Poetry Books

The depth of Benjamin's pessimism has, I think, been underestimated.

"The story is told of an automation constructed in such a way that it could play a winning game of chess, answering each move of an opponent with a countermove. A puppet in Turkish attire and with a hookah in its mouth sat before a chessboard placed on a large table. A system of mirrors created the illusion that this table was transparent from all sides. Actually, a little hunchback who was an expert chess player sat inside and guided the puppet's hand by means of strings. One can imagine a philosophical counterpart to this device. The puppet called "historical materialism" is to win all the time. It can easily be a match for anyone if it enlists the services of theology, which today, as we know, is wizened and has to keep out of sight." Walter Benjamin, First "These on the Philosophy of History", p 253.

One can measure how far the contemporary Marxist (better said, the post or semi-Marxist) left has fallen by how many books have appeared, since the fall of the USSR, enthusing over the radically Universal and allegedly 'Progressive' nature of early Christianity. Walter Benjamin, who was first to place the wise but ugly dwarf (Theology) in the beautiful puppet (Historical Materialism) would be amazed (or perhaps not, see the letters between Benjamin and Scholem) to learn that puppet and dwarf are on the verge of switching places! That is, now the ugly dwarf (historical materialism) wants to hide in (and of course direct) the beautiful puppet of Christian theology. ...Crazy, you say? But even Habermas, the Keeper of the Flame of Critical Theory, has on occasion made somewhat similar noises. The best place, btw, to start reading about this new 'political-theology' probably remains Jacob Taubes.

But perhaps this emergent trend is really not so crazy after all. The only reason the Church became so cozy with Capitalism was its fear of Atheism. The collapse of the Soviet Union ended that fear. Now Christianity faces Capitalism alone. Or not, if the detente being proposed between the left and the Church is actually consummated. But every detente is a conspiracy of enemies to destroy an even greater enemy. The Church was with Capitalism because it had to defeat atheism. Now it is likely that the Church will join (a moderate) Socialism in trying to contain the 'soul-destroying' ravages of capitalism. This is only another move on the chessboard of History. ...But what did Benjamin think of History?

"A Klee painting named "Angelus Novus" shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. This storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress." BENJAMIN, Ninth Thesis on History, p 257.

Picture this Angel, wings pinned back by the wind, shoulders forced back because of that - the Angel of History is almost in the position of the Crucified Christ; except that this crucification does not end. It is this tone of almost ontological despair that was new to the left. This Crucified Angel is the perfect image of the left-wing theoretical pessimism pioneered by not only Benjamin but also Adorno and Horkheimer that split the intellectual left into two camps: the revolutionary and the cultural. And though no one is likely to admit it, the cultural left has quietly come to think of revolution itself as but another 'progressive' force piling up bodies.

It is one of the little ironies of history that this despairing fantasy described contemporary reality exactly. The Angel of History is the image of dialectical knowledge. Rather than seeing disconnected events this Dialectical Knowledge grasps History as One (single catastrophe). Always facing the past ('the owl of Minerva takes flight at night', Hegel said; meaning that dialectical knowledge is retrospective) the 'contemplating' Angel is overwhelmed by historical action - the storm that has been blowing since the expulsion of humanity from paradise - and can never Himself achieve effective action. His knowledge grows in lockstep with the accumulating horror, but each new historical event only results (i,e., gets 'caught in the wings' of our Angel) in more contemplation. So we see how theory (our Angel) is 'irresistibly' propelled into the future. And we also see that the Knowledge dialectical theory gains is precisely equal to the debris the storm hurls at our Angel's feet. With an irony that strives to be equal to the wind blowing from Paradise Benjamin ends this meditation by calling this storm progress.

This is perhaps why Benjamin insisted over 50 years ago that the dwarf Theology must guide the puppet Historical Materialism. Theory can never be equal to action; circumstance piles upon circumstance so rapidly that theory cannot effectively act, and if it does act (presumably) it only adds to the debris. Thus theology (myth) must guide materialism's hand because theoretical knowledge is powerless to help. Benjamin quotes the following remarks of Willy Haas, with approval, in his large Kafka essay;

"'The object of the trial', he writes, 'indeed, the real hero of this incredible book is forgetting, whose main characteristic is the forgetting of itself [...] The most sacred ... act of the ... ritual is the erasing of sins from the book of memory.'
What has been forgotten - and this insight affords us yet another avenue of access to Kafka's work - is never something purely individual." (Benjamin, Franz Kafka, p 131.)

