English Classics Books

As with Harvey Comics Classics Vol. 1 Casper, Richie Rich was the other Harvey Comic I used to read back when I was three or so with my Uncle Joe, and have kept reading them since.

Richie Rich was kind of Harvey's answer to Uncle Scrooge, James Bond, and Batman all rolled into one. Originally starting out as a filler strip for Harvey's Little Dot, Richie Rich was the wealthiest kid in Richville. Except unlike most rich people, Richie preferred playing with his friends Freckles and Pee-Wee, and enjoying the simpler things in life, even though sometimes his wealth and luck unexpectedly interfered.

Another happened to be Richie's love for Gloria Glad, who only loved Richie for himself, not his money. And always would get upset when Richie dared fuss over her. Of course, poor Richie can never win, since in one strip, Richie decides taking Gloria's advice. Regrettably, the time he decides on doing this, Gloria's trying to demonstrate to her cousin how Richie lavishes her with expensive gifts.

Later in the Seventies however, Richie started doing adventures with his butler Cadbury, as Harvey started introducing more serious tales, especially with their 'Vaults of Mystery' title. And as Ernie Colon mentions, later Richie always had some gadget or other to help him get out of tight spots. But still Richie normally used his wits about him and he was the first 'McGyver' long before the series hit television.

In fact, in HCC V2, you'll see how Richie and Gloria deal with modern day pirates after they shangai Richie's yacht and plan on using it for raiding other luxury liners.

Which was what made Harvey Comics so great, though the villains usually implemented firearms and such, Richie rarely struck back using deadly force. Usually he'd try solving the problem with his wits (and his wealth didn't hurt as well), over using brute force.

In this collection, you'll also see Richie's mischievious cousin, Reginald Van Dough, aka Reggie, and how he started pranking and getting into trouble with Richie. My own regret with the series is, I wish Dark Horse had selected some other tales showcasing the little known characters like Mayda Munny (Gloria's rival), Professor Keenbean, the modern version of Irona, Reggie's sister, Penny, and Jackie Jokers. But the way I see it, DH might be saving them for a future collection, as well as the 'Richie Rich and...' series where later Harvey spawned this spinoff from the titles 'Richie Rich and Casper' as well as 'Richie Rich and Jackie Jokers.'

To this day, I wish I could have found another copy of 'Richie Rich and Timmy Time' since my cousin destroyed my uncle's copy before I had a chance to read it.

Nonetheless Dark Horse has done an excellent job of bringing back the lost collections of Harvey Comics, and I hope these series might encourage them to come out with mini-digest collections of them and other characters, since I still have some of the original digests in my house.

I definitely would recommend this as well as all the Harvey Comics Collection series for those who are avid Harvey fans and classic comic collectors. But also for those who might like to see what comics were like before DC and Marvel took over the industry.

I don't know why cartoon comic strips went out of style. I am glad that there is someone else who has not forgotten them. Richie Rich was one of my favorite comic strips, and still would be if Harvey Comics were still in business.

Just two disappointments: Number one: Most of the stories are printed in black-and-white. The book might be much more expensive otherwise.

Number two: Mayda Munney was one of my favorite characters, and she doesn't appear in any of the stories.

Thank you, Dark Horse Books!

I hate to brag, no I don't. Anyway, I received an advance copy of the
Richie Rich book! It looks really good. If you liked Harvey Comics Classics Volume 1: Casper, you'll love this! (and I have a quote on the back cover...)

There are some minor changes on the cover than the one posted on Amazon here. Instead of "100 Classic Stories 1953-1969", it is actually "125 Classic Comic Stories 1953-1971"! Also, the general release date has been moved up from Oct. 25 to Oct. 17!

There is a small picture of the Hot Stuff book stating that the book will come out in Feb. 2008. This will be Volume 3 in the series.

Really, really enjoy this book.

To paraphrase the quote, I had as much fondness for Harvey Comics as I did my superhero titles. As a child, I got every bit as excited seeing a Harvey title as I did any of the Marvels or DCs. Their bright four-color covers were only a preview of the goodness waiting inside.

When I was a kid, it was an excellent time to be a comic fan. Not only those mentioned above, but also Archie, Dell/Gold Key (which was a treasure in and of itself, what with all of the Disney, Hanna-Barbera, TV tie-ins, etc., under the same umbrella!), Charlton, Atlas, have I listed them all? Whatever the case, it was nothing but good times.

Reading a Harvey comic was like having a ice cold lemonade on a sweltering hot day. You could always count on them to give you a great time and a fun read. Fun, light-hearted, whimsical adventures featuring the likes of Richie Rich, Casper The Friendly Ghost, Spooky The Tuff Little Ghost, Hot Stuff The Little Devil, Wendy The Good Little Witch, The Ghostly Trio, The Sad Sack, Stumbo The Giant, Little Dot, Little Lotta, Little Audrey, heck, a "little" bit of everything;).

