Authors Books

Joshi is the foremost student of Lovecraft, and in this volume he has written the unsurpassable biography of the man whom Stephen King himself called "the twentieth century's greatest practitioner of the classic horror tale."

For myself, I can only say it's been a long wait. I first discovered Lovecraft at my local library in eleventh grade. I picked a book decorated with some macabre illustration off a twirling bookstand, checked it out, and rode my bike home with the volume tucked under my arm. That evening I sat with it in the big white reading chair in our home's living room. The first story I read was "The Picture In the House."

I was hooked.

Within the year I'd read every story Lovecraft wrote excepting one--"Herbert West: Reanimator". (I finally got to that earlier this year.) I became, in a way, obsessed with Lovecraft. I wanted to know who he was, so I read Frank Belknap Long's Howard Phillips Lovecraft: Dreamer on the Nightside. The stories and poetry I was writing at the time became increasingly colored by (or downright imitative of) my hero. Somehow, the man infected my consciousness in a way no other writer--before or since--ever has. I guess it's because in so many ways my inner life has been--with some important exceptions--a parallel to Lovecraft's. I see him as a kindred spirit.

That being the case, it's hardly surprising I relished--nay, wallowed in--this biography. It is detailed beyond imagining. Here we follow Lovecraft on his walking tours, street by street. We see his grocery lists and menu items. We read his letters and amateur publications. By the end of this text you will feel you have lived and breathed right alongside the old fellow and slung arm-in-arm with him through his nightmare worlds. No one could have done it better than Joshi, and it is doubtful anyone ever will. If you are a fan, this is a must read. If just curious, the lengthy detail might be off-putting, but you may find yourself a convert by the end.

Wow, this must have been quite a few hours of work for Joshi! The fonts are below even standard book-fonts, AND I hear it's an abridged version but still the book is almost 700 pages. But don't get me wrong, in many ways I wish it was longer. The book is a fine introduction to Lovecraft's life, and to most Lovecraft-readers, probably quite enough in itself. It chronicles on an annual basis, highlighting and describing any interesting incidents or activities revolving around Lovecraft and his circle of friends and family that happened over the years. There's not much to say about this, its very good and solid biographical work by a fine devotee of Lovecraft; S.T Joshi. Its not often reading a biography makes me sad, but reading the final chapter on Lovecraft himself "The end of one's life" made a certain Norwegian man quite sad. Apart from some points I'm about to take up, I have no doubt that this is a biography that Lovecraft himself would have approved of. It could have been more detailed in its description of how the various fiction came to be, and more analysis of this area, but it IS after all a biography, so that was of course Joshi's prerogative.

Now to the bad; as a little background to the author of the book, he is in fact an immigrant; an Indian living with a miscegenating Euro-American female. This explains why he constantly abuses Lovecraft for his conservative and racialist views. He conjures up non-sense frequently when talking about this subject; somehow concluding that theories about race and miscegenation etc were definitively debunked by the "scientific work" of Franz Boas. This is of course complete nonsense, like Kevin MacDonald has shown in his excellent work "The Culture of Critique". Franz Boas had specific racial reasons himself for carrying out his campaign against the use of "race" in academia, and the reasons for this were far from what the Western standard of science represents.

So even though I highly recommend the book, I wish Joshi could have been so intellectually honest that he admitted in the book that his status as a non-European immigrant himself has biased him, and made him write the book with an extreme liberal and secular slant. So if you manage to ignore this part of Joshi's book; you'll have on your hands an excellent and well-written account of Howard Phillips Lovecraft and a good introduction to his writing.