(The last sentence was Benjamin's own.) Theology is a non-individual forgetfulness. Thus myth (theology) is the only forgetfulness worthy of the name. What needs to be forgotten by all of us is the unsurpassable fact of the futility of theory...

It is difficult for most to look such despair in the face.

I have nothing to add to the reviews below except to note for scholarly interest that the essay 'The Work of Art in the Age of Mechanical Reproduction' included in this collection is not Benjamin's final version. (Neither is this title a good translation of the German: 'Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit'. Zohn's translation in the selected writings is better: 'The Work of Art in the Age of its Technological Reproducibility'.) The text in this collection is the 1935 manuscript, as originally published in 1936; the text collected in the Selected Writings, Vol. 4 is the final 1939 version that, as far as I can tell, was not published in Benjamin's lifetime. The difference between the two texts is slight, consisting mainly of some additional sentences here and there and some changed words. At least one of these revisions is, I hypothesize, the result of Adorno's criticisms of his letter to Benjamin of 18 Mar 1936.

Otherwise, for most purposes, this is the best collection of Benjamin's essays available for an introduction to his thought. This volume collects some of the best of his essays that are otherwise spread throughout the selected writings published by the Harvard U.P.

Benjamin is arguably the twentieth century's most important thinker--if there is anything left to say about our lives, it is surely in this book.

In 1940 Walter Benjamin committed suicide at the Franco-Spanish border fearing that he would be unable to escape the grasp of Hitler's regime. He left behind perhaps one of the finest collections of literary theory of his era, complete with lucidly brilliant essays on Kafka, Proust, Baudelaire, and general Marxist theory.

In this wholly excellent collection of essays, a remarkable introduction to Benjamin's life and work is provided by the late philosopher Hannah Arendt, who overviews his political formations and literary output. It's a model form of critical essay writing.

Perhaps the most famous essay in this collection is Benjamin's `The Task of the Translator,' widely regarded as one of the most important and thoughtful contributions to the field.

"No poem is intended for the reader, no picture for the beholder, no sympathy for the listener."

He argues that translation is a mode, and that the translatability of the work is the primary concern in the process.

Also included is an analysis of the philosophy of history.

I picked up this book primarily for the purpose of reading Benjamin's critically acclaimed essay "The Work of Art in the Age of Mechanical Reproduction", as well as for his darkly poetic - and even apocalyptic - "Theses on the Philosophy of History". These essays are among Benjamin's most highly esteemed and are the last two selections in the book; regardless of whether you start with them or with the first essay, "Unpacking My Library: A Talk about Book Collecting", you are likely to be drawn into Benjamin's literary world quite quickly.

In many ways, Benjamin's writing style is quite unassuming; reading even his most profound insights is like reading a letter from an old friend. His writing comes in layers; one must make time to savor his presence. This book covers a range of subjects, from critical literary essays (the aforementioned "Unpacking My Library", as well as essays on Kafka, Baudelaire and Proust), to more hermeneutical reflections ("The Task of the Translator"), to straight up philosophy/theory ("The Work of Art in the Age of Mechanical Reproduction" and "Theses on the Philosophy of History").

The 51 page introduction by Hannah Arendt is absolutely fantastic. It does not simply provide an overview of Benjamin's life, but sets that life within the culture of early 20th century Germany, focusing especially on the time between the two World Wars. She notes the influences of Zionism and Communism (and Marxism) on Benjamin's thought, as well as the broader cultural influence of a quasi-secularized Judaism in a culture where non-baptized Jews were still kept out of university teaching posts. Her introduction, like Benjamin's own writing, contains deep touches of the intimately personal (she selected the various essays that make up this volume).

In many ways, Benjamin was a deeply religious thinker. A friend of Gershom Scholem's (the founder of the modern-day study of Jewish mysticism), Benjamin and Scholem corresponded for a number of years. Although this particular volume pays little attention to his religious thought, "Theses on the Philosophy of History" (the final selection in the book which, in light of Benjamin's suicide, gives Illuminations a bit of a haunting finale), witnesses to Benjamin's poetic-religious insights:

"The soothsayers who found out from time what it had in store certainly did not experience time as either homogenous or empty. Anyone who keeps this in mind will perhaps get an idea of how past times were experienced in remembrance - namely, in just the same way. We know how the Jews were prohibited from investigating the future. This stripped the future of its magic, to which all those succumb who turn to the soothsayers for enlightenment. This does not imply, however, that for the Jews the future turned into homogenous, empty time. For every second of time was the strait gate through which the Messiah might enter."

