Poetry Books

The life - project of Pessoa in his making of multiple poetic alter egos, reminds of the life - project of Kierkegaard who explored various aspects of the religious life through use of alter egos often representing different faculties, approaches and moods of life. But if Kierkegaard's aim is to bring the reader to realization of what it might be to be in true connection with God, Pessoa's seems to be more to dissipate the notion of unique identity completely out of existence. Thus the fragments he shores around his own ruin and attributes to alter ego , heteronym Bernard Soares have within them a strong nihilistic self- and - world denying element.
Yet and here is the contradiction and the deeper truth they also reveal a kind of beauty both in perception and in the varied motion of the mental life itself. Lonely solitary lost fragmented Pessoa knows no human sacrifice like that of Kierkegaard with Regina, knows no dedication to his father's task of doing God's duty in the most ultimate way. He instead seems to reveal hidden realities as he conceals that beyond them all may well lie an eternal nothing. Kierkegaard is the many- selved servant of God, and Pessoa the many - selved servant of nothing more holy than human poetry.

Poetry often speaks to us; we see something in it, something recognizable, and it's like we are shown a piece of ourselves that had been hidden for a lifetime before. Finding Pessoa's *Book of Disquiet* was like finding a piece of myself. In the pages of this poetic novel you will find honesty, often self-disparaging, and you will find beauty in the smallest observation. However, be forewarned, this is not a book that should be picked up with the idea of light reading in mind. In fact, you may find that you have to put it down, repeatedly, to get away from it, to think, but you will always, always come back to it. Keep it close to hand.

"If i think, it all seems absurd to me; if i feel, it all seems strange; if i desire, he who desires is something inside of me."
Sums up the book perfectly. Pessoa explores one of his many personalities. "The Book of Disquiet" explains, in complete depth and faith, the beauty of a lonely, existential, moment by moment life. He explains the beauty that people forget. He explains the world, his perception, as if every moment were the last.
"The book of disquiet" is one of the most insightful books a person can read, but only if one has imagination and an ability to let go. Bernardo Soars, Pessoa's personality who wrote the book, is extreme and eccentric. It isn't easy reading, and it won't affect you if you can't overlook the fact that life doesn't go on like Soars'; that there is more in thinking, dreaming, and desiring than Soars admits. What makes the book so special is how Soars can forget everything but the thought and the moment, and how he can analyze and critique and put into words something that most of us forget to remember. "The book of disquiet" reminds me, at least, of how to appreciate my own mind. It is the only philosophy-like book that i enjoy (as yet) because it is the real thing and encompasses a forgotten part of real life.

Fernando Pesoa's genius lies within who Pesoa was as nil and not. He wasn't anyone. Only somene who continually writes in "disquiet" his persona's variable exegesis. The writing is in the book but the author who wrote it, Fernando Pesoa does not "feel himself" as actually being who he is. So, maybe he's actually a different author, with a different name who begins to write a different book. There's all of the writing there, its genius evident in the mystery of the writing itself. All the writing invested with absolute revelation of numinous absence. The absence is that of the author's presence. Magic? Truly. The author is not there. But he must be "there" because he has no choice but to write. What's the answer for the author who is finds himself as absent? He must undertake the creation of the abent author's presence. How? By literally creating a utterly unique form of literature. A literature whose grammar is of being literal by making it possible to write of the absence of an author to himself into a presence to be known as the once absent identity. Writing through a textual hermeticism capable of transmutation through written words of the emanation of an author as "logos," or the Word. "In the beginning there was the Word." Through the Word as logos, all identity is created in the appearance, ex nilho, of the writer mediated solely through himself in this the new logos of writing itself. Pesoa is not himself. He's a man who achieves glimpses of a unmanifest self-referential identity only through his books. In the work of writing these books, this identity is made manifest as the author's anamnesis. Seemingly he finds out (remembers) he is, and always was, a certain author he now "remembers" as himself as a manifested presence. An absolute genius manifested as the author himself being (repeatedly) annihilated through radical self-doubt. Only later remembering who he was as absolute presence never to be lost again. Until this is accomplished all of the laborious, literal negotiations must of necessity begin anew, and are written as literature whose search arises from absence's discontent becomes the new discourse as the art and improvisation of real identity forged in the alchemy of narrative. This peculiar narative reaveals itself as a lived experience of self-discovery. One man of many parts dismembered in his own identity become self-inflicted and religious. Pesoa's own holy inquisition seeking and finding the indentity he is spurious, a phantasm of derealized personality perpetually guilty of having a persona found lacking, Wriiten out in texts as being found guilty of the "heresy" of having an identity. Never before Pesoa has an identity crisis of infinite magnitude been witnessed in Pesoa absence made real presence in some of the 2OTH century's finest writing and poetry. of the 20TH century in The writing of a man named Fernando Pesoa. A man lost to himself, in search of the "person" underneath the name. Personality and identity as reality grounded in a mystery only to be known by itself: self found through words that are the artifacts of the self discovered. A genius lost to himself and calling his absent identity into gradual existence by a person's absence fading into a personality that's presented in multiple, shifting Heteronyms, or cases of terminal identity lost and regained.

there are few poets able to assume so many diferent personalites as Fernando Pessoa. But Bernardo Soares is not a diferent personality, is just the other side of his personnal mirror, an escape to his tortured soul. Probably that is why The Book of Disquiet is so universal, a portait of the human fears, an example of a lonely man,travelling across his own mind, looking at the world through the most ironic eyes. Fernando Pessoa was able to understand dissapointment and regreat in a intemporal way, as a natural part of human nature. So, this book has the ability to make you look inside yourself, guide by one of the best poets of all times!

