Prose Books

This novella should fit comfortably beside the plays of Sophocles or Aeschylus or the tragedies of Shakespeare. Don't let that intimidate you: it's more accessible than all of them, and a perfect book for a book club. It's the story of a man who commits a despicable act of violence in his immaturity, against a woman who must live with the consequences all her life - as must he. Questions of justice, repentance, mercy, and forgiveness are raised - and left to readers to answer as best we can. Undset's portrayals of the characters maximize the difficulties of these questions and the discussions which readers will be craving after finishing this fine book. I picked it up to see if I like Undset enough to commit to 1000 pages of Kristen Lavransdatter. I have since picked up that meganovel - and find it, so far, less engaging by far than Gunnar's Daughter, which deserves one of the highest places in the canon of Western literature.

Undset, Lagerlof, Bjornson, Hamsun, Gustafsson; five stars aren't enough to reflect the masterpieces that they all wrote, and, in the case of Gustafsson, are still writing. Read all their books and grow a lifetime in a couple of years.

I suppose that anything that sells books makes it to the top of the page, although I appreciate that the first review I read about this book was straightforward, unbiased and sans agenda. I have been reading the great writers of the world since I learned to read. I began to explore the works of Undset, Lagerlof, Bjornson, Hamsun, Gustafsson, etc., thirty years ago and it irks me no end that the works of a Scandinavian writer like Undset, who lived in a time when women had all the rights in the world, should be referenced by your commentator from Brattleboro, VT as womens fiction. If she has read "The Master of Hestviken" or "Kristen Lavransdatter", then she must have missed all the suffering endured by the men and women. Great works of creativity do not address personal agendas. They are wrought from the soul. Lagerlofs' "Saga of Gosta Berling", another masterpiece, explores the same moral questions with a male protagonist. I say to you, dear lady from Vermont, that feminism is dead; we are all feminine and masculine regardless of our plumbing, and the last GREAT female poet, Sylvia Plath, lived the pain of that polarity until it killed her. Shame on you Amazon.com for using divisiveness and the promulgation of hatred, fear, and misunderstanding to make a buck. Publish this!!

Sigrid Undset's Gunnar's Daughter weaves Scandinavian folklore, mythology and violence to ensnare the reader into the period of the Saga Age. In this book, we meet Vigdis Gunnarsdatter -- a survivor in many different levels who is raped and delivers an illegitimate child. As it is said that time heals old wounds, that is not the case with Vigdis. Even with her eventual redemption, peace of mind still eludes her until she takes her very last breath. The scope of history and folklore in Gunnar's Daughter makes this an interesting and quick read. However, it is highly recommended that the reader marks the introduction and notes by Sherrill Harbison -- as they provide much information that makes the book more insightful and pleasurable to read.

In this case of medieval date rape and the grim consequences which follow hard upon it, Sigrid Undset created a wonderfully literate experience using the saga "voice". Although I detected slippages in tone, here and there, and felt the ending too contrived and overwrought to be pure saga, I was still swept along by this book, finishing it in a single sitting. It is short, yes, but also a very compelling narrative as it details the tribulations of two would-be lovers who are yet too proud and self-willed for their own good or for the society in which they find themselves. As with the typical viking hero, Viga-Ljot is overly confident of his own charms and impatient of results. And Vigdis, the maid he has set his heart on, is no less aloof and overbearing in her own way than that historical figure, Sigrid the Haughty, who so angered King Olaf Tryggvesson that he slapped her in the midst of their courtship and thereby sealed his doom. Viga-Ljot does much worse in this tale and his fate is thus forever bound up with a woman who cannot forget or forgive him. Like Gudrun Osvif's daughter in Laxdaela Saga, Vigdis bides her time and nurses her pain but, in the end, that pain is not assuaged by the actions she takes, for it is ultimately destructive to everyone it touches.

A good example of the saga form in modern literature indeed, and yet, despite the finely tuned prose of this novel, capturing the nuances and understatement of the saga voice with masterly strokes, there is an underlying stridency here, an almost emotional overreaching which is not, itself, true to the saga form. In some ways this book is too modern and its author's sensibility, at this juncture in her career, almost too young and unseasoned. Undset seems to be reaching for the tragic denouement of the Greek classics to end her tautly told tale rather than content herself with the flatly understated and finely nuanced wrap-up more appropriate to the saga form. But this Greek-like ending left me much colder than the drily tossed-off afterthought of a true saga might have done. And yet, for all that, Undset has here given us one of the better modern novels done in saga form. My hat is off to her.

By the way, for another really fine novel based on the old sagas, one, in fact, that I think outdoes even this one, try SAGA: A NOVEL OF MEDIEVAL ICELAND by contemporary Canadian author Jeff Janoda. Many have tried to evoke the sagas in modern prose but few have done it as well as he has. Janoda has written a contemporary novel that does genuine justice to its original source, Eyrbyggja Saga, while not succumbing to the overwrought sensibility which mars GUNNAR'S DAUGHTER at the end. If you like fiction grounded in the old Norse saga literature, then Janoda's book should be your very next stop.

