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What are the secrets to finding happiness and living wisely? This second line of the first chapter captures the purpose of Dr. John Izzo's new book The Five Serects You Must Discover Before You Die (2008 Berrett-Koehler Publishers, Inc.). The book is an urgent plea to the reader to embrace life--in ever encounter, every experience, every emotion every single day.

Izzo proposes we do that by accepting that life is limited to an unknown amount of time for each of us but that within this limited time we have unlimited opportunities to choose to find meaning by living a purposeful life and thereby find happiness.

He interviewed several hundred older people--"wise elders"--based on the recommendations of persons who recognized them as sources of wisdom. In this way, Izzo turns to ordinary folks who have lived full lives for the wisdom necessary to do the same. If other great teachers of our time and previous times have said it before, so be it. Now we receive the wisdom from the local barber, the Holocaust survivor, the grandma on the porch rocker.....All of Izzo's sources are over 60 because, the author said, this is the age at which most people tend to reflect on life. They're done having and getting; they are looking back on all that they have done.

This diverse group offered insights that came down to these five points:

1. Be true to yourself by living with intention. Know your heart's desire and seek it.

2. Live with no regrets. Regrets, Izzo said, are most persons' biggest fear--not dying itself. So mend fences, make peace, and move your life into a place of peace. The best way to live without regret, Izzo says, is to take chances, pursue those dreams, and accept the failure that might be your way. Rather than be crushed by failure, learn from it.

3. Become love. Love is not an emotion but a choice, a way of being that involves seeing ourselves and others with kindness and compassion. That love creates the opportunities to follow your bliss, heal hurts in yourself and others, and to find peace despite challenges and hardships.

4. Live in the moment. Right here right. That's all.

5. Give more than you take. Izzo explores that wonderful idea of finding yourself and then losing yourself. Once you identify your heart's desire and live your life pursuing it, the chance of accumulating any regrets is reduced. Once you become love, kindness itself becomes part of your purpose, and each moment offers all the joy of a lifetime. This creates an abundance of resources in the forms of love, trust, hope, joy, kindness, compassion. Draw from this deep well and give it away. Leave the campsite better than you found it, as one wise elder put it.

And then, as the saying goes, you will wake each day knowing it is a good day to die.
Posted by SandyCarlson at 6:51 AM 0 comments

John Izzo said that he wrote "The Five Secrets You Must Discover Before You Die" because of his lifelong search to discover what it means to live a full and meaningful life. His search, and research for this book, involved interviewing more than 200 people, 59 to 105 years old (he called it "the wise elder project"). Izzo gathered all the wisdom the interviewees shared and segregated them into the five secrets everyone must discover in order to live a meaningful life.

Quoting words from the wise elders, telling stories from his own experiences and those of others, and bringing everything into a concise yet all-encompassing perspective, Izzo gives us the five most important ways to give our lives focus and purpose. Izzo wraps up each chapter with "questions to think about to help us live the secret." Towards the end of the book, he inspires us to interview our own wise elders.

The five secrets Izzo listed are not new. They're not really "secrets" in the sense that you've never heard them before. Izzo stressed that. What makes his book a must read is the way these secrets are presented to deliver the strongest impact. You see the posters, read the greeting cards, and hear the inspirational speakers. But you'll never really appreciate the essence of these "secrets to life" until you come into the circle of stories and insights that Izzo brought back from his interviews.

"The Five Secrets You Must Discover Before You Die" also delves into what many of us are scared to even think about: death. Izzo emphasizes that in the same manner that it's never too early to discover the secrets to life (and never too late to live them), it's never too early to anticipate your last days on earth. Based on the insights he gathered, people who live the secrets are happy and content. And "happy people are not afraid to die," which means if we live the five secrets, death becomes an integral component of being alive.

Izzo adds impact to the book by sharing his own circumstances on how writing the book changed him. At one point, he wrote, "Most of all, these interviews reminded me of some things that I already knew but that can be forgotten in the distracted busy-ness of a modern life. They reminded me to stop and really enjoy life, to be a more loving person, to make sure I leave no regrets, to be true to my self, and to know that it is in giving that I become part of something larger than I am."

If there's one book that could make a profound effect on our perspective of how life should be lived, this is it. - Ruby Bayan, OurSimpleJoys.com

Not rocket science, not brain surgery, not written at an academic level...these "secrets" are very accessible to the common person and part of a recipe for a fulfilled life.

As a Christian, I pass all "truth" through the filter of Scripture to see if it stands up. I believe that Izzo's work does so. It is amazingly non-theological in it's perspective. You would think that a book containing "secrets" to life would take a decidedly religious perspective at some point that would endear it to some, exclude it from others. However I found that this book did not.

That being said, as I recommend it to others to read, I will encourage them to do so adding the distinctives of our Christian faith to bring it into a context which will allow one to acknowledge and honor the Lord in the process of applying these secrets.

For example, secret #1 tells us to be true to ourselves. The three questions which focus this secret are:

1) Am I following my heart and being true to myself?
2) Is my life focused on the things that really matter to me?
3) Am I being the person I want to be in the world?

As a Christian, I would adapt these questions to become:

1) Am I following my heart as Jesus created it and being true to who He created me to be?
2) Is my life focused on the things that really matter?
3) Am I being the person Jesus wants me to be in the world?

This process will not work for everyone, but as one who believes our first desire should be "not my will, but thine be done" as Christ did in the garden of Gethsemane, I think that in some parts of the book the focus is a little too self-centered. As in the example just given, once I refocus from a strictly personal perspective to one where I envision who Christ has created me to be, this book is a very good fit. That is the only reason I gave it four rather than five stars.

However as the material is contributed by a wide variety of individuals...no doubt some of faith, some not...he writes from a non-sectarian, even non-religious perspective that allows all people to take from the material and apply it as I have in a way that makes sense to them.

Heavy title. Buoying book. Go figure.