This is a fabulous dual-language collection of some of the most sensual, passionate poems written in modern times. Whether he imagines himself as an insect making a journey "from your hips to your feet", traveling to distant places with his beloved by his side, or as a soldier who must leave but whose love will "go on singing until the end of life", Neruda writes with exquisite simplicity, and great beauty.

I find this to be the most accessible of Neruda's books that I have read, perhaps because its subject was a central part of his life. As explained in the introduction of the book, these poems are autobiographical, and written about his wife, Matilde Urrutia. First published anonymously in 1952, they were released in 1963 under his own name, but only after much thought, because of their "intimate birth".
The translations by Donald D. Walsh are superb. He has captured the fluid rhythm, the emotion, and the fire.

He was fortunate to have had this remarkable relationship, as well as the ability to express his feelings with such uncommon depth, but for those men who lack Neruda's poetic genius, and who would like to melt the heart of the woman they love, this might be the perfect gift to go along with that bunch of flowers.

This is quite possibly the most beautiful book of poetry that I have ever read.

An excellent gift to one that you love passionately.

The most amazing and sesitive book that I ever had read about Pablo Neruda.
Pablo es capaz de modelar como nadie las imagenes y meterte en un libro tan hermoso y poderoso. "La muerta" es un claro ejemplo de la belleza y la fuerza de su poesía.

I bought this book because for the long time I wanted to read something by Neruda, and this bilingual edition offered an opportunity to read the original Spanish alongside with the English translation. Since I know a bit of Spanish, this was an opportunity to practice it and improve it, as well as get exposed to some of the most sensual and inspiring poems in any language. Neruda's idiom is rich with metaphors, and he takes everyday objects and situations and imbues them with poetic and emotional undertones. This fascination with common objects is particularly useful for someone who is learning Spanish - it provides a great and enjoyable vocabulary-building opportunity. However, be warned - some phrases and words are a bit risque, and you shouldn't be too liberal at trying to impress your Spanish speaking friends at parties. It may lead to some interesting situations.

I had heard about Pablo Neruda a few years before and I wasn't too fond of his poetry. When I opened "The Captain's Verses" in a bookstore a few months ago, I knew that I had to have it. Since then this has become my most treasured book of poetry. I don't even know how to describe Pablo Neruda. When you read his poetry you just become entranced by the way he is so accurately able to convey such passion in his simple words and beautiful imagery. Even now after I have read each poem in this book at least a hundred times I am still amazed by the way he does it. I have not yet found another book of poetry that can evoke such feeling as "The Captain's Verses." I believe that this is essential to any poetry lover's collection of poetry and that those who are not big fans of poetry would enjoy the love poems of Pablo Neruda.

My copy of this book was totally worn out from countless rereadings with my children. Catchy and pithy, my favorite toddler's book.

This book must go into reprint. It's the new Mother Goose, with sweet, catchy rhymes and delightful illustrations for the children of today. These apt little poems will stick in your and your children's minds until they are grown up and want a copy of the book for their own children. Please, publisher, get "Catch Me and Kiss Me and Say It Again" back in print!

I was given a copy of this book when my first daughter was born in 1984, and my wife and I read it to her and her little sister so many times that all 4 of us still recall the verses - with enormous fondness! The charming watercolor illustrations are as timeless as the poems - the first time you read it, you'll have a nostalgic feeling that you've seen the pictures and heard the poems when you were a child. Spoken aloud, the sing-song rhythm and alliterations captivate adults and children. Even now, when I have not seen the book in months, I can feel my baby clapping in my lap as I recall "clapcake clapcake, butter and milk, honey and ginger, whipped to silk. cornmeal, oatmeal, a penny pinch of flour, Clap me out a clapcake, and bake it for an hour."

When our youngest daughter moved away from home, this was one of only 3 baby books we kept. I just came to amazon hoping to buy a new copy for a friend and her new baby (I won't give my copy away!), and I'm astounded that it is out of print. This is a timeless gem. It needs to be published again.

My husband and I bought this book over 20 years ago. We have read it hundreds of times to our children and now would like to be able to purchase hardcovers for our grandchildren. We would really like to see this book reprinted!

