Poetry Books

Unbelievably inspiring. I challenge you to compare his reading with any one else's or your own in your head. He makes it alive. Not perfect, mind you. You'll find yourself suggesting to him in certain spots that he missed the meaning by putting some emphasis or other on the wrong words. Nevertheless, you know you couldn't do better overall. A real treasure.

Great for a long drive or while driving cross town in Manhattan. You can debate the issues of suffering with Milton in your head.

Sure do wish it were the whole work.

Contains extensive information in the introduction that is lends an understanding to anyone reading any of Milton's work. This particular version is very inexpensive, and contains everything one would need to understand PL. Excellent!

My review is of the library binding edition released by Buccaneer Books. It is a very plain and small volume which is wonderfully bound. It contains nothing but the poem itself (including the prose arguments) with the original spelling and punctuation. That means no notes, commentary, or introduction, so if you're looking for lots of in-text help, this isn't what you want. The Fowler, Hughes, or Norton editions are all laden with helpful material like that. But if you just want to experience Milton's masterpiece alone, this is a lovely edition. I found that the book could be purchased much more cheaply if I ordered directly from the publisher's website.

Milton in Paradise Lost unfurls a morning star banner heralding the cosmic story of the fall of angels and men in language eminently civil. I am sure that Homer and Dante were Milton's schoolmasters yet Milton almost exceeds them in the slendid language and poetry of this epic creation. Philip Pullman said "No one, not even Shakespeare, surpasses Milton in his command of the sound, the music, the weight and taste and texture of English words". This is a poem of majesty and sublime lyricism as in Milton's description of Mulciber falling:
"from Morn
To Noon he fell, from Noon to dewy Eve,
A Summer's day; and with the setting Sun
Dropt from the Zenith like a falling Star".
Each book of Paradise Lost is introduced with an argument, or summary. These arguments were written by Milton and added because early readers had requested a guide to the poem. Milton's purpose in this masterpiece is to tell about the fall of man and justify God's ways to man. When the angels battle in heaven at one point they pull up mountains and hills and throw them at each other: "So Hills amid the Air encounterd Hills Hurl'd to and fro with jaculation dire, That under ground, they fought in dismal shade." After their coup attempt in heaven Satan and the other rebel angels are lying stunned on a lake of fire. Satan rises from the lake and makes his way to the shore. He calls the other angels to do the same, and they assemble by and above the lake. Satan tells them that all is not lost and tries to cheer his followers. Led by Mammon and Mulciber, the fallen angels build their capital and palace Pandemonium. They decide to get at God through his new creation and Satan sets off on this mission. In reading Paradise Lost the poem reads the reader while being read. What I mean is that Milton lets his readers go awry in their affections and he corrects and instructs those misreadings as well as anticipates them. In this way the poem becomes a live text with meaning apprehended through the interplay between the peruser of the poem and the text itself. Milton allows the reader to subjectively question the justice of the current religious paradigm and then leads them back to the perspicacity of deity. Ultimately Paradise Lost is Milton's paean to a vast pattern in the universe, the disruption of that pattern by rebels, and the weaving of those rebellion threads back into an ever more beautiful tapestry.

It's more fun to realize that it's about writing, illustrations of writing and figures for writing. The reader is represented in the story as the victim of the author, which he always is.

Check it out and tell me if it doesn't work.

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

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

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

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

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

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

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

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

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

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

This review is of *Maldoror*, alone.

Lautreamont's *Maldoror* is legendary for its bold and complex phrasing and imagery, for its reputation of embodying Surrealism *avant la lettre*, and for its remarkably extreme, savage imagery. Less frequently remarked is its obvious debt to the earlier literature of the *Frenetiques*, such as Petrus Borel. Given the very few English translations of the latter, one may pardon those who do not read French for overestimating the originality of *Maldoror*. Francophones such as the Surrealists and Lykiard, however, have no such excuse.

The descriptions of *Maldoror* in the various reviews here describe the content and style of the work perfectly well, so I shall neither repeat them nor try to outdo them. Instead, I shall offer a slightly less breathlessly adoring view of the work, in general, and of Lykiard's translation of it, in particular.

