Poetry Books

Gargoyle 42 is a brilliant collection of brash, dynamic and creative literary works. Particularly moving is the hard-hitting "Boyfriend" by Jenny Badman. When this woman lays it out there, you'll feel it. Buy the book!

This hot author is already outstanding. Not only has captured the heat of the moment, but she relates it to everyday life. It has flavor and edge. Loved it!

This dynamic work of literature inspired me to take more chances in my life. I found it captivating, seductive and dark. Keep up the awesome work!

I loved this work! My fav section was the poem by Jenny B. It moved me and inspired me to make some changes in my life. This work was spellbinding, riveting and seductive. Encoré Jenny B!

GARGOYLE should be required reading for every creative writing class. This work sparkles with literary elegance and discipline, bubbles with sex and boils with blood. BUY IT! You will feel these writers breathing on your neck deep into the night!

I bought this book as part of my project assignment. I liked the fact that it was both in Spanish and in English. It teaches the Spanish alphabet through beautiful illustrations of the Mexican culture and farm workers. It is first class print and one can tell that much time and effort went into the preparation of the book. However, I did not like the fact that 'happy' farm workers covered most of the pages. I believe it is stereotyping the Hispanic population to some degree and as someone who has also worked in the farms under the blazing sun, I wasn't smiling most of the time... Overall, I recommend the book provided that parents/teachers exercise caution while using it because of its stereotypical elements.

This is one of the best bilingual alphabet books I've encountered. It is suitable for children of all ages, including adults. The poems written by Alma Flor Ada are symbolic and elegantly ilustrated by Simon Silva. Silva brings his farmworker roots to his illustrations in this life of the harvester themed book. I can't say enough about the illustrations, suffice to say, they are simple yet stunning colorful depictions of the farmworkers life. This is first and foremost a Spanish alphabet book, with an English translation; it begins with Arboles and Trees, which as you may note are not exactly both A words. Besides the excellent ilustrations, brilliant author (she has a PHD, has done postdoctoral work at Harvard and is a Fullbright Scholar), DR. Aida brings to life the alphabet with her insightful poetry. She uses simple language to convey matters of the earth and a rich cultural heritage. Not overly flowery, her use of language is one that evokes the simplicity and toughness of the life of the farmworker. Her educational and lifetime experiences, reflected in some of her some of her books like A Magical Encounter: Latino Children's Literature in the Classroom (2nd Edition),Under The Royal Palms: A Childhood in Cuba extend from a broad palette of knowledge that is dedicated to children. This book is one that every child can benefit from, regardless of race. Families, teachers and students will love this book. It is a book to be cherished from one generation to the next. This book belongs in all young bilingual families homes, community and school(K-12) libraries. There is something for everyone to enjoy in this gorgeous, soulful book.

I highly recommend this book. It has beautiful illustrations and poems, and teaches Mexican history. It is larger than I expected, which is great. A great value, I would have paid a lot more!

This brilliantly illustrated bilingual book is a delightful adventure into the world of language and art, "simple words and sun-drenched paintings", as Alma Flor Ada and Simon Silva take young readers into orchards and fields, alongside the people who harvest the bounty of nature, dedicated to the living memory of Cesar Chavez: "Your example and your words sprout anew in the field rows as seedlings of quiet hope." The illustrated alphabet is Spanish, text in both Spanish and English: arboles (trees) "the companions of my childhood"; duraznos (peaches) "like a gentle caress in the palm of my hand"; tomates (tomatoes) "red tomato in the kitchen, in the little tacos my godmother loves to make"; zanahoria (carrot) "The carrot hides beneath the earth. After all, she knows the sun's fiery color by heart."

Nothing less than a celebration of a shared heritage of working the land and the language of nature's bounty, the bilingual text is rendered with an eye to the beauty of words and the images wrought from the earth's palette, a rich history of the cycle of growth and those who labor to carry their fruits from field to kitchen, from the hands that toil upon the land to those that prepare the rich foods that grace the tables of grateful families. Saturated with vivid color and the dignity of hard work, Gathering the Sun is nothing less than brilliant, a reflection of the author and illustrator's appreciation for all aspects of growth, from field to heart to spirit, acknowledging "honor and pride, family and friends, history and heritage, and... the bounty of the harvest." Luan Gaines/2006.

Right away, one can see that this is much more than your run-of-the-mill alphabet books. Two extremely talented people, author Alma Flor Ada and Simon Silva, collaborate on 28 short poems that celebrate the pride of the Latino familes that work the fields as migrant farmworkers. In fact, this book is dedicated to the memory of Cesar Chavez. Alma Flor Ada has written extensively on what it is like to be a Latina immigrant in such books as "Me Llamo Isabel," and Simon Silva has illustrated such like-themed books as "La Mariposa" and "El Campo."

The poems tell of the harvest, from Arboles (trees) to Zanahoria (carrot), with C and Ch telling the story of Cesar Chavez. The poems are both in English and Spanish; in both languages, the verse is rendered with great sensitivity. The beautiful illustrations convey not only the hard work of the fields, but also beauty and hope, not to mention a strong and serene sense of family. The people give thanks to the wind, sky, rain, sun, field, flower, and Earth for all the delicious fruits, while extoling honor, both in hard work and caring in the family. I can think of few other books that tell of these things, which most people take for granted, more beautifully.

