English Classics Books

Many people dismiss Hans Christian Anderson as a mere author of now outdated children's stories. Anderson, as this volume of his annotated stories makes clear, was a poet, folklorist, historian, and commentator as well as a children's writer. In fact, many of his stories were written for adults, not children, and even those aimed at the young have side passages and comments which were meant for grown up men and women to hear and ponder. This volume contains a good sampling of both of these types of Anderson's stories. Each story is copiously annotated, a real pleasure for the modern reader who may not recognize references to customs and people now far in the past. There are many beautiful illustrations from the multiple published versions of the stories. Most importantly, the stories have been newly translated from the original Danish, so that as much of the original emphasis and focus is present as possible.

This annotated volume not only allows the reader a fresh view of some famous stories, it also makes the enormously complex original author much more comprehensible and even more likeable.

Ever since taking some literature courses to complete my degree, I've been fascinated by fairy tales. These stories can be enjoyed on a very basic level, but in order to understand the context, one often needs to know more about the author, the time of the writing, and what the characters and story line connote for the writer and his or her readers - at the time it was written. Using a very simple format of narrow text with wide margins to contain the annotations, this book allows the reader to read the story only, or read the notes only, or read a combination thereof, or, just look at the fascinating pictures and engravings as copied from the original editions. The dust jacket is colorful and ornate, and the paper is crisp, easy on the eye, with error free print. In short, this book will appeal to old and young, scholars and casual readers, and even those just looking for a pretty book to put on the shelf.

I ordered this as a Christmas gift for a friend with young children. The quality of the book exceeded my expectations. The wonderful stories and illustrations are perfect for kids, whilst the scholarship and annotations are excellent for adults.

This beautifully produced book contains 12 tales for children and 12 short stories for adults. There are almost 150 illustrations, many in color, from classic editions of Andersen's works. At first blush, the illustrations are the stars of the show. The colored images by Clarke, Dulas, Nielsen and Lorenz Frolich are splendid, as are the many ink drawings by W. Heath Robinson. The illustrations speak for themselves (and for this collection), although there are ten short biographies at the back of the book.

Maria Tatar edited THE ANNOTATED BROTHERS GRIMM and THE ANNOTATED CLASSIC FAIRY TALES. She and Julie K. Allen translated the stories, and Tatar provides many annotations. Example: "The Ugly Duckling" is "the most deeply personal of Anderson's stories, a narrative that traces his trajectory from humble origins to a literary aristocracy."

Tatar is eloquent on the importance of Andersen: "We need to engage our critical faculties in order to understand what makes these stories so emotionally addictive. Why have these Danish cultural stories taken hold in the United States to become instruments for navigating childhood? How do the stories enable the reader to get lost in the book, to drink the heady elixir of fantasy? And how do they arouse the intellectual curiosity of children?"

Tatar argues that Andersen's descriptive techniques create moments with "ignition power" that kindle the imagination. "Andersen's descriptions of beauty can weave spells. They create an adrenaline rush so that you begin to read with the spine rather than the brain. These luminous moments energize the mind, leading the reader to read on to explore perils and possibilities, but also to dig deeper."

According to Tatar, "The Emperor's New Clothes" exemplifies Andersen's narrative powers. "When I reread the tale I remembered how as a child I had started to imagine what the cloth looked like. Even though it is invisible, the swindlers and the adults describe the cloth as silky and beautiful, with gossamer designs ... and Andersen invests so much narrative energy in describing the invisible cloth that, ironically, it begins to dazzle in the mind's eye. That is what Andersen can do -- he lights up the imagination."

The short stories were new to me and have some interest seen through Tatar's eyes. But these new translations of the old favorites like "The Snow Queen" or "The Little Mermaid" are just as magical as ever.

An excellent example of Norton's annotated series, this edition contains what we have come to expect from this publisher, Anderson's goblins and mermaids hopping through the pages, the margins offering historical context, the influence of culture and an interpretation of the selections that hint of the darker nature of fairy tales. Translated by Maria Tatar and Julie K Allen, these tales are lushly illustrated, ink sketches, black and white drawings and full-color renderings that pique the curiosity of young and old alike, "Tales for Children", "Tales for Adults", "Biographies", "Anderson's Readers" and "Bibliography". Children's selections include "The Emperor's New Clothes", "The Princess and the Pea", "The Little Mermaid" and "The Wild Swan", segueing into the more sophisticated stories for adults, "The Red Shoes", "The Girl Who Trod on the Loaf", "The Goblin and the Grocer" and "The Bell".

Putting the collection in context, the Introduction, "Denmark's Perfect Wizard", speaks to Anderson's genius, a Dane born over 200 years ago. Anderson tackles provocative subjects: compassion ("The Little Match Girl"); hypocrisy ("The Emperor's New Clothes"); and the necessity of hope ("The Ugly Duckling"). Sparking imagination through the texture and color of language, darker issues are dressed in sparkling prose and brilliant hue ("a purple flower with light streaming from its calyx"). It is such language that draws young and old into the world of the fairy tale, subtle lessons on the vagaries of human behavior and the undiluted power of storytelling as a means of universal communication.

Evocative illustrations and fascinating annotations offer a depth of perspective that is common to this series, an exploration of social consciousness and tales couched in the visual and the arcane, a juxtaposition of morality and fantasy that allows the reader to challenge preconceptions and enter the world of expanded imagination, because some stories never grow old. Luan Gaines/ 2007.