Under lesser hands, these characters could easily have become one-dimensional, cloying and downright annoying. But Harvey apparently realized this and took their readership on flights of fancy, oftentimes giving us multi-part stories, putting Richie and Casper (sometimes together) in all kinds of precarious situations.

Richie, in particular, was often aided by the likes of his trusty butler Cadbury, his hardscrabble friends, brothers Freckles, a redhead (also referred to as Tommy in some stories - could possibly have been Freckles' "real" name. Also has been a brunette on occasion.) and the mute Pee-Wee, (who actually spoke one line in the story "Problem Child", the only time I know of that he actually talked), as well as his girlfriend Gloria, a rare girl who was often repulsed by Richie's wealth, liking him for who he was inside. A real jewel, if you ask me. Plus, Richie was often bedeviled by the occasional visits from his obnoxiously snooty cousin Reginald "Reggie" Van Dough, who was the complete antithesis of his cuter and infinitely more lovable cousin. Reggie loved nothing more than pulling pranks on Richie and his very tolerant friends, until his foolishness would ultimately backfire on him, giving the stories happy endings, momentarily humbling Reggie (until returning to prank Richie another day).

In spite of all his enormous wealth, Richie simply wanted to be a little boy who belonged, wanting simply to be "one of the guys", playing sandlot baseball, going fishing, inviting all of his friends to either his mansion, yacht, or on some sort of fabulous vacation, etc.. It is really nice seeing Richie treating Freckles and Pee-Wee as equals and not making fun of them because of their being poor.

Seeing this book in the comic shop was a welcome surprise for me. It was an impulse buy, in which I immediately snapped it up, not knowing about it in the first place (I knew about the Harvey Comics Classics Volume 1: Casper, which I plan on getting very soon). And it has been a fun read. And no, I didn't realize that it was mostly black and white until looking at it, but it didn't take long for me to adjust to that. Sure, it would have been nice to have had color, but that's a minor point. What matters is that for the money, you are getting 480 pages of classic comic goodness from a sadly bygone era which we don't see enough of these days.

Nowadays, I would be hard-pressed to recommend any comic for a child to read, since the market has pretty well grown up. There just aren't as many comics out there for kids, which is sad, since children were the once-intended target audience. It's no wonder kids, for the most part, don't read comics today.

Here's hoping that Dark Horse will rectify this and put out future volumes of these "little" treasures. They could go on forever reprinting them, since there are literally decades of these to reprint. These comics deserve tender loving care and need to be introduced to a new generation (as well as reintroducing those of us in the previous ones). Perhaps D.H. will go the Archie route and market digests of classic reprints to be sold in supermarkets and such. What better way to introduce them, since it obviously hasn't hurt Archie. Now this would be absolutely swell.

Are you listening, Dark Horse? In other words, KEEP IT UP!!!!

I saw this book in the bookstore and it's really interesteng. So mesmerizing that I couldn't put it down (thus being late to work). I realized just how much I had missed on my first visit to New Orleans. I plan on going again in Spring and I'm taking this book as a guide of sorts. Full of many great odditites of New Orleans.

If you're going to New Orleans largely because you're a fan of Anne Rice's Vampire and Mayfair Witches novels, then this is an essential.

I used it on my first trip to New Orleans. It includes self-guided tours of the French Quarter and Garden District that include Vampire Chronicle and Mayfair sites respectively without leaving out the must-see unrelated sites and experiences. The only caveat is that zoo fans should be aware that the Audobon is one of the best in the country.

Three types of sites are covered - those related to Anne Rice herself, those used in - or speculated to have inspired locations in - the books, and those where parts of "Interview" were filmed.

With chapters on guided plantation, swamp and cemetary tours, as well as restaurants and hotels (the last including descriptions of ambviance that helped me considerably in my choice of hotel), you'll have everything you need to plan your trip and not miss anything like the Ursuline convent where Louis found Claudia and the Gardiner House that inspired the home that Lestat, Louis and Claudia shared.

Best of all, Ms. Dickinson wants us all to be careful out there in a city that can become ominous if you go too far off the beaten track sans tour group - especially at night. As she wittily reminds us, we're not all as indestructable as Lestat, and if an area - even one that contains an Anne Rice site - is unsafe, she doesn't hesitate to tell us so. Following her advice, you'll see everything you want to see and get home safe and sound.