My view of *Maldoror* is that it is primarily a parody of the extreme tendencies of the "dark side" of Romanticism, in general, and of Byron, in particular. Although Lykiard dismisses Mario Praz's view of Lautreamont and *Maldoror* rather abruptly, Praz's observations seem quite germane, to me:

"[Lautreamont/Ducasse is] a macabre humorist in whom it is impossible to distinguish where sincerity ends and mystification begins".

Those who doubt this observation should have a look at Ducasse's extant letters, many of which bear witness to his desire merely to be a successful writer, and to be judged by the literary critics of the day. In a word, Ducasse/Lautreamont appears to have been precisely the sort of careerist *litterateur* whom the Surrealists excoriated and excommunicated from their ranks with tedious regularity!

As for Lykiard's translation, it is adequate, but far from inspired. Although, as he trumpets *ad nauseam*, his version of *Maldoror* may be in the main less error-riddled than those of his competitors, it is frequently leaden and awkward. Compare, for instance, the following tin-eared rendition to the original, and then to Paul Knight's rendering of the same passage:

The original: "[...] car, à moins qu'il n'apporte dans sa lecture une logique rigoureuse et une tension d'esprit égale au moins à sa défiance, les émanations mortelles de ce livre imbiberont son âme comme l'eau le sucre".

Lykiard: "For unless he bring to his reading a rigorous logic and mental application at least tough enough to balance his distrust, the deadly issues of this book will lap up his soul as water does sugar".

Knight: "[...] for, unless he brings to his reading a rigorous logic and tautness of mind equal at least to his wariness, the deadly emanations of this book will dissolve his soul as water does sugar".

Granted, such evaluations involve much subjectivity, but there's no doubt in my mind which version reads both more accurately and more elegantly in English. Lykiard does, however, deserve credit for demonstrating Knight's faults, as well.

Lykiard's notes are not necessarily much better than his translations. To take but one instance, Lykiard tells us that "God is here (and *passim*) ironically addressed as *tu* rather than the more formal *vous*". If Lykiard were as clever as he'd like to appear, then he'd know that the French *always* address God as *tu*, and not as *vous*. Therefore, there is nothing ironic on its face about Lautreamont's usage, at all.

In sum, *Maldoror* is a sometimes powerful, but often puerile, *reductio ad absurdum* of *Frenetique*-era late Romanticism. Enjoy it for its over-the-top style and its infrequent passages of genuine and sincere poetic power. Do not, however, take it too seriously, because, although we shall never know for certain, my bet is that Ducasse/Lautreamont was little more than a prodigiously gifted adolescent who sought, as most adolescents do, simultaneously to shock and to impress the grown-ups.

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

Jarret writes about contemporary pop culture in the tradition of Field, Duhamel, Seibles, and Wojahn. That is, he uplifts the mundane to a higher level, through form, piercing satire, and the riveting raw emotion, this book shows a Gen X poet making aesthetic headway for the future.

Buy this book, and give it to your brother who likes comic books for his birthday, but read it first. Jarret promises to deliver the goods to all audiences.

Keene's writing topics are so diverse in this collection. From ex-ray glasses to cancer victims, he has a distinct opinion on just about everything and isn't afraid to express it. His poetic style is very straight forward. It is both easy to read and easy to understand.

Keene's creativity is what impresses me the most though. His ideas for his poems are so so unique. Where does he come up with all of this stuff?? It is incredible! One of my favorites is a poem called "Ventriloquism Made Easy." In this poem, Keene writes from the perspective of the dummy.

I know I said this already, but the diversity and creativity throughout this whole collection are amazing.