Unlike De Camp in his earlier biography, Joshi doesn't consider HPL to be a failed version of what he might have been had he at various key points in his life been just that little bit more commerce-minded: instead he accepts Lovecraft as he was and goes on from there. I think Joshi brings out what it is about Lovecraft & his work that continues to fascinate today: the curious fact that an erudite, scholarly autodidact should, from an early age, have been so caught up in a melodramatic 'pulp' aesthetic that for the rest of his life he focussed the entirety of his self-expression - emotional, intellectual and philosophical - through that aesthetic. Hence Lovecraft's stories have, even at their most garish & mechanical, an (admittedly sometimes near-subliminal) intellectually rich underpinning, and it is this bleed-through of a higher aesthetic that lifts them above the acres of hackwork that surrounded them when first published in Weird Tales, (try reading even a 'best of' by those other writers today!), gives them a psychological curiosity, and has given them their unexpected longevity.

Joshi's analysis of the 'Cthulhu Mythos' is, I think, exactly right: he defines the Mythos (not HPL's coinage, of course), as 'a fictional technique' for presenting Lovecraft's philosophy - which Joshi defines astutely as 'an anti-theology' which makes manifest (as we see with the cultists in Call of Cthulhu) the delusive nature of all religious belief, and asserts the meaningless of human existence in a vast, uncaring, mechanistic universe.

This analysis justifies what would otherwise be an excessively lengthy exploration of Lovecraft's political and philosophical beliefs, given that he published no significant writing on those subjects, and was only considered a great thinker by his friends and epistolary correspondents. It also highlights the unalloyed perversity of August Derleth in imposing a Catholic-inflected cosmology onto Lovecraft's atheistic vision. How strange that he was so fascinated by HPL & his work, but couldn't accept what Joshi rightly points out is its absolute core!

Joshi manages to address various differing opinions in the world of Lovecraft Studies without becoming pedantic or petty, and takes trouble to credit other researchers and academics for their insights.

As a biography this book is full of interest, and Joshi's pursuit of detail is relentless - occasionally to the point of obsessiveness, it has to be said, but some of the details he uncovers are highly revealing. His account of Lovecraft's death I found surprisingly moving, but I did not, as I did on finishing the De Camp biography, regret his life - except in the single matter of his clinging on to racist beliefs and self-diminishing prejudices.

I have very few criticisms. There are no photographs, and I think the cover is horrid - & certainly is not a good likeness of HPL. Occasionally Joshi is so aesthetically aligned with his subject he indulges him (as he does with certain of his amateur endeavors); occasionally Joshi is over-definitive in his judgment of the merits of various yarns. I think he slightly misses the mark at various points when he comments of (eg the denoument of Herbert West) that HPL must have been sending up his own style to *intentionally* comic effect. This, I think, is not quite right: rather, it seems to me, he allowed his discipline to slip, and reverted to the garish style of the Argosy yarns that he had read as a child, the style of which had so fundamentally informed his entire notion of the form of aesthetic and psychological self-expression that he could never quite discard it. Lovecraft knew it was a failing on his part, but sometimes let it off the leash regardless. I'm sure he never thought of his verbal pyrotechnics as anything other than, on sober reflection, accidentally funny.

Aside from those very modest quibbles, I found Joshi's judgments & assessments at all times perceptive and thought-provoking, and his 'Life' a highly-readable achievement in biography.

The good: Until S.T. Joshi's book, the only serious, widely-available biographical information on HPL apart from his letters was 'H.P. Lovecraft; A Biography' (1975) by L. Sprague de Camp, which left many gaps and open questions. Joshi's book fills in the gaps and then some. It is the closest thing we have to a definitive Lovecraft bio, and if you're a Lovecraft scholar of any seriousness, you'll eventually need to read it.