I gave this to my wife as a gift before our recent trip to New Orleans, and she carried this book everywhere. While any book like this is a bit out-of-date as soon as it is published, it was still very useful for finding all the sites and giving us good background information. One important note though is that Anne Rice is selling off her doll collection and the orphanage, so there is no longer any tour. That was really a disappointment.

Last year, for Christmas 97 we had to go to New Orleans to see my father's family, I was having a a horrible time because of the weather. (We went the year before for Mardi Gras, the weather makes my hair go afro-y; it doesn't help to use your normal hair-care products.) We went to the French Quarter the day we were leaving and pow there was this cool book. I had to get it, I've read all of the Mayfair Witches books. I recommend it to anyone that's ever wondered about where their favorite characters lived.

Alexandra Johnson, who teaches writing at Harvard and Wellesley, provides us with six excellent stories about the role of the diary in the creative lives of seven prominent female writers. The chapters are arranged progressively according to both the age of the writers at the time they began writing the most celebrated parts of their journals, and to the time period in which they lived. For each chapter, Johnson slightly modifies her style to best capture the spirit of the particular writer's life, as recorded in her diary. It is a very effective narrative device, executed with remarkable precision, a style that is very difficult to carry off without sounding artificial and capricious.

The role of memoir is often underestimated outside of literary fiction, but its importance is gaining ground. One need not be an English major at some liberal arts college like Amherst, Swarthmore, Smith, Vassar, Mount Holyoke, or Sarah Lawrence, to find the subject relevant and interesting. For example, we often rely on patient memoir as medical narrative in my graduate program in biomedical ethics at the University of Maryland. History, law, and even business are focusing more attention on personal narratives now than in years past. Still, it is in the diaries of writers where we find the most inspiring stories.

In Johnson's book, the frustrations and insecurities of hailed writers are laid bare for us both in their journal excerpts and in the author's impressive ancillary research, making these past figures seem ever more human than what we usually grasp from reading their fiction. The incipient chapter on Marjory Fleming, with its occassional comparisons of the central figure to other important juvenile femmes de plume (Anne Frank and the young Bronte sisters), fills the reader with both charming amusement at how such a young girl could write like such an adult, and with awe at her gifted literary ability, which was cut so short by an early death. The next two chapters, on Sonya Tolstoy and Alice James, show us the age-old struggle of the aspiring female writer against male-imposed (both societal and familial) restrictions to her creative expression. These are among the most emotionally frustrating chapters; they often reminded me of the classes I took as a Women's Studies minor in college.

My favorite chapter is about the relationship between the great Virginia Woolf and Katherine Mansfield, as recorded in their diaries. The way that Johnson writes about these two, one can feel the writers living and breathing, conversing and writing, fretting and maligning, praising and rejoicing in their shared and individual literary triumphs and (often self-perceived) failures. Of all the chapters, this one is a true must-read for the bookworm short on time.

The following chapter on the provocative (and promiscuous) Anais Nin reads almost like a confessional more than a biography. The most interesting points of this entry are where Nin confronts her own dishonesty within her diary's pages--the 'cardinal sin' of journal-keeping. Without saying so explicitly, Johnson shows the reader by example how important it is to keep one's diary devoid of any false stories or feelings. The last chapter on May Sarton is like smiling into the day's end--the golden years of one's life published in best-selling diaries. One is never too old to begin, I suppose.

The six chapters are capped by a prologue and epilogue, both in the form of diary entries (they may very well be) from Johnson's contemporary life. This book, unlike so many other nonfiction books of its kind out there, reads like a seamless biography that entertains, informs, and (most importantly) moves the reader to a better appreciation of the interior lives of some great (and some overlooked) female writers and diarists. It is a book for reflection on the power and value of keeping a diary (or 'journal,' for us men), and for motivation for all of us to start keeping one of our own.

What a fantastic find! This book is one of those treasures that you will never forget! A truly savoury read!

For the diarist, writer, avid reader or fan of Virginia Woolf, Anais Nin, Alice James, Katherine Mansfield, Marjory Fleming or May Sarton (or just for a lover of great writing!), this is a must-have book. I have kept a journal for nearly 20 years and have never thought much of it. In other words, it's part of me like my arm or leg is but in this book, journals are made into fascinating mirrors (or in some cases, pandora's boxes) of women writers. The author explains in great detail how each writer used her journal as a creative tool. The title "hidden writer" is somewhat misleading, as all the women in this book were published, but the "hidden" aspect perhaps refers to the private aspects of themselves they revealed only in their journals. Chapters on Katherine Mansfield and Virgina Woolf are exceptional.

Johnson's research is phenomenal, layered and her narrative skill at tying it all together is amazing. Somewhat mediumistic, she dons a slightly different voice in each chapter, to best bring the writer's diaries to life.