Highly recommended.

ILLUMINATIONS is truly a MUST. This book is perfect for those of us who are looking for beauty, understanding, and spiritual richness in life. It is filled with magnificent art work, photographs, drawings and the myriad of various texts just left me astounded. I have given this book to a dozen friends and have received nothing but kudos for doing so! I have referred to ILLUMINATIONS several times during the past year and inevitably receive the inspiration therein.

A book to slowly taste--word by word. Bask in glorious graphics; savor the thick paper; turn only a page a day to make it last!

I gave this book to all my good friends for Christmas. Every one of them, and they are an eclectic group, loves it. This is a book to be savoured like a fine wine. Each time you pick it up, you discover something new and wonderful. I find a favorite poem or photograph or essay or quotation every time I look at it. There are so many jewels here, so much accumulated talent. The editiors, Jennifer McMahon and Mark Tompkins, have truly given all of us who are lucky enough to encounter this book a gift to be treasured for many years. If you haven't been lucky enough to have been given this book, buy one for yourself today. You will love it!

This book is a real treasure. It's a wonderful compilation of art and personal stories from people who are looking for greater spiritual meaning in their lives. Rather than preaching, it has people share their experiences from around the globe about their spiritual journey. It reminded me how alike we all are and validated some of my own inner reflections. I highly recommend this book.

I was delighted and fortunate to discover "Illuminations" through the publication
of one of my poems. It is a gem of a collection, encompassing all faiths and beliefs,
very spiritual and uplifting, filled with beautiful and inspiring pictures, a work of art
in itself. It is at the same time meditation, essay, poetry, and will even spur
your creativity. I was blessed to be part of it and recommend it as an opportunity
for communion with the self.
Helene Cardona, author of The Astonished Universe

Now I know that in a blues song when they sing about the back door, they are not speaking in sexual terms, they are referring to a cheating man making a quick exit out of the back door when the husband comes home! The book is very entertaining and informative!

If you enjoy the blues then this is the book for you. This book gives you the meaning of every blues phrase ever used in a song. This will give you an understanding of blues music like never before. Absolutely fabulous.

Just like the Blues, "The Language of the Blues: From Alcorub to Zuzu" by Debra DeSalvo, is the nitty gritty real deal with stories and definitions from Blues masters, not from non-musician researchers who think they're the authorities. This book is informative and fun rather than dry and scholarly. You will not be disappointed if you buy it.

It's this type of work that will make sure the Blues and Blues history lives on!

Every reader will pick up something new about lyrics, terms and phrases, noted cities and neighborhoods, instruments, performers, lore, and other aspects of this always popular and colorful style of music. With occasional material from interviews with top names in blues and closely-related types of popular music in entries as long as essays of three or so pages to as short as a couple of lines, DeSalvo relates origins of words and phrases, gives examples when relevant, describes nuances in different styles, locates the origins and outlines the course of different traditions, explains details of instruments and techniques of playing them, and draws profiles of significant singers and instrumentalists. And she includes considerable colorful lore and terminology unknown to only the most knowledgeable aficionados which can only add to enjoyment of the blues with more casual fans. A lively, informative, eminently readable companion to blues music in all its history and manifestations.

This is self-described as an anecdotal dictionary of the blues, but it suffers some serious flaws and while there is some useful information, it is far from authoritative or comprehensive and while it has some usefulness, it can be improved in so many ways. There are some 150 words and phrases which Ms. DeSalvo, former Blues Revue editor, focuses on, in a volume that emphasizes the African roots of the blues, but at times does not focus on other meanings the terms have. One review in Blues & Rhythm notes the focus on sex and hoodoo, but oddly enough very little on traveling which is a significant theme of the blues.

Much is made of the fact she interviewed a number of blues performers and included the material with various entries. However much if not most of the interview material is irrelevant to understanding the language of the blues, or the entry. For example she briefly discusses crossroads focusing on the African conception which leads to a discussion of the Robert Johnson meeting the devil at the crossroad myth and notes that some believe it. Then she included a discussion of Robert Lockwood, Johnson's stepson which bears very little relationship to the discussion of the term. This would have been better included in a sidebar about Johnson and Lockwood. It would have also been instructive to include lyrics of several songs for specific terms to show contrasting meanings. As an example, Elmore James' 'Standing at the Crossroads,' clearly does not have the connotation that some impute to Johnson.