When Dr. John Izzo's book, The Five Things You Must Discover Before You Die, came up as a suggestion for me to review and interview, it came with the phrase, "sounds like something you'd like, Jamie."

Oh, really?

I don't read 'those' kinds of books. And I'm terrified of dying. Somebody's messing with me. But I like a challenge. Heh. That which doesn't kill me and all...

I didn't expect to like it and I certainly didn't expect to need it, but it came at a good time. I get the feeling nearly any time would be a good time for this book. It's really very wonderful in concept and execution. Did I just say 'execution' in a review of a book about death? Oh dear. I get a pass, because it's really about life. It's a comfortable, easy read that takes the cliché out of cliché by showing us five invaluable bits of wisdom as applied in the lives of over two hundred impressive and venerable men and women.

Dr. Izzo asked for nominations, from those on his international mailing list, for the one person who had influenced them as wise, as happy, as having found the secret to a sense of fulfillment in their life. Through questionnaire, this list was distilled down to the group that Dr. Izzo and his team interviewed in depth over the course of a year and a half.

What results is an amazingly useful look at what we'll wish we'd known when - let's not beat around the bush; Dr. Izzo doesn't - when we die.

I got to speak to Dr. Izzo about the process of compiling this book, why the secrets aren't secret, and why I'm now walking around with a few words on an index card in my pocket at all times.

The interview can be found in the 'Podcasts' section of jamie-mason dot com. You may just want to buy the book. It couldn't hurt, and it definitely won't kill you.

There are books that are good, books that are great but rarely does someone write a book that is destined to be a classic in history. I think this is one of those books and I have a feeling that it will be read and referred to by millions for many year... maybe centuries.

What makes the book so important? In short, it is a summary of 18,000 years of life experience from people who understood how to live a fulfilling and successful life. You may know or may have met an older person who seems unusually wise and filled with inner peace. They look back on their life with few regrets and are surrounded by friends and family. If you could talk to one of these people and hear their secrets of life, it could change yours forever. If you summarized the secrets of life from over 200 of these special people you would find the content of this book.

Buying this book will be the best money you've spent. Regardless of when you buy this book, you'll wish you'd bought it sooner than you do.

The title says it all: "Trombones" represents the preservation of the history of the community backbone of prayer, persistence, and strength. The poetry gives some insight to the suffering of the elders, and speaks to the continuing fight for the full parity of the AfricanAmerican community in a country that was literally built upon the bleeding, sweaty backs of my ancestors.

Amazon is to be commended for participating in this historical preservation of a works that I would recommend as mandatory reading for generations to come - regardless of religion, gender, or color.

My soul is galvanized everytime I hear or read James Weldon Johnson's God's Trombones. I have directed student perfomances of this deeply moving African American text. "The Crucifixion," for example, tells the story of how Jesus Christ, my Lord, my Savior,my Friend, suffered death on an old cross so that I might have an opportunity to be more sensitive to the hurting. The "Prodigal Son" urges me to experience and, thus understand, that I must live with a redemptive consiousness. And, of course, I am compelled to understand, through the poem "Go Down Death" this reality: God does call His children home. Those who have suffered "long in the vineyard" are deserving of rest. For sure, God's Trombones is a poetic tribute to an experience that is Christian and African American. I thank James Welson Johnson for creating this poetic masterpiece. Let's continue to read it; let's perform it. Let's live within the context of the spirituality of the voice. Amen!

God's Trombones is a beautiful expression of the themes of the Southern black experience and God's constant, personal presence in their lives. The themes he chose were expressed in sermons and in Gospel music. For the black person, God was aware of their struggles, would bring them out of "Egypt" (slavery) and would eventually take them to their home "over Jordan". Death would be a gentle freedom for those who were weary (as in "Go down Death").

Johnson's introduction explains that he was trying to express the fervant Southern black preacher with his pauses and emphases. He has done both well.

This is a book to be read for its beauty and inspiration, but more important, it shows (theological inaccuracies aside) how an oppressed people trusted in God's gentle hand, and God's constant love for even the "least" of his Creation.

I recommend this for historians, teachers, lovers of poetry, and for its spiritual content, anyone seeking inspiration.

My dad teaches Sunday School and was looking for this book to incorporate into his lesson plans. I found it here at Amazon and fell in love with this book. Absolutely wonderful to read and very profound. Exceptional!

While James Weldon Johnson's theology is not always orthodox ("God thought and thought" - who could put a new thought in God's mind? unless it was God and, then, God would not be God - this insight compliments of E.V. Hill in his sermon "When Was God At His Best?"), JWJ's poetry and, especially, his Preface displays the harmonious beauty of a long tradition of African American preaching not generally known or appreciated outside of African American circles. If one really wants to become familiar with and, indeed, edified by the godly reaching of E.V. Hill (now deceased), Fred Luter, Tony Evans, Robert Smith and a host of unknowns who preach with substance and, sometimes, in the "whoop"ing style, then, Weldon's book is a must read. May Christianity never lose what God has brought forth in a substantial style which stirs heart, mind and soul.

While The Golden Key may not be my all-time favorite book, it certainly has a strong connection to the book that I treasure most of all (well, second to the Bible). You see, George MacDonald, author of The Golden Key, was in fact the mentor of Lewis Carroll, who wrote my favorite non-Biblical book, Alice's Adventures in Wonderland. That's a very powerful and indeed shocking connection if you ask me. But you can kind of see it if you look closely. I mean, the kids in the Golden Key grow both old and young. Alice in Wonderland grows big and small. Kinda similar there.

Yet, I did not know about the relationship between the two books until AFTER I had finished The Golden Key and decided to do some research on its origin. I simply read The Golden Key like I would any other book, and developed some commentary on the work as a whole that I would now like to communicate:

First, the book is very short. I finished it in two days. And because its so short, events move incredibly fast to make room for heavy amounts of whimsical feeling and fantastical description.