Regent St. Claire explores the gray area between evil and innocence, as the dark flip side of human nature. Regent's first book "Altered States of Grace" had read like its very own haunted theatre. Beautiful, also with such melodic melancholy that its all so very intense, so much that it gets so hard to digest at times that it compels me to read on. I can't wait to get my hands on his new book, "Glamour & Damnation". And, by the way, check out his project "Candyappleblack" at its very own website, for a bigger taste of the supernatural side of his imagination.

Somehow, unknowingly, the world today has been let loose on a constant campaign to lose more and more of the grip on things that really matter, things that make a difference... feelings that are meant to lie just beneath the surface... the very essence of the liquid tears that run from the flame and harden into rivers of substance.

I am glad to say that now, Regent St. Claire may be the one to make the world stop rolling off its own edge... and to make it listen... both in times of Glamour and in spells of Damnation.

His raw angst and passion colour his words with a depth and clarity that transpose his thoughts unerringly right through the keyholes of those special places in your heart and your mind that many of us strive to keep hidden, dusty and cold, and that will unlock you from within. His poetry is unencumbered by rules, regulations or sterotypes, and is as is... refreshingly fresh and excitingly exciting as one of the most genuine collection of poems that I have had the pleasure of coming across.

In a world of rising waves overhead and raging currents underneath... Glamour & Damnation travels in the space between... deep, rich, thick and weightless. Finally, a book that returns the age-old romance of reading. Three sweet cheers and a black apple to Mr. St. Claire.

I have kept a copy of Regent St. Claire's "Glamour & Damnation," with me wherever I go for the past several weeks, ever since I received it in the mail. Whenever I happen to have a moment or two, I read as many pages as time will allow. Truthfully, I've probably read and reread the whole book, cover to cover, six or seven times, so far. The beautiful imagery in this book gets better and more vivid with each reading.

With each rereading I can feel myself being "washed down a storm drain" in THE LIE OF THE SEA; I feel like an angel remade in WITHER & BLOOM; my knees go weak after reading PROFOUNDLY MOVING.

These poems pull you in, like a gift to be unwrapped, and then when you remove the paper, you are left with a stunning piece of the narrator's heart. On every page, Mr. St. Claire takes us beyond the superficial, leading the reader past the meat of the poem and into the marrow of what he really wants to say.

If the first piece doesn't pull you apart and pull you in, your heart is hardened beyond repair. The first time, the tenth time, and every time I read BENT, BROKEN and BACKWARDS, my heart races at "168 beats per minute."

Ever since my first reading of the very first poem, in G&D, I've become a fan of St. Claire's poetry. I cried, I laughed, I scoffed right along with the poet as if he sat next to me, sharing his intensely personal poems with their cunning insight and page turning titles. I read G&D in my car while I'm waiting for the light to turn green. I read them with my coffee in the morning and during the day when I should be working on my own writing. I read them in the shade at the park and in bed before I slip off to sleep. If you are a person who likes well-crafted, accessibly readable poetry that will bring you into the world of a poet with a sharp eye, and fierce heart , buy this book. And if you think you don't like poetry, read it anyway. G&D just might change your mind about poetry.

Finally! A literary step forward in the art of self expression.
Untainted, undaunted and yes, believe it or not, unfiltered.

Most people write to be published, gearing their genere right to the hearts of the prime time crowd. Mr. St Clare abandons those who hide behind a job title, the latest skin care product or diet fad. He tears his heart out and uses it to document the most intimate of his rantings.

I applaud the courage of this author and I am confident that once you absorb and digest these verbal portraits of obscure perception, you will join me in demand for more food for thought...

I am loathe to write, as my poor attempts at description are amateurish compared to the other reviews that I have read about this book, however, I feel compelled to say something about a text that is human, moving, loving and yet dark, grim and humorously disturbing at the same time.

"In the Tongue of the Talking Bed" is one of the most real moments of human loss of love and bittersweet rememberance that everyone who has ever had a deep love will identify with. For a matter of fact, flip to any one of the poems and the only way it won't move you is if you're not from this planet (or a sociopath and even then, I think there's a chance that a sociopath would be moved in some small way).

Buy it, and buy one for a friend, it will be a tome to talk about and your friend will honestly thank you for it. (I speak from experience on this one-).

Great book. Great detail.A must for anyone who has seen the film. Gives you a 100% more info and detail.

Turning dense, non fiction material such as Nick Pileggi's 1985 best seller "Wiseguy," into a cohesive screenplay is no easy task, but Pileggi and the brilliant Martin Scorsese pulled it off beautifully in 1990 with the script for "Goodfellas"

"Goodfellas" remains America's penultimate crime film; the "Godfather" is Hollywood's version of what wiseguys are like; "Goodfellas" depicts them as how they really are.

This Faber paperback edition of the screenplay, with a foreward by David Thompson ("Scorsese on Scorses") reproduces all of the dialouge verbatim (including the scenes that were improvised on the set such as the famous "what's so funnny about me" sequence between Joe Pesci and Ray Liotta).

The book serves as both as written testamint to what great movie making is all about and as a primer for budding screenwriters.

As a bonus, there is a listing of all the music Scorcese used on the soundtrack (no small part of what made the movie a classic),including those selections that were unfortunately deleted from the commercial issue on Atlantic records).

As Joe Pesci's character might say--"this is one great -------book!"