Also some of her sources are not exactly scholarly. In an entry on the Delta, she discussed Charlie Patton working for Will Dockery. She provides as her reference correspondence with Stephen Lavere. There are lengthy published biographies on Patton by John Fahey, and Stephen Calt and Gayle Dean Wardlow that should have been cited. There is no excuse to not citing these sources while citing private correspondence. Then there is this statement "In '34 Blues', Patton nails the desperation and anxiety of unemployment, but something good came out of leaving the plantation this time-Patton went to New York and recorded twenty-nine songs for the American Record Company. When these recordings were reissued in the mid-1960s, they sparked great interest in this Delta cropper who came to be known as the father of the blues." On the same page there is Patton's picture which noted he recorded for Paramount and became that label's biggest selling artist. It was the reissue of Patton's recordings by Yazoo, which presented mostly the Paramount recordings that led to this recognition of Patton's music.

Discussing Canned Heat which some strained to drink the alcohol from, DeSalvo notes that Canned Heat adopted their name from the Tommy Johnson recording and that the members of Canned Heat used their fame to help their blues heroes citing their collaboration in John Lee Hooker's "The Healer." Hmm, I would think that it was the classic double album, "Hooker and Heat," recorded when Alan Wilson, the Blind Owl, was still alive that not only was the recording that led to Hooker's crossover but it stands up with the best recordings Hooker ever made. It was an album the ghost band that is Canned Heat is today would be incapable of producing. Sorry for perhaps going off topic, but so many entries here go off topic. (Again sidebars would have been useful). However the fact she is so imprecise with this, makes me suspect the accuracy of some other entries.

She does include some suggested recordings, but more lyric quotes for the entries
would have been very helpful. Also there should have been more cross entries, such as in her discussion of policy numbers, cross references back to that entry should have been provided for some of the policy combinations. And there are numerous terms that are not discussed here. This is a really rough first effort and this work needs some serious reworking if it is going to be a useful tool, which probably also means she should find herself a collaborator and take into account the serious criticisms if she wants to put together a work that will stand up as scholarly and a reference.

The Poetry of Business

When I created The Poetry of Business - working from the inside out - I was using poetry to take a person through their career for the purpose of self examination and enlightenment. Poetry is one of the most powerful mediums to penetrate to the core of your beingness and invoke innate emotions and creativity. Leading from within is a great use of poetry and commentary used to inspire leadership, and I think it is exactly what it promoted itself as. I was thrilled to see another book combining poetry and its impact in the working culture. In addition it is a fundamental direction for the nurturing of poetry within, and the furthering of poetry in society.
Tracy Repchuk
Bestselling author of 31 Days to Millionaire Marketing Miracles
President and Founder of the Canadian Federation of Poets
Founder and Editor of Poetry Canada Magazine

There are many devotional resources, most of which serve us well in our faith formation. This book however has been a unique resource for me as a United Methodist pastor. It is a book filled with poems that have been selected by various individuals, some well known, others not. The individual gives a reflection on the meaning of the poem for her/him and then the poem following.

For me, I turn to this book at the end of the day, sitting in my easy chair I flip through the book in no particular order. I find myself reading the reflection by an individual. I then read the poem, allowing the person's reflection to "color" my perception of the poem. And then I sit in silence. No difficult/complex process. Just reflection, poem, silence.

As we are reminded in the Courage & Renewal work, the soul/spirit comes to us "at a slant". It is in the silence that I feel a particular sense of the sacred. This book is a rich resource to be read one poem/one reflection at a time. It is food for the long journey.

This wonderful anthology gives pleasure two ways: first, as a source of a wide variety of new and interesting poets and poems you may not have encountered before, always an important service for an anthology to perform. Second, however, the brief introductions that each contributor offers to his or her poem are a revelation and often as powerful as the poem itself. Who would have guessed that Robert F. Kennedy Jr. and John Bogle, founder of the Vanguard Group, would both find inspiration in Tennyson's "Ulysses"? Or that a Congresswoman would be touched by Naomi Shihab Nye's "Kindness".

If you are expecting a collection of sentimental poetic candies, fear not. A few old chestnuts are here: "Invictus", for example, offered by a philosophy professor at the U.S. Naval Academy, but when you read his reason for including it, you read the poem with a new appreciation. Poets like William Stafford, Mary Oliver, and Langston Hughes are cited multiple times, and much-anthologized poets like Robert Frost and T.S. Eliot are here too, but so are poets new to me: William Ayot, Carol Zippert, or Ezzeddin Nasafi. Mystics like Rumi, Hafiz, and William Blake. Public figures like Eugene McCarthy and Martin Luther King Jr.