I enjoyed these three novels a lot. It was not a book that I might have selected for myself but had been recommended for me. I learnt a lot about the English character at the start of World War II and also about the reality of the encroaching war - its progress in a day-to-day basis especially in countries like Rumania and Greece had been quite obscure to me previously. The evil of the fascist States is always an approaching threat in these novels and yet its reality barely imposes on the Pringles - are they courageous or foolhardy? When a few of the many well crafted characters lose their life or disappear alarmingly, disappointingly, perhaps I realised that the extent of the characterisation had perhaps diminished the depth of characterisation - I didn't feel the pain as much as I thought I should have.

But I did feel Harriet Pringle's uncertainties as she comes to grips with how poorly she knew her new husband, Guy. How he was so honourable and sincere with everyone, but in many ways a failure as a husband. How she is attracted by friendships with others - women as well as men - and is encouraged in all those friendships by Guy. Does he see no risks in this? But mostly it is her loss of a kitten in Rumania, and the need to abandon a cat, that may have been lost anyway, in Greece that really hurt Harriet. 'The poor cat' she grieves as they have to flee at the end of the three novels.

I am sure that much of these novels is autobiographical and I trust that Olivia Manning did not distort history for dramatic reasons. That would be inexcusable for me. But I am unlikley to do the research to find out.

Olivia Manning has written a monumental work, for the first time really expressing what life was like for Romanians--and giving a sense of real history. While quite long, it is worth every word. I highly recomend it.

The Balkan Trilogy is a study of marriage, an atmospheric look at the Balkans in the days before and during The Second World War, and a wonderful ride through a living and breathing cast of characters.
If you are a plot-driven reader, then this book is not for you. But for those of us who can conjure up Bucharest in our heads, know Yaki's faults and foibles as if we had shared a drink with him a hundred times, and share Harriet's privations through war-torn Europe, it is a marvellous read.

I was very disappointed to see that this collection is out of print. I have read the trilogy several times and always found something new to admire. Ms. Manning is very adept at illuminating the communications and mis-communications of marriage and politics. These novels balance emotional life and political effect very well and they work on many levels. I hope it is back in print soon so I can continue to press it on friends without relinquishing my worn copy.

I read this trilogy, in the Penguin edition, as the first volume of Olivia Manning's "Fortunes of War". Composed of three novels, it narrates the evolution and growth of Harriet Pringle, from a young, unworldly and hopeful newlywed, to self aware, disillusioned, but profoundly humane cosmopolitan who wearily flees the German advance against the backdrop of WWII in southern Europe.

We meet the main character (Harriet, from whose point of view we see everyting)as she has recently married and is travelling, in the company of her husband, Guy, to Bucharest. WWII has just begun, and the young British couple finds many alarming signs of this in their way to the country where they intend to spend some time, since Guy has a teaching post there.

As we get to know them while they settle in Bucharest, we can see how Harriet and Guy are totally different in personality: while Guy is idealistic, open and gregarious, Harriet is reserved, not very talkative and even suspicious. These differences become apparent for them, as well as for those who know them, creating tension and misunderstandings in their married life. Harriet doesn't understand why Guy seems to love to be with everybody, and have a good time on top of that, and spends so little time with her. He also cares about everybody's problems except her own (she doesn't bother to give a clue about them, but anyway expects him to at least look interested).

All this would seem ordinary, boring, married life stuff,..... except that the setting is the very troubled Europe of the war.I also think Harriet's thinking and feeling processes are quite likely and credible: we tend to see ourselves, in the middle of our misfortune and unhappiness, as the centre of the world, even when shattering, but vague and general, events sorround us. Harriet does indeed seem more interested in the obnoxiousness of her husband's behaviour than in the real tragic and dangerous situation they are in. For, even though Romanian people assure them that they are in a safe country,allied of the Germans, events begin to tell otherwise. Harriet, however, is not as much interested in historic events as in her discovery of the very real differences in character and disposition that seem to distance her from her husband or, even more surprising for her, the sudden realization of how interesting and worth of affection some of the people she meets in Bucharest are. This latter, the fact that she can feel authentic, deep affection for total strangers with whom she doesn't share anything (culture, language, age, background...) makes her worry more about the real possibilities of success her marriage has....while it also teaches her how there is a human core in herself and others, even in the middle of chaos and tragedy, that makes human connectedness possible. On the other hand, this device makes us acquainted with truly fascinatig characters, tridimensional, charming and lovable with flaws and all.

But she has to leave Bucharest in a hurry, as well as her new friends, for Greece. The Germans are sweeping over Europe. And this is the greatest charm of the trilogy: the depiction of the very last days, the agony throes one could say, of a whole world and view of life; the decadence of the old European society, torn between two visions of the world that will ultimately destroy it: fascism and comunism. Harriet's husband, Guy, likes this latter vision and, sadly and ironically, is devoted to spreading the greatest works of European culture, just in the eve of this culture's destruction through the attrocities of war.

It is a great triumph of the author that, in spite of the highly tragical, chaotic and emotional times the story is set in, she manages to convey the story in a very emotionally-controlled, sometimes even detached, way. This must be really difficult when writing about a young British couple, far from home and family, who flees the German advance in Europe. But the point of view chosen -that of a character who is really in the middle of the important, life-affirming process, of learning about herself and the world: how she can care and feel affection for other people, all kinds of people (learning to love), and who is getting to lower her expectations of what she should get in return for her affection- , diffuses the impact of the times and, through the very personal vision of the character, makes us have some hope and faith in the humanity of people.