When I was about two or three, a friend gave us our original copy of "Catch Me and Kiss Me," We read it so many times that it fell apart and it was thrown away. Luckilly I was able to get a used copy not so long ago. This book has so many favorite poems that we still quote such as,

Phoebe in a Rosebush, Phoebe in a Tree.
There's Many a Phoebe in the World,
But You're the one For me.

and

Cockyolly Bumkin Merry Go Bet
Fell in the Duckpond and Got all Wet
A Nickle For a Nappy and a Penny For a Pen
To Dress My Little Cockyolly Bumkin in

and

Do the Baby Cake Walk
A One Step a Two Step
A Wobble and A Bobble in the Knee
With a Toe Heel Toe and A Giddy Go Round You Go
Won't You Do the Baby Cake Walk for Me.

Anyway I could go on and on, but this book is a treasure, and it is a sin that it is out of print. Any Publishers out there. PLEASE REPRINT "CATCH ME AND KISS ME AND SAY IT AGAIN."

forces you to look in the mirror. I was introduced to Dahl by my 8th grade English teacher who saw something very dark inside of me (yes, another plug for better teacher pay!). "Pig" gave me nightmares, "Skin" made me wonder about the greed of human beings. What's missing are the "My Uncle Oswald" stories, but this collection is absolutely priceless!

Excellent book from all points of view. Sewn edition, bound and quality of printing. I have another edition of Roald Dahl but unfortunately it's a paperback edition and the pages disappear one after another. I decided never to buy again paperback books. When I saw that Roald Dahl was published in Everyman's Library I immediately decided to order it and I am more than happy with what I received. It's very good for work with my students and I will leave it to my children as well. Many thanks to the publishers.

Once again! the Everyman's Library has outdone any other publisher's job of creating a thorough and precise piece of book history. This is the third book I have purchased and read through Everyman's Library and I sincerely feel their books are the only ones I will buy when creating my own hardcover collection. The quality of paper, the texture of the outer red cover, the beauty of the chronological timeline of events in the author's life, they not only think of it all, but go so far beyond what is called for in a $20 book. If I were a tree that died in the name of paper, I would only hope my flesh would go towards another Everyman's success.
On to Roald Dahl. Best writer Ever. Best collection Ever. Best stories I have Ever read. Best organization of stories contained within a single volume. This book is Paper Gold. My favorite writer and my favorite book publish company smooshed into a magnificent creation that is the perfect size for the average human; hand and lap!!! Touch the hard cover. Feel it upon your cheek. Smell the pages... In the name of all that is holy!

I actually have a compendium of Roald Dahl's stories in a different edition but when I came across this edition with the inimitable Mr Dahl on the cover I had to buy it. It is a lovely edition that collects all of Dahl's short stories in one book, and I love the fact that it comes with a lovely red satin page marker! A great addition to any library.

This collection of stories by Roald Dahl is great. He was one of the best and entertaining writers that composed such original work. I have read some of his stories more than once. I read them and when I am in the mood I pick them up again and read them again. I highly recommend these to anyone who especially has never read anything by Mr. Dahl.

I was fortunate enough to receive a copy of this book as a gift!
Just like Clint, this book is not for everyone. But if you have an open mind, you should really enjoy it!

Clint has an amazing way with words that draws the reader in. Full of emotion & very moving... I finished this book with a quickness & now I am ready to read it all over again.

This review does not do Cottonmouth Kisses justice, you simply MUST read it!

xo

"Don't judge a book by its cover!" they scream as I hang my head in shame. Once again I have proven to myself how narrow minded and judgmental I can be. This brilliant little book is packed full of surprises especially for those who have developed some preconceived notion as to what it's about. Starting with the title which, now that I know what it means, I think is brilliant. I was picturing two pot heads making out with a sort of latte-esque foam covering their mouths which I'm sure is exactly what the author wanted me to believe. Then turning past the table of contents I came upon the explanation of the title and was immediately transported back to my youth in Florida and my fear of the tall grass. I won't say more about that in order not to ruin this very pleasant little surprise for others.

Then the first story "Some new kind of kick" is pretty much exactly what I was expecting. A very dark and seedy tale of Goth clubs, speed and sex, although one thing I didn't expect was to really like it. Something about the way Clint Catalyst casts his penetrating stare into this so called "Goth" scene is so incredibly revealing of not just the Goth scene, but any scene that's gotten old and tired. And it's in this first story that I began to realize that the scenes and the players are all the same. It doesn't matter what scene you were in, because we all got tired and we all ended up alone. The scenes all lacked something, or as the author so eloquently points out, we ourselves lacked something in ourselves that our "scenes" or distractions could not replace; well, not for long anyway.

So I guess it's clear that I'm not a "Goth". And while I did think they were cute in the mid eighties when they were still known affectionately as "Death Rockers" I've never been into things "Goth". I've also never been into speed of any sort. Of course I've done speed and had so called "Speed Sex" which contrary to the name takes hours, but I've never been into the whole "gak" experience if you know what I mean. So despite hearing the rave reviews of "Cottonmouth Kisses" I put off actually reading it, thinking it was fifty percent Goth and fifty percent homoerotic speed induced sex. Not my cup of tea exactly.