Though Nicholas Pileggi's source book, Wise Guy, gave this screenplay both its voice-over and its final conclusion, the screenplay to GoodFellas is an essential addition to any screenplay library. If not for the fact that Pileggi and Martin Scorsese have pulled off the mammoth task of interpreting the detailed-packed, wide-scoped vision of the book into cinema-speak, then for the writing itself. GoodFellas is a screenplay that can be read as entertainment -- fast-paced, crisp, clear, and exciting. The published version of this script is mostly in master-scene form, giving only the most evocative details, beautifully paced. This is one of the crowning entries in Faber and Faber's superb screenplay series, ranking right up there along Paul Schrader's Taxi Driver and Odets/Lehmann's for Sweet Smell of Success. To any upstart screenwriter or serious student of film, this series is invaluable.

Sure, if you're not into the film "Goodfellas" that much or if you don't care for screenplays, then chances are that this would be rather worthless to you. Might as well find something else to buy, because this isn't going to do anything for you.

But, if you DO love the film and would like to read the screenplay, then this is just the thing for you. Written by Martin Scorsese and Nicholas Pileggi, "Goodfellas" is an amazing script that sucks you in right away.

Henry Hill has always wanted to be gangster, as he states in the very beginning of the film. This is his story of how he became one and everything he had witnessed and experienced. It's a tragic story of how good things always have to come to an end. It's also about how power and money can grab hold of your life until it's too late to turn back. A tale full of crime, murder, paranoia, and greed, "Goodfellas" is a trip down Mafia Lane that you will never forget. This is Mr. Hill's story.

The script is based on Nicholas Pileggi's novel, "Wise Guys," which is also based on a true story. The dialogue is sharp and very realistic and gives us a window into the lives of people in the Mafia. It is a very quick read, only about 130 pages. That's pretty short, considering that the movie was at least 2 and a half hours long. But, it's just dialogue, which is why it is very easy to read it quickly. I finished it in less than a day.

If you love the film "Goodfellas," and are interested in reading screenplays, then this is the perfect book for you. Here's your chance to relive some of your favorite moments, this time in writing. A very fine screenplay, it is.

Martin Scorsese's "Goodfellas" is, hands down, the best gangster film ever made. "The Godfather" created the mythical imagery of mob families that was forever buried by this gutty, bloody real life drama. Based upon the true story as told by the film's main character, Henry Hill, "Goodfellas is the best filmed example of the real life glamour and woekmanlike drudgery that goes with being a wiseguy. It is difficult to imagine a show like "The Sopranos," for example, had not "Goodfellas" reinvented the gangster film genre.

Ray Liotta is excellent as Henry, but the movie's real showcases are the performances of Joe Pesci and Robert DiNiro as his partners in crime. Pesci in particular gives a tour de force performance that is downright frightening. Other first rate performances come from Lorraine Bracco as Henry's Jewish wife and Paul Sorvino, whose performance as a real life Godfather could not be more different than Marlon Brando's.

This film is a must see for anyone who enjoys gangster movies. It also has to rank as THE best American movie of the 1990s.

This book is a cherished gift from a friend back in 1973. The ink drawings are very clever and enjoyed by kids of all ages--even the adult kind. Our daughters were all raised with this book and they loved it. I expect that the Slithergadee may have something to do with the eldest becoming an attorney!

This book was one of my favorites when I was a child. I can still recite many of poems from memory 30 years later. I can't wait to read it to my children.

I came across this book when I was in graduate school--living with two commercial artists and studying for my master's in library science. We were in a book store one evening when the woman I lived with started pointing out the cleverness of the illustrations and how well they matched the poetic selections. After all these years I remember my favorite--a little racoon standing in the snow very soberly reciting "I do not like thee Doctor Fell, The reason why I cannot tell..." He is speaking to an old country doctor who is walking through the snow wearing a coonskin hat, carrying his bag, looking soooo tired--and here is this animal lecturing him--the scene is both serious and silly---and they are all like that--there is a depth, an intelligence, that brings the reader back again and again. I read my copy over and over. It was in the children's section, but the humor in the illustrations is definitely aimed at adult appreciation.

There is no way for me to convey the top notch quality of Mr. Tripp's humor and art work in the sketched scenes that decorate both front and back covers and also accompany each verse in this volume. While each of the nonsense verses are wonderful in their own right, the accompanying drawings (with the comments created by Mr. Tripp for the little animal characters he has sketched for each scene) are absolutely delightful!

I received this book as a gift from my husband many years ago and I have worn it to a frazzle enjoying it over and over; it is my healthy tension-reducer and stress manager. Although it is presented as a child's book, I am convinced it was sketched for grownups. I am at a loss for words to tell what an indescribably delicious treat you will find in this book no matter what your age!

My wife bought our family copy when it first came out in 1973. She was at a conference in Boston and saw it go on display. Our daughter, born 1971, was raised on it and both my wife and I can quote passages at the drop of a word. Favorites are "The Slithergadee" and "The common cormorant or shag...." Our daughter is now expecting her first child (our first grandchild) and we presented her with our copy. We have recently purchased a paperback copy to read when the child is at our home. Our daughter's sister-in-law read our original copy and is now looking for a copy to read to her son. It is great for teaching children reading and an understanding of art and life. (Yes, I have several Wallace Tripp illustrations.)

I don't really feel it is necessary to add my humble opinion about Neruda, his poetry, or this particular collection of poems. If you are even considering purchasing this book, then you are on the right track. I would, however, like to add a few comments about this particular edition.