I know you're not supposed to judge a book by its cover, but this book immediately jumped out to me. It was one of the brightest and most colorful books i have ever seen. I had to open it right away, and the cover was just a warmup for what's inside. I liked Jarret Keene's collection of poems because it isn't a sad i'm so depressed i want to kill myself kind of poems, i'm so used to reading. It was real. It spoke to me and my generation. It also was really funny and a quick and easy read. One of my favorite things is how ironic he is with every day life things. Reading up on him i found out his father was a tampa firefighter, and i happen to be from tampa and miss it deeply so it made me think of home. The poems he has in there also reminded me of home when i was in high school and all you did was get drunk a go nuts. I guarantee if you are young or young at heart then you will love this book, but don't listen to me read it for yourself.

Jarret Keene's debut book of poems, "Monster Fashion," is a book that adds a sense of freshness and excitement in a genre that is often riddled with staunchy, boring and dry verse from the world of academia. All I have to say is..."Thank Goddess for Monster Fashion!" Keene's book is filled with comedic, familial and pop culture verse that most books lack. I like the fact that Keene has the ability to laugh at himself and not take himself so seriously in his work. We need more poets like this poetic holy ghost.

Among one of my favorites is "Scoped" where the character takes a dreadful visit to the doctor to find out why he's been 'passing blood'.

"He tells me to turn over
on my side and pull my knees
against my chest.
The glove snaps. And
sure enough, he's got his finger
inside of me, poking around."

Because of the immediate and sensitive description
in this poem, Keene does a superb job of making you feel
that you're there. From the "so-clean-it-smells examination
room," to the terrifying snapping of those smelly latex gloves.

This is the only poem that makes me cross my legs
with phantom pains.

"Monster Fashion" is not a book of poetry with just words sprawled out on the page without a sense of order. Keene proves that he is well-seasoned with some poems written beatifully in couplets and quatrains, which is one of my personal favorite forms.

Other poems such as "Heart, You're a Hospital Now" and "Ventriloquism Made Easy," are two more of my favorites where Keene practically yanks you by the arm and pulls you into his cut-throat psyche.

I love the smidgen of ryhme and alliteration in the beginnings of "Heart, You're a Hospital Now."

"Nothing is worse than a dying patient,
Except the surgeon, who gives your life lease,
Cuts you open, removes a sick piece,
stitches you up and grows impatient
of your bloated face."

Oh, I love the way the second and third line

ends with such emergence.

'gives your life lease,'
'removes a sick piece.'

The way the lines and words carefully entwine
and dance so immediately.

'removes a sick piece.'

Who doesn't want to steal that line and run for the hills?

This poem is crammed delightfuly with similiar, arresting lines
all the way to the end, which hurls the reader back
into reality.

Keene's verse in this book are exciting, entertaining, funny and beautiful. From epic poems such as "Ava Gardner, Queen of Earthquakes," to the short and brutal "Black Revolver," Monster Fashion offers something for the most rabid lover of the poetic word.

Jarret Keene has mined the underworld of Hollywood scholck to bring us these darkly comic poems, and he's come away with more than you might expect. Here you'll find all manner of monsters and lovelies, of course-Frankenstein and the Wolfman, Janet Leigh and Ava Gardner. You'll find zombies and earthquakes and a lot of prose that's taut and "dark as a blood clot." There's even " The Lovesong on Alfred E. Nueman" (after Elliot, of course) and "The Conversion of Aubrey Beardsley." But what makes these poems rich and worth reading, I think, is Keene's sharp take on the actual world-the way he gets, for example (in the book's opening poem) that only the young can be in love with death. For me, the book's most frightening moments-and its most rewarding-come when the author takes off the mask for a moment and explores the horror of the world we all know too well, when the funhouse comes to resemble the house we live in ("Inside Mystery Funhouse"), or when real friends are lost ("Gifted Students") and we're confronted with the ghosts of their fathers, who come back-with surprising emotional impact-to make us sandwiches. This is a sharp and funny collection. I recommend it even to those with a fear of poetry, though not to those who are afraid of the dark.

Good book. The little kids love this book, and I do too. I first read this book when I was a little kid. This book has all the great stories.

I liked the book just fine, but for some reason I ended up with 2 instead of the one I ordered.