There is a sequel to this trilogy, although not so long, that tells about Harriet and Guy after they have to leave Greece for Egypt: The Levant Trilogy. I recomend both. They convey a very good idea of the world and way of life that died with WWII.

Russ McDonald is not someone many people have heard of, unless you happen to live in the world of Shakespeare scholars, in which case, I would be surprised if you have not. Mr. McDonald was for a long time associated with the Folger Library, and has edited numerous volumes of the Penguin Shakespeare editions, among other credentials. I have had the good fortune to be in one of his classes, and I can think of no one else I have ever met that has so much love and appreciation for Shakespeare's genius, while simultaneously being able to pass that to his students. I honestly don't think there is anything this man *doesn't* know about Shakespeare.

That being said, The Bedford Companion is less about The Bard, and more so about the times in which he lived. While attention is given to his plays, equal attention is given to such things as the history of the Globe Theater, Shakespeare's early life, the economic situations of the time, and a history of Shakespeare appreciation, or "Bardolatry". It shows Shakespeare as a human, as a buisinessman, a family man, and how he eventually become know as the greatest writer in the English language. (Most of his plays weren't published until after his death.) This book may not help you fully understand Hamlet, but it can certainly make it more interesting.

Russ McDonald's book provides excellent materials that help students to see the time in which Shakespeare lived. I use it everytime I teach Shakespeare. Note, I'm 13 and under, but Amazon's review system is funky (see!).

I recommend this book for those who enjoy reading British literature from the 16th and 17th centuries not just Shakespeare.

Its been almost 13 years since I had the pleasure of enjoying Russ McDonald's insight on Shakespeare first hand and it was a pleasure re-engaging with his wit and insight again via this text.

This book is a great overview of all things Shakespeare. It intorduces the man himself, the language of the works, the culture of the Elizabethans and the theatre, sosurces, and basic scholarly criticism and ideas. A wonderful foundational text with primary documents which greatly enhance the reading and give the subject a new life.

Bedford's handbook is quite handy for a non-expert. Anyone who's going to be teaching Shakespeare but hasn't written a dissertation on him ought to pick one up.

There may not be a greater master of the English short story. Saki (H.H. Munro) writes from a period that is recent enough to be somewhat familiar, but remote enough to provide a bit of an exotic feel to the settings. These short short stories (typically 5 or 6 pages) are an uninterrupted series of gems. In a storytelling style full of grace, charm, and wit, Saki is unstinting in his criticism of the selfish, the self-centered, and the self-absorbed. About the only humans who are spared his sharp utensil are children, who frequently consort with Saki in piercing his victims. Delicious fun.

I read this entire collection over about two weeks. I would not recommend reading Saki's short stories this way. Before reaching the midpoint, one is so familiar with his style, approach, and aim that the element of surprise is somewhat dulled. These should be dipped into perhaps two or three at a time and then set aside for a month or two. Don't worry...they'll keep.

This is one of my favorite and most admired books, ever. An ideal collection of ideal short stories - witty, brief yet complete, and not a word wasted in creating tone and point. Funny and satisfying. Unsettling and creepy. Deliberate use of language and vocabulary that cuts and exposes. All of the above. Unforgettable: The charging stag. The baby playing with buttercups. Schartz-Metterklume.

Recommended without reservation, for a single sitting or a one-a-night from the bedside table.

Probably the only sane response, as a writer, to Edwardian England was to skewer it mercilessly. And nobody serves up a finer kebab than Saki. These stories are clever and hilariously funny. I think part of their appeal is that, although Munro can be merciless, one always senses an underlying affection for his targets. It's also pretty clear that Saki's sympathies are with those who lack clout in the established power structure of Edwardian society (children, for example), which makes me like him all the more.

A very funny book.

Saki's writing style is unique. His stories are mostly bleak and tragic. Some of his writing seems to have been influenced by his background and childhood experiences. However, they are amusing, interesting and tinged with humour.

Picador edition has wonderful, nicely written introduction that gives marvelous details of Saki's remarkable and short life, explaining well why his stories are usually so dark, and why he liked to take aim at stuffy old bats.

Nearly all of Saki's short stories are about some character exacting revenge upon cruel or shallow members of the British upper class. His writing sometimes feels labored and overwrought, with overlong sentences or ungainly descriptions. But his consistant style, sense of justice, and biting wit are the gems to be discovered within.

The earliest stories seemed to have a lack of balance between darkness and wit, but he did find his equilibrium and most of the later tales are deliciously satisfying.

Absolutely delightful reading if you liked Robert Altman's recent film Gosford Park, or if you are fed up with stuffy, mean upper class types.

an electric dazzle of color light all infuse these poems, a terrific joy to read. it's on my nighht stand right now... a true talent!

This volume contains poems and prose-poems that are autobiographical (I assume), biographic and mythical. In the biographical series of interned Japanese, the poets' confidence that the story itself is sufficient creates very effective poems - simple language, well chosen details - and a person is drawn. In the mythic poems she uses more "poetic" language and imagery while retaining a highly effective simplicity. In the biographic poems, the segment that includes prose poems, there is a different sensibility, one drawn from hunting, from social isolation as the child of a war bride - a bride who married the enemy.

The most impressive feature of this volume is the confidence of the poet - the trusting of her skill, the power of story, the power of words. While much of the message of the poetry regards the policy of internment, the destruction of Hiroshima/Nagasaki, racial prejudice, childhood embarrassment of parents that are "other" etc., there is no trace of the diadactic in the poems. The poems simply sing.