But from that first story Clint Catalyst just blew me away. His insight into moms, wanna-bees, punks, straight boys, art school girls, alleged bisexuals, strippers, bag ladies, in fact everyone he encounters and most importantly himself is nothing short of stunning. This book is crammed with fascinating stories which in and of themselves are great but without which you would still be left with an incredibly insightful book about people and our inner truths and fears.

Stories I particularly like are "Party Favors", "Conversation with what once was a friend", "To Push Away or to Clutch" and "Taking Care of".
Poems I particularly liked are the beautiful and charming "First Person Third Person First", the dark and direct "Guess I should talk about sex", the dark and funny "Truth about Modeling", the grim foreboding "Inky Bloater" and my favorite, "At the Edge" which to me was like an updated and slightly more optimistic take on Langston Hughes' "A Suicide Note".

Overall, I read this book too fast and have had to re-read it twice to catch up with the brilliant and still racing mind and prose of the enigma that is Clint Catalyst.

This is a great selection of essays and poetry from Clint Catalyst. They deal with gay relationships, adolescence, and out of control drug addiction. These subjects are dealt with in such an honest, clear and edgy way. The lives of these unconventional characters are brought to the page so intensely with all their flaws clearly exposed. You'll feel their thoughts and feelings. The artistic language used in this book make it a pleasure to read right through to the last page. No matter how dark and trashy these characters get you'll want to read more.

This was my first introduction to the author's writings (thanks,Sheldon) and I truly enjoyed this book. I think what really made this book special was the poetry in-between the essays and fiction. These poems were so easy to read and what I mean by that is they were very understandable. You don't have to spend all day figuring out what the author is trying to say. They are a joy to read. I look forward to this author's future work. Highly recommended.

which I deem:

1) "What is Goth?" by Voltaire
For spelling out the basics to looky-loos, kinderbats, or insiders who aren't afraid to laugh at themselves (for fear of exposing the adhesive-stripes along the gumline of their fake fangs)...

2) "Cottonmouth Kisses" by Clint Catalyst
For its sinister and gorgeous first-person account of life within the nightclub netherworlds. I've known many a Goth girl over the years who's had her share of Clint "pin-ups" and "shrines," and the fact that he's lived a life so far beyond the margins of Hot Topic and mainstream acceptability (and SURVIVED it) is more "Goth" (i.e., barbaric -- i.e., AUTHENTIC) than any paint-by-numbers impostors out there...

3) "21st Century Goth" by Mick Mercer
For its role as an informative compendium of the international scene in all its varied shades of shadow. There is no easy answer, no singular attempt in this book to pigeonhole Goths -- in fact, it does the opposite. Plus, I mean, it's MICK MERCER, who's been reporting on the scene longer than most batpackers these days have been alive. Pay your respects to the grandaddy of Goth!

And ALL HAIL THE TRIUMVIRATE!

Mr. Clint has really let all of us, no matter what stage of life we are in, what planet we are from, or the aumont of zeros on our paycheck, look inside his world and gave us a whole new realm of thought. I loved this book. I read it in two days. AND thats with two kids under the age of 4, a hubby and a big white dog. I couldnt put it down. Its an awesome book. I can not wait for his next wonder in print... keep up the good work clint. This is definately a must read!

I have a tendency to be too wordy in my writing, so to learn more focus and control, I have been studying (and writing) haiku. The Haiku Handbook has been an engaging resource for me in those efforts. Each of the book's five sections contains a wealth of ideas and information that both challenges and inspires:

Part One: Haiku Old and New [A great introduction to the experience of haiku and to Japanese Masters. The "Why Haiku" is helpful in clarifying one's purpose for writing such brief poetry.]

Part Two: The Art of Haiku [Natural themes, the form and craft of haiku; this is the section that I like best, and I repeatedly refer back to these pages. I especially enjoy how the author discusses the difference in Japanese and English languages.]

Part Three: Teaching Haiku [How to teach haiku writing to children, lesson plan included]

Part Four: Before and Beyond Haiku [Haiku and its uses]

Reference Section [With Season-Word List & Glossary]

Overall, this is a worthy product for anyone who wishes to delve into haiku more deeply than the introduction that most Westerners receive.

I love this book, as a matter of fact I love it so much I purchased two. One for my desk and one for my purse. Great info for Haiku writers.

The perfect volume for fans and writers of haiku. Indispensable.

Blyth's Haiku Seasons books and Higginson's guide to reading and writing "haiku" in English are two of the necessary books to begin to understand what haiku is all about. I have a difficult time with the idea that a tiny poem written in any of the Romance languages--esp. English-- could be called a "haiku," even though the author might include season words and even the 5/7/5 syllable count. I would much rather call them epigrams, because they simply cannot give you the effect of a Japanese haiku. Anyone who argues otherwise is simply fooling themselves, and you. Given all of that, however, Blyth and Higginson are good books to have on the shelf. Blyth, I believe, is the better writer/translator and his sense of chronology and history is stronger. In addition he gives hundreds of translated gems to admire from Basho, Issa, Buson, and others. He also doesn't try to convince you that haiku can be written in English. Higginson is the warmer writer and his generosity to the reader is apparent from the beginning, so practioners will find him perhaps more useful than Blyth in a practical sense. I disagree with Higginson's history of English language "haiku"--there are some important people he simply leaves out, but he more than makes up for the omissions in other chapters. Both writers impart an enthusiasm for the subject to their readers. If you're building a haiku library and would like a great start, Blyth's four volume set and Higginson's Haiku Handbook are the way to go.