So many mother goose out there, and most are very nicely done. This one, however, caught my attention because it utilizes the familiar busytown characters which I feel children so easily identify with as opposed to books with illustrations of children from long ago. Those are great too but this one should not be overlooked.

We had a lot`s of fun reading the book.It contains 50 well known nursery rhymes, has funny pictures and was not too long even for my 2 year old.There are days he wants me to read it twice in a row.

This beautiful version of Mother Goose first came to my attention 39 years ago as a baby gift for my first child. The bright and clever illustrations capativated her attention as she enjoyed the traditional verses so familiar to many generations of children before her. The book became part of the bedtime ritual for our daughter and her two younger siblings, and we have passed it on as a favorite baby gift to family and countless friends. Because the illustrations feature animal characters, children of all backgrounds can identify with them. Richard Scarry has indeed provided the Best Mother Goose Ever.

This book features fairies and is in the children's fantasy genre, but it is about much more. It has relevance to yesterday, today, and tomorrow, and I believe it could appeal to anyone who ever loved great children's stories, of the kind that make you think as well as carry you away.

The importance of this book is both small and large, and I don't just mean the fairies as opposed to the ogres in the story. The smaller message is "use your head, appreciate simple things, and learn to live with less." The larger message is "something really terrible can happen if you don't." That "something" is pretty horrible and could destroy the Earth and humanity. I hope this book has the effect on others that it has had on me. I couldn't stop thinking about it after I read it. The writer of this book mixes a fun story with a message that really hits home in our modern world. For myself, I plan to pay more attention to what I actually need versus what I want.

I did enjoy the storyline of fairies going on a mission, solving puzzles, discovering new things, completing a scavenger hunt, writing poetry, etc... But I also can't stop thinking about my impact on the world, even though I am just one person. Along with a great story, this book contains classic-style illustrations (looks like a variety of media-ink, watercolor, acrylic) and fun activities in the back. The activities in the back are designed mainly to appeal to children, but the book itself is geared to everyone. I think the message might mean different things to different people depending on our ages and experiences, but it is definitely relevant.

This book stresses choices and particularly making wise choices. When the fairies are asked to choose between a pebble and a giant ruby, they must choose the pebble because they are looking for simplicity. Their problem solving must also seek the simple solution. A door with many keys (the fairies can only choose one key and can only try one time to unlock the door) is already unlocked and does not require any of the keys - in other words, the simple solution. Fortunately, the clever fairies are using their heads in this story and do make the right choices

My daughter and I loved reading this book. After we read it, she talked about it so much that we decided to read it again.

The scarecrow is a nice character in this book, friend to the Princess of Haiku and guide to help the fairies in finding her. The ogres are also good characters and somewhat funny, playing marbles with coconuts and hopscotch with giant river stones.

The adventure has the fairies solving puzzles, going on a scavenger hunt, and writing poetry to free the Spirit of Simplicity (aka The Princess of Haiku) from an evil spell. The scavenger hunt was particularly wonderful because they were looking for things like the whisper of butterfly wings and the smell of rain and music in the water.

What really drew me to this book was remembering the fun and games from my childhood. My daughter wanted to know more about string games and handclap games, and she asked me about getting a kite. I hope she continues to show an interest in these things instead of so much focus on the handheld games and other electronic type stuff.

This is a good book and I do recommend it.

You'd think a story about a princess would be all frilly, but this is not at all. It is about poetry, simplicity and learning about what's really important in the world. The fairies learn simple and valuable lessons on their journey. While they are on their fairy mission, even when faced with a serious task, they take enjoyment in simple pleasures surrounding them. One of the things I liked most about this book was the fact that I was never able to predict what was going to happen next. Over and over again I was surprised by what was happening, and this made me want to keep reading. My ten yr. old niece loves this book, I am reading it aloud to my own children and I will be recommending this fairy tale to friends.

How the whole thing started is important. That's what I think is so interesting. Sure, the fairies go on an exciting mission, but the whole thing started with a book of poetry being destroyed. That's the larger message of this book. Human beings recognizing that even our smallest actions can have gigantic consequences, like the butterfly effect. I liked the way this story was put together. It's like I was tricked into enjoying it so much because it's magical and fun, but I was reminded of how serious even our littlest mistakes can be.