SWM
author of The King of Vinland's Saga

In writing Gunnar's Daughter, Sigrid Undset had two aims: to show that the struggles of the human person against himself, others, and nature have no history; and to reveal a pagan past as it actually was--cruel and bloody in contrast to the growing Christian faith it encountered. In both cases, she succeeded brilliantly.

Take the first case. You often hear yammering from certain quarters that it is possible for human beings to progress as a society beyond their passions. Myopic nonsense! The characters of Gunnar's Daughter hurt themselves and others, and love as much as they hate, with exactly the same capacity as anyone today. An honest reader will realize that we are no better at heart than the men (and woman) whose stories are told here--but also that we are no worse. What we have hated and loved and yearned for, men and women have always hated and loved and yearned for. In reading this you realize for the first time that you can actually appreciate your ancestors as living men and women, and not as faceless DNA donors.

In the second case, in Undset's time--the early 20th century--there was then as now the movement to glorify the pre-Christian past, the sort of naivety only possible from the safety of the Christianized world. Undset was rightly disturbed by this movement, and in Gunnar's Daughter she draws the picture of bloody, violent, might-makes-right world--and better yet, shows the redeeming effect of Christianity as it makes its way into Scandinavia. Contrast Vigdis' exposure of her healthy but unwanted infant--an unremarkable event in her time, even if, as Undset shows, one not done without lingering sorrow--with the later refusal of Viga-Lyot to expose his deformed and sickly baby expressly because, as he states, he is a Christian, and will not hear of it. This is of even more interest in our day, when the growing nonChristian influence on our society has led us full circle to a time when once again the unwanted baby is done away with--Undset's picture was more prescient than she knew.

All in all, a haunting and true book.

Henry David Thoreau is one of America's greatest literary treasures, and this Library of America compilation of his four complete, full-length books is an excellent purchase for any Thoreau fan. It includes possibly Thoreau's most famous work, Walden, as well as lesser-known (but still immensely inspired and entertaining)works. I would highly recommend this purchase to any interested Thoreau reader, as I am yet to find a comparable compilation for nearly as good a deal as this.

It was Thoreau who made me understand that writing had everything to do with one's sum total and worth as a human being, and everything to do with one's passion and sense of purpose in life. It was while reading from an anthology of his work that I first made contact with a superior being. I recognized a mind that I could be intimate with, a mind and soul of someone with whom I could spend endless hours and never cease to learn from.


Thoreau's style is cumbersome. He can be terribly dry, and his paragraphs run way too long. But who cares when passages ignite the page with brilliance, flame from the black and white of paper into the depths of one's being. 'Walden' has more profound and relevant quotes than any other book I've read. They're the purest gems to be found in the rough of a larger work. A work that I wouldn't dare to diminish, but forewarn the reader so that they have the patience and perseverance to continue.


I would like to mention a superb biography written on the life and mind of Thoreau, a biography that exceeds and exceeds in going deeper into the life and mind of this great and humane and very misunderstood man, it is called: 'Henry Thoreau -- A Life Of The Mind,' by Robert D. Richardson Jr. Mr. Richardson not only wrote a biography, he was on a mission, for he knew and believed in what his subject was about. As comprehensive, insightful and exhilerating as any biography can or should be.


The price and quality of this anthology can't be beat. Beautiful to read and beautiful to see on my book shelf. Buy it! Get to know this man of yesterday, today and tomorrow.

While reading the four books of Henry David Thoreau (1817 -- 1862) included in this volume, I was reminded of the piano sonata no. 2, the "Concord" sonata by the American composer Charles Ives (1874 -- 1954) and decided to listen to it again to complement my reading. The Concord is a monumental work in which Ives tried to capture the "spirit of transcendentalism" associated with Concord, Massachusetts. Its four large movements bear the names of Emerson, Hawthorne, Bronson Alcott, and Thoreau. The "Thoreau" movement of the Concord captured in music for me what I had been reading in Thoreau's texts, with its reflective arpeggios, long hymnlike introspective passages, distant sounds of bells, and quiet close. Ives wrote the movement, he said, to reveal the "vibration of the universal lyre" to which Thoreau had alluded in the chapter of Walden titled "Sounds". Those who love Thoreau or the American Transcendentalists should explore Ives's great musical tribute to them and their thought.

This volume is the first of two in the Library of America devoted to Thoreau, with the second book consisting of essays and poems. It includes the two books published during his lifetime, "A Week on the Concord and Merrimack Rivers" and "Walden" together with two books published shortly after his death, "The Maine Woods" and "Cape Cod". The former two books are philosophical and introspective in tone, even though they include much of the descriptive writing about nature for which Thoreau is famous. They are the writings of Thoreau the Transcendentalist, the Thoreau of Ives's Concord Sonata. The second two books are describes Thoreau's travels. They originated the American practice of writing about nature.

Thoreau's most famous book, "Walden" describes the two years he spent living at Walden Pond, near Concord, from 1845 -- 1847 on a tract owned by Emerson. Walden is deservedly an American classic, as Thoreau reflects upon and attempts to simplify his life, to appreciate it for itself and for the everyday, without the strains of commerce or the pursuit of wealth. It is an eloquent study of learning to be alone with and content with oneself.