The 93 poems are thoughtfully grouped into eight sections with intriguing titles that will make sense to anyone who's been in a position of leadership: "Called", "Defining Moments", "Sometimes It Aches", "Pay Attention", "The Real Bottom Line", "Dare to Endure", "Leading Together", "Back At It". The editors have clearly paid attention to the poems and clearly thought deeply about leadership. We expect much of our leaders and project upon them powers and motives that only compound the responsibility they already carry. We hope they will inspire us, but we seldom think about where they find inspiration. This anthology offers their testimony and the result is an anthology that rewards multiple readings. Whether you lead a large corporation or a school PTA, you'll find it inspiring to listen to leaders praise the poems that inspire them.

The richness of the poetry in Leading for Within will resonate with anyone who faces challenges in leadership. And the well chosen poetry is enhanced by personal reflections of remarkably wise leaders who have contributed to this wonderful book. It has become my trusted resource -used frequently for personal sustenance in legal academia. It's a perfect gift to inspire and comfort those who embrace leadership day in and day out.

I have come late in life to poetry. I learned in high school how to dissect and wrestle a poem to the ground not how to savor and take a poem into my heart for my own use. This book of poetry and reflections is one I can savor. I so enjoy reading how others have found inspiration in a poem that I too have come to love like the poem "Lost" by David Wagoner with a reflection by Peter Senge. I highly recommend this book.

My dad gave the kids this marvelous rendition of Henry Wadsworth Longfellow's poem, The Midnight Ride of Paul Revere. The captivating illustrations and gravings by Christopher Bing are incredibly emotion-evoking. In fact, I had to stop reading several times due to the lump in my throat. The ending is the best ~ a true gem for American families everywhere to treasure for years to come.

Christine Louise Hohlbaum, author of Diary of a Mother: Parenting Stories and Other Stuff and Sahm I Am: Tales of a Stay-at-Home Mom in Europe, lives near Munich, Germany, with her husband and two children.

This is my child's oppinion of the book."I recently memorized this poem for school and found it quite boring and I did not want to learn it at all. But then after I learned it I read this book and saw all the pictures and I really started to appreciate that I learned it. The pictures really made the poem come to life and I really wish I had the book while learning it. Now I have it memorized and I am hoping to get a copy of the book!"

This book is a gift for a home schooling mom like me, who frequently fell asleep in my history classes in school! It really evokes the excitement, mixed with fear that must have been present at that time in history. Longfellow perfectly captures the passion and determination that gripped these "patriots". In addition, the illustrations are fantastic - true art.

This book comes alive when you open it and are allowed to step back in time with the wonderful backbeat of Longfellow's great American poem about the "the British are coming", and awakening of the people from Boston to Concord by Paul Revere. This is the beginning of America! Right before the "shot heard round the world" folks. A poem that shaped America not only in the eyes of Americans, but the rest of the world. Longfellow's poetry was simple genius. The art of Christopher Bing is outstanding. This exceptional book has the kind of creativity I would like to see more of in Children's Literature. A unique book that can be found on adult bookshelves as well.

You know this book is special as soon as you touch it. You realize that the look of leather on the cover is just that, a look. You flip through the pages and find a scrapbook, complete with worn and mildewed pages, enhanced with token mementos that look so three-dimensional you must trace them with a tentative finger. A letter from Thomas Gage to Lieutenant Colonel Smith is tucked inside the front cover; the Deposition of Paul Revere is stuck in the back. We find a map of the British plan and a corresponding map of the Middlesex Alarm, including Revere's actual route. This is *not* just a casual recitation of the classic poem. The words proceed on faded sheets while Bing's illustrations hint at period woodcuts. No explanations are necessary within the text. Notes are saved for the end, and they reveal the minor inaccuracies in the Longfellow version (one of the biggest being that Paul Revere was captured outside of Lexington and that his companion Dr. Samuel Prescott was the one who made it all the way to Concord). A gift for any age ... especially for those of us who can chime off part of the rhyme but forget the whole story.