The book ends with a few journal entries from the author.

A fascinating, memorable read. Anyone with an interest in writing, psychology, and creativity should find this a wonderful read!

Recommended without fail!

This book examines several women writers through recent history, and how their practice of journal-keeping helped (or hindered in the case of Anais Nin) the finding of their unique voices and the moving of their private writing into the world in spite of the often huge barriers of their repressive time-periods and circumstances.

It starts in 1809 with Marjory Fleming, a six year-old Scottish prodigy whose diary became a huge success after her death at age nine from measles - and her older cousin and mentor who never published a word.

Then Sofia Tolstoy, in 1862, marries Leo Tolstoy who funnels her considerable energy and talent and intellect into scribing and organizing his own work.

In 1889, Alice James hides behind illness to avoid competing with her ambitious brothers Henry and William; she only manages to start a diary once she's a middle-aged invalid in England, far away from her famous American family. I found her story particularly haunting and appalling.

Next, Virginia Woolf and Katharine Mansfield chronicle in their journals their creative friendship and rivalry. Then there's Anais Nin in the twentieth century whose fame is secured by her bank-vault filled with less-than-truthful diaries; oddly enough, her fixation on her diaries keeps her from breaking through with a successful work of fiction.

Last comes May Sarton who goes where no one has gone before and writes with great candor about old age and solitude. The book is written in a scholarly, yet fluid, style that pulls you along. Very interesting.

The previous review writer seems to have misunderstood the review presented above. The review, in fact, DOES allude to Jouanna's text. The Loeb version is merely discussed in Jouanna's text in the "Notes" section.

The expert of Amazon may have confused of 2 differnt books into one title under the name of Hippocrates Loeb Classical.

Only the hard cover link may be right in selling and showing the image of Loeb Classical Volume VIII:

Hippocrates (Loeb Classical Library, No 482)
by Paul Potter

Links of image, paperback, and customer reviews are all on the different book of:

Hippocrates (Medicine and Culture)
by Jacques Jouanna, M. B. Debevoise
Paperback: 540 pages
Publisher: Johns Hopkins University Press; Reprint edition (December 1, 2001)
ISBN: 0801868181

Contents of book on Hippocrates is as good as book "by" Hippocrates. But the web design is confusing to customers. How can we buy each great 8 volumes of Hippocrates Loeb Classical, and choose out books "on" Hippocrates like this?

Just to reiterate the point, the review above is for a book on Hippocrates by Jaques Jouanna. It only references the Loeb book in its critique, and was probably attahced to this Loeb page by accident. The Loeb books on Hippocrates come in several volumes.

table of contents and editor review are of Jouanna's book on hippocrates not the Loeb Library No 482. it appears under Jouanna's book also

I read this book over and over and each time I read it (The Homeric Hymns by Homer, Apostolos N. Athanassakis) its soothes me. I highly recommend this book. Don't hesitate, buy it now.

As part of my curriculum in religious studies, and what should be a part of the library of any European, I really looked forward to reading these hymns dedicated to the Greek family of the Indo-European Gods. Sometimes, when reading original texts, one benefit from a retelling, or even a poetic "direct" translation, and at other times, a direct translation suits the text best. Professor Athanassakis (the Greeks sure do have names hard to catch the first time for us non-Greeks), has here translated the various hymns directly, with an amazingly perceptive translation from the original Greek into modern English. I honestly think this is one of the best translations I've ever read of any kind; he really catches the poetry and flow of the original text, and manages to convey the beauty of it extremely well.

The 33 hymns have their footnotes placed in the back of the book, something I'm not so fond of, but it would be impossible to have them below the text without loosing the flow of the read, so oh well. Annoyingly enough, the only hardcover edition of the book is the previous edition from 1976, so unless you want to loose the benefits of his 30 years of learning since 1976, you're stuck with this paperback edition. Although he plays down the Indo-European connection throughout, he still makes the right connections in some places.

As I've said, along with the other works by Homer, (this might be by Homer, we don't know), this book is required reading for any European. Our heritage is daily under attack, and therefore it is absolutely necessary to be well versed in it. It is also very short; the main text punches in at exactly 62 pages.

As Aphrodite says to a noble member of one of our ancestral tribes in the first hymn to Aphrodite on page 47, section 200; "But of all mortal men your race is always closest to the gods in looks and stature."

Read it! 5 stars.

It's really hard to find a good translation of classical works. We mustn't forget that most of these literary works had been translated in the mid to late 1800's and the use of language is not always the best.