But again I have to go back to the Alice thing. I noticed how SO many sentences in the story turned the reader upside down and made him say, "huh?" It was as if the Fairy World did everything it could to stay all out of whack. Whether it was to make speech that could be heard without ears, or to make the oldest people in the world look like little kids, the topsy-turvy nature of everything couldn't help but instill an amazing sense of awe. Truly, The Golden Key opens eyes to such incredible abstract possibilities of the imagination, and perhaps even life itself.

The out of whack sense of awe, while wonderful in this book, developed into full maturity in the Alice books. While The Golden Key merely mentions things that make no sense, the Alice books actually attempt to explain the senselessness of senseless things.

I hope I will always have a special place in my heart for MacDonald's prototype of Alice in Wonderland. Oh, if we only knew how much the imagination behind The Golden Key has really changed the world. I think we would all be very surprised.

I purchased this book as a Christmas gift for my 20-year-old daughter. It was one of her favorite books as a child and she frequently checked it out of our local library until it disappeared from the shelf there, never to be seen again. She was very excited when she saw that she had her own copy and she took the book back to college with her after Christmas break. Although I haven't actually read the book myself, I can tell you that my daughter thinks it is great!

This book is like a drink of the freshest, clearest water on the brightest, bluest spring day you can imagine. It was lovely every step of the way, somehow beautifully sad and wonderful at the same time. With the aid of the creatures of fairyland, mistreated Tangle and adventuresome Mossy go on an enchanting journey which takes them straight through to a wisdom and sense of wonderment that is somehow greater than that found in adulthood (or childhood). George MacDonald truly had an eye for the worlds of fairy, and an unsurpassed talent for expressing beauty in all things. The stories are not always meant to be understood, but deep in that inner place in one's heart, they make sense.

the tale of tangle and mossy, two child like creatures on the adventure of the ages. alone - together - parting - re-uniting, until which is which becomes forgotten and un-threatening, and best; so unimportant. Simply, this is The Best Fairey Tale I have ever read.
It is a classic.
If you know anyone with fantasy and imagination, regardless of age, this whould be a most welcome gift....

Addendum: To - "A Reader"
It is difficult to respond to a question after the questioner has left the room. Who is Dr. Peter Kreeft and what makes his opinion so important to you? It is sad that such a beautiful and wonderful story is so assaulted by a need to find the incarnation of GOD himself within it. Not that he/she is not; but please, isn't that the "Bible's" role? I think you last three comments point to your problem; that is, you really want someone "to tell you" what this book really means. Suggestion: Perhaps if you read the story to a child or a very old person over the course of three or four day, you might find it much more appealing.....
best regards.

An earlier reviewer mentioned the difficulty of understanding the imagery of the story and another suggested (perhaps rightly) that the golden key represents Christ. C.S. Lewis believed it represented "the talent for loving", and having read the book numerous times, especially to nephews and nieces, I agree. Without giving away too much, notice the differences between Mossy's and Tangle's journey after their separation (physical death), especially how they saw the Old Man of the Sea. One might need to have read more of MacDonald's works (especially Unspoken Sermons) to get at his view of how love affects our ability to "see". His "At the Back of the North Wind" contains another wonderful example when North Wind explains to Diamond why she had to appear as a dreadful wolf to an old woman.

Joshi is the foremost student of Lovecraft, and in this volume he has written the unsurpassable biography of the man whom Stephen King himself called "the twentieth century's greatest practitioner of the classic horror tale."

For myself, I can only say it's been a long wait. I first discovered Lovecraft at my local library in eleventh grade. I picked a book decorated with some macabre illustration off a twirling bookstand, checked it out, and rode my bike home with the volume tucked under my arm. That evening I sat with it in the big white reading chair in our home's living room. The first story I read was "The Picture In the House."

I was hooked.

Within the year I'd read every story Lovecraft wrote excepting one--"Herbert West: Reanimator". (I finally got to that earlier this year.) I became, in a way, obsessed with Lovecraft. I wanted to know who he was, so I read Frank Belknap Long's Howard Phillips Lovecraft: Dreamer on the Nightside. The stories and poetry I was writing at the time became increasingly colored by (or downright imitative of) my hero. Somehow, the man infected my consciousness in a way no other writer--before or since--ever has. I guess it's because in so many ways my inner life has been--with some important exceptions--a parallel to Lovecraft's. I see him as a kindred spirit.

That being the case, it's hardly surprising I relished--nay, wallowed in--this biography. It is detailed beyond imagining. Here we follow Lovecraft on his walking tours, street by street. We see his grocery lists and menu items. We read his letters and amateur publications. By the end of this text you will feel you have lived and breathed right alongside the old fellow and slung arm-in-arm with him through his nightmare worlds. No one could have done it better than Joshi, and it is doubtful anyone ever will. If you are a fan, this is a must read. If just curious, the lengthy detail might be off-putting, but you may find yourself a convert by the end.

Unlike De Camp in his earlier biography, Joshi doesn't consider HPL to be a failed version of what he might have been had he at various key points in his life been just that little bit more commerce-minded: instead he accepts Lovecraft as he was and goes on from there. I think Joshi brings out what it is about Lovecraft & his work that continues to fascinate today: the curious fact that an erudite, scholarly autodidact should, from an early age, have been so caught up in a melodramatic 'pulp' aesthetic that for the rest of his life he focussed the entirety of his self-expression - emotional, intellectual and philosophical - through that aesthetic. Hence Lovecraft's stories have, even at their most garish & mechanical, an (admittedly sometimes near-subliminal) intellectually rich underpinning, and it is this bleed-through of a higher aesthetic that lifts them above the acres of hackwork that surrounded them when first published in Weird Tales, (try reading even a 'best of' by those other writers today!), gives them a psychological curiosity, and has given them their unexpected longevity.