Beyond Heart Mountain is a wonderful book. The poems are beautifully written, the voices are quite distinctive, and many of the poems are very moving. I highly recommend this volume of poetry!

A large passion guides these poems from the first line to the last. From tragedy to simple pleasures, an entire range of human emotions is chronicled in this unique collection of poems. Beyond Heart Mountain is a moving experience; a great addition to your library and life.

There is much to be said about poetry with language so finely chiseled it cuts through the page. Roripaugh's words are a feast for the senses. Myth, history, culture, and memory are but a few of the rich ingredients in this dazzling book of poems. Definitely one of the best books of poetry I've read this year.

I am a big fan of Edmund Keeley's translations of Demotic Greek and Katherevousa. Having an armchair scholar's knowledge of the language I can appreciate the labor that has gone in to the refinement of the translations in the decades since the first edition. This volume reads very well in English, and I have given many of these as gifts over the years to poetry fans who do not know a word of Greek, always resulting in a comment about how such a poet could be so little known. Cavafy probably would have preferred it that way!

There is nothing that can adequately describe the first time you read Cavafy. It is like a breath of fresh air or a cold shower on a hot day... completely envigorating and different to anything you've ever read before.

I've shared his poetry with friends and they are all blown away.

Cavafy's erotic poems show a sensitivity and directness that is quite unique.

His personal reflective pieces are extremely insightful. I would say that you will get a better understanding of Existential philosophy through this small book of poems than any tomes from the likes of Satre, Camus, Beckett.

His historical poems are best appreciated if you know Byzantine history and the notes in the book are a fantastic to set the context.

This book deserves to be in any personal or public library

Cavafy is a poet with a view that is both ancient and modern. It's a poet that has a language that is both exuberant and emotional without being too excessive.

I own a copy of the original collection of Cavafy's poems (in Greek) and I find that this translation has measured up to the task of translating the forceful and sensual poetry as closely as possible. And for anyone who cannot read Greek, this book will bring you as close as possible to the intense emotional response of reading the original. A must have for any poetry lover.

As with any poems translated from a language I have never learned, I am left wondering just how close Edmund Keeley and Philip Sherrard have come to the original style and substance of C.P. Cavafy, the great Alexandrian Greek poet of the early 20th century. (Keeley and Sherrard are scrupulous in their end notes, noting untranslatable words and the original rhyme schemes of poems translated into free verse.) Even in translation, these poems are exquisite, haunting both my dreams and my waking thoughts. Cavafy essentially had only a few subjects, but they were great ones--the lost glory of antiquity, the inevitable decline of the mighty, the death of love and beauty, the folly of human striving, the crucial importance of memory and history. In language of deceptive simplicity, he limned the ephemeral nature of beautiful things and the empty spaces their loss leaves in the soul. (Cavafy, openly gay at a time when homosexuality was truly the love that dare not speak its name, wrote only of lost, passing or unrequited love.) Most of these poems are very short, but they insinuate themselves inextricably into memory, such as "The Mirror in the Front Hall," depicting a handsome young man who stops to straighten his tie: "the old mirror was all joy now,/proud to have embraced/total beauty for a few moments." My own favorite in the book is one of the longer poems, "Orophernis," about a wastrel king of the 2nd Century B.C. who came to grief trying to be a real king for once. The final five lines of this poems are Cavafy in a nutshell; The figure on this four drachma coin, a trace of whose young charm can still be seen, a ray of his poetic beauty-- this sensuous commemoration of an Ionian boy, this is Orophernis, son of Ariarathis.

I purchased this collected works of Voltaire a couple of years ago and quite enjoyed it. However, I did read an older translation of Candide from a used book-store a couple of years earlier and I found that some of the irony and overall tone was communicated better. That said, there really isn't anything terrible wrong with this translation and, of course, it's a great deal; you get all of these works in one book. I think mine cost $5 U.S. I recommend this book, each individual story would cost you at least 5 dollars.

Thought-provoking, disturbing, satirical, wise and moving would be an appropriate description of Voltaire's brilliant book, Candide. By cleverly writing in tones of sarcasm and by painting clear cut and gory pictures into the readers' mind, Voltaire conveys the message to the readers, the philosophy of optimism and how humans perceive society when encountered with the most atrocious, evil and brutal world humanity can possibly imagine.

The plot is driven and revolved around the Pangloss' optimistic approach on life; that every cause has an effect in the "best of all possible worlds." Candide is pulled into his tutors' wise teachings until he is forced to face the reality of the outside world when kicked out of the castle, by the Baron of the great palace in Westphalia, for having an affair with his daughter. The readers would think that Candide's beliefs would skew after a series of terrible, inconceivable misfortunes: hopelessly attempting to win the heart of his love, Cunegonde; tortured; diseased; suffering natural disasters and witnessing and hearing the deaths, rapes and enslavement of his beloveds. However Candide lives through his faith, and although slightly unreal and ridiculous, readers stop to consider the sources that shape our society: religion, ethics, law and individuality.

Voltaire's surprising and fast plot weaved in with the philosophies of life, will keep readers turning the page and continue to challenge them.

If you are reading this, you probably know the merits of Voltaire's classic Candide; so I will comment on this particular translation and edition. Donald M. Frame's translation is the best in my view. Frame also wrote the introduction to the 1961 Signet printing. John Iverson supplies the introduction to the new (2001) printing. In addition to Frame's lively translation, and Iverson's introduction, this volume contains 15 other short works by Voltaire and helpful notes and a glossary. This is the best edition of Volataire's Candide that you can buy - and you can't beat the price of 5 bucks!