I have 5 year old triplets and went digging through my old books to find this one. They are just as mesmerized by it as I was 35 years ago - like Georgie and the boy in the Everlasting Lollipop - it's make believe that children want to believe because it tickles and delights their imagination with a touch of darkness in a way very little does today in a digital, dumbed down, leave-nothing-to-the-imagination era. I have a well-loved copy that I'll never part with. This would definitely be an excellent candidate for Harper to bring back, but only if it maintains its shape and hardcover quality - as they are all part of the mystique.

I still have a very battered copy of the Tall Book of Make-Believe from over 50 years ago. I wish it was in print now! Out of all the books I've seen illustrated by Garth Williams, this is the best. The stories and poems are marvelous, but his drawings and paintings are so beautifully nuanced and full of life, they jump right off the page. The tall format makes for some really interesting layouts, too. One of the all-time classic children's picture books.

I loved this book so much as a young child, but it finally fell apart from being read and loved too much. Now that I have a daughter of my own, I would love for her to enjoy it as much, but $150 for a used copy is realistic for a young child... Please Harpers, publish this wonderful book again, so the next generation of readers can have a chance to experience the wonderful stories, poems and drawings.

My mother got me this book when I was a child. I loved it and learned from it for many years. When I had a daughter, I found a copy of it and purchased it for her. It was her favorite book. When she had children, she bought a used copy for them.

The trick, of course, is that each of us mothers read it to our children until they were old enough to read it for themselves. I found it stirs children's imaginations, teaches them about many important things and sparks their avid curiosity.

I am now a writer and fast closing in on retirement age. Much of what I know about my craft I originally learned from this book. Any child who doesn't get to read it and see the wonderful illustrations is doomed to lead a deprived existance, as far as I'm concerned.

Several years ago, I remembered that I read it as a child,
and went looking in the attic, the basement, all over.
When I finally found it, it was tattered, pages missing, etc.
I checked Amazon, ebay and other used book websites, and
finally found a very decent copy for $55.00. Don't give up-
keep checking and a copy will turn up. I am 56 years old
still reading it (it's the best children's book ever) and
will hopefully pass it on to grandchildren, - IF they can
pry it out of my hands !!!

This was one of my favorite books as a kid, and as an adult, I cannot tell you how many times I reference it to people. I would seriously like to have copies on hand to pass out. I am still learning from this book. It's so fun and cute and I remember as a kid feeling like it totally captured my world. Buy it and read it over and over.

When my brothers and I were little, this book was one of our absolute favorites! In fact, I still have it, although now it is beaten and taped together. The illustrations are cute and colorful (I love the dragon eating pancakes and then the bread from the bread truck!) and the story is imaginative. Best of all there is plenty of opportunity for children to interact with the reader. For example, my mom or dad would read to us and we'd chant "There's no such thing as a dragon!" at all of the appropriate places! Kids will identify with Billy who has a very active imagination, and they will wish that they too had a dragon! I'm so glad it is still available so I can share it with my daughter!

Though this book has been around a while, I only recently discovered it at a book store. I got it for my child's school library (endorsed by librarian). My 6 1/2 yr old 1st grade daughter liked it. This age group still adores fantasy, but is beginning to be able to separate truth from fiction. Children delight in the boy in this story being right about the dragon being real. They can relate to parents not taking things they say seriously. It is fun to imagine this scenario really happening, but then admit it probably could not!

Hands down, my favorite book as a child. It was out of print for a while and I had to scour auction sites for a copy. It was well worth the hunt. I actually read it to my 4th/5th grade children in my classroom and they love it as much as I do. The fact that it is being reprinted for a whole new generation makes me very happy.

Jordan Petersen reads this book to his audience while explaining what the most important story ever told is all about, and why we find it in a child's book, or dreams.

I have just seen the book read on TV, but it certainly has charming pictures and by Petersen's account a primal message.
I'm getting a copy for my kids.

