Rudyard Kipling Books

Ihave read one of the most deep tales, the title "the gardener". When i readed it came to my mind two words: fathe, hope, uncanny.

This tale awake in my a feeling, the atraction for the work of kipling,is magic, it surrounds your views with his views, his feelings with your feelings. All that happens is the presence of the author, this book, is not a simple book of tales, is the gate for a new worlds, a thousend of worlds, all with a new gravity and with brave life

Kipling is little appreciated today, and that's a shame, because he was one of the finest short-story writers the world has ever produced. The closest word I can find to describe his stories is "hynotic." Such an imagination...many of the stories are understated horror and fantasy: stories of talking trains, of wild rides that end up in hellish worlds, of frighteningly realistic curses by man-beasts. Some are truly puzzling, such as "The Gardener." Some are obviously (and disturbingly) autobiographical ("Baa Baa Black Sheep"). Kipling strikes a note few writers can: his stories can be enjoyed (and enjoyed immensely) by both children and adults. These are the kinds of stories that children love having read to them. They always clamor for more.

The title is a lie: this is not even close to being Kipling's collected stories. It is a selection, and an excellent one. If you want all of Kipling's stories, you'll have to look elsewhere. If you want a good place to find the best of them, this is the book to have.

There is no question that Kipling was an incredibly talented writer and this collection includes 40 of his best stories. The stories are evidently in chronological order, beginning with his tales of India and, as pointed out by another reviewer, they cover a wide range of subjects. The breadth of this collection really showcases Kipling's ability to write dialogue in the vernacular for characters as disparate as Indian tribesmen, Englishmen (and women) of various social classes and ages, and even a few ancient Romans.

This collection does, however, have its faults. The first is that the writing is very difficult to follow in some places. A few (brief) sections of dialogue are so obscure as to be unintelligible, at least to the modern reader. There are also (very occasionally) passages such as this one: "In the Mediterranean (Nile keeping always her name) there is but one river-that shifty-mouthed Danube, where she works through her deltas into the Black Sea.", which are needlessly opaque. The vast majority of the book is very lucid, but every so often I did find myself having to reread the last few lines to try to decipher what Kipling intended to convey.

The other thing that I did not particularly like were some of the stories that Kipling wrote later in his life (e.g. "The Gardener", "Mary Postgate", "The Wish House"). While these stories are often considered his best, I found them a bit on the gloomy side; his Indian tales were much more enjoyable to read. In my opinion, "The Gardener" is a meandering over-rated tale and the ending of "Mary Postgate" is annoyingly vague.

Most of the stories in this collection were enjoyable to read, and all are excellently written. I highly recommend it.

One of the greatest losses to cinema is the old-fashioned, politically incorrect but thoroughly enjoyable British Empire film that was designed to prove no point other than its value as entertainment. In recent decades John Huston's "The Man Who Would Be King" managed to distill the old and the new sensibilities into a cohesive whole; but alas, the increasing lack of hardy and rugged actors of the caliber of a Sean Connery or a Victor McLaglen or an Errol Flynn have made the task of filming Kipling or Haggard yarns all the more formidable; and audiences are the losers.

What Philip Leibfried has achieved here is an immensely readable and enlightening survey that details just how many such films have been made based on the writings of these two authors. The survey goes beyond the films to also include adaptations in other media. The list is staggering: some 110 adaptations all told, each one described (where information was avaliable) with cast and credits, production history, and criticisms. Each of the authors' works is also delineated in a plot summary; and stills illustrate the book liberally. (How the author managed to find some of the more obscure stills remains no small achievement). The lives and careers of both men are also described in some depth in the Introduction.

The author's approach is sensible and fair: even the poorest film gets coverage and consideration. Space obviously did not allow for it, but on rare occasion, however, one wishes for an even more expansive approach, as in the case of the 1950 adaptation of "King's Solomons Mines". Because that film was almost unrecognizable as an adaptaion of Haggard, it receives less coverage than most of the other major productions. However, the author is clearly more respectful of the more faithful filmings, and he rightly bemoans the fact that this 1950 film left out the book's fantasy elements, many of its characters, and much of its action and plot.