Thoreau wrote the first draft of "Walden" while he resided there and also wrote "A Week on the Concord and Merrimack Rivers" which in 1849 became his first published book, enjoying little success at the time. This book describes a trip Thoreau took with his brother and there are many detailed observations of people, places, and plants and animals. But the book is full of detailed digressions on literature, philosophy, the Greek Classics, friendship, and Thoreau's religious beliefs. This book shows the large influence of Eastern thought on Thoreau. It is filled with allusions and quotations from poetry on virtually every page. It is a joy to read.

There is little overt philosophising in Thoreau's latter two books. But both these books made me want to leave, at least for a short time, my life in the city and to run and visit the wild places Thoreau described. In "The Maine Woods" Thoreau describes three trips he took to Nortwest Maine -- its forests, rivers, lakes, and mountains, in 1843, 1853, and 1857. It includes detailed descriptions of rugged camping, in the rain and sun, on water and on land. The higlight for me was Thoreau's discussion in the first essay of the book of his climb on Mount Ktaadn, with Thoreau's description replete with both actual description and ancient Greek and American Indian symbolism.

Thoreau's final book, "Cape Cod" describes three visits in 1849, 1850, and 1853 (A fourth, later visit to the Cape is not included in the book.) This is Thoreau's only book which features the ocean and the seashore. It describes a rugged place, but the tone is leisurely and humorous in many places as Thoreau takes his reader on a thirty-mile "ramble" over the Cape. Thoreau introduces a memorable character in his chapter "The Wellsfleet Oysterman" and draws a picture of a lighthouse, no longer standing, on the Cape, "The Highland Light." Reading this book made me want to walk the sands and dunes that Thoreau walked and described over 150 years ago.

As with all volumes in the LOA series, this volume is lightly annotated but includes a valuable chronology of Thoreau's life which helps in approaching the texts. Transcendentalism and naturalism both have played critical roles in the development of American thought and you will find them both here. And if you enjoy Thoreau, I encourage you again to approach Ives's masterpiece, the "Concord Sonata" and meet Thoreau realized in sound.

Robin Friedman

While every artist is tied to their time and place, this is especially true of Henry David Thoreau. To me, Thoreau has always seemed like a beautiful and tender plant that could only exist in a specific time and place. His world was rich enough to allow him to enjoy nature rather than see it as something to tame. Yet it was also rural enough to leave him natural space to enjoy as if it were wild.

It also seems to me that Thoreau's writing is more beautiful and observant than penetrating and intelligent. It is more about the senses than analysis. I think this is why it appeals so much to young people of so many generations and why he became such a symbol for the Back-to-Nature portion of the Boomer generation.

This volume contains his most influential works (the essays and poems are collected in a companion volume also from the wonderful Library of America): A Week on the Concord and Merrimack Rivers, Walden; or, Life in the Woods, The Main Woods, and Cape Cod. So much has been written about these works that I can't think of anything specific to add except to encourage their being read. However, I would encourage adults who remember reading them in their youth with such enthusiasm to read them again from the vantage point of mid-life. I think they will find somewhat less to be enamored of in the content, but they will appreciate his sheer power of writing more.

The total collection is more than a 1,000 pages and includes a chronology of Thoreau's life, notes on the text, relevant maps of the areas covered in the book, more notes, and an index.

I would like to publicly thank Henry David Thoreau for teaching me this:

"If one advances confidently in the direction of his dreams, and endeavours to live the life he has imagined, he will meet with a success unexpected in common hours." -Henry David Thoreau

Zev Saftlas, Author of Motivation That Works: How to Get Motivated and Stay Motivated

An excellent book on WW I. Oddly, not carried in our fabulous library system.
Title based on a quote from Hamlet and is greatly misleading.

Of course, I say this work is elegant, true, vivid and memorable as a work, not the events it depicts. In parts of the world that used to make up the Commonwealth and serviced by Penguin books, the title may be THE MIDDLE PARTS OF FORTUNE. Having had 25 years in the military I can only say I read this book from cover to cover, and relished every word in it. Artistically, as an artifact, it has a satisfying structure and conventional narrative. Like the characters in it, especially Private Bourne, it manages a superb tone, neither hiding the horror, the detail, but never sentimentalizing the common bravery of the ordinary man whilst despising the shirker. I could go on but I just draw to your attention on P58 the brilliant detail of having to carry an awkward box three miles by hand: - ....he was glad to dump the box he and Lance-Corporal Johnson had carried the three miles from Philosophe on the floor of the Quartermaster's office. It had those handles which hang down when not in use, but turn over and force one's knuckles against the ends of the box when it is lifted. By reversing the grip, one may save one's knuckles, but only at the expense of twisting one's elbow, and the muscles of the forearm. Having tried both ways, they passed their handkerchiefs through the handles, and knotted the corners, so that it was slung between them, but the handkerchief being of different sizes, the weight was not equally distributed. The quartermaster's store was a large shed of galvanized iron, which may have been a garage originally. He was not there, but the carpenter, who was making wooden crosses, of which a pile stood in one corner, thought he might be back at the transport lines; on the other hand he might be back at any moment, so they waited for as long as it took to smoke a cigarette, watching the carpenter, who, having finished putting a cross together, was painting it with a cheap-looking white paint. -That's the motto of the regiment,- said the carpenter, taking up one on which their badge and motto had been painted carefully. - It's in Latin, but it means WHERE GLORY LEADS.
Bourne looked at it with a sardonic grin. - That is just one paragraph of 247 pages of fine prose, and itself could be a study as a sample of quite brilliant writing.
A classic of the 20th century.