Although, perhaps, it wasn't ment to be, Volatire's work is uplifting. Sometimes a man faces something that enraged him to such a depth, he either has to cry or laugh about it. Its good to be able to laugh about injustice, betrayal, and every other inborn, basic flaw of the pompous human race we all have the pleasure to be part of. This is one of the best satires I've ever read.

This Signet edition of Voltaire's finest works is THE Candide to buy. It has 15 other classic Voltaire works FIFTEEN!! Now that's a great deal without all the bells and whistles!

I remember first being introduced to Voltaire (1694-1778) when I was looking ahead in my history book in school, as was my "pasttime" and was one of the ways how I became a trivial nerd who can name dates and events almost like Rain Man. His picture attracted me because of that smart-aleky grin always on his face. This was a bit surprising considering everyone took serious portraits in that time.

Before long after starting to read this good stuff, you'll have a grin on your face too.

The Age of Reason is where Marie-Francois Arouet, better known by the pen name of Voltaire comes from and it is the setting of one of the most famous satires of all time.

Published in 1759, Voltaire takes apart the philisophical quote by Gottfried Lebniz (1646-1716) which states that, the seventeenth/eighteenth century was "The Best of all Possible Worlds." In Candide, the title naiive character is about to find out just how "great" an era the eighteenth century was.

Next to Gulliver's Travels by Jonathan Swift (1667-1745)-whom Voltaire knew and admired, Candide is the most famous satire ever written. It has the best tragical irony and is combined to make it one very memorable and funny reading experience. It seems to me that the eighteenth century was just begging, bowing, scraping, and grovelling to be taken apart by satire and parody, and who would be better to expose the woes of its society than Voltaire, Swift, Alexander Pope (1688-1744), and all the rest of those satirizing cats?!

Probably Mikhail Bulgakov and/or Nikolai Gogol, but those two cats were LATER.

That brings us to the conclusion that there was

NOBODY, THAT'S WHO!!!

(My review is on Thoreau's Cape Cod rather than this specific edition).

While some literary critics seem to slight this work by Thoreau, saying that it is not as "powerful" as his other works, etc., I personally find this one very enjoyable. Sure, it does not have as much "philosophizing" as other books by him, but it is full of humor and very fun to read. The part where he describes the old man spitting into the hearth is particularly hilarious. The part about him sleeping in a lighthouse is also very funny. It lets us experience the more jovial side of Thoreau. This is probably one of the easiest to read among Thoreau's books.

Published posthumously, this volume is surprisingly consistent and complete (unlike "The Maine Woods" which is chopped into three different parts), it gives one the feel of walking along the entire cape, although the materials are quarried from several different trips. One only wish Thoreau had lived longer and had seen the West, imagine him taking a trip in the Sierra! Oh, well, meanwhile, we still have this one to enjoy.

This hardcover edition from Peninsula Press is unquestionably the best available edition of Thoreau's Cape Cod, for these reasons:

1) While all other editions are based on Thoreau's journal entries from only his first three visits to the Cape, this edition includes an epilogue compiling Thoreau's notes from his fourth and final visit, in which he traveled south to Chatham and Monomoy.

2) This is the only edition to translate the many, many Greek and Latin phrases Thoreau includes throughout the work, and it is also the only edition to provide illustrations, maps, and sidenotes in-text.

3) This is the only indexed edition ever created.

HIGHLY RECOMMENDED for fans of both Cape literature and Thoreau in general.

Thoreau visited Cape Cod in 1849, 1850, and 1853. These trips formed the basis for a series of essays, several of which Thoreau published in magazines. After Thoreau's death, the essays were gathered together and published as "Cape Cod" in 1865.

Thoreau's "Cape Cod" is different in tone in theme from his earlier books. The tone is leisurely and light. Instead of solitude or the wild woods, the picture that remains with me from this book is that of a long walk, or, as Thoreau puts it, a "ramble" through the sand and dunes of Cape Cod. The book is picturesque, full of humor and wry observation. Thoreau unforgettably describes the ocean, in its storms, vicissitudes, and moments of peace, the fish and the fishermen, the sands, birds, plants and lighthouses of Cape Cod, and the people. I have visited portions of the Masachusetts coast, but I have never been to Cape Cod. Thoreau took me there in his book.

The book is arranged into ten chapters. It opens with a description of the shipwreck of the St John on a rock off the Cape. Thoreau then describes a ride by coach across the Cape. But the heart of the book lies in the following chapters in which Thoreau with a companion walks the 30 mile beach from Nauset Harbor to Provincetown with many stops and diversions along the way. I felt the salt air and saw the fishermen and the sandy beach as I walked with Thoreau.

The most vivid characterization in the book is in the chapter "The Wellfleet Oysterman", as Thoreau describes a grizzled, taciturn, and ancient native of Cape Cod and his family who offer him hospitality for the night. Another memorable chapter involves the description of the Highland Lighthouse, no longer standing, and its keeper. The stops with the Oysterman and the Lighthouse punctuate Thoreau's long walks through the day over the beach and his meditiations about and descriptions of what he finds there.

Thoreaus walk ended at Provincetown, on the northernmost portion of Cape Cod, with its wood walkway, shanty houses, and ever-present scenes of fishermen, boats, and drying fish. Thoreau offers what I found an affectionate portrait of these hardy fishermen and their families. Following a description of what he found at Provincetown, Thoreau offers a great deal of historical background on the exploration of the Cape, from the Pilgrims reaching back to earlier French, Icelandic, and English explorers.