I enjoy reading and referring to this book for two reasons:

-it was translated by Mr. Athanassakis, a Greek-American professor, who understands the text in its original format and can produce a sound translation into English without losing the meaning and without employing personal "stylisic contortions" of the text;

-the book contains notes relating to each passage, which helps students of classical works identify the Greek religion, mythology and cultural history; it makes references to specific titles like the Theogony, Odyssey, Iliad, Orphic Hymns, Herodotos, Euripides; also translates Roman-Latin words found in corresponding texts of the same passage.

If you are looking for an "unadulterated" text of the Homeric Hymns, this is book you need for your library! I'm surprised it's not being used in schools...

The Athanassakis translation of the "Homeric Hymns" -- a somewhat disparate collection of narratives, possible opening invocations for performances of longer poems, and a mix of what seem to be actual religious documents and literary exercises -- displays both literary grace (in the verse-line translations), and scholarly explication (in the introduction, and in the accompanying notes to the individual hymns).

[In his 2004 revised edition -- my review is of the original 1976 publication -- the translator continues to insist he was not aiming at producing poetry. It is indeed not formal English verse, but after decades of use I still find his translation not only readable but exceptionally attractive, and at least poetic, and not just by comparison to the old Evelyn-White translation.]

The poems are described as Homer's in the manuscript tradition, in which they are offered together with hymns by historical poets, but also some attributed to the mythical Orpheus. They are in the dactylic hexameter line of the Homeric epics, which in some of them is employed as a lyric meter -- a somewhat astonishing idea to those who know the "Iliad" and the "Odyssey." Athanassakis does a wonderful job of producing consistently attractive English versions, while attempting to adhere closely to the original. (I have no claims to real scholarship in this, but I once took the trouble to work through passages against the corresponding lines in a Greek text, with the help of the Liddel-&-Scott "Lexicon" and several grammars.)

After a long period of neglect on the part of translators into English, this group of poems has been translated in both verse and prose a number of times in recent decades. This volume first appeared at about the same time as translations by the poet Charles Boer (extremely "modern") and by Thelma Sargent in the Norton Library (to mention those still in print). These lacked the helpful apparatus (although Sargent could probably have provided something similar). The later Shelmerdine translation, in the Focus Classical Library series, is very extensively annotated, but is aimed at readers completely unfamiliar with Greek myth and literature. (In other words, a good textbook in a world in which the "classics" have dropped out of pre-collegiate courses.) Among the crop of *very* recent translations, by Cashford (Penguin Classics, with notes by Richardson), by Crudden (Oxford World's Classics), and (in a Loeb Classical Library bilingual edition) by M.L. West) [and now (2004) Diane Rayor], the work of Athanassakis seems to me to retain its place as both attractive and useful. Although Crudden, in particular, shows the benefit of another quarter-century of scholarship, his annotations often address other issues, and his notes on some of the hymns range from slim to nothing at all.

How important are the notes? To a casual reader, they are of interest only if they help to make sense of a passage at hand. Some readers, however, will be using the book as a primary source for Greek myth and religion. Guesses and compromises obvious to a classicist, or even an amateur like me, may look like solid facts to the uninformed.

An example of the care Athanassakis takes with such issues is his explanation of a much-debated passage in the "Hymn to Demeter." It is usually understood to explain winter as the portion of the year Persephone must remain in the Underworld. (If you don't know the story, sorry -- look it up, you may enjoy it). Unfortunately, explicit statements of this interpretation in Greek texts are late. Some scholars, such as the very distinguished authority on Greek religion, M.P. Nilsson, have argued for the barren Mediterranean summer instead. The "Hymn" should settle the matter, and Athanassakis, like most translators, offers a version in which it *is* winter -- but explicitly notes (as Cashford/Richardson, for example, do not) that the whole section is in such poor condition in the only extant manuscript that this is merely a plausible reconstruction. Important to know, if you want to build on argument on what looks like a solid fact!

Until recently, I hadn't thought much about cumulative tales helping with memory but they do. I recommend not skipping a word as you go back over the previous steps. Children (and I) love the art work also in this edition.

I also recommend these cumulative tales and songs.
There was an Old Lady Who Swallowed a Fly,
The Buggy That Boogied Away, and
She'll be Coming 'Round the Mountain.

My one-year-old son adores this book and brings it to me several times a day to read it to him. It's text-heavy with tons of repetition, so we skip every few verses. He giggles at the rhythm of the text and sometimes even dances side to side. The illustrations are very colorful, consistent with the author's other books and those in this series. I highly recommend!

The illustrator adds a special delight to this old cumulative tale.
In addition to the visual and auditory treat, tales such as this are a great boost to language skills.

I read this book as a child, and now am reading this book to my nieces and nephew. What a joy it is to read such good books to young children. This is a must for anyone with youngsters. Buy it! You will not regret it.