I feels like i am reading both "The Stranger" and "All Quiet on the Western Front." I was hoping to get something from it but i was disappointed from what i considered the best combination of both novels.

This semi-fictional story is set in a brief 6 month (or so)period in 1916 in which the British Army began to assume the major contribution to the Allied effort. By this time of WW1 the French had been somewhat degraded and pretty exhausted by the combined efforts of Verdun and the Somme. The story is set on the Somme front after the opening phases of the battle and includes the description of a long recovery period behind the lines to refit-a luxury denied many German units. The story reflects to some degree the British class system , and many of the soldiers themselves seem somewhat bewildered about the nature of war confronting them. The Germans themselves are shown as remote and treated somewhat indifferently. Despite the possibility of death each soldier seems distracted with obtaining alcohol, women and decent food in that order.

The 1 difficult aspect of the book is the phonetic nature of the spoken words. The characters are, after all, British, and Americans may have a tough time understanding what's being said. When compared with All Quiet on the Western Front, which focuses more on the futility and abstract nature of the war, Her Privates, We is more insular and personal.

In his novel, "Her Privates We," Frederic Manning does something almost unique in Great War literature. He gives voice to the English common soldier. This was the man the British public personified as Tommy Atkins and whom Americans in a later conflict would call GI Joe. This was the man who did the work of war with bayonet, rifle and hand grenade.

Siegfried Sassoon, Robert Graves, Wilfred Owen and Vera Brittain--among others--have given us a look inside the English middle-class perspective of the Great War. Through their poetry and prose, we can gain some understanding of what they and their educated counterparts suffered and endured.

The clerk, the taxi driver and farm laborer who went to war had no such heavy-weight advocates. Until Manning's novel first appeared in a limited edition during 1929, English private soldiers spoke primarily through letters home, not through literature. We know them best through the mute, exhausted faces that stare out at us across time from black-and-white Great-War-era photographs.

Manning, an educated Australian, worked as a minor literary figure in pre-war England. He enlisted in the King's Shropshire Light Infantry during 1915 and served as a private soldier in France through much of the 1916 Somme Campaign. Not coincidently, most of the novel's action is set within British lines during the time of that huge offensive.

Because Manning was a man who combined a writer's skills with a soldier's experience, his work gives us a rare and vivid glimpse of what trench life and fighting felt like from the viewpoint of the English private and non-commissioned officer. The book reflects the emotional and physical costs of battle. It also gives us some knowledge of the ways men related to each other and to their superiors. Any American who soldiered during the 20th Century will almost certainly find echoes of his own service experience within Manning's story.

In its 1929 printing "Her Privates We" was called "The Middle Parts of Fortune." The first mass publication the next year was ruthlessly edited to reflect 1930s sensibilities. The current paper-bound version of "Her Privates We," offered through Amazon, is completely uncut.

The Book's title derives from some obscene banter in Shakespeare's Hamlet, during which two characters describe themselves as the private parts of Fortune. Private parts, private soldiers, you get the picture. After listening to them, Hamlet concludes that Fortune is a strumpet. This would seem an equally valid conclusion for those of any rank or station caught within the titanic social and military struggle that played out during the 1914-1918 war.

A charming story about emerging sexual identity. This book continued to cast it's spell over me for several days after finishing it, my only criticism being that it zips by far too quickly--I would gladly spend more time with these characters. May this one hurry back to press, and may Deborah Hautzig return to young adult fiction.

My Mom bought this book for my when I was 12. This remains one of my favorite books, and I don't think any other book has become such a part of my identity. I think this book addresses the issue of friendship in girlhood, gay OR straight. If I ever have a daughter, I will pass my treasured copy on to her!

I was 15 when I first read this book (back in 1980) & it affected me very deeply. Until then I thought I was the only girl like me in the world & that I was somehow defective. Reading "Hey, Dollface" was a soul-satisfying revelation & gave me hope for my future. Truly, one of the ten most influential books of my life.

This is one of my favourite books.I thought it was very realistic at portraying a young girl such as Val's thoughts and feelings.I loved it so much I stole it from the library(I couldn't find it anywhere else!)

I can't believe this book is out of print, and I can't believe it was published in the 1970's. I read it as part of a review I'm doing on gay and lesbian fiction for young adults, and it is definitely one of the best I've read. I was a little disappointed with the lukewarm ending, but over all, the book's vermisimilitude is very impressive, and the courage of its message is considerable considering its time. The characters are the most believable I've encountered in most YA literature.