There are very few books on how to write in any idiom. This book explains the hows and whys of haiku. What it takes to get started and to continue to write. I have found this useful in my writing that is not associated with haiku or poetry. This book is a lot of fun to read, and is not stuffy and boring as text books are. It will serve all writers well.

I, too, like Ms. Ryan, am a believer in "true love." I found it only
once in my life for a brief time; consequently, once it became only a
memory, I felt I might never find that special someone or share those
wonderful feelings again. I am still in search, but after having read
Ms. Ryan's tender thoughts, I now feel this is still there for me and
possibly anyone who will just keep their mind and heart open for that
someone to "come in." I have dated recently with the hope that this will
happen. If it does not, I am not discouraged, however; I feel it
is "just around the corner," and some day I will discover it all over
again. I do not want to settle - I want the "bells and whistles" all
over again, along with the heart "flutters" waiting to see and be with
that person who will make my life complete again. This will happpen -
Please read "If You Believe in True Love," and you will understand and be
uplifted to a new level of hope and encouragement. I plan to give this
book to a couple of my friends this year as a Valentine's Day present. I
know they will appreciate it and cherish its contents forever.

I have finally allowed myself to meet someone after reading Marlene Ryan's Book, it helped me to understand that I must listen to my own
feelings and to recognize these feelings for what they are. She helps you look at things in a different light. I have so longed to please other people
my whole life and it left me feeling empty inside. Now I am doing what makes me feel happy inside and I am now my own person. Her book is full
of so much information on so many situations that take place in life. I have taken to heart all that she pours out from her heart and it is working for
me. I encourage others to read through her whole book first; after open to a page and read.

The Author's true love cd is so expressive as it touches on various topics sharing so much love, misunderstandings, faith. I highly recommend it to anyone. I want to thank the Author for a true work of art, combinding her book with a music cd.

Author's Book is very open and honest. She stresses you to listen to your heart, for it is as she has stated, 'a Protection.' I really found myself very involved and the further you get into her book the greater or should I say more intense it gets. I do recommend her Book to anyone that would like to look a little more into themselves, certainly has opened my heart to true love by understanding and recognizing what it really is and to follow your heart for it does exist as the Author brings out.I found the Introduction to her Book very informative. I am more then empressed with her talent and writings so different then anything I have come accross as far as poetry, this is far more then poetry. These are stories, meditations, more along those lines, wisdom. Very professionally put together! Her Music CD; which I have listened to many times. You need to, there is so much. Alot to absorb in one sitting. I love the songs: So Sorry, Time for A Change, Believe, Is This How We Parted, Cared, Should Find, High On a Mountain, 'True Love' (great story). Other songs; Ever Since You Left, Remember Me (very moving) Music CD. The Music is somewhat not only exciting but coupled with the lyrics amazing as I again, recommend you to listen to it a few times to get the drift, deep. There are alot of songs; with such meaning. This Unusual Book with Music CD certainly deserves a 5, if not more for the simply fact it takes courage to put something so different out into the Market Place. The Author has done a great job, I give her lot's of credit! Very Well Done! I hope to see her on a talk show soon! Worthwhile and should be shared with the public on a larger scale. Someone who has the knowledge of the industry should take a hold of it and run with it, she deserves to be heard!

Her Book with Music CD is a whole new concept; the Author has done something very unique and I was greatly amazed at her futuristic style of mixing a book with a music CD in a very interesting way.

Never saw a book put to music before. The whole concept of having her meditations turned to lyrics put to music on a CD is so amazing. Picked right out of her book and I like that I could just take them in the car with me and listen to them on the way to work. Songs like So Sorry, Time For A Change, Should Find, High On A Mountain the whole CD is so meaningful. This should be the new wave of the future, not having much time to read, I can appreciate this. Upon opening my package, I was surprised how appealing and how I knew I made the right choice to purchase it. Hope others will have the opportunity to read such deep and thoughtful works. Definitely would give it to a friend for a gift, because it would be something out of the ordinary. Her pictures throughout the book are beautiful. Thank you for giving me the chance to say what I feel about the Author's incredible Book and Music CD. Thanks to the Author on her out of the Ordinary Works get's my 5 stars, worth it.

