women, and eventually marrying the cousin who had always been a good, close friend rather than an object of wild romance. We see Boswell in his vibrant youth, and his tragic final years, as an alcoholic filled with bitter shame and despair, yet unable to reform.

His diaries are certainly one of the great undiscovered treasures of literature. They deserve to be a lot better known than they are.

It has been quite awhile since I have read this book but and can remember few details. What sticks in the mind is the complete humanity displayed by its author. Frankly, Boswell is unlikable and hardly to be admired but his passion and candidness make this book very readable today. Not many tomes from this era can make this claim. It is a must read for both those interested in Johnson and those students of the human condition.

I read this book to prepare for a trip to London a few months ago and loved it! What an honest journal that sums up the wonderful daily life of a prolific man. There are no big ideas or revelations but I got so much out of each and every detail Boswell offered. Extremely insightful and engrossing!

The classy look of the hardback cover is just perfect for the treasures inside the book. Thanks!

would put Pushkin in category with Turgenov and Chekov for a good read with a hot cup of tea in front of a roaring fire. Everyman's Library edition offers a decent look at historical Russian window through stories.

If you want to sincerely have a happy, fulfilling marriage to a Russian lady then you better not be complacent either.  Study the Pimsleur language lessons, read all the books you can, study Russian history and culture, read their literature.  The works of Pushkin alone are rewarding for any scholar with or without the motive of a beautiful Russian bride!

Readers seeking an entrée into Russian literature are prime candidates for this prose collection. Pushkin's stories are well-paced--not a word is wasted--and those who look beneath the surface of the writer's refreshingly lucid, taut and unembellished style will find a world that bristles with energy and life.

Among my favorite short stories in this collection were: The Tales of the Late Ivan Petrovich Belkin, The Captain's Daughter and The Queen of Spades. The epistolatory introduction to Tales of Belkin consists of a wry letter from the publisher, which kicks off a hilarious and sweeping commentary on Russian society. Filled with such characters as an arrogant fop, a wistful maiden and a heartbroken father, these poetic stories were beautifully crafted by a bon vivant who, without a doubt, appreciated the art of entertainment. The only selection I didn't care for was The Undertaker, as it struck me as silly, but the rest of Belkin's tales were page-turners. The Captain's Daughter was a heartwarming and often amusing tale of love, persistence and respect, as well as a not-so-oblique commentary on Tsarist aggression: the subject nearly landed young Pushkin in scalding-hot water, too. The protagonist Petr Andreich, who remains callow and a victim of circumstance throughout much of the story, incidentally, reminded me of Pip from Dickens's Great Expectations (Penguin Classics). Finally, Queen of Spades is a poignantly dark and cynical exploration of greed and treachery.

The images this artist pours into his short stories, as well as the plethora of superb scenes and economy of writing he employs, are reminiscent of modern screenwriting, and I suspect even harried readers who are accustomed to a steady diet of film and television will find themselves welcomed here. To wit, several stories struck me as prime candidates for a short film; I'd especially like to see an adaptation of The Shot, one of the five Tales of Belkin. Too bad this Everyman's Library edition isn't available in paperback, although it's probably small and light enough to fit into a travel bag.

Regardless, it's a fine read.

My Titles
Shadow Fields
Snooker Glen

This book contains the major prose works of Aleksandr Pushkin, which include "The Tales of the Late Ivan Petrovich Belkin", "Dubrovskii", "The Queen of Spades", "The Captain's Daughter", and "A History of Pugachev". Also included in the book are many unfinished stories and fragments, which provide some glimpse into what Pushkin was thinking in between the years that he wrote his masterpieces.

Pushkin's stories range from melancholy to humorous to psychological and yet they are all written in a clear, and crisp style that is easy to grasp. Unlike Pushkin's poetry, little is lost in the translation of his prose works from Russian to English and thus we can fully appreciate his genius.

Although all of Pushkin's prose works are excellent, but one that continues to remain in my memory for some reason is "Egyptian Nights". Here the two main characters are Charskii, the nobleman who upholds the aesthetic and personal nature of poetry writing, and the greedy Italian improvisator, who lives by giving public shows and is able to deliver a poem (and quite astonishing at that) on any topic at a moment's notice - but for a fee. Is it possible that Charskii and the Italian both represent different facets of Pushkin's own personality? Anyway, I thought the story ending was erotic and exotic...

Even if you are not interested in Russian literature or in Russian culture in general, I would daresay that you would find it hard to put this collection of stories down after you started reading them.

The only problem that I had was with the publisher. I wish that they had provided a bookcover, because the paint on the outside of the hardcover kept coming off onto my hands!