I must admit ,I have never really been much of a lover of poetry.We were all "subjected" to poetry in school,but I can't recall anything that spoke to me the way that the poems in this collection do.I have always enjoyed Robert Service's ballads about the North,but those were more about characters and stories.The poems in this book are very short and so clear, that instead of having to figure out what the message is,you will immediately think about the message. Most all of the things Ferrel writes about have been experienced by all of us.An expression that comes to mind to me when I read and think about these poems is;"He sees where others only look."
As we go through these poems, we encounter
happiness,sorrow,love,yearning,hope,dispair,passion,loneliness,fear,death,living,inspiration,and all those things we meet in our daily lives. Most of us just take these things in our stride,and move on.In other words,we just look but don't see.
To start with ,Ferrel is able to see,and more importantly is able to let us see, through his poems of amazingly few words. Is there any better way to express the idea of freedom and its loss ,than we see in his poem "Mighty Stallion"?
As you read these poems,you feel that Ferrel is speaking to you as well as to himself. Did he suffer the loss of his greatest love,did he find another? And you think what about yourself.
In "Blink of an Eye",he sums up the journey of life we all must take;

"In the blink of an eye
We are born.
In the blink of an eye
We die.
.
.
.
Think long,
Think hard,
Before you take
The step of no return."

Although I found meaning in every poem and many were personal to me;I also was spellbound by the way he dealt with crime in the last poem in the book. Throughout the book, the concept of "You reap what you sow" comes through over and over again;but never better than in ;

CRIME

A bullet
Broke the silence
Of a peaceful
Summer night.

It stopped the
Would-be robber
In his
Tracks.

The robber
Took the hit,
And then
He quickly fell.

One shot
Was all it took
To send him
Straight to hell!

This is a book that you'l want to turn to often for ispiration.

Thanks for sharing your thoughts with us.

In the opening pages of her book of poetry "The Mighty Stallion", poet C. G. Ferrel advises readers to `seek the truth in all things" and "be honest, fair and sincere". These are the exact characteristics one can find in his work. In the poems gather in this volume, readers can easily identify a writer being very honest in order to reach the truth.

His poems are short and sincere. Ferrel writes verses about family and feelings. Some of them are sad, others, a little happier - but they are all surrounded by true feelings of life. "Seek to find/Your needs in true. And you will find/ A better you" tells us one of the poems. How can someone resist to such a thing?

Many of the poems in this book have the feel of a haiku or a Zen Koan. They reflect upon life, death and change in simple, yet eloquent language. Sometimes sad, yet generally hopeful, these works are truly illustrative of a life that has been lived to the fullest extent. In a sense, the selections can be viewed as a guidebook or travelogue, authored by a patiently observant soul. It's difficult to drop these poems into a category, but for some reason they remind me of the music of Johnny Cash. An hour or even a couple of minutes with the poetry of C.G. Ferrel is time well spent.

C.G. Ferrel has the ability to put words together in a brief structure (often as few as 4 lines) that not only tell a story, but give cause for reflection. THE MIGHTY STALLION contains 80 such poems.

A menagerie of emotions come into play here, from pleasue to pain, love to loss. Ferrel's poetry speaks directly to the reader in a straightforward fashion. Not a lot of stilted verbiage here, just good poems.

After reading the poems in this book one comes away with the definite feeling that Mr. Ferrel is a man of traditional family values and that he's lived a long time, learning many things as he traveled through life.

These poems are slices of life; from love, friendship and happiness to loss, sadness, tragedy and death, Mr. Ferrel writes of it all. His short bursts of reflection are food for thought and make the reader reflect on his own life.

In reading poetry, I feel that only one or two poems should be read at one sitting, in order to savor the meaning and reflect on it. I got the most from each poem by reading in that manner.

My personal favorite was LINDA on page seventeen, and I appreciated the wisdom in LIVING IS DYING (p 12). The title poem, THE MIGHTY STALLION (p24) is also excellent, and the cover photo gives one a feeling of power ... of strength. What beautiful animals stallions are!

Thanks to this author for several hours of introspection. A slim volume but well worth the money.

In "My Journey to Serenity," Kiki Hays Faktor explores the inner workings of the mind and heart as she draws her emotional line in the sand. Through the author's humor and thoughtful reveries she shows us how crucial boundaries are in human relations. The book's poetic format made the reading enjoyable and easily digestible. I found myself reading pages before I went to bed at night--as a reminder and a comfort.

This is one of the books that I leave "out" ... so that I can frequently pick it up and open to a random page. I always find something that fits. They are delightful 'zingers' that cut right to point of some obstacle of my thinking, or my action (or inaction) as the case may be. Kiki's writing is fluid and succinct, elegant yet efficient, inspired and inspirational. Recommended reading for anyone trudging the road to serenity. - Stanley M. author of "The Glumlot Letters"

I am absolutely touched to the core by this truly magnificent book. I am especially impressed with how much the author's stories actually relate to my life. So much of what is written here reads like a step by step process answering the riddles of my past and present life. I am convinced that I can turn to any page and find some truth about my life, man is that wonderful. Again I thank you for this work of magic which definitely brought me the tears, laughter and insight. This is a must read for everyone!