My name is Christian Panaite and I'm from Romania.I was in the team who worked at the production of History of the devil in Princeton High School, NJ.Till then I hadn't heard about Clive Barker but reading "Incarnations" I discovered a new world full with horror and mistery- it was a very interesting experience.Acting in his play was a great event for me -I was Milo Milo and I was very proud that I had the smallest part from the play.There are so many things to say about his books -I think that his style is unique, he is unique ,his world is unique.

In the realm of books filled with a play (or plays) this one is a real delight. Barker always satisfies in drawing the reader into highly imaginative realms of mythology, psychology and suspense - with wonderful surprises along the way.

If you are in the mood for a handful of soul stirring plays, I recommend this one along with The Walls Came Tumbling Down by Wilson.

My only complaint is that Barker's usually intriguing forwards sometimes give too much away, akin to a reviewer who provides just a tad too much insight. However, one could save the forward for after the plays.

Barker is a literary genius who spins the most amazing stories. To visualize them as theatrical releases on the stage is very intriguing.

Great work.

This book of plays was one of the best I have ever read. My fav of the three was Frankenstein in Love. The monolouges by Maria were superb and amasing. Her monolouges made me want to put the play on myself. Colossus was a little harder to get into but it was well worth it. In The History of The Devil speaks for itself. In all three plays the wrighting is some of Clive's best. It's well worth the effort to find this out of print book and keep it for a life time.

Arguably the best play of this collection is The History of the Devil. Where the other two plays are a nice potent dip into the macabre, the Devil is a mind-blowing experience that gets you where it hurts the most: your conscience. What is evil? What is good? Can we judge anything? It isn't surprising that even Dante has a cameo role in this play.

I would love to see this play in production somewhere near me. Although it would not be as visually appealing as the other two plays in Incarnations, since it lacks scenes of cannibalism and dismemberment for instance, it surely must be a wonderful experience to see the actual Devil on stage.

Nice to know is that the actor that gave live to the Devil in the World Premiere of The History of the Devil as presented by the Dog Company at The York and Albany Theatre, London, in 1979 was none other than Doug Bradley, the guy that plays Pinhead in the famous Hellraiser movies.

As a conclusion I can reveal that the end of the play as a very nice twist to it. This collection shows Clive barker at his best. A must read for all fans of the macabre.

A few years ago, I picked up a copy of PANDEMONIUM, a softcover overview of Clive Barker's works. While I found most of the material interesting, what blew me away was the first ever printing of Barker's THE HISTORY OF THE DEVIL. Quite simply, it is one of the best plays I have ever read. It is demanding, thought-provoking, funny, obscene, and brilliant.

HISTORY is centred around the trial of the Devil. It is not so much a criminal proceeding, than it is an evaluation of his works on Earth. If he wins, he may re-enter Heaven. And as his history is re-enacted on stage, lawyers both for and against his case struggle to find a legal way to keep him where he belongs.

As in most of Barker's works, a simple description doesn't do it justice. HISTORY is an amazingly theatrical experience, all rooted in one of the most intriguing views of the Devil that I have read. While not being familiar with the more classical works of Dante and Milton, I can say that Barker's Devil is a far more satisfying and frightening figure than the demon presented in Anne Rice's MEMNOCH THE DEVIL. The play also presents one of the most original and shocking endings I have ever read, in a play or a novel.

The other two plays presented in INCANTATIONS are a mixed bag. FRANKENSTEIN IN LOVE is the more satisfying of the two. In a re-imagining of Mary Shelley's work, FRANKENSTEIN occurs in third world dictatorship, full of chaos and mystery. If I am not as enthusiastic as I am about HISTORY, it is that Barker's ideas in FRANKENSTEIN don't wholly combine. It has humour, horror, an astonishing amount of gore (I don't know HOW this would ever be staged), but by the end, the horror has taken over the story. It leaves you wishing for more of a coherent ending. Still, some scenes do remain in the mind, especially the scenes involving the dead, but still animated narrator.

Barker's third play, COLOSSUS, is the least of the three. Ostensibly, it surrounds the Spanish painter Goya, as he stumbles around after a tremendous bombing has destroyed a large portion of an estate. As I don't know anything of Goya, I can't speak as to the effectiveness of the sets in bringing out the mood of his paintings, as Barker suggests. But the play doesn't hold water. It is a amalgamation of confusing characters and odd dialogue. It has an unfinished feel to it. As this was one of Barker's earlier works, perhaps he can be forgiven it biting off more than he can figuratively chew. But as a published work, it functions as a curiosity, not a fully-formed play.

Still, Barker is one of the more interesting writers around. He's always willing to try and push the envelope, instead of resting on his laurels (anyone read Dean Koontz lately?). Read FRANKENSTEIN IN LOVE and COLOSSUS for the ideas. Read THE HISTORY OF THE DEVIL for the experience. It really is that good.

Excellent comparative collection of the earlier and later editions, plus Specimen Days and other prose by Whitman not available in one collection. The binding is the best and the pages will last for a looong time.

As the author of "Of Life Immense: The Prophetic Vision of Walt Whitman," I have many copies of "Leaves of Grass," along with many other books about Walt Whitman. The "Library of America Edition" is very well done, beautiful to read and wonderful to hold. Justin Kaplan"s commentary is insightful and his selection of Whitman's prose provides the reader with significant understanding of Whitman's life. If you have only one book by and about Walt Whitman, this may well be the book you should have.