As i turned the pages of the authors life I became intrigued with her writing style. She is open and pure and takes you on an emotional roller coaster of the heart. I felt her pain, joy and her honesty. Her poem "Sweet Dreams and The Little Things "is one i like very much. It reminds us in life IT IS the simple things that brings the greatest joy!!!!. Finding your True Love and holding on to it is what the book is about. She writes about freedom, love, friendship, loss and longing. It makes you ponder personally on your own life teaching you to cherish and protect those you care about. As her poem "TIME" states "if its true love, time is of no concern "True Love" has a life of its own. Time teaches lessons and enables us to see what we feel and lost, this book is a wake up call to our hearts. I urge all to go out and buy this lovely book. It will give you the courage to Make that call, Swallow that pride, or Follow that Dream to find or reunite again with your True Love. I hope Ryan as the Author has found her true Love. For it made me realize who mine is.

A dear friend of mine had this book and I was intrigued. Although he had an edition that was dated back in the 50's, it was very worn out with its brown loose pages. Depsite that, I read some of the greatest poems that you can imagine and some familiar ones that I knew but not in its entirety. They were some of the most beautiful words written on paper. I decided to get my own copy and got a new edition for my friend and was thrilled with emotion. I knew I gave my friend a renewed treasure that he can now read without worrying about the pages falling out of its binding. I truly recommend this book of poems to anyone who really wants to feel well written words in verses that are truly beautiful and memorable. Get this book!

As with all anthologies, there will be a number of reviewers sniffing in an offended manner at the dearth (or glut) of Cummings, Yeats, Aiken, or Pope, but any 600 page anthology, by it's very nature, must be incomplete. I purchased this compilation three years ago for long flights and such and it has yet to disappoint. For the size and price of this work, one would be hard-pressed to do better.

As for content, all the major poets are more or less liberally represented. Cummings gets short shrift, and several of Yeats' most memorable pieces "An Irish Airman Forsees His Death", for one) are excluded. Yet I am certain novice and old hand alike will find this work passes the time admirably.

Having been with me through several housheold moves, military action, and cramped backpacks no self-respecting piece of literature should have to endure, my copy is now fairly falling apart. Yet when it expires, I will buy another copy. No other anthology, especially in terms of price, convenience, and memories, could ever compare.

As other readers have said this anthology contains selections from the great poets of the English language from Beowulf to the middle of the twentieth century. It is the kind of book which can be read and reread for years upon years. I would however take exception to the claim that it is the best anthology of its kind. It does not have explanatory material provides no introduction to the poets, no interpretation of their work. There are other anthologies ( Among them ' The Concise Treasury of Great Poems' by Louis Untermeyer) which do so. Nonetheless the bottom line is that this Anthology contains very much of the greatest poetry in the English language.

I too love this anthology. A passionate love of poetry has been part of my upbringing. Let me say that both my mother, Gene Derwood, and Oscar Williams, my biological father, contributed to the selection of the greatest of the great poetry of the English language. Thus we have the contribution of a husband and wife team. Reviewers have mentioned updating this volume, but what has happened is that modern poetry writing no longer follows a firm tradition. Modern poetry is a shotgun blast. There are no recognizable standards for universal selection. Plath is recognized because you cannot divorce her from her suicide. Ginsberg you cannot divorce from his beard and little clanging bells, a media invention. Bob Dylan you cannot divorce from his being a song writer and media invention. If you are not a media invention and only a poet, what chance do you have? So Immortal Poems represents classic taste before media took over the American mind. The media is immortal these days, not poetry. Selecting from contemporary poets not using traditional standards would be difficult to do. I would still love to do it. For those interested in Oscar Williams there is information now available on the web. Just search it with oscarwilliams and see what their world was like in the twentieth century.

I have several books of poetry at home, but this one is my favorite. It is a good collection of poetry from the time of Middle English to almost to the present. There are a few modern poets I would like to see included that haven't been yet. Maybe someday someone will update this wonderful volume.

It starts with Middle English poet extraordinaire Geoffrey Chaucer, with excerpts from the Canterbury Tales and other writing. I would like to have seen Beowulf and some Old English poetry included. There are excerpts from anonymous poets of Middle English leading into the "Shakespearean" times where English is becoming more modern.

Shakespeare of course is well represented, with passages from plays as well as poems and sonnets. This is true for some others like Marlowe, too.

By the time after the Elizabethean period, English poets were not confined to England. There are Celtic poets like Robert Burns of Scotland, Dylan Thomas of Wales, and several Irish poets and American poets well represented in the later part of the book.

The poets are arranged chronologically in the book, but there is are indexs of titles and poets alphabetically at the end of the book for cross referencing. This book has over 600 pages, but it is still a small paperback and will fit in a coat pocket, which is where my copy often lives, dog eared and highlighted all over the place!

I had heard of most of the poets in this collection before I got the volume, but there are some I hadn't heard of and am glad to know. This is an excellent beginning collection, easy to carry and easy to read. Being a mass market paperback, the printing is not the best, but the poetry certainly is.

This is not to say a thing against either of the two TV two versions of this play, which I saw and loved, but to say that when I first heard the play it was on a recording with the voices of John Gielgud, Penelope Browne, and Richard Burton.