These adaptations of Kipling and Haggard brought forth the best that Hollywood and the world had to offer in order to make them: directors such as John Ford, Victor Fleming, William Wellman, George Stevens, John Huston, and the Korda brothers; and actors of the caliber of Cary Grant, Spencer Tracy, Michael Caine, Deborah Kerr, Ronald Colman and the three mentioned in the opening paragraph; not to mention inimitable players such as Sabu, Shirley Temple, and of course Sam Jaffe, whose heroic and poignant portrayal of the simple regimental "bhisti" Gunga Din remains the most unforgettable of them all.

The book is handsomely packaged, on fine paper, with the stills very sharply reproduced. It is the kind of book that can be opened to any page for reading; and for once we have a "Complete List" film book that offers up a healthy serving of fresh and virtually unknown material, both written and pictorial.

This well-written and delightful book, a comprehensive guide to the works of Rudyard Kipling and Sir Henry Rider Haggard on screen, stage, radio, and TV, is the perfect gift for both the cinéaste and the casual moviegoer and reader of adventure lore. The stills and posters are great. Many of the scenes come alive in memory. The synopses and reviews are exhaustive. Mr. Leibfried's knowledge of his subject is encyclopedic. His aside on the Haggard-Hayden feud is proof alone of that. A great book for film buffs everywhere.

Rudyard Kipling (The Jungle Book) and Sir Henry Rider Haggard (King Solomon's Mines) were close friends who wrote popular stories and poems about exotic adventure in very different ways. Their various works have been adapted many times for screen, stage, television, and radio productions. Rudyard Kipling And Sir Henry Rider Haggard On Screen, Stage, Radio And Television is a complete and definitive guide to those adaptations and each original literary work is summarized, followed by a complete filmography and analysis for each film based on a particular story or poem. Separate sections provide information on adaptions created for radio, stage, and television. The informative text material is enhanced further with numerous photographs from films. Rudyard Kipling And Sir Henry Rider Haggard On Screen, Stage, Radio And Television is an invaluable addition to literary and film histories, and an important reference for all Kipling and Haggard fans.

This is barely a work of fiction. The stories of the three schoolboys, Stalky, M'Turk and Beetle, aren't all entirely complete and true, but the boys existed and so did the teachers and school. The schoolboy dialog is difficult at first. "Fag" still means short (like a "fag," a very short cigar or cigarette) but in the school it means the youngest boys of the lower form classes. Being "easy to draw" is a sharp criticism for "showing one's feelings too transparently." "Je vais gloater" is pseudo-French, meaning, "I'm going to gloat." Stalky and Company is full of lingo like this.

If you like pranks, you will laugh at this book and enjoy the story of increasing criminal competence developed by these three rascals.

If you think boys should be formed into serious and studious young men through studies and daily rigors on the playing field, on the other hand, you're going to hate this ruthless, unfunny, nightmarish book. This established argument about Stalky and Company has been going on for most of a century, and some of the praises and criticisms were contained over 40 years ago in "Kipling and the Critics," edited by Eliot Gilbert.

To Kipling's credit, not all the adventures are funny nor harmless. There are some serious messages, especially at the end. The careful reader will recieve an astonishing education, for the boys described were real, the school actually existed, and the graduates were prepared for "Sandhurst," the informal name for the town where the Royal Military Academy was and remains located. So it is a realistic story about boys prepared through secondary education to become officers of the British Empire at its historical high period.

If you enjoy this book and wonder what the real story was, it is still possible to get a copy of M'Turk's (Beresford's) actual autobiography about going to school with Kipling and Stalky (later General Dunsterville) in "School Days with Kipling," by Beresford. The sketch drawings of the boys and masters at the school described in "Stalky and Company" are thoroughly amusing, and a story of a play the boys put on for each other is a masterpiece of farce.