Dog lovers will enjoy this book, and will also enjoy "August Magic" and "Heart of the Savannah" by Veronica Anne Starbuck. These two must-reads will be treasured additions to your canine library!

I know Dr. Villalobos from working at the animal clinic in Hermosa Beach, CA, and she does a wonderful job of capturing the bond between pets and their owners in this book. She is such a hardworker and her love for animals is apparent through her work in the oncology field.

I would recommend this book to anyone who has lost a beloved pet, or as a gift to someone who has. If you want to show you care without saying a word, give this book. In the privacy of their grief they will read this book and know that you understand what they are going through. Even more, they will know that many many people have come before us who have gone through the same hell.

i have just bought a second copy to send to a friend who needs to say farewell to her beloved jack russell for awhile. the poems are beautiful...i especially love "the house dog's grave", which just might be my favorite poem of all time.

i use this book frequently to quote passages for friends who have lost their dogs...and i cannot read it without crying. it's very comforting to know that people have felt the same way about their dogs over many years......beautiful, beautiful!

There comes a time in every dog owner's life when you look down at the furball by your feet and come to the realization that this is no longer just your pet; this is your friend. Dogs surpass human beings in just about everything: from sense of smell to hearing, from loyalty to love. A dog's capacity to love is something profound; they want nothing more than to be accepted, to please you and to be loved in return. "Angel Pawprints" showcases some beautiful poems about this love which dogs have for centuries offered and received. Laurel E. Hunt edited some great pieces, including works by such famous poets as Rudyard Kipling and William Wordsworth. (My personal favorite is "So Long, Pal" by Ethel Blumann.)

One does not by any means have to have lost a canine companion to enjoy the works presented in this book. If you have ever loved a dog so selflessly, unconditionally, and faithfully, then all of these pet memorials will speak to you, even if you cannot comprehend the depth of the poets' pain. If you have lost a good friend in the past, this book could possibly be a fine method of therapy to help you feel better about everything. (It helped me when my friend of 12 years died.) "Angel Pawprints: Reflections on Loving and Losing a Canine Companion" is, in a nutshell, just a really great way of honoring your dog's memory and love. It may cause some tears but it'll get you through.

CJ Heck has really touched on the important issues that perplex and interest children from three to ninety-nine. Her concise but child-like style embodies much wisdom in her seemingly effortless story telling in the form of poetry. Her poems are geared to be understood by a child, yet the content reveals subjects that a child will wonder about, but not be able to be fully addressed by a child. The poem, Grandmother's Apron is especially pertinent. The poem is about death and explains the pain of losing someone close to you, but in such a reassuring way. Many of the other poems are whimsical and care-free like Barking Spiders, but addressing only the lighthearted things won't carry a child into adulthood. CJ Heck knew that, so she mixed all aspects of growing up into a wonderful blend of poems.

You cannot afford to pass this book by. It is well worth the cost and a must have in your child's library.

CJ Heck has published an incredibly creative and FUN book! My husband and I sat for hours sharing and laughing out loud... and then we shared it will our sons. All three, ages 5, 8 & 10, absolutely loved the great rhyming stories and silly illustrations. We can't wait for another book by CJ Heck!

Hi everyone! I'm CJ, the author of "Barking Spiders". I would like you to know, autographed books are available through me. I ship within two days and I include extra gifts with every order, too. Just click on the "New and Used Books" link to order. No extra fees, no waiting.

Thank you -- may you always see the world through the eyes of a child!
Hugs,
CJ

REVIEW FOR "BARKING SPIDERS,"

Once in awhile an author comes along with a truly delightful children's book. CJ Heck, author of "Barking Spiders and other such stuff" has been able to reach into the child within all of us. Her poems lead us through the inquisitive minds of children everywhere! The imagination in her poems is enlightening, witty, funny and sometimes sad. The wisdom through her work is woven together in a way that each poem tells a story that is both honest and clear.