I thought I had never heard words spoken by human voices that was so alluring they were close to opera. Hearing them was like getting drunk on words. I can't find that audio tape now that I used to copy the library recording, and I wonder if there is any way of tracing that performance and getting another copy? I remember Gielgud's way of expressing tedium of the party that was to mark the last night of his life and Jennet's. "Tedi-UM, Tedi-UM, Tedi-Um, on a falling scale, or naming the party "ice bath of pleasure." Yet he was in love and bordering on desperate when he told Jennet that when she had rejected him after a brief pause: "I'll chalk that hesitation all over the walls of Hell."
And about the future, which they didn't think they had: "I can give you generations of roses, here, in this wrinkled belly," He murmured, putting a rose hip in her palm. Wonderful, indeed.

Centering around the notion that two antithetical people are nonetheless in the same kind of predicament makes an interesting subject for a story, comedy, or otherwise. What makes this play such an entertaining read, play, and piece of literature, is also what keeps it from being an enduring classic. Language can be a beautiful but it can also be ruined by needless toying and that's exactly what the lead character, Thomas, does for large portions of this play. The two leads are so conceited about their lives and goals and proving things to others. I guess that's the reason the play is both laughable and exhausting. The characters in the play concede to truths and judgment not by reason, they can just ignore it no longer. Everyone in this play, with the exception of Richard, is unsensible and their actions are unpredictable in tradional terms, but the one thing you can count on is that they won't do what someone else wants them to do, they will always do the opposite unless it's already what they set out to do. This is classic comic folly, however, it doesn't come out that way because of Fry's language taking center stage.

As a previous reviewer put it "not everyone will enjoy reading "the lady's not for burning" I'll take it a step further and say that not everyone will find it essential, because I don't. Although I enjoy it and am thankful I read it, I think it's a disposable play, that depends on virtuosic acting and an uncanny knowledge of the English language.

I had the pleasure of seeing John Gielgud and Pamela Brown in "The Lady's Not For Burning" when I was teen-ager. It has been a pleasure to relive the joys of this delightful play once again.

It's 14th Century England and Thomas Mendip is tired of the world. He just wants someone to hang him so he can leave this life for good. He keeps telling people that he's the devil himself and the only way to send him back to Hell is to kill him. But the village leaders have bigger problems to worry about. The daughter of a local deceased alchemist, Jennet Jourdemayne, is certifiably insane and the townfolk think she might be a resident witch. It doesn't help that on the day that Thomas begs to be hanged, the beautiful Alizon Elliot is arriving to greet the son of the mayor to whom she is engaged. Thomas and Jennet are forgotten while the preparations for Alizon's arrival take place and that night during a ball for Alizon, Thomas and Jennet meet. The fates collide and they fall in love. But Jennet's supposed to be hung. What is a devil to do?

THE LADY'S NOT FOR BURNING is hilarious, but the comedy takes a backseat to the witty wordplay. The characters are secondary performers and the real star of the show is the language. One would probably assume that THE LADY'S NOT FOR BURNING was a product of the English Renaissance, perhaps even a missing play written by Shakespeare himself. But it's just good ole Christopher Fry's twentieth-century version of a Shakespearean-type comedy written in grand form.

Not everyone will enjoy reading THE LADY'S NOT FOR BURNING as the delightful language might be too much for some to understand. However, if you like Shakespearean comedy or just have a love for the English language, then THE LADY'S NOT FOR BURNING might be something worth your reading.

Charles Williams once yelled something to Christopher Fry from the top of a London bus. I forget what he yelled but I'm surprised they couldn't communicate psychically, for Williams and Fry were soulmates in more ways than one. Critics find both obscure and obtuse, overly given to purple prose and awkward phrasing. Readers who want to be banged over the head don't like either author, but those who enjoy sublety and coaxing a text to give up its secrets often enjoy their whimsical wordplay, even if they find their works overly freighted with ideas.

Both writers are given to many-layered interpretations. One writer found in Fry's play A Phoenix Too Frequent an almost allegory of St. Paul's contrast between the "law" and "grace" in the book of Romans (in a full allegory everything corresponds to something else, which is not the case here). Charles Williams' plays are works in progress that are worked out dramatically on the stage. His most famous novel, Descent into Hell, develops the story around the attempt to put on a play.

Charles Williams would find nothing odd in these resonances between himself and Fry, both members of what he called the confraternity of poets, or between author and reader, whom he would say were linked in the web of souls. This language yearns to be spoken, almost as an incantation, and this potential energy longs to turn to kinetic action on the stage. Our age, given unto despair, finds both writers alternately too somber and too flippant. But for readers who, like Fry and Williams, find themselves out of step with modern (or post-modern) sensibilities, these plays may be just the thing. Maybe that's what Charles Williams was shouting from the London bus.

Continuing tale of the Cambridge-educated English Officer living the hell of warfare on the Western Front: replete with adoring batman, blustering colonel Blimps, out of control colonials (Australians and Canadians), journeys to England on home leave to meet misinformed civilians. Sasson has a style that waxes between light and lyrical, cynical and dark and starkly realistic. It is reminiscent of Graves but less dark than Blunden.