Kipling appears to be freighted with controversey. That said, Stalky&Co. is one of those small masterpieces rarely read-more the pity. This wonderful, surprising, semi-autobiographical novel takes place within an English boys school, an institution primarily serving to push young officer candidates forward in their pre-military careers,cramming,inelegantly,for Sandhurst and the like. What sets this book apart from the entire genre is Kipling's extraordinary capacity to bring the three major characters, and the larger cast of minor players, teachers, staff, students, to a brilliant realization. But there is more: within these pages are some of the most uncanny perceptions of human behavior one can find, either within or without a pyschology text. Whatever one thinks of Kipling or the context within which he wrote, this slim volume is luminously lit both by the writer's indelible affection for his creations, and the profundity of what their experiences teach us all. If you swear a solemn oath to read only one single English Nineteenth Century Novel outside of the incomparable canon of Dickens, please, please, track down of copy of Stalky and Company, put aside all preconceptions, and for a too brief period of time, enter a rare, rare world.

Stalky and Co. is great fun. I have twice read these nine clever tales of three outrageous school boys - Stalky, M'Turk, and Beetle. Their ongoing battle of wits with masters (especially their nemesis, the sanctimonious Mr. King), fellow students, and the occasional school bully are immensely entertaining. Rudyard Kipling allegedly based these stories on his school years; to some degree Beetle was a self-portrait.

I had some initial difficulty with Kipling's schoolboy dialogue, but I did eventually become fluent in late nineteenth century British schoolboy slang. This fluency is critical to enjoying Kipling as the stories are comprised almost entirely of dialogue.

We quickly learn in the first story, In Ambush, that despite rules to the contrary, all right minded boys built huts in the furze hill behind the school, a place of retreat and meditation, where they smoked. Stalky, M'Turk, and Beetle were no exception. In this tale the three friends brilliantly outwit Mr. King, but they prove no match for the Headmaster, the final arbitrator and administer of justice.

Mr. King again underestimates the trio in the comical tale, An Unsavory Interlude. As Kipling unveils the convoluted, devious exploits of Stalky and friends, I wondered how they found time for Latin, mathematics, writing, and other studies. The answer is revealed in The Impressionists, another uneven match between the trio and a master, this time the overly conscientious Mr. Prout.

The tone of the last few stories - A Little Prep, The Flag of Their Country, and The Last Term - remained amusing, but they addressed more serious topics like bullying, sincere patriotism, and true courage. Kipling concludes with a visit with the schoolboys more than a decade later, now responsible men entrusted with managing and protecting the extensive British empire.

Stalky and Co. is as delightfully humorous today as it was a century ago. I am sure that you will enjoy meeting Stalky, M'Turk, and Beetle. Cheers.

This has always been my favorite "Just So Story." It is good to see it in an individual book, as it is a little unwieldy as part of a group. This is the story of how woman domesticated various animals, yet had to deal on equal terms with the cat. We all know this is true yet it is good to find the origin of this truth. The pictures add a dimension and do not distract from the words. Rudyard Kipling is a master at this telling.

My favorite of the "Just So Stories" explains how the Cat, the "wildest of the wild animals" came to share the home and hearth of Man. Of course, the Cat resisted the Magic which the Woman made to enslave the Dog, the Horse, and the Cow. He tricked the Woman into accepting him on his own terms. And to this day, he walks by himself, by his wild lone, waving his wild tail. And all places are alike to him. I've read Kipling's classic a bazillion times in the past 45 years, and this is easily the most beautiful rendition of it I've ever seen. The large type and attractive font make reading easy for children -- and delightful for adults! The illustrations are simply exquisite! The "Just So Stories" have withstood the test of time -- more than a century -- and political correctness But I beg to differ with Kipling's contention that "three proper Men out of five will always throw things at a Cat." *Real* proper men love cats!

One of my favorite memories of my youth is that of my grandfather sitting down to read to me from this book. The timeless stories mix hilarity with common sense; their life lessons appeal to all ages. My all-time favorite is the Armadillo story, from which I can still quote directly. You and your children will benefit from and find much delight in these wonderful stories. Buy this book, Best Beloved - you'll be glad you did.

this is an excellent, intelligent book that will make everyone smile. the animal stories are cute and compelling and silly...after my sister took our childhood copy of this book, i'm buying it for myself. although it is intended for children, it is written with such an intelligent wit that adults, too, will find the stories endearing. this is an especially charming book to read aloud.