This book captured my attention until the very last page, therefore telling me that it is a must for every household. What child wouldn't want to know what a "Barking Spider" is? What do they do? What adult wouldn't want to know either? I enjoy how CJ Heck is able to take a simple action such as a child brushing one's teeth and transpire it into a poem delivering a message of family, knowledge, and above all that ANY subject is worth noting! She has been able to go down to the level of a child without losing her adult perspective. Each poem has a simple message that tells a child that no question is silly.

What is really exciting about "Barking Spiders" is the way poems are introduced to children. What a wonderful teaching tool for any class! It is great to peak the interest of youngsters today and I would have to say "Barking Spiders" most certainly delivers.

Dorothy Krusky, Canada
Author of "The Christmas Cat" a children's Christmas story. 2005
"Life's Ride - A Journal of Poems 2007

CJ Heck touches on some things I don't remember reading in children's poems or stories. I like how, from a child's perspective, she articulates their thought processes which are not that much different than adults with the exception of conclusions drawn. I found the book funny, entertaining, and sweet. One of my favorites is "Just Like Me", a poem about identity, with a great humorous last line. "Waiting" is another one of my favorites and is so universal whether you are a child or adult. I thought "Monkey Me" was very funny and true. Overall, I'm glad I have the book and will read it to my friend's children and my own someday. It would be fun to get their reaction.

They enter the new world naked,
cold, uncertain of all
save that they enter. All about them
the cold, familiar wind--

--from William Carlos Williams's
Spring and All (1923)

Looking at Sandro Botticelli (1444-1510)'s Birth Of Venus (ca. 1482), one can actually feel the fresh and fragrant breeze, the golden light, the bounty; the Italian painter is approaching 40 when he paints this. Reading Wallace Stevens (1879-1955)'s "The Paltry Nude Starts On A Spring Voyage" from Harmonium (1923), one senses a mind utterly quirky, brisk, assured; the American poet is in his early 40's.

This collection lacks 22 poems which appeared in "The Palm at the End of the Mind", Holly Stevens carefully edited selection highly approved of by Harold Bloom. Missing are "Of Mere Being", "A Child Asleep in Its Own Life" and "For an Old Woman in a Wig" to name but three. It leaves out the added lines of "The Man Whose Pharynx Was Bad". It lacks an index of first lines. If you're going to buy a book of Stevens' poems spend the extra $10 and get the magnificent Library of America "Collected Poetry and Prose" which contains EVERYTHING, is a huge bargain and will keep you occupied for the rest of your life. Or possibly get Holly Stevens "The Palm at the End of the Mind" which eliminates a lot of lesser poems which could confuse a newcomer to Stevens. The Vintage people have thrown this together without much thought. It's better than nothing, but the other two books I have named are the one's to get.

"Her terrace was the sand/And the palms and the twilight" -- and those are only the first two lines. Dipping into surrealism and imbued with spirituality, his poetry is compiled into "The Collected Poems of Wallace Stevens," which includes seven compilations of his work.

Over his lifetime, Stevens wrote several books of poetry, but his exquisite poems are best taken by themselves: the lush grandeur of "Sunday Morning," the hymnlike "Le Monocle De Mon Oncle," and the humid grittiness of "O Florida, Venereal Soil." He takes multiple looks at "Thirteen Ways of Looking At A Blackbird," and the lush "Six Significant Landscapes."

In other poems, Stevens dips into outright surrealism, like in the delicate "Tattoo" ("There are filaments of your eyes/On the surface of the water/And in the edges of the snow"), and also adds a meditative bent into "The Snow Man" ("For the listener, who listens in the snow,/And, nothing himself, beholds/Nothing that is not there and the nothing that is").

If nothing else, Stevens' poetry can be read just because it is exquisitely beautiful. He lavished details all over almost every poem he wrote, and gave many of them the quality of a dream. His descriptions are simply written, but brilliantly laid out: "When my dream was near the moon,/The white folds of its gown/Filled with yellow light."

His style tends to be a bit on the ornate side -- Stevens freely uses the more exotic terms -- such as "opalescence," "pendentives" and "muleteers" -- wrapped up in complex verse, sometimes with a rhyme scheme and sometimes free-form. And lush detail is added to many of his poems, with descriptions of the moon, sun, plants and lighting, along with dazzling descriptions of the colors.