I picked up this book in the Spring of 1990 while browsing in a bookstore. I'm no student of poetry, in fact I only purchased it because I randomly flipped it open and was enamored with the passage I found. I learned that the passage is from "Song of Myself" and have read both that epic poem and the entire collection through dozens of times.

I didn't know exactly what I had purchased that day. But over time find that turning to Whitman's poetry and prose has been a source of comfort. I find myself in his writings, and find that his messages apply clearly in the present day. This volume is a pretty hefty way to start with Whitman--you get everything from the start. If you choose to buy it, I suggest randomly exploring it--stopping here and there to read a poem. I spent weeks exploring that way, only later did I read everything from start to finish. The simplicity of the writing and the clarity of meaning is remarkable.

The Library of America edition is--in itself--beautiful. Well bound, fine paper, still in excellent condition after 15 years of use. When reading it, it is impossible not to appreciate the caliber of it's manufacture: the choice of paper, inks, typefaces, binding, etc. contribute to pleasurable experience. I have a small number of other Library of America volumes, and each is exquisitely assembled and a joy to read. They are not inexpensive, but I'd argue that they are most definitely worth every penny.

Exuberant, sensual (without ever being pornographic), hedonistic, Whitman is one of a kind and truly American. It's difficult to explain why I enjoy Whitman's work so much. I guess it's because he is at peace with himself and enjoys people, life, and the American ideal so much! I read it and enjoyed Whitman in high school. Now, I read a little at a time taking in the words and the images his describes.

Beethoven killed classical style. It kind of ends with him. He was soooo good that he was impossible to follow. Others had to go in other directions.

But Whitman invents modern poetry. And with his Beethoven intensity and skill ought to have killed it, with his "Leaves of Grass". But poets are hardier than musicians, I suppose. You need a Whitman scale to rate poets. Really excellent gets a W0.5 (from 0 to 1). Like that.

But so does Whitman himself. His first real work was called "Leaves of Grass". His second was called "Leaves of Grass". His third, "Leaves of Grass"...

He kept improving his older stuff and adding on. It got bigger and bigger and bigger. Historically, you may want an older version. But this one is the mother load.

AND .... this is the big and .... it has the best preface of any book ever written. Period. No contest. He wrote this in his later years and the preface is a work of its own. Magnificent. This book makes me blue in that I could never rise to this level of speech and thought given infinite resources and tutoring. So it stands there like a continent. Explore it.

Of the half dozen or so plays I've read in Oxford University Press's "Greek Tragedy in New Translations" series, this is the best.

An excellent synopsis and analysis of the play precedes a beautiful translation, smoothing the way for students. The play is one of the keys to understanding the Trojan War -- in addition to recapping the beef the Greeks have with Troy, there is much foreshadowing of what will happen ten years down the road.

After reading Iphigeneia at Aulis, it's difficult to cut any of those Greek heroes any slack. If the situation weren't so horrible and tragic, the interactions and reactions of some of the characters would be funny: Achilles, for example, extremely annoyed that Agamemnon would take his name in vain when tricking Iphigeneia into coming to Aulis; if Agamemnon had asked him for his help first, then tricking the girl into coming to be sacrificed would have been okay. Or Menelaos, coming around to Agamemnon's way of thinking (that it would, after all, be wrong to kill Iphigeneia), and suggesting that only he, Agamemnon and Kalchas the priest know about the need for a sacrifice to get a fair wind to Troy, and that Kalchas won't tell: "Not if he's dead."

This play, and this translation, are probably one of the best introductions a student could have to Greek tragedy.

This ancient Greek play by the famous playwrite Euripides is a diatribe on war and the foolishness of pride. The play is often thought to be an incomplete work, but as Dimock points out in the introduction, recent discoveries suggest that IPHIGENEIA AT AULIS isn't as incomplete as once thought. This edition includes a fine introduction, several detailed notes on the text, and a glossary of proper nouns. The book is not too difficult to read and can be useful for students of the theatre and/or ancient Greek culture.

This play contemplates the question of how many wars would be fought if the first to die were the children of the leaders themselves. The translation is quite readable but not strict, as a comparison of Greek with English line numbers quickly shows. The introductory essay and concluding notes on the play are especially helpful, placing the play in its historical context (the Peloponesian War) and explaining various allusions to mythological or historical events in the play itself.

Of the half dozen or so plays I've read in Oxford University Press's "Greek Tragedy in New Translations" series, this is the best.

An excellent synopsis and analysis of the play precedes a beautiful translation, smoothing the way for students. The play is one of the keys to understanding the Trojan War -- in addition to recapping the beef the Greeks have with Troy, there is much foreshadowing of what will happen ten years down the road.