A must for anyone interested in 1 of the 3 greatest poets [writing in english] circa 1950 to present. Gizzi's essay is illuminating and steers clear of obfuscating what Spicer meant by "dictation" and the "outside".

The House That Jack Built is a must have for any serious poet or reader of poetry and poetics. Spicer's lectures on dictation, the serial poem, and the practice of reading lay a foundation for the art of writing poetry that is without default. His ideas are instrumental in poetry's process. Peter Gizzi's afterword enlivens the spirit of Spicer's practice and makes it available to the reader. Exhibiting a close relationship with Spicer's work and method, Gizzi both completes and opens the material discussed in the lectures. A stellar accomplishment.

This book is simply amazing as Jack Spicer had amazing martian forces driving him. The lectures are excellently transcribed and annotated. This part of the book holds amazing inspiration. Where the book fails is that Gizzi decided to start writing about Jack. I could hardly begin to read his tacked on essay before putting the book down in disgust. Jack spoke for himself just fine. The essay belongs somewhere else.

Hey, Jack Spicer is still the hidden force and westcoast "genisu loci" of US poetics, and Peter Gizzi has done a yeoman's job of putting these probing and lost lectures together to do new work. The poesy game will not be disturbed however, and putting J Spicer on cover of American Poetry Review will not alter the pastoral fact and fate of downfall and lost aura. Still, this is must reading.

One cannot improve upon the remarks fore-mentioned of George Bernard Shaw's. Long before public figures of no talent were thrust upon us, literate minds instead of marketeers gathered around the chosen few as johnny-come-latelys and would rarely disappoint. This is a thrilling,gripping read.Style,tact and endless grace in words for a tragic,painful public artist run throughout this personal account.Much can be gained from savoring this moment in time if one aspires celebrity and fame and wants to avoid its dizzying pitfalls.

this book is a work of art and is the primary source of all the biographies of Wilde. I particularly liked the last part of the book where Harris debates Wilde about male to male love vs. male to female love.Harris is plainly not intimidated by Wilde's witticism's and keeps to a serious vein without being rankled or becoming victimized by Wilde's ability to trivialize subjects with a veneer of parody. Among more of Harris insights is the statement that Bosie,(Wilde's "lover") and Bosie's father the Marquiss of Quennsbury are really 2 opposite ends of the same log.Harris biography seems more like a piece of literature and the life of Wilde,could even Dickens have thought up such a character as Oscar Wilde,I know Poe did!!

I picked this book up in a used book store for [money] more than when it was purchased new in 1960. The pages literally crumbled as I turned them, but I couldn't put the book down. I was enthralled with the life of Oscar Wilde. Now, this biography isn't one written years after the subject's death from scraps of information. No. This is written by a very close friend of Wilde's, Frank Harris. In being written by someone of such closeness, it lends credence to the harsh words the author had to say of Wilde. Harris calls him lazy and slothenly. Of course, Wilde caused quite a sensation in his time. He was imprisoned under other pretenses, but mainly because he was a homosexual in a time period when this was not acceptable. Oscar was one who did not care what others thought of him. He was determined to live a life of pleasure and to make money doing things that he liked: writing and speaking. However, he did a great deal of leaching off of others. There's no denying Wilde's genius. I have yet to read any of his works except for a short essay entitled "The Soul of Man Under Socialism." To me, the thoughts seemed profound. But Harris says that Oscar never said or wrote anything original; he merely took other people's thoughts, meshed them together, and said them in a more profound way. This is a biography that reads like a fine story. Harris is a great writer and has more first-hand knowledge of his subject than any other biographer that I've read. I'd reccomend this book to others without reservation.

"The best life of Oscar Wilde", said George Bernard Shaw after reading this book. I cannot but agree with him utterly. No unnecesary data is wasted, no long reflexions bore us. It's just an Oscar's very close friend telling us with great elegance and delicacy the story of one he has admired and loved so much, but without fear of saying the truth. Amicus Plato, sed magis amica veritas. Of course, the reader has to know Mr Harris is the true "lead actor" in the story he's telling us, always supporting the Truth and the Right. But one can easily forgive him for that in reward for the great moments un Oscar's life he's saved from oblivion and darkness. A wonderful work of art itself, this biography must be read by every admirer of that Prince of Charm Oscar Wilde was. X. Careaga

I finished reading David Fine's excellent book Imagining Los Angeles: A City In Fiction at just before 2 am this morning. I was reading in bed in my 1923 bungalow in Whittier, California. It was a quiet night. No winds blowing; even the neighborhood dogs were asleep. It was too humid and Fine's wonderful analysis of Los Angeles fiction had my mind going a mile a minute. I thought about going for a drive; maybe listen to a little late-night radio, but I knew my wife would worry if she woke up and found me gone. I finally got to sleep, knowing I'd have to type up this report as soon as I got out of bed this morning.