Joshi's analysis of the 'Cthulhu Mythos' is, I think, exactly right: he defines the Mythos (not HPL's coinage, of course), as 'a fictional technique' for presenting Lovecraft's philosophy - which Joshi defines astutely as 'an anti-theology' which makes manifest (as we see with the cultists in Call of Cthulhu) the delusive nature of all religious belief, and asserts the meaningless of human existence in a vast, uncaring, mechanistic universe.

This analysis justifies what would otherwise be an excessively lengthy exploration of Lovecraft's political and philosophical beliefs, given that he published no significant writing on those subjects, and was only considered a great thinker by his friends and epistolary correspondents. It also highlights the unalloyed perversity of August Derleth in imposing a Catholic-inflected cosmology onto Lovecraft's atheistic vision. How strange that he was so fascinated by HPL & his work, but couldn't accept what Joshi rightly points out is its absolute core!

Joshi manages to address various differing opinions in the world of Lovecraft Studies without becoming pedantic or petty, and takes trouble to credit other researchers and academics for their insights.

As a biography this book is full of interest, and Joshi's pursuit of detail is relentless - occasionally to the point of obsessiveness, it has to be said, but some of the details he uncovers are highly revealing. His account of Lovecraft's death I found surprisingly moving, but I did not, as I did on finishing the De Camp biography, regret his life - except in the single matter of his clinging on to racist beliefs and self-diminishing prejudices.

I have very few criticisms. There are no photographs, and I think the cover is horrid - & certainly is not a good likeness of HPL. Occasionally Joshi is so aesthetically aligned with his subject he indulges him (as he does with certain of his amateur endeavors); occasionally Joshi is over-definitive in his judgment of the merits of various yarns. I think he slightly misses the mark at various points when he comments of (eg the denoument of Herbert West) that HPL must have been sending up his own style to *intentionally* comic effect. This, I think, is not quite right: rather, it seems to me, he allowed his discipline to slip, and reverted to the garish style of the Argosy yarns that he had read as a child, the style of which had so fundamentally informed his entire notion of the form of aesthetic and psychological self-expression that he could never quite discard it. Lovecraft knew it was a failing on his part, but sometimes let it off the leash regardless. I'm sure he never thought of his verbal pyrotechnics as anything other than, on sober reflection, accidentally funny.

Aside from those very modest quibbles, I found Joshi's judgments & assessments at all times perceptive and thought-provoking, and his 'Life' a highly-readable achievement in biography.

Wow, this must have been quite a few hours of work for Joshi! The fonts are below even standard book-fonts, AND I hear it's an abridged version but still the book is almost 700 pages. But don't get me wrong, in many ways I wish it was longer. The book is a fine introduction to Lovecraft's life, and to most Lovecraft-readers, probably quite enough in itself. It chronicles on an annual basis, highlighting and describing any interesting incidents or activities revolving around Lovecraft and his circle of friends and family that happened over the years. There's not much to say about this, its very good and solid biographical work by a fine devotee of Lovecraft; S.T Joshi. Its not often reading a biography makes me sad, but reading the final chapter on Lovecraft himself "The end of one's life" made a certain Norwegian man quite sad. Apart from some points I'm about to take up, I have no doubt that this is a biography that Lovecraft himself would have approved of. It could have been more detailed in its description of how the various fiction came to be, and more analysis of this area, but it IS after all a biography, so that was of course Joshi's prerogative.

Now to the bad; as a little background to the author of the book, he is in fact an immigrant; an Indian living with a miscegenating Euro-American female. This explains why he constantly abuses Lovecraft for his conservative and racialist views. He conjures up non-sense frequently when talking about this subject; somehow concluding that theories about race and miscegenation etc were definitively debunked by the "scientific work" of Franz Boas. This is of course complete nonsense, like Kevin MacDonald has shown in his excellent work "The Culture of Critique". Franz Boas had specific racial reasons himself for carrying out his campaign against the use of "race" in academia, and the reasons for this were far from what the Western standard of science represents.

So even though I highly recommend the book, I wish Joshi could have been so intellectually honest that he admitted in the book that his status as a non-European immigrant himself has biased him, and made him write the book with an extreme liberal and secular slant. So if you manage to ignore this part of Joshi's book; you'll have on your hands an excellent and well-written account of Howard Phillips Lovecraft and a good introduction to his writing.

The good: Until S.T. Joshi's book, the only serious biographical information on HPL apart from his letters was 'H.P. Lovecraft; A Biography' (1975) by L. Sprague de Camp, which left many gaps and open questions. Joshi's book fills in the gaps and then some. It is the closest thing we have to a definitive Lovecraft bio, and if you're a Lovecraft scholar of any seriousness, you'll eventually need to read it.

The not-so-good: While Joshi's book reads like a rigorously well-researched first draft, I wish he'd consulted with a manuscript editor before publication. This massive, expensive and ponderous 708-page book could perhaps be edited into a more readable and reasonably-priced 300-page book, with another 100 pages of small print endnotes, merely by removing Joshi and his scholarship from the foreground and replacing them with Lovecraft. For example:

- Joshi includes himself in the story, using the first person pronoun on nearly every page. "I..." this and "I..." that. While Joshi is likely the world's foremost Lovecraft scholar, and I appreciate his excellent and exhaustive efforts as a researcher, I did not plunk down such a hefty cover price to read about his adventures in scholarship. Easily 200 pages of this 708 page book are about the adventures of Joshi, Lovecraft scholar. That information belongs either in a short appendix or separate article. He'll print a quotation and then add, "To this analysis there is really very little to add...," or "I don't think I can add much to this.," seemingly for no other purpose than to return the spotlight, which had momentarily alighted on Lovecraft, to himself. On nearly every page I felt that trapped "captive audience" feeling you get with professors who use class time to speak at length about their personal lives. Surely by now it has become standard practice for biographers to not include the personal "I" in their biographies, at least when they've never met the subject.