The not-so-good: While Joshi's book reads like a rigorously well-researched first draft, I wish he'd consulted a manuscript editor before publication. This massive, expensive and ponderous 708-page book could perhaps be edited into a more readable and reasonably-priced 300-page book, with another 100 pages of small print endnotes, merely by removing Joshi and his scholarship from the foreground and replacing them with Lovecraft. For example:

- Joshi includes himself in the story, using the first person pronoun on nearly every page. "I..." this and "I..." that. While Joshi is likely the world's foremost Lovecraft scholar, and I appreciate his excellent and exhaustive efforts as a researcher, I did not plunk down such a hefty cover price to read about his adventures in scholarship. Easily 200 pages of this 708 page book are about the adventures of Joshi, Lovecraft scholar. That information belongs either in a short appendix or separate article. He'll print a quotation and then add, "To this analysis there is really very little to add...," or "I don't think I can add much to this," or "That last remark may be a little sanguine, but let it pass," seemingly for no other purpose than to firmly return the spotlight, which had momentarily alighted on Lovecraft, to himself. On nearly every page I felt that trapped "captive audience" feeling you get with professors who use class time to speak at length about their personal lives. Surely by now it has become standard practice for biographers to not include the personal "I" in their biographies, at least when they've never met the subject.

- While most biographies focus on the subject and relegate sources and disputes to footnotes and endnotes, Joshi foregrounds the sources and points of contention, which has the odd effect of almost burying the subject. You'll often read four paragraphs of sources and conjecture containing a single sentence of actual biographical information. If Lovecraft did X, but there's some dispute, I'd prefer the main body to say "Lovecraft probably did X," with a small-print footnote citing sources and contentions. I paid to read about Lovecraft, not Lovecraft scholarship. I often feel like I'm being punished, forced to read 708 pages to get 300 pages of information.

- As another reviewer pointed out, Joshi frequently expresses his personal opinions in a tone suggesting that he believes them to be indisputable fact. Especially disconcerting is Joshi's careful habit of never missing an opportunity to denigrate Lovecraft himself. A tiny sampling of Joshi's descriptions of Lovecraft and his work includes: clownish error, clumsily, embarrassing, paranoia, pompous, pseudo-philosophical, trying to do too much, moping, overly given to histrionics, painfully inept, pitiable wish-fulfilment [sic], a pretty sorry excuse for a story, offensive, dubious and pathetic. It's almost as though, while Joshi must have some respect for Lovecraft, he is careful to constantly place himself "above" Lovecraft emotionally. I can sympathize with Joshi, who as a serious scholar must sometimes find himself exasperated by uninformed intellectuals who still underrate Lovecraft's genuine contribution. However, I feel that the body of a biography is not the best place for Joshi to distance himself from Lovecraft's sillier decisions. If Joshi dislikes something, surely he need not bolster his personal opinion by inflating it into a grandiose pretend-fact by pompously lecturing the reader as to what we ought to despise or where to place our "well-deserved contempt."

Why are Joshi's opinions in the book at all? Doesn't he trust his readers to form our own opinions? Almost once per page I felt some resentment at being forced to play captive audience to Joshi's unwelcome editorial opinions and emotional self-positioning in order to gain access to his excellent scholarship. Toward the end Joshi finally provides his editorial rationalization, introducing the topic by slamming previous Lovecraft biographer de Camp with: "[de Camp]'s schoolmasterly chiding of Lovecraft [is] ...galling." Talk about the pot calling the kettle black! Joshi goes on to claim that "passing value judgments... is the proper function of any biographer." Excuse me? As with all of Joshi's most dubious assumptions, he provides not a single citation or justification for this opinion, but merely states it as fact. Many (perhaps most) professional biographers would strongly disagree. I couldn't help bursting into incredulous laughter when Joshi finally declares, "...on occasion one feels as if Lovecraft is having some difficulty shutting up."

In closing, I hope this book is re-released soon with S.T. Joshi's presence as a character, editorial opinions, emotional self-positioning and research experiences either cut entirely or summarized in an appendix or endnotes. Then it wouldn't hurt to have a professional book doctor rewrite with an eye to smoother prose and readability. THAT edition will be the definitive Lovecraft biography.