But his writing is more than beautiful. Stevens' work often poses questions about death, life, religion, and art, taking the conventional and turning it on its head. His belief in the importance of his art is reflected in poems like "Not Ideas About The Thing But The Thing Itself," which ends with the portentous lines: "Surrounded by its choral rings,/Still far away. It was like/A new knowledge of reality."

Wallace Stevens is one of the most unique poets of the 20th century, and the sprawling "Collected Poems of Wallace Stevens" is a wonderful read.

Wallace Stevens is my favorite poet. This collection was prepared late in his life and is in a sense definitive, though the excellent Library of America collection is to be preferred as including a number of additional poems (including the controversial long poem "Owl's Clover"), as well as alternate versions of some poems, juvenilia, and also Stevens's essays.

Stevens is known, it seems to me, in two separate ways. In the popular sense, he is known for a series of remarkable early poems, in most cases not terribly long, notable for striking images and quite beautiful prosody. Of these poems the most famous is surely "Sunday Morning" -- other examples are "Thirteen Ways of Looking at a Blackbird", "Peter Quince at the Clavier", "Sea Surface Full of Clouds", "Tea at the Palaz of Hoon", "The Emperor of Ice Cream", "The Idea of Order at Key West", "Of Modern Poetry". The great bulk of these come from his first collection, Harmonium, and indeed from the
first edition of Harmonium, published in 1923. These were certainly my favorite among his poems on first reading. And they remain favorites.

But his critical reputation rests strikingly on a completely different set of poems, all later than those mentioned above. (Though it must be acknowledged that at least "Sunday Morning" and "The Idea of Order at Key West" as well as two early long poems, "The Comedian as the Letter C" and "The Monocle de Mon Oncle", are in general highly regarded critically. And that most of his early work is certainly treated with respect.)

I think it's fair to say that "late Stevens" begins with "Notes Toward a Supreme Fiction", perhaps his most highly regarded work. Of course the terms "late" and "early" are odd
applied to Stevens. His first successful poems appeared in 1915
(including "Sunday Morning"), when he was 36. He was 44 when the first edition of Harmonium came out. That's pretty late for "early"! And by the 1942 publication of "Notes Toward a Supreme Fiction" he was 63. Indeed, his production from 1942 through his death in 1955 was remarkable: two major collections each with several long poems as well as at least another full collection worth of late poems, some included in this _Collected Poems_ but quite a few more not collected until after his death.

What to say about late Stevens? The most obvious adjective is
"austere". But that doesn't always apply -- he could also be quite playful. However, there is never the lushness of a "Sunday Morning" or "Sea Surface Full of Clouds" in the late works. The sentences tend to extraordinary length, but the internal rhythms are involving. The poems are all quite philosophical, much concerned with the importance of poetry, the nature of reality versus perceptions of reality, and, perhaps more simply, with growing old. (A Stevens theme, to be sure, that can be traced at least back to "The Monocle de Mon Oncle".)

So: Stevens is an impossibly wonderful, remarkable, poet, either early or late. His lush and imagist early work remains a delight, and his philosophically involving late work rewards rereading and concentration. He is a poet to whom you can return again and again, and he will always be new.

Stevens is for me the great American poet of the twentieth century.
His music is the supreme music of poetry . Not since Keats is there anyone as rich in the most elaborate kind of longworded poetry.
His metaphysical meanderings may confuse but somehow find themselves justified by the memorableness of the great lines- and again the music.
No one comes close to him in the kind of deep and complicated beauty he presents- and again the music.
The meanings he makes are musical meanings, and the sounds of his lines sing in us ever more strongly , the more we read and reread.
Stevens is the kind of poet we want to memorize and always have with us inside, so wherever we go , we can stop and to ourselves recite lines of beauty in joy.
I may be wrong but I simply hear his poetry as the greatest America has had in the twentieth century - though lesser than Whitman and Dickinson.