- While most biographies focus on the subject and relegate sources and disputes to footnotes and endnotes, Joshi foregrounds the sources and points of contention, which has the odd effect of almost burying the subject. You'll often read four paragraphs of sources and conjecture containing a single sentence of actual biographical information. If Lovecraft did X, but there's some dispute, I'd prefer the main body to say "Lovecraft probably did X," with a small-print footnote citing sources and contentions. I paid to read about Lovecraft, not Lovecraft scholarship. I often feel like I'm being punished, forced to read 708 pages to get 300 pages of information.

- As another reviewer pointed out, Joshi frequently expresses his editorial positions in a tone suggesting that he believes his personal opinions to be indisputable fact. Especially disconcerting is Joshi's careful habit of never missing an opportunity to denigrate Lovecraft himself. A tiny sampling of Joshi's descriptions of Lovecraft and his work includes: clownish error, clumsily, embarrassing, paranoia, pompous, pseudo-philosophical, trying to do too much, moping, overly given to histrionics, offensive, dubious and pathetic. It's almost as though, while Joshi must have some respect for Lovecraft, he is careful to constantly place himself "above" Lovecraft emotionally. I can sympathize with Joshi, who as a serious scholar must sometimes find himself exasperated by uninformed intellectuals who still underrate Lovecraft's genuine contribution. However, I feel that the body of a biography is not the best place for Joshi to distance himself from Lovecraft's pulpier and sillier decisions. Why are Joshi's opinions in the book at all? Doesn't he trust his readers to form our own opinions? Almost once per page I felt some resentment at being forced to play captive audience to Joshi's unwelcome editorial opinions and emotional self-positioning in order to gain access to his excellent scholarship.

- Joshi provides "spoiler" summaries of most stories. While these are welcome, it would have dramatically improved readability to cut these from the main body and provide as sidebars. This would also allow readers who wish to avoid spoilers to skip them easily, as well as reduce the book's almost oppressive density.

In closing, I hope this book is re-released soon with S.T. Joshi's presence as a character, editorial opinions, emotional self-positioning and research experiences either cut entirely or summarized in an appendix or endnotes. Then it wouldn't hurt to have a professional book doctor rewrite with an eye to smoother prose and readability. THAT edition will be the definitive Lovecraft biography.

Clocking in at 654 pages, this sprawling biography will teach you everything you ever wanted to know about the horror scribe -- along with some things you'll wish you hadn't discovered, like how Lovecraft was a more zealous racist than was the norm in his day. Joshi is long-winded, for sure, like the grandfather who, when you ask him how the light switch turns the lamp on, proceeds to tell you the history of electricity, starting with two sticks being rubbed together. You'll be hard-pressed to remember all the details afterward, but the story of Lovecraft's life is smartly woven, divulging the world as viewed through the writer's eyes and those around him. Like a criminologist apt at identifying with a killer, Joshi truly seems to understand his subject down to the crumbs on his coat.

"Without holiness, no man shall see God."

So says the scriptures.

JC Ryle does not stray far from this verse in his examination of biblical holiness. As you read this book, the believer will be challenged to lay aside the nettlesome sins that retard our growth in Christ and seek toward a higher plain, a plain that leads to growth in holiness.

I cannot recommend this book enough. In an age when bookshelves are replete with psycho-babble and nonsense, nothing can satisfy the longing heart that the strong meat of God's word that enjoins the believer to separate from the world.

"For if you love the world or the things of the world, the love of God is not even in you."

The author believes man is Justified byu Faith alone, but believes a Christian Faith is identified by its fruits. This is good, though I do think at times it may seem he believes otherwise. The book sometimes explains something in a thousand words that some may explain in two hundred. It is interesting read considering the book was written some hundred twenty years ago. He complains about easy conversersion without counting the cost of departing from your oldways (sins). That giving life to Christ is not a simple prayer but athoughtful process where you stand before God. He expresses the difference between having more Christians and having less Christians but more devoted. He also disdusses the visible and invisible Church. Those who are members of a local body of Christ but have not truly repented for sins and seek Jesus as God, Savior, and Lord. I found the exposition very interesting at times. A few times I wish he get to the point.

Excellent treatise on holiness and the Christian life. I would highly recommend it.

This book is very detailed and covers the subject very well. It is not written in the easy to read style of modern books and demands concentration. Ryle backs up his thoughts with plenty of references to scripture. His thoughts would be in line with the Puritans. The book is both challenging and encouraging.

Holiness, by J. C. Ryle is the best book on Christian living I have read to date. In an age of easy-believism that talks of a gospel free from a commitment to God, this book shows what it takes to have a satisfying and saving relationship with Christ in the way that the Scriptures teach. As the work of sancitification is largely ignored on the bookshelves of Christian libraries, this is a much needed addition. With the debate over Lordship salvation still running its course, this book gives a perspective from over 100 years ago that easily fits our situation today. Ryle expounds the Scriptures in such a way that you can not put this book down without heartily agreeing with Hebrews 12:14 "holiness, without which no one will see the Lord."
Ryle has been called a theological vertebrae, and rightly so. This work will leave you examining your walk with Christ with a desire to live for Him like never before.

Good things come in small packages! This volume may be slender, but it packs a helluva wallop. This book is pure "rock & roll" hororr!

This horror anthology consists of twelve short stories and an extract from a novel. The collection runs a wide range of the genre with lead characters including the undead, a serial killer, and a dying cowboy's final lament, etc. The book contains well written tales that grip the audience as Staci Layne Wilson provides surprising emotion (that is for the short story format) in several of the stories. The supernatural runs free throughout the tome, but mostly provides atmosphere or the impetus to move the plot forward. Though the title implies a god-fearing or anti-religious fervor, HORRORS OF THE HOLY is more of a secular generalist series of tales that grips the audience with suspense and a wonder what can happen next. Ms. Wilson is a talent worth following (SEE THE LIFE AND TIMES OF RAPUNZEL).

Harriet Klausner

This is a funny book, but it doesn't detract from the horror at all - it's plenty scary! I really enjoyed it, and I'm hoping she comes out with a horror novel soon. Even though there are 13 stories, they were too short. I wasn't ready for them to end!