Clocking in at 654 pages, this sprawling biography will teach you everything you ever wanted to know about the horror scribe -- along with some things you'll wish you hadn't discovered, like how Lovecraft was a more zealous racist than was the norm in his day. Joshi is long-winded, for sure, like the grandfather who, when you ask him how the light switch turns the lamp on, proceeds to tell you the history of electricity, starting with two sticks being rubbed together. You'll be hard-pressed to remember all the details afterward, but the story of Lovecraft's life is smartly woven, divulging the world as viewed through the writer's eyes and those around him. Like a criminologist apt at identifying with a killer, Joshi truly seems to understand his subject down to the crumbs on his coat.

Good things come in small packages! This volume may be slender, but it packs a helluva wallop. This book is pure "rock & roll" hororr!

This horror anthology consists of twelve short stories and an extract from a novel. The collection runs a wide range of the genre with lead characters including the undead, a serial killer, and a dying cowboy's final lament, etc. The book contains well written tales that grip the audience as Staci Layne Wilson provides surprising emotion (that is for the short story format) in several of the stories. The supernatural runs free throughout the tome, but mostly provides atmosphere or the impetus to move the plot forward. Though the title implies a god-fearing or anti-religious fervor, HORRORS OF THE HOLY is more of a secular generalist series of tales that grips the audience with suspense and a wonder what can happen next. Ms. Wilson is a talent worth following (SEE THE LIFE AND TIMES OF RAPUNZEL).

Harriet Klausner

This is a funny book, but it doesn't detract from the horror at all - it's plenty scary! I really enjoyed it, and I'm hoping she comes out with a horror novel soon. Even though there are 13 stories, they were too short. I wasn't ready for them to end!

An anthology of 13 stimulatingly scary short stories. Each story a different look into the darkness, zombies, vampires, monsters and more. Wilson has created a collection of very different intersting, spine-tingling stories. The stories are creative and not really predictable. She uses different perspectives and creative these highly-entertaining plots. Delightfully enough, she sprinkles humor powder into irony, artfully. Her au fait writing style makes this a page turner. Take a journey through the supernatural world. Quick.

The sacred and the profane are only separated by a thin veil, and when HORRORS OF THE HOLY peels back the veil, be prepared for the fearful and unexpected. Beneath the most respected and holy lies the macabre and the profane, often more closely linked than you've ever expected.

Ranging from vampires and the supernatural to priests and evangelists, and even the common such as jewelry and teeth, HORRORS OF THE HOLY will have you checking the mirrors and the bathroom repeatedly. Two of my favorites, "Always Amber" demonstrates that possession may come from the simplest of things, while " Anti-Christ Superstar" will have you thinking twice before checking out that cool new web site.

Perhaps some of the fun with HORRORS OF THE HOLY also comes from the play on literary tradition. "Always Amber" was on my mother's book shelf for years; all children of the sixties and seventies loved "Jesus Christ Superstar" and of course the allusion to the bible in "The Tooth Shall Set You Free." Wilson's clever alliteration of the title, of course, also delights this English major: HORRORS OF THE HOLY: 13 SINFUL, SACRILEGIOUS, SUPERNATURAL STORIES.

While some stories are vaguely familiar as ghost stories or urban legend, this fresh voice brings new meaning and vitality to the story telling. Each story is riveting, written with an intensity that will hook the reader right through the end. Each story lives with vibrancy that is very difficult to match with such a diverse short story collection. If you love horror stories, the HORRORS OF THE HOLY is a must read.

Great job Victor! I had a hard time putting the book down once I started reading it. (I read it twice) you almost felt like you were living it. Victor did a nice job of making you visualize each character. I think Mr. Johnthan Holloway was my favorite. He's every girls hero. His family, his friends, and his community were his life. So much that he was willing to die for them. I can't wait for your 2nd novel hit. good luck Victor.

gwen

Yes, our book club "Mixed Company" discussed every aspect and enjoyed it. We look forward to meeting the Author VERY soon!

In Spite Of spins a tangled web of comedy, chaos, espionage, and intrigue; bascially things that occur in the Black community on a daily basis.