Bam! Kiki hits you where it counts. Right in the kisser! I can apply most of this book to myself and the rest to a few poeple I know. Use this tool, I mean it. I can really help you understand. It has helped me in my journey!

Great book! Couldn't put it down. More like poetic prose than poetry. Kiki Faktor tells it like it is in a loving and humorous way.

This wonderful book was a joy to read. Alex definitely has a way with words and it will be no surprise before a major publisher snatches him up. The brother in the book however was a sex fiend *lol* but I loved the poetry and I loved how the character initially found himself.

This book was so good that it kept my attention and entertained me as well. I found myself laughing outloud and softly crying at some emotional parts of this novel. I would recommend this book highly for those who love to read and those who would LIKE to read a good novel, but just haven't found the RIGHT one. Alex Hairston did a marvelous job on this novel and I can't wait to read his next!! Surprisingly many men are finding this book to be good...probably because they see themselves in Eric Brown, Jr.

I consider myself a pretty avid reader. I happened upon this author as i was going to lunch one day. He was out there sell ing his book and talking with people. I thought to myself if he is working this hard to promote his book I can spend the money to buy it. All i can say is that it is not a waste of time or money. He gives you a funny, sexy and often very touching look at a life most people would consider a pretty normal. It is worth the time spent reading it. Once you pick it up you won't be able to put it down.

This book was extremely well written. I could see the characters as I read. The life of the lead character was one to which most of us could relate and was interesting enough to hold ones attention until the very last word. The poetry was powerful and at times erotic. The book was hard to put down and I was sad when I was finished. I kept rereading the last page. I look forward to the second book from Mr. Hairston and some more of that poetry.

Several months ago, I was asked to read this book. Let me be first to say "never judge a book by its cover". I read 100 pages in a few hours. This is a coming of age, love story that takes on a very indept look at the life of Eric Brown. It was funny, true to life and at times over the top (but that does not mean that it could not happen) and romantic.

Alex's writing is clever and to the point. He does not waste a lot of time telling you the story eventhough sometimes I think he give you too much information (I liked the vacation on the island but I did not need that detail explainaion of the room decor). For his first novel, I think that Alex has written a very clever book that is different from a lot of the other stories that we are reading. I thought the poetry was really good. My personal favorite is "BLACK". Once you met Alex, his appeal will no doubt convenience you that the book is worth reading.

And speaking of covers- The illustration was made by his teenage son! That is very impressive.

Congratulations Again Alex!! I look forward to your next novel from BET books.
Peace and Blessings!!

Mr. Aiken is a prolific writer and pours his soul out lyrically. The title speaks for itself and will take you on an emotional rollercoaster. Enjoy his emphatic expressions of love, inspiration, and revolution. You won't be disappointed.

It was enjoying to read, even though I'm not into poetry and inspirational books but I did enjoy it for the most part. Especially You and Me, I really liked that, it hit home.

I thought that Mr. Aiken's poetry is phenomenal, thought-provoking, and inspirational. I especially liked the poem
"Domestic Violence," which re-opened my eyes to the injustices that face my people.

I'm hardly an authoritative critic of poetry. In fact, I don't really know much about poetry at this point. The only poet I know something about is Emily Dickinson, and Vaughh T. Aiken's "My Soul is not For Sale" is about as far from Emily Dickinson's style as one can get. So, I don't know how much use my thoughts will be on this book, but I'll share what I can.

What I sense from this book is a man searching, and in many instances finding, his true identity. What is also very evident is Mr. Aiken's identification with his people and pride in his own culture. I found this a breath of fresh air, and a reminder of a world I once lived among. I lived in a mostly African American neighborhood during my teen years; and the prose in these poems, the cultural signifiers, really take me back and make me long for what was one of the happiest eras of my life. I really miss the African American community.

My Soul is not For Sale is filled with poems of love and inspiration. One of my favorite poems in this book is "Domestic Violence." It metaphorically displays how a certain group of people have been constantly beaten down and disenfranchised by its own country, namely The USA. Vaughn T. Aiken has written thought provoking poems and they're an excellent read for college students or anybody who wants to be inspired.