I was somewhat confused because one reviewer stated the book was only in English, although the book claims to be a bilingual edition. I purchased it anyway due to the difficutly in general of finding some Spanish language literature in this country, and even on this site, with the intention to return it if it was only in English. However, I was pleasantly surprised to find it was indeed a bilingual edition. The cover art is quite different on the copy I received - just an observation.

If you are buying this book for the original Spanish version, then I can highly recommend this book. However, I must agree with several other reviewers as to the quality of the English translation. Honestly, and I hate to say it, but it is terrible. I realize that translating great poetry is a formidable task, and that certain license may need to be taken, but I have many other bilingual poetry editions (in several other languages as well) where the English versions are faithful to the original and yet beautiful in their own right, and where I have even felt occasionally that a reading of the English version can actually enhance the overall experience of the poem. This is definitely not the case with this translation. After reading the Spanish, I would find myself peeking over at the English, and thinking to myself, "What on earth was Tarn thinking?" Some of the liberties Tarn has taken... At one point, I seriously felt like taking a Sharpie to the English versions to obliterate them entirely. Realizing that this was probably a little extreme, and would certainly destroy the Spanish poetry on the other side of the paper, I have settled on making copies of the Spanish versions and putting them in a notebook so as to avoid the English versions entirely. I realize this may sound extreme, but only if you have not read the translations. Even if your Spanish is intermediate, you would probably be better off with this book (or a Spanish only version if you can find one) and a good dictionary.

All of that having been said, the introduction is adequate. And, of course, Neruda is remarkable.

Neruda is easily one of the 20th centuries greatest poets. The Heights of Macchu Picchu is an excellent poem (Tarn's translation is a good one). It weakens a bit towards the end, but the first 2/3 of the poems is wonderful stuff. And Robert Pring-Mill prefaces this edition with a great essay that really takes you into the meaning of Neruda's poem.

Every review here mentions the spectacular nature of Neruda's captivating poem. As he said himself, he follows the philosophy of Rimbaud and arms himself with a "burning patience" that allows him to "enter splendid cities." However, the translation falls short of the quality of Neruda's words. Tarn inserts his own interpretations/images in his word choice which result in the creation of a new poem--ocassionally distant or discordant with the original. (quick example: in Canto XII, Neruda twice uses the word "río" in one of many instances of repetition in the poem. Tarn replaces the first use with "torrent" and the second with "Amazon." He effectively removed Neruda's use of repetition and inserted a proper noun which carries with it connotations perhaps not intended by Neruda. This is merely one of many instances where Tarn's translation subtly, but importantly changes the poem's meaning). However, if you are a lover of Neruda poems and have a reasonable grasp of Spanish, this is an essential for your collection.

6 stars for the poem, 2 for the translation = overall score of 4 stars

I printed this book in 1986 in Bandon, Oregon using a Vandercook Universal #3 Press, Lutetia type from Harold Berliner's Typefoundry on Arches laid paper.

There are several inaccurate assumptions in the reviews here. Most importantly, this is not a Tarn translation. It is by the poet David Young, editor of Field Magazine at Oberlin College. His translations of Rilke are equally stunning.

This is an English only edition: Farrar, Straus & Giroux owns ALL English versions of Neruda published in English (or did so at that time) and the Neruda Estate owned the Spanish. It took 18 months to receive permission for 155 editions of the English and the Spanish permissions were far more daunting.

The binding was done by Greg Campbell at Campbell-Logan Bindery in St. Paul, Minn. I used green Roma paper over boards with red cloth 1/4 bound spine.

The full page line drawing of the condor was done by Jack Schroeder, a well known artist from the Eastern Shore of Maryland. I asked him to draw the condor as if embracing the sense of "sloping height", and "Incan priest." I think he accomplished it well.

I hope this helps and falls within Amazon's guidelines

Pablo Neruda, born in Chile 1904, is one of the greatest Latin American Poets to have livedwas one of Latin America�s greatest poets.

The Heights of Macchu Picchu (considered by some to be his finest poem) was inspired by his journey to this famed ruined Peruvian Inca city. These poems take on a progressive journey within both the past of Latin America and the roots of the poet himself.

Lovers and devoted students of poetry will be caught up in Neruda's poetic power, hopefully capturing the quintessence of this great poets mind. Others, like myself, who are occasional readers of poetry, may need to reread his words, but, through the rereading, Neruda's own spirit will descend into you mind.

Pablo Neruda speaks to the heart and struggle of us all, as he writes, "How many times in wintry streets, or in a bus, a boat a dusk,.... in the very lair of human pleasure, have I wanted to pause and look for the eternal, unfathomable truth's filament I'd fingered once in stone, or in the flash of a kiss released." Highly Recommended.

After having read the first volume of this expected series of 7 volumes I was triggered by the thesis of these authors that ancient Greek and Roman history did in fact take place in the Middle Ages. So I started studying medieval history of the Middle East - also known as Islamic history - to find out if the opponents of the ancient Greeks and Romans - the Acheamenid Persians, Sassanids, Scythians, Egyptians, etc. - also have their duplicates in medieval history. My search was disappointing: none of the many medieval Islamic dynasties seemed to correspond to the ancient middle eastern rulers.