In addition to all the drama that takes place from the neighborhood beautyshop to the corporate boardroom, this novel's true gift to its readers is the passionate "Black on Black" love-thang. I'm sure you'll agree that is the "real deal" personified. The story gives each reader hope and reaffirms that love don't mean a thing, unless you have some for yourself.

The burning question that's sure to come to mind after completing the story of two life-times will be: "Who's going to star in the movie?"

I guess I'll be the dissenting voice here. I could not wait to put this book down. It was just plain bad.

The characters came off as one-dimensional stereotypes with no real depth who could be easily summed up in five words or less. John Holloway was "strong black man", the villain was "evil racist white man", Nation of Islam- "strong black men with suits", John's best friend-"Player" etc... While it's admirable to have a book featuring a "strong black man" to the extent that character is "Mr. Perfect/Dudley Do-right" he's not all that interesting.

Moreover, I lost count of how many times the author used John's thoughts as a vehicle to preach his views of what's wrong with Black America and how it can be fixed. While I understand the desire convey some sense of morality in a character, it just felt a little heavy-handed to have some moral lesson being conveyed to the reader on every other page. I couldn't help but wonder if this book was targeted towards teenagers because of the constant and obvious soap-box preaching going on.

As for the plot, why the author felt the need to make this an action novel I'm not sure. I felt like I was watching bad made for TV movie which from start to finish was obviously going to have a happy ending.

Finally, setting this story in Dallas was interesting, however the details were somewhat superfluous. As a reader I don't need to know every single street name the characters travel on to really "feel" like this story is in Dallas. A little too obvious an attempt to "Dallasize" the story on the author's part in my opinion. One more thing, way too many typos and misspelled words for a real book.

Twice John Holloway Sr., is placed in the wrong place at the wrong time and end up paying dearly for it. It took John Jr., to outwit the deception that was thrown upon him, to settle the score for him and his dad.

I really enjoyed the drama and would really like to see this novel made into a movie.

Great book - see his site at http://wwww.brianpowerwaters.com.

I thoroughly enjoyed Margin for Error: None, and I thank you for every chapter. There are a lot of men and women controllers out there that feel the same way I do about people like you. Thanks again. Gary Lashbrock, Miami Tower.

Margin for Error: None outlines his views on the nation's air traffic control system. Included were such chapters as "Danger, FAA at Work" and "Controllers Mate It Work." Baltimore Sun

Captain Power-Waters "tells it like it is" through the use of many examples. Unfortunately, those who should read this book-FAA officials-probably won't. C.W. Glines (author of numerous books on aviation) in Airline Pilot Magazine.

This book was published in 1980, and then again in 2001 but not updated. All material is at least 23 years old.

Anyone who likes Larry Niven's work at all should be happy with this book.

From Tom Clancy's introduction, along with others by co-authors and editors, through all the stories - and this basically includes his best work of all (Inconstant Moon and All the Myriad Ways), along with some other good stories. In fact, even with the excerpt scores averaging almost 3.50.

Even the excerpts are well done, the fun scene from Ringworld a good choice, for example.

Throughout, Niven offers commentary, and non-fiction pieces include an extensive look at how they put together the setting for The Mote In God's Eye, and also a piece outlining plans to write something that would satirise Known Space as all a hoax.

Then at the end a few thoughts and an advice paper apparently that he and some other writers, including Pournell did for some political body or other.

I'd probably call this a 4.25 I think.