Thoreau's "Cape Cod" is a worthy companion to his books describing his experiences inland, on Walden Pond and on the rivers and woods of New England and Maine. It is beautifuly written with unforgettable descriptive passages. It made me want to get up and go from my life in the city, and over 150 years after Thoreau wrote, wander and walk for myself along the dunes and sands of Cape Cod.

This book details the flora, fauna and people that Thoreau found in Cape Cod in the 1850s. Thoreau organizes the book around a single trip to Provincetown, although much of the material that he uses in the book came from various visits to the Cape, and to the ocean in general. He starts with a description of a shipwreck at Cohasset, then a stagecoach ride from Plymouth, then a walking trip with a companion along the outer shore to Provincetown. Along the way, he describes not only the plants and animals he encountered, but also the people who he met. The book finishes with a lengthy academic historical account of the discovery and mapping of the Cape.

I found this to be the most humorous of all Thoreau's work. The character sketches he provides in this book, sharpened with his trained eye for observation of natural phenomena, are legendary. The cultural description of the Cape and its environment is quite fascinating for those interested in the history of daily life in 19th century Massachusetts. As Thoreau describes the desolate, treeless desert that made up the far reaches of the Cape, one begins to comprehend what it meant for an economy to be based on wood and whale oil for fuels. Thoreau stresses how valued driftwood was for residents of the Cape, as one of their main sources of heating and cooking fuel. Doubtless, he would not recognize the Cape today with its lush new forests. Or its Wal-Marts--switching to an oil economy has brought mixed blessings for the Cape. For those who think Thoreau to be a humorless didactic philosopher, this book shows a very different aspect of Thoreau as a writer.

You will forget about the outside world when you read this; nothing but sand, wind, and water. Plus some natural history, local folklore, a few shipwreck tales. Typical Thoreau; he finds beauty, interest, detail in the wilderness. The desolate landscape will help to clear your mind. Highly recommended.

I owned three anthologies of traditional/classical Chinese literature during my undergraduate career and this is the only one I've kept. It is by far the most complete and comprehensive. Personally, I also prefer the translations in this volume. The editors did a great job of shifting through all of the available translations and balancing accuracy with a sense literary artistry. Trust me, it's worth the price.

CLASSICAL CHINESE LITERATURE : An Anthology of Translations, Volume I : From Antiquity to the Tang Dynasty. Edited by John Minford and Joseph S. M. Lau. 1176 pp. New York and Hong Kong : Columbia University Press and The Chinese University of Hong Kong, 2000.

Sometime in the 1950's, a committee of bureaucrats sat down in the People's Republic of China to create a new system of transliteration for the Chinese language. As Chinese Communists, they shared an extreme loathing for traditional 'feudalistic' Chinese culture. In addition, none of them of course were native users of the Roman alphabet.

The monstrous and deformed offspring of their lucubrations, which was approved at the 5th session of the National People's Congress on February 11th, 1958, is the system known as 'Hanyu pinyin.' Although a system designed by Chinese for Chinese, it was eagerly fastened upon and promoted by certain benighted elements of the Official West, and is, sad to say, the system of transliteration employed in the present book.

Pinyin has been condemned by no less an authority than scientist and sinologist Joseph Needham, distinguished author of the multi-volume 'Science and Civilization in China,' who described it as "extremely repulsive." Others, too, have expressed disgust with it, including American author John Updike, a man remarkably knowledgeable about China, who finds it "grotesque."

In contrast to the familiar, beautiful, sonorous and elegant names produced by the Wade-Giles system of romanization - names such as T'ao Chien, Hsieh Ling-yun, Hsiao Kang, Ch'u Kuang-hsi, and so on - pinyin gives us names which sound like they belong to a bunch of gorillas. Meet, for example, pinyin's "Kong Rong" (page 418), a distant relative presumably of King Kong. Meet too "Cao Pi," son of "Cao Cao" (page 628), whose presence may account for the many instances of "dung" (or is it "ding" or "dong"?) scattered throughout the book. Meet them, that is, if you would rather visit Minford's Beijing than Waley's Peking.

Pinyin's uglification of China's past is bad enough, but it leads to a far larger and more serious problem. Sinologist Victor Mair, who in his own fine 'Columbia Anthology of Traditional Chinese Literature' (1994) made the correct and sensible decision to employ Wade-Giles, cautions us that:

". . . the vast bulk of scholarly writing in English about Chinese literature employs Wade-Giles romanization. It would be terribly confusing and difficult for students without any background in the study of Mandarin (the typical student who will use this [i.e., his own] book) to try to follow up the readings with any sort of research if another sort of romanization system were chosen" (page xxxi).

So there you have it. PINYIN = Uglification + Confusion + a compounding of Difficulties, when anything to do with the study of China is already difficult enough. In other words, precisely what the Chinese Communists would have wanted : the beautiful made ugly, and the difficult made to look impossibly difficult to the general reader.

The only reason that editors Minford and Lau have condescended to offer us for the mess they have made in the present book is that pinyin is "now widely used internationally" (page lviii). In other words, dear general reader, it's trendy, and you're just going to have to bite the bullet and learn pinyin newspeak, or struggle with unpronounceables such as 'cen,' 'cuipin,' 'qiong,' 'xunzi,' or 'zhitui.'

A second problem with this book, since it lacks an index of titles, is that items can be impossible to find without searching through the entire 34-page Table of Contents. This difficulty is compounded by the Index of Authors, which is incomplete; amazingly it fails, for example, to mention Lao Tzu (Laozi), though extracts from the Tao Te Ching (but not its Chinese name) will be found on pages 202-206.