However, I did find a close correspondence between Herodotus' Persian kings and medieval events:

- the defeat and capture of an Anatolian king - the Lydian Croesus - by the Persian conqueror Cyrus is identical to the defeat and capture of another Anatolian king - sultan Bayezid - by the Asian/Mongol conqueror Tamerlane;
- the Persian conquest of Egypt by the cruel tyrant Cambyses reds almost exactly as the Ottoman conquest of Egypt by Selim the Grim (note the nickname!);
- Darius the Lawgiver of the Persian Empire looks very much alike to Sulayman the Magnificent, the Lawgiver in Islamic history;
- Xerxes, whose main claim to fame is to be defeated by the Greeks at the naval battle of Salamis, looks like Selim II (the Sot) whose main claim to fame is to be defeated by a Spanish-Italian alliance at the naval battle of Lepanto.

I should have expected Fomenko et al. to arrive at similar conclusions, however, they claim that the Persian kings are the alter egos of the Angevin kings of Sicily whose biographies do not contain the exploits of the Persian kings.

The similiarities I indicate lead to the conclusion that Herodotus must have written his Histories at the close of the 16th century. But this is extremely late, given that Herodotus is "the Father of History", so therefore all other "ancient" histories must have been fabricated even later. Yet, the founders of modern chronology - Scaliger and Petavius - laid their foundations also at the close of the 16th century and had the full corpus of ancient histories already at their disposal.

It seems to me that Fomenko has to address these inconsistencies, maybe in the forthcoming 5 volumes?

Another critique of their book is that the correspondencies between different rulers are often based on a superficial comparison of the biographies; upon a more thorough comparison many details appear that do not correspond at all.

Finally, the authors rely heavily on the works of Gregorovius (1821-1891!!) - his medieval histories of Rome and Athens - as the source of medieval history; these works are - at least in the West - hoplessly outdated and have been superceded by more up-to-date works (for instance, Julius Norwich's trilogy on Byzantine history is not even cited).

I don't care what other people say of this book. Those affirmig it's fake, they hadn't ever read it. Or have some special reasons to do so. "Living is easy with eyes closed, misunderstanding all you see..." This book won't make you feel comfortable. It'll make you feel free. It'll make you feel you're "not the only one" to feel you'd been lied to for centuries.

We can so far divide the New Chronology into the following three parts:

a) The verifiable theory that proves consensual chronology wrong with the aid of astronomy, statistics and mathematics;

b) The new chronology hypothesis based on a new understanding of known historical facts and the most likely logical explanation of the most obvious inconsistencies inherent in the official version of history;

c) The history conjectures, that is experimental historical reconstructions based on assumptions that the authors believe to make sense in the light of their research and linguistic parallels - void of ironclad factual support to date.

Fomenko's theory complies with the most rigid scientific standards as a whole:

It gives a coherent explanation of what we already know.

- It is consistent: independent lines of inquiry all lead to the same conclusion.

- The predictions it makes are confirmed empirically.

Fomenko goes by the following axioms:

- Chronology is the basis of history;

- Human evolution has always been linear, gradual and irreversible;

- The "cyclic" nature of human civilization is a myth, likewise all the gaps, duplicates, "dark ages" and "renaissances" that we know from consensual history;

- The accumulation of geographical knowledge as reflected in cartography is a gradual and irreversible process;

- The chronological distance between a given manuscript and the events described therein is proportional to the amount of distortions it contains;

- There is no "useless" information in authentic ancient sources.

Why the mainstream historians do not shower mathematician Academician Dr.Prof Fomenko with thanks and laurels?

The Russians:

Because Fomenko asserts that there was no such thing as the Tartar and Mongol invasion followed by three centuries of slavery, providing a formidable body of documental evidence to prove his assertion. The so-called "Tartars and Mongols" were the actual ancestors of the modern Russians, living in a bilingual state with Arabic spoken as freely as Russian. The ancient Russian state was governed by a double structure of civil and military authorities. The hordes were actually professional armies with a tradition of lifelong conscription (the recruitment being the so-called "blood tax"). Their "invasions" were punitive operations against the regions that attempted tax evasion. Fomenko proves that Russian history as we know it today is a blatant forgery concocted by a host of German scientists brought to Russia by the usurper dynasty of the Romanovs, whose ascension to the throne was the result of coup d'état, charged with the mission of making their reign look legitimate. Fomenko proves Ivan the Terrible to be a collation of four rulers, no less. They represented the two rival dynasties - the legitimate rulers and the ambitious upstarts. The winner took it all! Over some 30 years of controversy, Russian historians have made a most remarkable transition - they were initially accusing the young mathematician Fomenko of anticommunist dissident activity and attempts to deface the historical legacy of Soviet Russia; nowadays the middle-aged mathematician is accused of adhering to "pro-communist Russian nationalism" and defacing the proud historical legacy of Great Russia.

The Westerners:

Because Fomenko blows consensual Russian history to smithereens, successfully removing a crucial cornerstone from underneath the otherwise impeccable edifice of World History. Fomenko adds insult to injury, wiping out one by one the Ancient Rome (the foundation of Rome in Italy is dated to the XIV century A. D.), the Ancient Greece and its numerous poleis, which he identifies as the mediaeval crusader settlements on the territory of Greece, and the Ancient Egypt (the pyramids of Giza become dated to the XI-XV century A. D. and identified as the royal cemetery of the Global "Mongolian" Empire, no less). The civilization of the Ancient Egypt is irrefutably dated to the XII-XV century A. D. with the aid of the ancient Egyptian horoscopes cut in stone. He was the first one to decipher and date all such horoscopes, coming up with mediaeval dates in every case. English historians rage at the suggestion that the history of Ancient England was de facto a Byzantine import transplanted to the English soil by the fugitive Byzantine nobility. To reward the English historians who consider themselves the true scribes of World History, the cover of the present book portrays Tintoretto's Jesus Christ crucified on the Big Ben.