N-Space : excerpt from World of Ptavvs - Larry Niven
N-Space : Bordered in Black - Larry Niven
N-Space : Convergent Series [short story] - Larry Niven
N-Space : All the Myriad Ways [short story] - Larry Niven
N-Space : excerpt from A Gift from Earth - Larry Niven
N-Space : For a Foggy Night - Larry Niven
N-Space : The Meddler - Larry Niven
N-Space : Passerby - Larry Niven
N-Space : excerpt from Ringworld - Larry Niven
N-Space : The Fourth Profession - Larry Niven
N-Space : Inconstant Moon [short story] - Larry Niven
N-Space : What Can You Say about Chocolate Covered Manhole Covers? - Larry Niven
N-Space : Cloak of Anarchy - Larry Niven
N-Space : excerpt from Protector - Larry Niven
N-Space : The Hole Man [short story] - Larry Niven
N-Space : Night on Mispec Moor - Larry Niven
N-Space : Flare Time - Larry Niven
N-Space : The Locusts - Larry Niven and Steven Barnes
N-Space : excerpt from The Mote in God's Eye - Larry Niven and Jerry Pournelle
N-Space : Mote Lite - Larry Niven and Jerry Pournelle
N-Space : Brenda - Larry Niven
N-Space : The Return of William Proxmire - Larry Niven
N-Space : The Tale of the Jinni and the Sisters - Larry Niven
N-Space : Madness Has Its Place - Larry Niven
N-Space : The Kiteman - Larry Niven


She puffs on Pluto.

3 out of 5


Overcee project farm people find.

3 out of 5


Demon summoming time limit Atom solution.

3.5 out of 5


Murder maybe multiverse.

4.5 out of 5


Slowboat reservation.

3 out of 5


Vaguely lost.

3 out of 5


PI no Martian Manhunter.

3.5 out of 5


A specially adapted ramscoop ship pilot gets in trouble in space, when he sees a large golden alien humanoid. He finds himself rescued and transported 12 light years instantaneously back to Earth.

3.5 out of 5


Various biffo, with or without laser beams.

3.5 out of 5


Alien alcohol test case quad pill investigation.

3.5 out of 5


Really lunary weather we're having.

4.5 out of 5


Strange party alien trip.

3 out of 5


Free Park experiment not bright.

4 out of 5


Three stage dude adjustment.

3 out of 5


Quantum black hole is ridiculous overkill.

3.5 out of 5


Offworld mercenary Cabell nightwalker Spectrum Cure.

4 out of 5


Fuxed up entertainment production mission.

3.5 out of 5


Monkey kid form peak.

4 out of 5


Abandon ship, the little bastiches have weapons.

3.5 out of 5


Hey! That looks different.

3.5 out of 5


Sauron attacks Dagon City. Who'd like to see that?

3.5 out of 5


Heinlein time alteration.

3.5 out of 5


Harem sneaky story.

3 out of 5


ARM to schizo arm.

3.5 out of 5


Flying lessons.

3 out of 5

This book is at the top of my "If I were stranded on a desert island..." list. I don't love everything Niven's ever written, but this sampler has something for everyone. This isn't just the best of Niven, it's some of the best SF written in the last 40 years. What's also nice is the inclusion of hard-to-find stories like "For A Foggy Night" and the non-fiction slice of life stuff. NSpace, Playgrounds of the Mind, and the later Scatterbrain provide an unparalleled look at the career of one of SFs greats. If you read no other science fiction this decade, read these books.

I purchased "N-Space" and its sequel "Playgrounds Of The Mind" in summer of 1992, totally unaware of who Larry Niven was, or that he already had such a lengthy history in the science fiction community. At that point (my first year in college) I had not read a lot of SF beyond the confines of Star Trek novels; save the space opera of W. Michael Gear and the military SF of Chris Bunch & Allan Cole. I didn't even really know what 'hard' science fiction was, and picked up "N-Space" and "Playgrounds Of The Mind" because I was pining for something different--perhaps more challenging?