This book, as an orginal is better then whatever Disney can come up with. My kids enjoy reading time!

This unabridged edition includes both Jungle Book and Jungle Book 2. The stories are a wonderful length for read alouds. The Jungle Book is, of course, a classic and not in need of a review; however, if your only exposure to the Jungle Book is Disney, please give this a try. I wanted to commend Sterling Publishers on making a quality, affordable edition of this and other classics. The paper quality was nice, not thin or translucent. The font is also pleasant--not to small or cramped. I know this may seem faint praise, but so many classics collections are very poorly executed. The price is also very agreeable--only slightly more than a paperback.

Hemingway's introduction states: "This book has been edited in order that...boys, as they grow to the age where they can appreciate it and use it and will need it, can have [a] book that will contain truth about war as near as we can come by it." As a result of careful selection and organization, this collection of war stories accomplishes what Hemingway set out to do. As a teacher, I've found these stories useful in class -- from Caesar's notes on his invasion of Britain and Charlotte Yonge's "Pass to Thermopylae" to Aldington's heartbreaking WWI story, "At All Costs." This collection contains the works of fine writers (Faulkner, Kipling, Forester, Crane, Kipling) and historical figures (Churchill,T.Roosevelt). As a parent, I am encouraging my adolescent son to read this book so that he will understand what others have done and what he may one day be called upon to do for his country. This book will one day be rediscovered and reprinted for a modern America once again engaged in a discussion of war and courage. In the meantime, join me in being grateful for these used copies which are available at (usually) reasonable prices.

Very well written stories of battle through the ages. Nothing glamorous here, just plain and accurate writing, often by a participant of the action. Several stories give pause for thought.

This is a treasury of verse for Kipling fans and anyone who enjoys poetry. It has it all, from "power of a dog" to "mulhollands contract", he was brilliant!

Largely forgotten today, to many, Kipling is an outdated imperialist with racist and sexist views, and should be left to moulder on the shelves of public library back collections. To others, he is a great poet, with a sympathetic ear for dialogue and an uncanny ability to weave the atmosphere for any story or poem.

I side with the latter.

I've liked Kipling years back. He writes poetry as easily as he does his stories, with wit, snappy soundbites, and both the ability to make you laugh and cry.

Famous for his writings of the soldiers, for his fairy tales, he isn't much in demand these days, except maybe recommended for children, which is rather a shame, because he wrote many interesting works, be it in verse or novel.

Those who call him racist had probably not read past the first few lines. Even in more blatant works like "Gunga Din" or "Fuzzy Wuzzy", he writes with a certain respect for the natives. And even in his colonialist days he was more of its critic than its trumpet. Such an attitude is obvious in more obscure works like "We and They", or "Hadramauti", where an Arab voices his dislike for the Englishmen.

Also there are his historical pieces, like "the Dutch in the medway", describing the humiliating defeat of the British at sea, and "the Roman centurian's son", a very poignant piece about an Roman soldier being called back to Rome after decades in Britan. More whimsical and lively pieces (as well as the satire he was known for), like "The way through the woods", "Pagett, MP", his pieces for chapter headings, as well as inspiration poems like "If -".

Darker works like "the Storm come" shows that he is no warmonger; his "Recessional" predicts the dissolution of the empire which he nearly outlived, and his lament for his son in "the Children" is both moving and tragic.

I suppose there's not much to be said -the poetry is loud enough on its own, and I hope my cruddy penmanship doesn't affect your view on Kipling -or deter your from reading his works.

We've all heard of Puck, the mischievous sprite from Shakespeare's "A Midsummer Night's Dream". And even if we haven't, we know the type. The ancient trickster sprite found in every land around the world is a common creature. In "Puck of Pook's Hill", however, Rudyard Kipling establishes Puck as the very soul of England itself. Using Robin Goodfellow as a guide, Kipling is able to adeptly describe a range of important factors that lead to the glory of late nineteenth-century Britain. The result is an enchanting story featuring a beloved literary figure.