The Chinese:

Because Fomenko wipes out the Ancient History of China outright. No such thing. Full point. The compilation of the so-called Ancient Chinese History is reliably datable to the XVII-XVIII century only. It is perfectly recognizable as the Ancient European history, reworked and transcribed in hieroglyphs as yet another historical transplantation, this time performed on the Chinese soil by the loving Jesuit hands. The Chinese are the next in line to go berserk. Chinese history is inevitably bound to get both more ancient and more eventful, proportionally to the growing involvement of China in the world affairs. Chinese historians will keep on finding valid proof of prehistoric Chinese spaceflights until the Politburo orders them to shut up.

The Arabs:

Too bad. Islam with all its key figures is datable to XV-XVI century A. D. Arabic historians may find consolation in the crucial historical role of the Ottoman Empire in the XVI-XVII century. The trouble is that this empire was initially a Christian state, with Hagia Sophia identifiable as Temple of Solomon, according to Fomenko! We can only guess if the acquisition of Alexander the Great (a Macedonian and a Christian) as the founder of the Muslim World Empire will make Fomenko's theories more acceptable to the Arabic mainstream. He certainly does not spare any holy cows at all, claiming The Stone of Qa'Aba in Mecca to contain the lost Arch of the Covenant.

The Divinity:

Despite of reiterated statement that his theory is all about chronology and not Religion, Fomenko stirs up a whole condominium of wasp nests. His collection of anathemas, fatwa, and other condemnations from all parties concerned is already considerable. Little wonder, considering that the history of religions à la Fomenko looks as follows: the pre-Christian period (before the XI century and JC), Bacchic Christianity (XI-XII century, before and after JC), JC Christianity (XII-XVI century) and its subsequent mutations into Orthodox Christianity, the Catholicism, Islam, Buddhism, and so on.

According to Fomenko we know strictly NOTHING about the events that predate the X century A. D.

St Augustin was prescient when he spoke unto us: "be wary of mathematicians, particularly when they speak the truth."

Watch Video Here: http://www.amazon.com/review/R3A80YKC8W7UEE New Chronology is a theory validated by astronomical research and statistical analysis of ancient manuscripts that asserts: that Antiquity and Dark Ages are phantoms invented in the 16th 18th centuries. Human civilization is barely 1000 years old!

New Chronology complies with the most rigid scientific standards:

- It gives a coherent explanation of what we already know;
- It is consistent: independent lines of inquiry all lead to the same conclusion;
- The predictions it makes are confirmed empirically;

New Chronology goes by the following basic axioms:
- Chronology is the basis of history;
- Human evolution has always been linear, gradual and irreversible;
- The "cyclic" nature of human civilization is a myth, likewise all the gaps, duplicates, "dark ages" and "renaissances" that we know from consensual history are fantasy and hoax;
- The accumulation of geographical knowledge as reflected in cartography is a gradual and irreversible process;
- The closer in time is a given manuscript to the events described the less distortions it contains;
- There is no "useless" information in authentic ancient sources.

Fomenko asserts: There was no such thing as the Tartar and Mongol invasion followed by over two centuries of yoke and slavery, providing a formidable body of documental evidence to prove his assertion. The so-called "Tartars and Mongols" were the actual ancestors of the modern Russians, living in a trilingual state with Arabic and Turkic spoken as freely as Russian. The ancient Russian state was governed by a double structure of civil and military authorities. The hordes were actually professional armies with a tradition of lifelong conscription (the recruitment being the so-called "blood tax"). Their "invasions" were punitive operations against the regions that attempted tax evasion. Fomenko proves that official Russian history is a blatant forgery concocted by a host of German scholars brought to Russia by the usurper dynasty of the Romanovs. Their ascension to the throne was the result of conspiracy, so they charged these imported historians with the mission of making Romanov's reign look legitimate.

Fomenko proves Ivan the Terrible to be a collation of four rulers, no less. They represented the two rival dynasties - the legitimate Godunov rulers and the ambitious Romanov upstarts.

As Fomenko blows consensual Russian history to smithereens, he successfully removes a crucial cornerstone from underneath the otherwise impeccable edifice of World History. Fomenko adds insult to injury, wiping out one by one: the Ancient Rome: the foundation of Rome in Italy is dated to the 14th century A. D., the Ancient Greece and its numerous poleis, which he identifies as the mediaeval crusader settlements on the territory of Greece.

The Ancient Egypt: the pyramids of Giza become dated to the 11th to 14th century A. D. and identified as the royal cemetery of the Global "Mongolian" Empire, no less. The civilization of the Ancient Egypt is irrefutably dated to the 11th to 15th century A. D. with the aid of the ancient Egyptian horoscopes cut in stone, like enormous Dendera horoscope that hangs in main entrance to the Louvre museum in Paris.

He was the first one to decipher and date unambiguously all such horoscopes, coming up with mediaeval dates in every case.