I thoroughly enjoyed this play. I watched the film awhile back, and since I wanted to change choose different films for my Film Appreciation class, I decided to review the play before adding 'Night, Mother to my list. What a powerful play. It sheds light on a very difficult subject. Jesse, the main character, makes the decision to "get off the bus early" after careful thought. She shows that some people contemplate this critical experience probably more carefully than buying a house or a car. Her decision is hardly spontaneous or emotional, nothing that I imagined at all. The power of the read helped me to decide to buy the video later on. I also ended up buying a collection of Marsha Norman's other plays, hoping that I will duplicate the insight gained by reading this play.

"'night, Mother" is a tour de force conversation between a mother, Thelma, and her daughter, Jessie, who has just told her that she is going to commit suicide at the end of the night. The play is a taut high-wire act that leaves you spellbound as Thelma tries to convince her daughter not to go through with it and Jessie sternly insists. Thelma and Jessie are extremely dimensional, deep characters with an achingly believable relationship. Through the course of their conversation it becomes apparent that there is a yawning chasm between them despite their seeming closeness, and while Thelma thinks that the two can put it right Jessie doesn't believe it -- or want to try. The fierce, emotional back-and-forth between Mother and daughter keeps you on the edge of your seat. The dialogue is very natural and believable, and the playwright, Marsha Norman, displays an extraordinary acuity for what her characters are feeling and have gone through to reach this point. Norman has crafted a devastating portrait of two women that leaves an enormous impact on the reader. I only finished it two hours ago, but I seriously doubt that "night, Mother" will be leaving my thoughts any time soon. Highly recommended -- but keep the Kleenex on hand, just in case.

Marsha Norman's 1983 Pulitizer Prize-winning 'NIGHT, MOTHER is frequently described as a play "about suicide." Although the play does indeed deal with suicide, this is actually a shallow designation; it is about a lot of things, but most particularly control: who has it, who wants it, and the extent a person will go to obtain it.

The play involves two characters: Thelma, an elderly woman, and Jessie, her middle-aged daughter. They have lived together in an isolated house on a rural road for a number of years. Thelma describes herself as "a plain country woman;" she enjoys life in a fundamental way, not expecting more than she already knows, watching television, knitting, nibbling at sweets, and enjoying regular visits from her son and his family. Jessie, who suffers from epilepsy and is divorced, has become something of a recluse, and her life consists largely of managing her mother's home and thinking on the past. One evening, as the play begins, Jessie informs Thelma that she has decided to kill herself right after she gives Thelma her weekly manicure.

Thelma does not take Jessie seriously at first; clearly there have been too many scenes between the two for Jessie's statement to have any real meaning for her. But Jessie is serious indeed, and over the course of an hour and a half the play evolves into a battle of wits, Jessie determined to kill herself, Thelma equally determined to prevent her from it. In the process, we learn quite a bit about the family and their lives and the various emotional and factual secrets the women have hidden from each other over the years.

The play is brilliantly constructed, performed in "real time" without any scene changes or intermission; the characters--and the equally vivid people they discuss but whom we never see--are equally well rendered. There are moments are laughter, even more moments of insight, but the play is progressively intense, progressively dark, with all the power of a noose that slowly tightens around your neck. One of the most fearsome bits of theatre of the past thirty years or so, easily the equal of such legendary works as Albee's WHO'S AFRAID OF VIRGINIA WOOLF? Recommended.

GFT, Amazon Reviewer

This is one of my favorite plays of all time. it's a great discussion on the issue of suicide. There's one line Ive always remebered: When the daughter is trying to justify the idea that she wants to off herslef, and she uses an illustration of someone riding the bus and riding the bus, and they could just stay on and ride it around the block another round, but why bother. It's really well written, and how the mother and dauther get along is interesting.

*I did not read this, but saw it recently on Broadway at the Royale Theatre.

'night, Mother is a hell of a play. For a two person play, which takes place in real time, it is a moving decent into the demon world of two women, mother and daughter, co-dependents, best friends, enemies, like no other.

Jessie, the daughter is a woman deeply in pain, so much so that her capacity to live has gone, as has her capacity to love. Thelma is her mother, desperately clinging to the one person she loves, whom she needs more and more, and loses sight of more and more.

There were many sobs and sniffles in the audience towards the end of 'night, Mother, and though reading the script is different than seeing it performed by terrific actresses (Edie Falco as Jessie and Brenda Blethyn as Thelma), the story is good enough and in your face enough to do the job.

This is a play about when, if, why and how we stop being parents or kids, and start being our own people, or if that is even possible. Somewhat depressing, but serious and true.