After reading Iphigeneia at Aulis, it's difficult to cut any of those Greek heroes any slack. If the situation weren't so horrible and tragic, the interactions and reactions of some of the characters would be funny: Achilles, for example, extremely annoyed that Agamemnon would take his name in vain when tricking Iphigeneia into coming to Aulis -- if Agamemnon had asked him for his help first, then tricking the girl into coming to be sacrificed would have been okay. Or Menelaos, coming around to Agamemnon's way of thinking (that it would, after all, be wrong to kill Iphigeneia), and suggesting that only he, Agamemnon and Kalchas the priest know about the need for a sacrifice to get a fair wind to Troy, and that Kalchas won't tell: "Not if he's dead."

This play, and this translation, are probably one of the best introductions a student could have to Greek tragedy.

Finding first rate translations can be a hit and miss affair. However, this it definitely a "hit". Merwin's translation of Euripides' tragedy is masterful and deserves the glowing reviews it has received here as elsewhere. Readers of this review might be interested to know that it is part of a series called "The Greek Tragedy in New Translations". And while it is out of print, good used copies are freely available in the Amazon marketplace -- which is where I secured mine.

Merwin has rendered a taut, readable version in modern English. And the volume is supplemented with an extremely interesting introduction by George Dimock -- with which I am not sure I entirely agree -- though he does a fine job of fitting the play within the context of the Peloponnesian War.

For me, the riveting aspect of this work is the treatment that Achilles gets (Agamemnon, of course, gets a good drubbing, which is satisfying -- but hardly unexpected!). We see him at Aulis, a young man as yet unbowed and unbloodied by the years of warfare at Troy. Dimock makes a rather startling remark when he asseverates, "The one thing that his [Achilles] speeches do not contain is simple human feeling such as Paris might entertain: it does not seem to have occurred to him that a young girl is about to die." And he is rather critical of Achilles for this (I might even say that his introduction is suffused with "pro-Trojan" sympathies). But for me, isn't this rather the whole point? Of course Achilles is like this, it took TEN years of warfare and the death of Patroclus for him to learn (and recall that he ALONE among the Greeks appears to have absorbed the lesson) how to be "human" -- on this see Bernard Knox's introduction to Robert Fagles' brilliant translation of the Iliad. I prefer the General Editor's view on this when he says, "the play enacts the heroic education of Achilles." Well, at least it enacts the very early stages of it!

Merwin is a wonderful poet -- and I would also recommend his translation of Dante's Purgatorio and Paradiso. For readers in search of other top notch modern translations, see Stanley Lombardo's truly astonishing translations of the Iliad and the Odyssey. See also Nicholas Pevear's translation of Aias.

Here is a sample of Merwin's translation (from the Chorus's reaction to a speech of Agamemnon's):

"O Cyprian,
most beautiful of the goddesses, keep
such wild flights from me.
Let me know love
within reason and desire within
marraige, and feel your presence
not your rage.
The natures of humans
are various, and human ways of acting
are different,
but everyone knows what is right,
and teaching
inclines them at last to virtue."

I really enjoyed the heart felt and brutally honest stories in this book. Being a women in her 20's, this book spoke to me greatly.Every girl should read this at least once while in her twenties or even in her thirties just to have a laugh. I've been the girl in each of these stories and it lets me know- I will survive these years of confusion, frustrations and let-downs.

This book is the perfect antidote to the quarterlife crisis blues. Covering all topics ranging from love relationships to housing to careers to friends, whatever is bothering you, there will be an essay reminding you that yes, your 20s aren't that great, but no, you definitely aren't alone, and, the best news: you'll survive, and likely end up far happier and fulfilled than you think you will. Overall, an inspiring read, with little bites of wisdom and, yes, perspective.

It isn't set up like I expected it to be, but it's definately the truth. hah.

As a twenty-something, I picked up this book for obvious reasons. It was so heartening to learn that what I am going through, other women have gone through and no one has all the answers no matter what path you choose. I plan to share this book with all of my girlfriends.

I was in Borders when I stumbled along this book and thought " What a clever title and concept." As a twenty something professional in higher education that deals with early twenty something women on a regular basis, I highly recommend this book. It is a quick read but able to be put down and picked back up easily. There were times when I shook my head in agreement and laughed aloud hysterically.

Love this book and have loved reading Call of the Wild, since I was 9 or 10.
I also recommend the other collection because it has a few this one doesn't. The Portable Jack London (Viking Portable Library) The thing I liked in addition are the old letters he wrote. Cool reflection and time travel to that time period.

Novels and Stories was the first of a two volume set that I scored for cheap on ebay a few years ago. The second, Novels and Social writings concentrates on his political/social novels and essays while this one is comprised of his Alaskan and sea bearing adventure stories.

This book weighs in at over 1000 pages and includes three GREAT novels in Call of the Wild, The Sea Wolf and White Fang as well as multitudes of his short stories.

I can't say enough about how much I love Londons writings and how much admiration I have for him as a man as well. I've read Call of the Wild about every two years or so since the first time I read it as a child and I get more out of it every time I re-read it. His adventure stories on one level are just great red blooded adventure stories that anyone who has any heart or spirit would enjoy and there is a deeper level to London as well. His stories are highly spiritual if you are able to look at them on another level. Although thats something that you have to "feel" from within I suppose.