English historians rage at the suggestion that the history of Ancient England was de facto a Byzantine import transplanted to the English soil by the fugitive Byzantine nobility. To reward the English historians who consider themselves the true scribes of World History, the cover of the book "History: Fiction or Science?" portrays Tintoretto's Jesus Christ crucified on the Big Ben.

Fomenko wipes out the Ancient History of China outright. No such ancient history. Period. The compilation of the so-called Ancient Chinese History is reliably datable to the 17th 18th century only. It is perfectly recognizable as the Ancient European history, reworked and transcribed in hieroglyphs as yet another historical transplantation, this time performed on the Chinese soil by the loving Jesuit hands. The Chinese are the next in line to go berserk. Chinese history is inevitably bound to get both more ancient and more eventful, proportionally to the growing involvement of China in the world affairs. Chinese historians will keep on finding valid proof of prehistoric Chinese spaceflights until the Politburo orders them otherwise.

Islam with all its key figures appears as late as 15th-16th century A. D. as a branch of proto-Christianity. This is amply illustrated by imagery of Prophet Mahomet, archangel Gabriel, Heaven and Hell of this period. In today's Islam all imagery of the things living is taboo.

Arabic historians may find consolation in the crucial historical role of the Ottoman Empire in the 16th 17th century. The trouble is that this empire was initially a proto Christian state, with Hagia Sophia identifiable as Temple of Solomon, according to Fomenko! We can only guess if the acquisition of Alexander the Great (a Macedonian and a Christian!) as the founder of the Muslim World Empire will make Fomenko's theories more acceptable to the Arabic mainstream. He certainly does not spare any holy cows at all, claiming The Stone of Qa'Aba in Mecca to contain the lost Arch of the Covenant.


The history of religions according to Fomenko looks as follows: the pre-Christian period (before the 11th century and Jesus Christ ), Bacchic Christianity (11th to 12th century, before and after Jesus Christ), Jesus Christ Christianity (12th to 14th century) and its subsequent mutations (15th to 17th) into Orthodox Christianity, the Catholicism, Protestantism, Islam, Buddhism, and so on..

Saint Augustine was quite prescient when he said: "be wary of mathematicians,.. particularly when they speak the truth."

Henry Ford once said: "History is more or less bunk!"

Prominent mathematician Anatoly Fomenko not only proved it for a fact, but as true scientist tried to upgrade it into a rocket science.

This book will change your perception of History forever!
What if Ancient Rome, Greece and Egypt were invented during Renaissance?
What if The Old Testament was a rendition of events of the Middle Ages?
What if Jesus Christ was born in 1053 and crucified in 1086 AD?
Sounds Unbelievable?
Not after you've read "History: Fiction or Science?" by Anatoly Fomenko, the genius mathematician.
Armed with astronomy and computers Anatoly Fomenko turns History into a rocket science.

Here is a serie of books which turns "the whole world" upside down. I learned a lot of it and I hope that a new book from A.T. Fomenko will follow very quick. A absolute must for everybody who is interested in history or even a little bit from it.

The Author Bill Peet has the gift to spark the imagination of all children. His stories are amazing. There are over 30 kids books by him and I recommend them all!The Whingdingdilly

I read this book when I was a kid. I think it might have traumatized me. I really don't like hair and I always think that I'm going to get tangled up in it. Is that weird?

This is a delightful story told brilliantly in rhyme... as good for the adults as the kids!

A fantastically funny book. The drawings are amusing, and the rhyming text is memorable. My favorite part is the scene where the elephant asks who wants to come along to the swamp to help look for the crocodile tears. The other animals all come up with hilarious excuses, so the elephant ends up going alone. A useful introduction to real life, that.

The text is a bit too long and complicated for preschoolers, unless you have a child with a long attention span. Better for children 6 and up.

This is an amazing book. When I was born in England, this book was bought for my older brothers entertainment, then in my time I read it, then my younger sister as well. As we grew up, we each retained the ability to recite bits and pieces of the now familiar tome. In that it was so special to each of us, we all tried to lay some claim to ownership of the one original. So, I went and memorized it, and was granted the original by my siblings. Now I buy this book by the case, and give it out to raptured children (and adults) after recitations. This book never fails to amaze everyone whose been exposed to it! Too bad its so regularly out of print. Like right now which is why I'm writing this!

"...a high-quality, hard-cover, beautifully crafted book, which could be a gift, a prize possession of a golfing fan or player-or to anyone who enjoys a little humor."

"The Humorous Golf Poetry of Tom Edwards is quite a good read. I got a kick out of it and I'm a pretty tough critic."

"...a delightful new book...Although I'd rather be beaten with sticks as play golf, I thoroughly enjoyed reading his [Edwards'] witticisms. Edwards may not have mastered the game itself, but he is a gifted wordsmith when it comes to describing his sport in verse."

I got this book as a gift. Being an avid golfer I thought it was a hoot. I'm getting more for gifts. Great illustrations too.

Tom Edwards slim book is packed with whimsey and verse so charming that every golfer needs one in his bag. Clever drawings only amplify the twists of rhyme that lead one down the fairway between sand trap and trees. Fresh, quotable lines for venting the frustration only the game of golf can create. This book was more refreshing to read than eighteen holes on an empty green.