Fine's book is not encyclopedic; if you are looking for a complete listing of SoCal fiction, you'll need to look elsewhere. Imagining Los Angeles is an overview - an introduction, a history with examples - of fiction set in the Los Angeles metro area. The first chapter gives you a little background on the area. Then Fine takes the reader on a literary journey from booster fiction, through fiction in the 20's, hard-boiled fiction, tough-guy detectives, the Hollywood novel and finishes with more ethnically oriented fiction and Los Angeles as a setting for disaster. The book is serious - probably not a summer beach read - but it also kept me in rapt attention and didn't read like the textbook Professor Fine could have turned it into. In my opinion, this book should appeal to a wide audience - from the serious literary student to the pop culture buff looking for a little backstory.

A lady just walked into my office (actually, my three legged female mutt just hopped into the 1980 guesthouse behind the bungalow) looking for my attention, so I better end this report now.

Sincerely Submitted, agnostictrickster 13 August 2001

"Fine's research is extensive and thorough, his observations shrewd and penetrating, and his command of the political, social, and cultural matrix profound. A major contribution."--D. W. Madden, California State University, Sacramento--CHOICE, January 2001

This is a terrific book, that rare academic work that is both entertaining and instructive. Having grown up in L.A., but no longer living there now, I truly enjoyed revisiting the city of my childhood and young adulthood via all the stories and authors Fine discusses. Fine's writing style is clear and blessedly free of academic jargon. His treatment of a wide variety of books and ideas is nothing short of a tour-de-force. "Imagining Los Angeles" does exactly what good literary scholarship should do: shine fresh light on books and their authors and make readers eager to discover the books for themselves! (I've just placed a mega-order for several of the titles Fine discusses... )

"A short course in the essential literature of Los Angeles. . . . so full of punch and energy, so mercifully free of the impenetrable jargon that afflicts much scholarly and critical writing. Best of all, Fine sent me back to my old favorites with a fresh perspective, and he added a dozen titles to my own reading list."-Jonathan Kirsch, The Los Angeles Times

Brothers and sisters, words fail me in trying to communicate to you who and what Lord Dunsany was. The truth is so simple, and yet seems so fantastic that you might hesitate to believe it. Along with E. R. Eddison, he is the best fiction writer that there ever was, or likely ever shall be (the same could be said of Dunsany as a short story writer in general, and must be, because we are here to tell the truth for a change). Tolkien, for example, is nothing but a pale shadow cast by the sun that is Dunsany; Lovecraft was a rather silly-seeming imitation. Once you have drunk from this well nothing else even comes close; it will almost ruin you for other writers. The question is, if he is just the deepest, saddest, funniest, most clever, most beautiful, and again excepting only Eddison the flat-out best writer of any kind the latter-day Western world has produced -- and he is, brothers and sisters, he IS -- why doesn't everyone know about it? Why has he fallen into obscurity?

The reason is simple and obvious. Look around you. The world has gone mad. We have lost all connection to the real. And this great man, this Lord Dunsany, saw it, saw it before almost anyone, saw it happening all around him. And he went out and wrote stories about it, stories that are the least real things ever created on the surface -- but touch the very highest levels of reality in their deeper parts. It is just those parts that are invisible or despised in our mad world, and that is why he is hated, ignored, forgotten -- by all but a few, a few who can peer through those veils of madness. Dunsany's work is not escapism. It is literature, literature of the highest order; literature of an exponentially higher order than any of the garbage pushed down our throats by the academics and pseudointellecutal humanities majors whose task it is to maintain this madhouse of a world -- you know, the kinds of people who despise Lord of the Rings and talk themselves into believing that deviant, culture-destroying nut cases such as James Joyce are great writers.

Brothers and sisters, you have found the source of that which you have so long sought. This book, all his best books, are a door into another world, a saner and better world, a world within you waiting to be discovered. Buy this book. Buy all of Dunsany's short story collections, especially the early ones. They will haunt your dreams forever and if you let them, they might even change your life, all without your noticing quite how, why, or when.

What a marvellous writer Lord Dunsany was!

He influenced everyone, everyone who ever wrote fantasy: HP Lovecraft, Jack Vance, John Crowley, Gene Wolfe, Neil Gaiman, Clark Ashton Smith, Roger Zelazny, the list goes on and on. He has the astonding ability to conjure believeable worlds and nail them down with unsurpassed beauty in 500 word, three page stories! Like Faberge Eggs, each tiny short story conveys lost worlds of intense poetic beauty.