After reading this book for school, (not that I was forced to) I gave it a 4/5 star rating. It was excellent when it came to the setting of the story. Even though it is a very short, it crams alot of suspensfull and interesting moments into 100 some odd pages. This book is quite good and page turning. I highly recommend it to readers who like a mix of reality and fantasy in one. Masterful piece of writing.

You can't lump too many people into the same sphere with London...Twain, Poe, and Lovecraft are a few that spring to mind. He's an American Titan, and he gets the fawning treatment you'd expect from the Library of America in this exemplary, extraordinary, green-registered book.

Call of the Wild is a page-turning yarn about a dog that becomes a wolf. It's listed on the MLA 100, but any competent kid of ten could tackle it...and enjoy it.

White Fang is a canine bildungsroman that inverts the plot of Call of the Wild, with the wolf becoming a dog. Also a page-turner, also something a kid would read without having to be coerced, and possessed of a truly classic scene where White Fang fights a bulldog.

The Klondike Short Stories are all superb--some people think London's metier was the short story rather than the novel--with Batard being a personal favorite.

The Sea-Wolf is a work of genius...until it all comes crashing down with the introduction of Maud Brewster, and the escape to Endeavour Island. What had heretofore been a truly transcendent work of art transmogrifies into a clunky, melodramatic, and tedious chore, where London's love of sailing jargon threatens to overwhelm the reader.

The Selected Short Stories show that London wasn't just a Yukon guy...he had some other arrows in his quiver. A few stories demonstrate his--at the time--devout socialism, which lasted up until he himself got rich. The Apostate is the weakest of these, but The Strength of the Strong is a pretty good allegory for fin-de-siecle capitalism, with all its gory excesses. London also writes convincingly about such diverse topics as boxing, South Sea cannibals, and straight-up science fiction.

This book of books is excellent, and any American who fancies himself a lover of literature would be remiss in not reading it.

This book was really good, but I believe that White Fang was better. Many settings took place, but I will start with the main ones. The first setting in this book was Judge Millers Mansion. The second is the dog breakers place, in which Buck (the main character, a dog,) learns the "law of Club and Fang." The third place is where Buck learns the method of husky fighting, and because the other dog died, he lived a long and well-lived life. The first major event in this book is when a person steals Buck from Judge Miller, and he is starved and strangled and is thrown in a shed to wait for a train to the dog breaker. There, he is introduced to the primitive law of club and fang. After that, he, and a Newfoundland, are taken to Alaska. There, he is introduced to the method of Husky Fighting, and then is put into the harness, and is put to work on the mushing sled. The next major event is when Buck is taken of his first mushing trip in the wild. There he learns how to keep warm in the harsh winters by digging into the snow and having your body heat heat up the space. The next area is when Buck and Spitz finally fight to the death, and Buck takes the position of lead dog on the mushing track. Finally, the last major setting is when Buck finaly turns to the wild, and he attacks the YeeHats with a vengance, because they had killed his LOVED master. The conflict in this book is Buck is a spoilled rotten dog, until he reaches the North and finds that he has wild ancestors. They eventually take over Buck and he lives with the wild.

If you want to love life, read this book; if you want to hate life, read this book, too. It makes you a hero.

Just like many of the readers, I first read it about ten years ago and surely it has since remained the best book I've ever read in my life. As a keen lover of music, I have experienced, am experiencing and will experience how music of Beethoven's gives me bravery and strength during dark and weak period of life. This book, too, certainly is the counterpart that will be accompanying me for life, sublimating my soul and give me
power and strength.

I read this book when I was in high school. All summer nights in 1994!! I even felt bad as I progressed through the pages as if the book was a bag of cookies. Ideal, spiritual, as pure as the sound of a wood wind instrument.

A decade later I revisited this book this summer. The protagonist were no more as inspirational as before. First of all this Jean Christophe person is such a super moral man that I don't see any reality in his character. It is hard to imagine that Beethoven was such a character.( Another book by the same author. See how I was intrigued then.) Maybe I'm wrong. People born before WW2 could have lived different lives than our own.

Jean-Christophe is a very touching story that does indeed prove the saying above.Jean Christophe may be the idea of a rascal, evil and full of hatred to the rich, but he's just a desperate man in need of comfort, of peace, and most of all, of appreciation. It just-in it's persuasive way-forces you to look upon the dirty, 'unworthy' ones with a new light, with pity-not disgust. The language simply cools down the heart like a mountain-full of ice by the beauty of it. And it's hatred for the world behind the mask just burns your heart as it did with Christophe. Down with pretense! Down with politeness! All in all, the tragedy of this impatient man who found peace in death will either pierce your heart with enlightment or choke you with laughter. Be it a long lecture, a 1600+ pages of enlightment, a rebellion, this is not a master of the great arts you will soon forget.

I read it translated in Korean about 12 years ago. Though i felt it was somewhat boring at that time, i couldn't put it down, so i persisted. And now i know the book has been serving all these years as a formative novel to me. I am afraid I don't remember the details, but surely i remember how absolutely it absorbed me and arrested me. I want to get a copy of it now and read it again, for now I am sure i will be fully enjoying it, even loving the memory of boredom it gave me when i was a novice and dull reader. So sad it is out of print.