Two children living in England decide to act out a scene from "A Midsummer Night's Dream" on Midsummer Night itself in an old fairy ring of darkened grass. In so doing, the two accidentally conjure up Puck incarnate. Puck is as old as the land itself, and while all the other fairies and sprites have long left England (all thanks to Henry the VIII, as it happens) he remains. Over the course of the next months, Puck is able to bring forward figures from the English past to speak with the children and tell them stories. These figures include a knight carrying a runic sword, a Roman conqueror (born and raised in England), an artist, and a Jewish money lender who is responsible for the signing of the Magna Carta.

Admittedly, it would help to have a basic working knowledge of English history when approaching this text. Know your Saxons from your Normans. Understand the reasons the Picts hated the Romans (though Kipling is clearly on Rome's side in that struggle). Other details are easily filled in by the author himself, and Kipling is more than willing to use Puck to fill in gaps and misunderstandings for his readers. The piece of land the book takes place on was the actual English land that Kipling himself owned at the time. The modern reader will find a couple usual stereotypes of the era. Africans are like children, ditto the Picts, and I won't even go into the Chinaman included. The Jews, by comparison, are shown a great deal of compassion by the author. Kadmiel (the Jew in question) is an impressive figure that speaks with more nobility than any other figure in the book. So kudos to Kipling for at least one interesting and three-dimensional minority. Bravo indeed.

Some will find this particular Kipling outing slow going. I, personally, thought the book was written quite well. I felt no shudders when I lifted the book up again to peruse it, and despite its deceptively long length it's a quick read. Anyone who wishes to have a basic working knowledge of fairy doings in merry old England would do very well to give old Kipling a look-see.

We've all heard of Puck, the mischievous sprite from Shakespeare's "A Midsummer Night's Dream". And even if we haven't, we know the type. The ancient trickster sprite found in every land around the world is a common enough creature. In "Puck of Pook's Hill", however, Rudyard Kipling establishes Puck as the very soul of England itself. Using Robin Goodfellow as a guide, Kipling is able to adeptly describe a range of important factors that lead to the glory of late nineteenth-century Britain. The result is an enchanting story featuring a beloved literary figure.

Two children living in England decide to act out a scene from "A Midsummer Night's Dream" on Midsummer Night itself in an old fairy ring of darkened grass. In so doing, the two accidentally conjure up Puck himself. Puck is as old as the land itself, and while all the other fairies and sprites have long left the land (all thanks to Henry the VIII as it happens) he remains. Over the course of the next months, Puck is able to bring figures from the English past to speak with the children and tell them stories. These figures include a knight carrying a runic sword, a Roman conqueror (born and raised in England, however), an artist, and a Jewish money lender who is responsible for the signing of the Magna Carta.

Admittedly, it would help to have a basic working knowledge of English history when approaching this text. Know your Saxons from your Normans. Understand the reasons the Picts hated the Romans (though Kipling is clearly on Rome's side in that struggle). Other details are easily filled in by the author himself, and Kipling is more than willing to use Puck to fill in gaps and misunderstandings for readers. The piece of land the book takes place on was the actual England land that Kipling himself owned at the time. The modern reader will find a couple usual stereotypes of the era. Africans are like children, ditto the Picts, and I won't even go into the Chinaman included. The Jews, by comparison, are shown a great deal of compassion by the author. Kadmiel (the Jew in question) is an impressive figure that speaks with more nobility than any other figure in the book. So kudos to Kipling for at least one interesting and three-dimensional minority. Bravo indeed.

Some will find this particular Kipling outing slow going. I, personally, thought the book was written quite well. I felt no shudders when I lifted the book up again to peruse it and despite its deceptively long length it's a quick read. Anyone who wishes to have a basic working knowledge of fairy doings in merry old England would do very well to give this piece of literature a look-see.