This is a tale of the human mind (an upper crust mind) that makes the journey from old world to that of the lost generation -- but Sassoon never loses himself. It shows that the mind-set was already there capable of dissecting and throwing away the old world view tradition. With capable honesty Sassoon relates the contradictions in life, army and mind set of the pre-war generation. He still takes advantage of the liesure of the educated class; his batman pours his tea, he still sees the colonials as slightly quaint and backwards (especially the Australians), still finds refuge among his educated Cambridge intellectuals -- this is no tale of class struggle.

This book can read as part of his trilogy lifestyle or on its own. It has many haunting vignettes and is perhaps one of the top 5 WWI memoirs. Highly recommended.

Siegfreid Sassoon's wonderful war memoir is thinly disguised as the story of George Sherston. Based solely on Sassoon's life in the trenches of WWI, it recounts the horror and scale of carnage that occurred. More importantly it shows the emotionally scars that the survivors carried with them as a result of exposure.

Sherston (Sassoon) was a rather spoiled and pampered young upper class Englishman. The war changed all that. Confronted with death, destruction and idiotic leadership from the High Command you sense the inner turmoil of Sherston.

Relieved when he is not involved with the fighting he is driven by guilt over the loss of the soldiers in his battalion. Consequently when his platoon is on the line he takes great risks in reconaissance of the German positions.

The effects of non-stop total war, stupid leadership and the complete contrast between England and the trenches (only a few hundred miles apart) is staggering to Sassoon. Sassoon becomes anti-war and considers becoming an objector, but his obvious connection to his comrades and loyalty to them wins out in the end. He hates the war but won't abandon his comrades in the field.

This is a great war memoir written by a poet who survived and was changed for life by his experiences in it.

Terrific book that sounded a bit autobiographical. Sassoon, of course, was a war hero on the battle of the Somme, decorated twice for bravery.

The book reads lyrically and is convey's nicely the daily life of soldiers moving back and forth from the front fighting trenches to the rear area of the battle field. He also does a great job portraying the strangeness and inner conflict of being back in British society (while recovering from illness) with people who know nothing of the war or its cost to the participants.

A Brit's version of "All Quiet ..."

While perhaps best known for his poetry written during WWI, Siegfried Sassoon was a very talented wordsmith in general, a trait that is demonstrated in his second semi-fictionalized autobiography, "Memoirs of an Infantry Officer". Sassoon chose to fictionalize his accounts of his life, an odd technique that allows him to distance himself from these experiences as he intimately describes the raw emotion and response behind them. In his three memoirs he is George Sherston, a thinly veiled version of himself, who thinnly veils the real-life characters he encountered during these times.

Readers are automatically flung into Sassoon's war experience, from the disjointed and fantastical training, to the brutal reality of life in the trenches. Sassoon describes these experiences in vivid detail, the sheer misery of trench warfare, the almost callous attitude toward the dead on both sides, and the surreal life led by those back home. Sassoon, nicknamed "Mad Jack" for his stubborness and seemingly sheer lunacy at times, was awfully lucky during his battle campaigns. He was wounded a few times, always sent back home to England to recuperate, and almost happy to return to the war.

However, after one session as an invalid, Sassoon begins to recognize that the war may not be all it's cracked up to be, that those in power are not telling the truth about their war aims, and that he may just be a lowly pawn in a game he doesn't want to play. Towards the end of his narrative, Sassoon tells of his decision to speak out against the war, even if it meant being court martialed. This act, filtered with courage and fear, is achingly portrayed as an act both necessary and questionable: as Sassoon places himself in danger, he questions his true beliefs in the matter. This account ends just as Sassoon enters the hospital in Scotland, avoiding court martial with a diagnosis of shell shock, 'lucky' as usual.

"Memoirs of an Infantry Officer" is a vividly descriptive account of life in the trenches during WWI. Sassoon is a gifted storyteller, who can make even the direst settings come to life. He offers a unique insight into the soldier poets who first questioned whether or not war was such a noble and glorious pursuit and if the sacrifice of lives was worth the price in the end. While a little slow at times, the last quarter of the narrative which details Sassoon's questioning of the war, is a brilliantly written firsthand look at how a too little celebrated writer finally found his voice.

Siegfried Sassons' "Memoirs of an Infantry Officer" is a first-hand account of life at the front line during World War 1. This is not a just a historical document or diary however. Sassoon writes via an alter-ego called George. In real life, Sassoon was an infantry officer who fought at the front, but eventually grew suspicious of the reasons for the continuation of World War 1, and as such became a dissenter. This book may be fiction, but it is based on fact and it gives an impressive account of what life must have been like in those trenches, nearly a hundred years ago. Sassoon's incredible ability with words paints a much more vivid picture than any war movie will ever provide.

George was a middle-class officer who had the luxury of a university education and was an avid reader of classic English literature. He juxtaposes the themes and ideas in this romantic poetry with the realities of life at the front to great effect. Although a tad repetitive in it's ideas (perhaps to get the point across clearly), this book is rewarding and still relevant this whole century later. As one character in the book says, "In war-time the word patriotism means suppression of truth" .