He loved the sounds of King James English and returned to it over and over to fashion his worlds. *The Gods of Pagana* (printed in it's entirety) is no less than a series of drole Myths about the creation of the universe, paralleling and reflecting Greco Roman myths and even Genesis. The Pagana section is really a clever story cycle and most effective if you start from the beginning and read in sequence.

Dunsany doesn't much care for our modern world, (but what's to care for?...). He comes up with names for his imaginary cities that just roll off the tongue.

Dunsany wrote a story about a thief who is being pursued, running away with his stolen loot from the house at the End of the World. He runs down a long curving staircase on steps carved into the rock. Down and down he runs pursued by the nameless terror behind him, until the steps get larger and larger and the curve gets greater until he falls off the lower edge of the world into space! Now that is vision. (I think that happened to me in a nightmare once.) A number of his stories deal with the House at the End of the World - an English country house, a stone fence and outer space beyond.

The orignal hardbound editions (not this paperback) had funny etchings to go along with the stories. These are stories you will love and treasure and if you like this book, it's well worth your time to seek out the complete *Book of Wonder* series.

He cranked out these clever little worlds in story after story, *The Book of Wonder* and it's successors, written before and during World War I. He became saddened by the War and it's results (and the next one). Dunsany continued to live until the early 1960's, or so, never to return to this form of exotic fantasy.

This book is a survey of decades of his writing. A great introduction to some of his most famous stories. The book tails off somewhat at the end with the Jorgens stories and other post WW1 stuff which is not up to the quality of the crystalline visions in his earlier works.

To think that he accomplished so much with so few words and authors today with their word processors and multi-volume series accomplish so little in comparision.

Read him. He is the source.
Cannot be more highly recommended.

And Lord Dunsany was a real titled English (or Irish) Lord, a Peer of the Realm.

This is the book you search for on a cool autumn evening or a late summer day. It is a book you want to read and savour. The tales are timeless, sometimes melancholic filled with fantasy, delight and the fleeting nature of life, existence and the world (or worlds) around us. Dunsany evokes the sublime, the sacred, the profane and the childlike. I'm not the greatest fan of Tolkien (I found The Lord of the Rings long-winded). But then again I prefer vignettes of life. These tales offer the vignette of the fantasy world. Gods, goddesses, warriors of old, travelers in faraway lands, story-tellers...children playing pirates... there is everything you need in this book to have - well literally - a 'second childhood'.

I loved the earlier mythological work 'The Gods of Pegana' as much as 'The Tales of Wonder'. The prose poems were equally wondrous and in a few I could see where the Argentinian author, Jorge Luis Borges was highly influenced.

If you are interested in early fantasy literature, when the genre was in its infancy, pick up this collection. It is not antique, it is not dated. The best part is the writing is readable, accessible and highly poetic. Dunsany has a way with words and his story telling ability is highly admirable. Read this and you'll want to read more of him.

Lord Dunsany may never get the vast following of J.R.R. Tolkien and C.S. Lewis, but he does have the distinction of being one of the first fantasy writers in history. "In The Land of Time: And Other Fantasy Tales" is a collection of various stories he wrote, drawing from all of Dunsany's writing.

Among the longish (none of Dunsany's stories is really long) is Dunsany's short novel "Gods of Pegana," a collection of Dunsany's invented myths for countries that never really existed, and the novella "Sword of Welleran," in which legends come to life, including the famed sword of a hero. Not to mention a vast variety of short stories ranging from murder mysteries ("Two Bottles of Relish") to Victorian character study ("Thirteen At Table"), from horror (the creepy "Ghosts") to whimsical fantasy ("The Wonderful Window," the centaur-themed "Bride of the Man-Horse").

One of the good things about "In The Land of Time" is that except for Dunsany's war stories and club tales, just about every kind of fiction he wrote is in here. Fantasy, horror, regular fiction and invented myths -- this guy wrote 'em all. And editor S.T. Joshi does a pretty good job pulling together some of the best things Dunsany wrote. The main problem is that the collection is kind of serious. Since Dunsany could be very funny in some stories, this is leaving a big gap in the collection.

Like the fantasy writers who came after him, Dunsany dipped into myths that weren't his own (like "Charon," a memorable short story about the ferryman of the dead). At the same time, he wove his own legends and myths about gods and heroes, in a vaguely Middle-Eastern setting. If you didn't know better, you could almost believe that these legends were really from some crumbled desert city. And his slightly formal, sparklingly lush language only adds to this feeling.

"In the Land of Time: And Other Fantasy Tales" is a solid collection that shows nearly all of Lord Dunsany's considerable writing range. Dunsany's brilliant fantasy is a must-read.