An anthology of 13 stimulatingly scary short stories. Each story a different look into the darkness, zombies, vampires, monsters and more. Wilson has created a collection of very different intersting, spine-tingling stories. The stories are creative and not really predictable. She uses different perspectives and creative these highly-entertaining plots. Delightfully enough, she sprinkles humor powder into irony, artfully. Her au fait writing style makes this a page turner. Take a journey through the supernatural world. Quick.

The sacred and the profane are only separated by a thin veil, and when HORRORS OF THE HOLY peels back the veil, be prepared for the fearful and unexpected. Beneath the most respected and holy lies the macabre and the profane, often more closely linked than you've ever expected.

Ranging from vampires and the supernatural to priests and evangelists, and even the common such as jewelry and teeth, HORRORS OF THE HOLY will have you checking the mirrors and the bathroom repeatedly. Two of my favorites, "Always Amber" demonstrates that possession may come from the simplest of things, while " Anti-Christ Superstar" will have you thinking twice before checking out that cool new web site.

Perhaps some of the fun with HORRORS OF THE HOLY also comes from the play on literary tradition. "Always Amber" was on my mother's book shelf for years; all children of the sixties and seventies loved "Jesus Christ Superstar" and of course the allusion to the bible in "The Tooth Shall Set You Free." Wilson's clever alliteration of the title, of course, also delights this English major: HORRORS OF THE HOLY: 13 SINFUL, SACRILEGIOUS, SUPERNATURAL STORIES.

While some stories are vaguely familiar as ghost stories or urban legend, this fresh voice brings new meaning and vitality to the story telling. Each story is riveting, written with an intensity that will hook the reader right through the end. Each story lives with vibrancy that is very difficult to match with such a diverse short story collection. If you love horror stories, the HORRORS OF THE HOLY is a must read.

Great job Victor! I had a hard time putting the book down once I started reading it. (I read it twice) you almost felt like you were living it. Victor did a nice job of making you visualize each character. I think Mr. Johnthan Holloway was my favorite. He's every girls hero. His family, his friends, and his community were his life. So much that he was willing to die for them. I can't wait for your 2nd novel hit. good luck Victor.

gwen

Yes, our book club "Mixed Company" discussed every aspect and enjoyed it. We look forward to meeting the Author VERY soon!

In Spite Of spins a tangled web of comedy, chaos, espionage, and intrigue; bascially things that occur in the Black community on a daily basis.

In addition to all the drama that takes place from the neighborhood beautyshop to the corporate boardroom, this novel's true gift to its readers is the passionate "Black on Black" love-thang. I'm sure you'll agree that is the "real deal" personified. The story gives each reader hope and reaffirms that love don't mean a thing, unless you have some for yourself.

The burning question that's sure to come to mind after completing the story of two life-times will be: "Who's going to star in the movie?"

I guess I'll be the dissenting voice here. I could not wait to put this book down. It was just plain bad.

The characters came off as one-dimensional stereotypes with no real depth who could be easily summed up in five words or less. John Holloway was "strong black man", the villain was "evil racist white man", Nation of Islam- "strong black men with suits", John's best friend-"Player" etc... While it's admirable to have a book featuring a "strong black man" to the extent that character is "Mr. Perfect/Dudley Do-right" he's not all that interesting.

Moreover, I lost count of how many times the author used John's thoughts as a vehicle to preach his views of what's wrong with Black America and how it can be fixed. While I understand the desire convey some sense of morality in a character, it just felt a little heavy-handed to have some moral lesson being conveyed to the reader on every other page. I couldn't help but wonder if this book was targeted towards teenagers because of the constant and obvious soap-box preaching going on.

As for the plot, why the author felt the need to make this an action novel I'm not sure. I felt like I was watching bad made for TV movie which from start to finish was obviously going to have a happy ending.

Finally, setting this story in Dallas was interesting, however the details were somewhat superfluous. As a reader I don't need to know every single street name the characters travel on to really "feel" like this story is in Dallas. A little too obvious an attempt to "Dallasize" the story on the author's part in my opinion. One more thing, way too many typos and misspelled words for a real book.

Twice John Holloway Sr., is placed in the wrong place at the wrong time and end up paying dearly for it. It took John Jr., to outwit the deception that was thrown upon him, to settle the score for him and his dad.

I really enjoyed the drama and would really like to see this novel made into a movie.

Wonderful poems showing the power and of two woman poets of the Heian Jidai. Exposes the "nature" poetry prejudice that derives from the unfortunately all male cutesy pie abbreviations of Westernized haiku. Waka yes, Haiku no.

The Heian period of Japan was artistically fertile time that produced numerous classic works of literature. It was even more remarkable in that most of the major literary figures of the time were women. Among those great women, Ono no Komachi and Izumi Shikibu were two of the best. Their waka poetry (now called 'tanka') is some of the best literature ever written in Japan and the poetesses themselves have become the stuff of legend.

Doing justice in translating ancient Japanese into modern English is no easy task, but Hirshfield and Aratani have created translations that are as beautiful as the originals. Anyone who enjoys poetry, who loves love, or who is interested in other cultures and finding the universal passions of the human heart will enjoy this book.

--M. Kei, editor of Fire Pearls : Short Masterpieces of the Human Heart

Jane Hirshfield and Mariko Aratani have done a marvelous job with the translation of these lovely tanka-- manages to capture both their fragility and robust complexity. I had an acquaintance who was a scholar with a focus on Japanese literature. She explained to me a little bit about the complexity of translating waka. I have nothing but admiration for those who can do it well. Hirshfield actually has an essay at the back of this book called "On Japanese Poetry and the Process of Translation". I recommend it highly, even if you do not normally read this kind of essay.

I am a little bit afraid that the focus on the love poems and the emphasis on Ono no Komachi and Izumi Shikibu as female writers may give the wrong idea about the strength and importance of the poetry. Shikibu is widely considered the greatest poet of her period and Ono no Komachi was one of the Rokkasen-- the six best waka poets of the early Heian period. The reason that I am not giving this volume five stars is because of this packaging and not because of the poetry itself.