A third problem is that, judging by the pages of my own copy, there would seem to be a world shortage of printing ink. Instead of the print being crisp, clear, black, and readable, it's greyish. This makes it tiring and difficult to read (especially the footnotes which are printed in a miniscule font). It's rather like peering into a fog or mist.

A fourth problem is that there would also seem to be a world cotton shortage, since, despite its exorbitant price, the boards of this book are covered, not with cloth, but with mock cloth made of soft paper which is already showing signs of wear despite being brand new. But at least the printed pages are strong heavy stock, and the signatures are, as in real books, actually stitched.

As for the contents of this book (apart from their being liberally spattered with pinyin), they are, in a word, MAGNIFICENT! - Oracle Bones, Bronze Inscriptions, I Ching, Myths, Legends, Folksongs, Narrative and Philosophic Prose, Shamanistic Poems, Historical Wrings, Miscellaneous Prose, Women Poets, Drama, Literary Criticism, Ballads, Buddhist Writings, T'ang poets, Strange Tales, Zen and Taoist Poetry, etc., etc.

The book, in short, offers us a rich and brilliant selection of texts, in translations both literary (Pound, Waley, Rexroth, Snyder, etc.) and academic (Watson, Graham, Birch, Owen, etc.) - and contains almost every conceivable help and enhancement. These latter include full and informative introductions; extensive and useful annotations; numerous interesting black-and-white illustrations; seals; calligraphy; a few texts in the original Chinese; bibliographies; maps; an index of authors in both pinyin (full) and Wade-Giles (skimpy); and much else besides.

In sum, this book is clearly one of the richest and finest Anthologies of Classical Chinese Literature in English that we have ever seen. In terms of its contents it certainly deserves 5 stars. But in terms of the pinyin system which defaces those contents, a system which can be read with ease only by students of Mandarin - whereas if Wade-Giles had been used the book could have been read with ease by anyone - it deserves no more than a single star. Hence the 3 stars.

Who, after all, on opening a collection of writings by the refined, civilized, and highly intelligent ancient Chinese, wants to find instead a bunch of gorillas moving about in a mist ?

John Minford, one of our finer Sino-Anglo translators, here brings out a remarkably successful anthology of Chinese literature which stands together with the Norton's as a must-buy for lovers of Chinese literature. The book gives a comprehensive account of its beginnings from ancient classics (Book of Songs, Analects etc) to Tang luminaries Li Bo and Du Fu, using a collection of translations from Waley, Pound to Owen and Birch, while offering insightful annotations, readings and essays. There's a bit of everything: biographies, ballads, poetry, histories (a big genre in Chinese literature), and short tales, and a lot to delight the unsuspected.

Some things said in the last review seem so blatantly biased (and ignorant) I have to correct them there. There are actually very little difference between the Wade-Giles and the Pinyin system. Both are supposed to transliterate Chinese characters into Roman alphabets. So how can one makes Chinese more "beautiful, sonorous and elegant" while the other renders it like "gorillas"? What is important of course is how accurately they depict the spoken tongue. Pinyin does have an advantage over Wade-Giles in that it is more accurate: the poet Du Fu, transliterated as Tu Fu in Wade-Giles, is closer in Pinyin to the original, the Chinese character for "Du" pronounced with the consonant "d" (as in "death") rather than "t" (as in "tongue") in "Tu". The word "Beijing" is also better reflected (the two consonants, "b" in "bell" and "j" in "joke", are far more accurately rendered than "p" and "k" in Peking). It's sad that someone who obviously doesn't know Chinese tries to work his personal bias in others, and bringing out "critics" like Updike who doesn't know Chinese himself.

quote Tepi Tepi:
"So there you have it. PINYIN = Uglification + Confusion + a compounding of Difficulties, when anything to do with the study of China is already difficult enough. In other words, precisely what the Chinese Communists would have wanted : the beautiful made ugly, and the difficult made to look impossibly difficult to the general reader."

i agree with this absolutely, the part about PINYIN. given a choice i absolutely will NOT purchase any chinese translations with "modern" pinyin because it is not only ugly. it is because no one without the benefit of a chinese education, and therefore cannot actually read/speak chinese writings CANNOT do "pinyin" correctly.

(if you CAN read chinese scripts you would NOT be reading translations but the originals!)

pinyin of chinese into romanized english is s t u p i d.

for example Chin = Qin. "Q" is NOT pronounced "Ch" in english. "Q" is neither pronounced "Ch" in chinese. it is just too stupid. too difficult to even guess you are saying it right in english or chinese! Romance of the 3 Kingdoms: Tsao Tsao becomes Cao Cao. an english educated person without any chinese speaking/reading ability will pronounce "ka-o ka-o"! or Cow Cow.

in short to pinyin correctly you have to be able to speak/read chinese. when you speak to chinese who knows the works they will find your romanized-pinyin pronounciation extremely funny.

i implore all chinese translators to abandon pinyin! and return to the "earlier" methods of translations.

This is in response to the post below, which didn't comment on the book, and neither will I.

The use of pinyin is not stupid. Wade-Giles and pinyin are mutually unpronouncable or mispronounced by someone without training in the Chinese language. In my opinion Wade-Giles is even worse, though neither would do much good if you hadn't studied how to use them. (For example: Peking--Wade-Giles, when the Beijing of pinyin is much closer to the actual Mandarin pronunciation for someone without knowledge of how Chinese works. We also have the Tao/Dao issue--for those not in the know the first is Wade-Giles and the second pinyin. Reading the second if you only speak English is much closer to the standard Mandarin pronunciation).