Oh boy, did I ever get my wish! I soon discovered that "N-Space" is not a straightforward science fiction novel, but rather a mega-compilation of short stories, novellas, and outtakes from novels, spanning Niven's (apparently) decades-spanning SF career. I spent the fall and winter of 1992 totally falling in love with Niven's various universes, and the characters that inhabit them. Moreover, I fell in love with the 'hard' aspect of Niven's work, which compared to the space opera I had been previously reading, was rigorously rooted in the realities of physics and science. I was enchanted by the idea that you could stick to real science (mostly) and still tell amazing and adventurous science fiction stories. In fact, much of Niven's hard SF ranks superior to a great deal of softer material precisely because of its 'realistic' flavor. The generic, and often rubbery gadgets and technology of softer fare is religiously replaced in Niven's work by concrete extrapolations, based on what we understand about the universe in the present time.

Now, with that in mind, I would caution younger or less experienced readers, where "N-Space" is concerned. Especially since the book is not a novel unto itself, it's easy to get lost or distracted in this book. So many different ideas, concepts, times, places, and characters, are all hurled at you at once. If you're not ready to hang on for the ride, you're liable to get thrown off! Thus, if you're brand new to science fiction, or if you were like I was, and only familiar with media SF or military/opera, you need to understand that "N-Space" is a very different kind of book that gives a very different kind of read.

Still, Niven has enormous talent, not just for telling hard SF stories, but for telling them with wit, insight into character, and not just a little humour. His imagination when it comes to world-creation is dazzling, and his alien races and places are some of the most memorable I have ever read. Like a smorgasbord, "N-Space" gives us a healthy portion from virtually all of Larry's playgrounds, both well known and obscure. By the time I was done with "N-Space" I launched voraciously into "Playgrounds Of The Mind", which is essentially the second half of "N-Space"; the two books serving as the first and second parts of one, giant collection.

I've since gone on to explore the majority of the works that "N-Space" touches upon, and after a decade of consuming Niven I consider him to be, perhaps, my all-time favorite SF writer. "N-Space" is not his best single work, it is the best from his best, and as such, makes an outstanding primer for anyone who has never read Niven, but wants to becoming broadly and deliciously acquainted with his work.

At one time the term "science fiction" caused eyebrows to raise. "Isn't that reading for losers who can't relate to others well?" Larry Niven is one of the authors who forever changed the way SF is perceived, one whose fiction emphasizes science without cutting short on any of the tools of your typical brilliant writer of fiction. This gives us well-sculpted characters, even in the shortest of stories, with eye-opening and theoretically sound scientific concepts, plot twists, and remarkable endings. Satisfying story after satisfying story.

What's unique about this collection isn't that it includes a foreward with comments by other authors and fans, or that the author comments on each piece within the collection. Those are commonplace. But in Niven's world, he likes to let you into his world in a special way, perhaps by dishing some dirt on an SF mag who rejected a story that turned out to win a Hugo, etc. He openly questions his finished product, saying that "Today I'd write this story differently," etc. As if we could lift the lid on his cranium and step inside for a moment, seeing how the stories are crafted. Very interesting.

Not as interesting as the work, however, another unique thing about this collection: Not only short stories are collected here, many of which only appeared in one issue of some now-defunct SF mag or other, dating back to the mid 1960s upward to 1990 when this book was first published. He also includes essays, such as an unforgettable commentary on the problems Superman would have if he tried to mate with Lois Lane, as well as excerpts from his published novels at the time. A terrific sampler of a terrific author, whose early-70s work "Ringworld" stands as one of the most brilliant works of speculative fiction of all time. Intelligentsia still debates the validity of its scientific assumptions, and while even Niven admits that most of these have been disproven, how many SF works do you know that sparked so much debate while still being so widely admired?

Niven is far, far beyond any alien shoot-em-up author. This ain't "Star Trek." This is real scientific fiction told by a natural storyteller who loves what he does. We readers love him for it.