These poems are a joy to read aside from any issues of scholarship. They are strong and sad and very affecting. There is actually no stronger recommendation to read this than the poems themselves, so I will close this review with one of the poems by Shikibu:

What is the use
of cherishing life in spring?
Its flowers
only shackle us
to this world.

Unlike other reviewers, I am not an aficionado of Japanese poetry or culture, nor have I ever studied this period in Japanese history. I found this book entirely by chance buried in an obscure corner in my college library. I read a couple of random pages and fell in love. I checked it out repeatedly throughout my academic career, then bought it.

These women so effectively communicate, in few words, universal feelings of love. While the poems are deceptively simple, they manage to be so beautiful that I am amazed every time I pick it up.

Even more impressive than the writing is how easy it is to relate to the emotions behind it. As I have grown older and experienced so much more of life, I am surprised to find my own feelings mirroring one poem after another. What once seemed pretty words are eerily my own thoughts. It's amazing, considering they were written one thousand years ago!

If you're thinking about buying this, I suggest using the preview to read the few sample pages. If you like what you see, just get it. You won't be disappointed.

This book is among my most treasured. These women's love and longing is so eloquently worded, and could be the very same heartaches any woman experiences today. A fascinating glimpse into a society I could only imagine. Excellently translated tanka. Extremely good. I would recomend it highly to anyone.

I love this book for how it incites great conversation and it is a welcome addition to my small collection.

This is one of those books that really gets people talking. Conversations range from the story itself, to the historical truths or lack thereof, the religious implications, and now its look.

I really enjoyed reading this book the first time around when I would find myself laughing out loud when I would least expect it, and most recently with this edition where a friend thought I was laughing about something in the Bible itself.

This new edition was a great idea, with only one flaw: It can be difficult to hold open because it is bound tightly. I'm afraid of causing too much wear to the spine of the book, but in retrospect I guess that would only add to its charm of looking like a Bible.

This is one of my favorite books of all time! Yay Christopher Moore!

Anyone who has any interest in Christianity should find this book hilarious! Moore clearly knows his Christian and world history then and now. His treatment of Jesus and the people who worship him is outrageous and irreverent and strangely loving at the same time. I'm an athiest who went to Catholic school (I LOVED it) and while I don't believe a word of it, have a great appreciation for all things Catholic, especially Catholic humor (the movie Dogma Dogma (Special Edition), the play Sister Mary Ignatius Explains It All for You.Sister Mary Ignatius Explains It All You and the Actor's Nightmare: Two One-Act Plays) I also appreciate a big dose of skepticism, and this book delivers on all fronts. Moore is such a great writer that this is a PERFECT BOOK! This new Bible edition is sexy and great!

At first, I have to admit I was a bit put off by the look of this gift version of "Lamb" when first saw it at a Barnes and Noble while doing some window shopping. I'm not very religious now, but as someone who basically got ten years' worth of Catholic dogma engrained into my DNA, well...the irreverence in the very look of this book made me worry just a little. I picked this book up and cracked it open to a random page, not expecting to see anything particularly interesting, and was pleasantly surprised when I ended up reading something that made me laugh. I ended up reading a few pages farther, and even though I hadn't read the rest of the book, the stuff I did read was very funny and clever, and I knew I had to have this book. So...I bought it here instead because I wanted to save a few bucks. :P

This book is definitely worth reading. It's irreverent, yes, and there's a bit of coarse language sprinkled throughout the story. And there's one gross (but funny) experience involving Biff, turnips and a toothless old Chinese woman. Despite that, however, I really don't feel this book is disrespectful to Jesus or to Christianity at all. If anything, it pokes gentle fun at what Christians are taught to know about the Bible--you have to know your stuff, as a Christian, if you expect to understand all the references made to it in this book. But I don't feel it makes fun of Christianity itself. So if you want a clever, funny, well-written book to read and you don't mind laughing at least a little at what you've been taught over the years if you're Christian, this book is for you. :)

I have read all of Christopher Moore's books, and this one is right at the top of my list. I wouldn't read this in a public place unless you like people staring at you for laughing out loud. Also, you might, depending on your personal beliefs, want to remember this is a fiction book, not one trying to pass for fact.

just when i think i cannot be surprised -- i am. moore's book is delightful. i plan on buying a few with the "bible" cover as gifts. i just need to get people past their "religion" in order to read it and i am sure they will love it; and it all makes sense.

Lushly, sensuously, decadently overwritten, a fatal literary intersection where Baudelaire, Rimbaud, Poe, and Sade collide and out of the spectacular wreckage something lopes off into the surrounding woods declaiming like Nietzsche's Zarathustra with head trauma--Lautreamont's *Maldoror* is one of those ten or twelve books that aren't like any other. Part hallucination, part philosophy, part prose-poem, part prophecy, it's a bizarre stitched-together Frankenstein's monster of a text, a virtuoso improvisation animated by an electrifying genius who appears--and disappears--on the literary stage like a bolt out of the blue.

Here is a work where the first-person protagonist is an arrogant, cruel, disdainful superhuman egoist--sometimes seeming to be Satan; other times, something considerably less, but at all times evil incarnate. Dramatic and arbitrary shifts of narrative perspective and authorial points-of-view, a fractured, nonlinear plot-line, similes and metaphors of Homeric proportion that bring together the most disparate items in absurd conjunctions virtually without meaning. Was it all a joke? A parody of Romantic literature and the self-indulgent, self-pitying, overheated imagination of those who struck the Romantic stance of poetic revolt and existential defiance? What must the French public have thought of this black mass "celebrating" vice, blasphemy, pederasty, and murder--a work that held nothing--including itself--above disgust?