In short, this is a refutation of the post below as it contained no useful information and is simply misleading.

Personally, I promote the use of pinyin as anyone who's studying mandarin now (or, I'd venture to say at least 99% of its students, and anyone studying in China) have to learn it. Furthermore, and contrary to the post below, it is useful for those of us who study Chinese, especially in a book where there are no characters for us to look at! We need to know the correct pronunciation, the way we studied it (pinyin), to figure out what they're talking about if it's not obvious from the context. In my experience pinyin is also more straightforward once the basics have been learned than is Wade-Giles.

....Now if we could only get them to include tone marks with the pinyin as well as characters (and I don't see why they can't do this) we'd have everything we could want.

(I rate a five in keeping with the rest of the posts here)

God, I love these short stories. These are a must, must read for anyone interested in France during this time period, and someone interested in the nuances of human relationships. Colette was given as a gift to me some 20 years ago, and I have reread these stories so many times, the book is falling apart.

Her short stories are superb! Much much better than any of her novels. If you like short stories, try reading John O'hara (A completely different vein, but excellent also).

The Collected Stories of Colette by Sidonie-Gabrielle Colette, ed., and with an introduction by, Robert Phelps. Highly recommended.

According to the introduction, this collection represents 100 stories taken from a dozen volumes published during Colette's lifetime. They are categorised as "Early Stories," Backstage at the Music Hall," "Varieties of Human Nature," and "Love." Some, like the Clouk/Chéri stories, appear to be fiction, while many, like "The Rainy Moon" and "Bella-Vista," seem to be taken straight from Colette's varied life and acquaintances.

Whether writing fiction or chronicling fact, whether writing in the third-person omniscient or in the first person, Colette herself is always a character-rarely as an influencer, that is, one whose actions or choices drive the plot. Colette's preferred role is as observer-and it is one for which she is well suited.

An inveterate sensualist and a former music-hall performer, Colette integrates her characters (real and fictional) with everything around them-their clothes (costumes), their abodes, dressing rooms, and haunts (sets), and their neighborhoods and towns (theatres). Much of Colette's writing, no matter how mundane the surface subject, is about art-the art of living and, notably, the art of loving. In "My Goddaughter," the subject tells her godmother how she injured herself with scissors and a curling iron and recounts her mother's reaction. "She said that I had ruined her daughter for her! She said, 'What have you done with my beautiful hair which I tended so patiently? . . . And that cheek, who gave you permission to spoil it! . . . I've taken years, I've spent my days and nights, trembling over this masterpiece. . . ."

Colette is attuned to everything, every sense, every nuance. "A faint fragrance did indeed bring to my nostrils the memory of various scents which are at their strongest in autumn." ("Gibriche") ". . . set in a bracelet, which slithered between her fingers like a cold and supple snake." ("The Bracelet") " . . . the supper of rare fruits, an[d]of ice water sparkling in the thin glasses, as intoxicating as champagne . . ." ("Florie") "Peroxided hair, light-colored eyes, white teeth, something about her of an appetizing but slightly vulgar young washerwoman." ("Gitanette")

Colette does not pretend to be an objective observer of human behaviour; she does not hesitate to express to the reader her weariness with certain individuals or situations, and her stories of her vain, pretentious, overbearing friend Valentine reveal her jaded and waning affection. She knows this woman so well that she sees her almost as Valentine sees herself-a drama queen acting out stories, roles, and games without depth of feeling for them. "What Must We Look Like?" becomes Valentine's driving philosophy, to which Colette responds with "a mild, a kindly pity." In "The Hard Worker," Colette says, "I can see she does not hate him, but I cannot see she loves him either." What Colette sees-and does not see-is to be respected.

Some stories, such as "The Sick Child," are vivid and imaginative and reveal Colette's amazing ability to think and dream like a gifted child. "The Advice," with its mundane beginning and premise and twisted, horrifying ending would enhance any collection of gothic or mystery tales. Other stories, like "Gibriche," several of the other music-hall stories, and "Bella-Vista," tackle topics that even today remain controversial. "Bella-Vista," in which Colette's moods seem to wane with every familiarity achieved with her hostesses, offers an ending that is heavily foreshadowed throughout but is surprising and gruesome nonetheless.

Most of the stories, whether fiction or nonfiction, seem to come from life in one way or another. The quantity of stories and the quality of the collection reveal the incredible scope of experience of Colette, the dry, often weary yet obsessive observer, interpreter, and chronicler of human nature. As Judith Thurman says in her introduction to Colette's work, The Pure and the Impure, "This great ode to emptiness was written by a woman who felt full." As well she should.

Diane L. Schirf, 27 May 2003.

If you're looking for a refreshing deviation from the mean of women writers, then Colette is it. Her stories offer a pleasurable clearing of the literary palate.

Ok. You've read the Claudine novels, and Cheri and the Return of Cheri. Now what? There are other novels (The Vagabond, Gigi, My Mother's House) but there are these short stories that are "must-reads."

Colette was one of France's most distinguished writers. Though not a writer of massive books like Victor Hugo or Proust, or of psychological novels like Zola or Flaubert, she caught that French essence of individuality and quirkiness and the golden age of La Belle Epoque before World War One changed France forever. Her books are pure joy as are these short stories. If you have NOT read Colette, you are in for a treat. (And don't neglect Claudine or Cheri. )