Human spirit observations in relation to potent generational situations are transformed through beautifully written prose that reverberate in my head long after the initial encounter. Szumowski's description of "the white church of their insides," when detailing a particular experience continues to accompany me, much like George Orwell's description of a Burmese man about to be hung, who had, "vague liquid eyes." The latter phrase was the catalyst for my own life writing, much as I expect phrases from, "I Want This World," to inspire others to reflection, admiration and profound satisfaction.

I thoroughly enjoyed this book of poetry. The poems were accessible, yet filled with rich insights from a complicated life.

I thoroughly enjoyed this book of poetry. The poems were accessible, yet filled with rich insights from a complicated life.

Fairy godmothers and guardian angels protect. They bring "their" loved ones into a safe world where only good things happen - or where bad things turn to good. In I Want this World, good and bad things happen - and are turned into poems. The perceptions that Margaret Szumowski brings takes the reader into a variety of worlds that are each real, sometimes painful, always vibrant, and often joyful. I once took a class on antiques. Our instructor told us that to recognize antiques, we had to remember everything we had ever seen. In I Want this World we see a master remember everything that has ever had an emotional effect on her. She is willing and happy to share these memories with us - to extend her experiences into our lives. Equally, she is able to weave her memories into an imaginary universe, to take from reality and make Ruby, a recurrent alternate voice in this book, emerge whole, with an emotional present and a tangible life.

I Want this World offers character and plot. When I read it, I worried that someone would try to make a movie of some of the poems. I have trouble with that. Poems are events and the images that make them up fill this collection. I envision the people with whom I am sharing the moment. The poems help me recognize them - not always as themselves, but in their qualities, motivations, pain, and joy. I see these people as they move throughout the book, sometimes starring in a stanza, a whole poem, or several poems, and in other cases having a supporting role. Some characters exist only as referred-to names. Each of these people lives in my imagination. The houses, roads, towns, rivers, beaches and markets that we visit are real and vital, too. These people continue to live outside the lines of the poem. Their world is mine to understand and visit.

Place is important to Margaret Szumowski. In I Want This World, she shares her travels to Africa, and a past and present Poland. She takes us to the banks of rivers, along hot dirt roads with dusty borders and to the American Southwest. She allows us to BE her for the moments of her poems. The sounds, the sights, the tastes and the rhythms of experience inform her verse, and we get to partake. We eat tomatoes, cabbage, coffee, bagels, pick apples, make applesauce, watch fruit crops ripen, value potatoes in new ways, learn about the birthright of mushroom knowledge.

She gives us the gifts of colors and textures, shows us light everywhere - in Poland, like a verbal Canaletto, in her own experience and in parental memory. Light happens in Africa, in West Texas, on Cape Cod, and in her childhood. She shares sweat, pain, helps us taste foods familiar and foreign. In "The Fish at Vista" beliefs sing throughout, taking us from experience to decision. The chosen path may not be everyone's. In "Take Any Light You Can" she shows us Race Point Beach on Cape Cod telling us about wind and light and strength. In that same poem (in fact, in that same stanza) she talks to her daughter. She reminds us that we move through time and space and light and that movement changes us and keeps us the same.

" the wind at Race Point is so strong,
it can lift a human from the ground,
and I want to be lifted in the wind.
You, too, my dancer.
I love to see you leap as if lifted by the wind."

She goes on to share with her own need for light, advising her daughter;

"One night in childhood I seized a flashlight and was punished.
Take a flashlight, a lantern, take any light you can."

She tells us in "Going Out to Greet Whatever Lives," how that same daughter as a young child caught fireflies, was a safe haven for small living creatures, and, swinging high at night, touched her toes to the moon.

In "Starry Night" we share space in all its connotations, and, again, light.

"stars magnified until we are thousands of years
closer to them than we have ever been before.

The whirling, spinning stars we ached for are
now close enough to burn us.

I did not know the cost,
night at its peak, excruciating light,
all of us humans, awake, awake."

Watch, also, her use of space on the page. Words flow through the pages of I Want this World carefully measured against the beige frame of paper. Again, the need for light - and the needs of light, come through to the reader.

Some poems, like "Under a Hazy Halfmoon," make us, along with Szumowski and her mother, wait for night vision to bring back the body's memory of how things were in childhood. Preparing to go down a remembered path in the dark, we find that;

"By daylight we wandered this forest
from the little tree house overlooking the river-
marsh birds and gold leaves-
it shook with our weight."

The poem on the page sparkles with lightness, with spaces between lines, between stanzas of varying lengths.

The poetry about her father moved me deeply. His travels through memory, his courage in finding something to come to in a new country, his comfort in comparing old to new and seeing value in each are great gifts. He shares with his grandson the joys of the stamp collector. The great thing is promise: "we promised never to lose, never to tear those stamps." There are promises to the reader, to the future and to the past.

Margaret Szumowski gives us the gift of her experience as it blends with her vision. I Want this World is our world and her world in a very short book. We visit throughout time and space with her, with her family and with her imagination.

A science fiction short story I read many years ago postulates a highly specialized world at war, where hospitalized soldiers are in comas. Some soldiers, though catatonic, manage to go to imagined pasts where poorly remembered knowledge combines with dreams. The commanding general wants to know more. An expert suggests that a poet would understand. Sadly, though, in that world, there are no poets left.

Today, perhaps more than ever, our poets need to be protected from this philistine reality. Let's start by preserving Margaret Szumowski.

This is a beautifully-written book of poetry that explores many aspects of human relationships. I am not an avid poetry reader and I loved it!