Predictably enough, *Maldoror* caused barely a ripple in the bourgeoisie calm when it was first published--by Ducasse himself incidentally--and remained unread by the general public who continues to not read it today. It remains a text ahead of its time--or perhaps more accurately--outside of time altogether. And yet it's had a huge influence on the writers, artists, and intellectuals of our time, from the Surrealists to the Situationists to literature in theory and practice to this day. *Maldoror* is a quintessentially postmodern text--a pastiche of genres with its penchant for self-parody and its direct address of the reader, breaking the illusion of "fictive reality" and authorial authority.

The translator argues forcefully that this is the edition of *Maldoror* to read--that other editions, most egregiously the Penguin--are rife with errors that stumble along the borderline of sheer incompetence. I've got no good reason to doubt this is the truth--and why not read this edition? It's attractively formatted, fully annotated, and contains all the known works of Lautreamont ((Ducasse)) including a few apocryphal tidbits, a chronology, biographical notes, and even a reminiscence by an old dude who once went to school with the Dark Prince of Letters. If there's a better edition, I'm unaware of it.

As for the heavily annotated *Poesies* that round out the main bulk of this volume--I had far less enthusiasm for them than for *Maldoror.* A series of gnomic axioms and aphorisms ala Pascal, indeed, many apparently in direct reply to Pascal, I didn't find them very interesting, often barely intelligible, even with the help of the comprehensive annotations--much of it in French which was unfortunately of no use to someone monolingual like me. What I did understand of the *Poesies,* the opinion of enthusiasts to the contrary, I found, for the most part, bombastic or banal, and very often both. A young man's ((Ducasse died in his early twenties)) bold, world-shattering, and consequently somewhat naïve proclamations on life and literature, any and all of which were likely to change if he'd lived to see even five more years of either. At twenty-three, you can be a genius and produce a literary masterpiece, but you still don't know much--certainly not even most--about life.

Indeed, even in the *Poesies,* Ducasse radically reverses field, mercilessly ridiculing Romanticism and its heroes, mocking the Satanic defiance that inspired such works as...*Maldoror!*

So was *Maldoror* all a goof then--a black spoof, a devastating satire? Had Ducasse turned a new leaf as he claimed in the *Poesies* and now dedicated himself to composing uplifting works of classical order and clarity? Was he pulling our leg then...or again? Was it all a joke--on us, on him? Was he simply insane, or just young, or both? Are we reading too much into all this--and is *that* the point?

These are some of the very potent post-contemporary questions that Ducasse has left us to contemplate in the wake of his great literary disappearing act--questions that remain in addition to, and beyond, those raised by the actual content of his enigmatic, and abbreviated, corpus of work.

An author--and a book--as important for being important as for the substance and merit of what he wrote, Ducasse and *Maldoror* is essential reading for the serious student of post-19th century literature. Ducasse/Lautreamont/Maldoror is a major signpost on the way to a new kind of writing, some of which we see today, more of which we'll see tomorrow.

this is the best book i've ever read and by far the best translation of it. i can't really say anything more.

What to say about Maldoror that hasn't been said yet? What to say about the mysterious son of a diplomat who appeared in France, wrote this book and died, vanishing from the world, yet leaving his mark for decades and centuries yet to come?
The first time I had the pleasure of reading this exceptional work, I was taken aback. Barely seventeen, I hungrily swallowed the disturbing images leaping at me from the pages, not to fully comprehend them until years later. This work, over a century old, is believed to be the first work, the foundation stone of the surrealist movement, a movement that penetrated into every aspect of art, life, being; whether we are willing to admit it or not, this work is as important today as it was when originally published in 1868 (well, at least a part of it was). The world was not ready to receive the complete self-awarness of evil Maldoror so fully comprehends, and the world is still not ready. This work is certainly not to be read by a "closed" mind. It is said that to be creative, one must borderline insanity, yet, Lautreamont was playing with genius; a genius of a caliber capable of scaring away even the most immodest of us. But get deeper into his work, walk past the disturbed images, surpass your fears and you shall see the light. This work cannot be ignored, cannot be left to collect dust. I have owned several copies over the past 14 years, and I am still finding new meanings, new passages and new understanding in this wonderful work. This trully is the one book that will never get old, that will always keep on giving, as long as one is ready to listen.

Isidore Ducasse's or Comte de Lautreamont's 'Les Chants de Maldoror' is a book one can contemplate over it's themes of darkness.
The songs of Maldoror is essentially an occult view of the world.
For good and evil are seen as equally important and mutually linked forces in nature, divorced from the moral content given to them by human beings. This is even noticeable in the name of the book's hero: Maldoror, which is a pun on 'mal d'aurore' (evil of dawn), the combination of darkness and light.
The book's phrase 'as beautiful as a chance meeting on a dissection table of a sewing machine and an umbrella' was also very important for the surrealists. It was valued because it was absolutely original in its combination of a banal object from everyday life with something that carries sinister and morbid overtones. The phrase also consists of a paradox, two of these objects have an constructive and therefore positive function, while the third has a dissecting and destructive, and therefore negative function. Yet these are only inanimate objects, it is only our imagination that puts "life" into them and give them these qualities.
It was this paradoxical metaphor that led Breton to describe Lautreaumont as the "unattackable".
The book also mocks science in its attempt to impose a static and rational order upon nature and attacks the belief that humanity is superior to the natural world. Religion is seen as an absurd delusion and god is seen as an unworthy, ineffectual, pathetic drunkard, scorned by the animals he is meant to have created.
This book can be seen as a belief that the "traditionally ugly" can be transmuted to an aesthetic value. When the socially conditioned fear of the ugly has been overcome, pleasure and psychological power are acquired.
Salvador Dali wrote:
"Repugnance is the sentry standing right near the door to those things that we desire most".

I like my writers drunk, blasphemous, decadent and French. If any of that list sounds even vaguely familiar then this is the book for you. Set the absinthe fountain to a slow drip, light some candles and prepare to tour an alchemical end-of-the-century underworld.