I am a lapsed Niven fan having discovered him in the late '70s as a kid. Something spurred me to buy N-Space as a way to rediscover what I cherished about his unique mix of hard sci-fi and realistic human emotion.
Thank goodness! When I was done I had to immediately start picking up where I left off with "The Mote in God's Eye" and I look forward to re-reading treasures like "Footfall." Perhaps I'll just start at the beginning and work my way up? :)

Used to listen to this on tape and wanted to replace it with cd so I could listen to it in the car. If you want to get a taste of life in 1660's London, this is it. The written diaries are also fascinating but fairly hard to read, so Kenneth Branagh helps us out here. Anyone interested in English history will be very pleased with this diary. If you don't yet know who Pepys is then, for sure, you need to buy this. I've listened to it at least twice over the years and alway hear something new with each listening. Highly recommended!

I chose to listen to this book because I felt I "should" be better acquainted with what can arguably be called the most famous diary in history. I looked upon it as a chore that would improve my mind.

I may have, indeed, improved my mind but it turned out to be no chore! What an absolute delight. I've read many historical novels that weren't half as exciting, funny and fascinating as this book. I kept having to remind myself that this man REALLY lived through all these things -- the plague, the great London fire, the machinations of the court.

Plus, his willingness to expose in frank (and sometimes bawdy) detail his personal life, health, sexual dalliances, etc., brought *him* as well as his times vividly to life.

I doubt if trying to read through the actual diary would be as much fun, but the editors' careful selection of entries culled out the best bits while never losing continuity.

And what more can I add to the praise of Branagh as narrator? The man is a phenomenal talent and shows it in this book. Never over-acting, he manages to convey a perfect tone (for instance, just the hint of a whisper at the more personal parts, as though Pepys was confiding in us).

All in all, this book convinced me that improving my mind doesn't HAVE to be tedious.

Of course it is not the complete Pepy's diary but is wonderful to listen to while on long drives. Kenneth Brannagh as the reader brings life into the English language of yesterday. I wonder if a movie is in the offing.

Samuel Pepys' Pepys' Diary is an outstanding classic which comes to life in audio cd format, narrated by Kenneth Branagh whose background in film and direction lend to a vivid narrative indeed. Pepys' classic has lasted centuries because it records in vivid descriptions the bygone world of 17th-century London life: this vivid written word in turn translates well into audio and brings a rich history to life.

I loved these tapes. I concur with the reviews that they are addictive - better for a long country ride than a harried rush hour. Then let Pepys (Branagh) be your witty and engrossing travel companion.

It obviously helps to be familar with the Restoration to enhance your enjoyment of these diaries; though many with even a general background will still find them entertaining. Highly recommended.

I saw 2 of Chekhov's plays in college and I honestly don't remember them. Glenn Close appeared in one I remember, but beyond that I was obviously distracted. Nothing could have prepared me for the perfection of these stories. I have never read a collection that had such an impact. Chekhov's clear-eyed world view peers at tiny physical details in the lives of the characters to see into their souls. They are tragic heroes in common clothes.

Chekhov looks on without judgment. His attitude is humane and liberal. No matter how foolish his subjects, his attitude is never condescending.

I hadn't realized it until I finished Pevear's forward, but Chekhov begins to slip subtly into stream of consciousness in several stories. This and many other innovations make Chekhov a pivotal figure in fiction writing. He is certainly under appreciated at present.

(I can't compare it, of course, but the P&V translation is another gift.)

Anton Chekhov is largely known for his plays (The Cherry Orchard, Uncle Vanya), but he is also widely regarded as a master of the short story. However to fully appreciate these stories the reader should be somewhat familiar with the state of fiction in Russia during the last half of the 19th century as well as social and political conditions in the country at that time. Some knowledge of Chekhov's personal history and his philosophy of life is also helpful. Lacking these insights one is likely to find these stories to be excessively negative and depressing.

One difficulty in reading this book of his best short stories is that the first few (50 pages or so) are unrelentingly depressing; death and unrequited love being the main themes and they are told in Chekhov's spare style. A Boring Story is a longer and more interesting piece. It includes some aspects of Chekhov's philosophy, and while it ends on another depressing note, there is still an element of hope present. Ward No. 6 is perhaps the best of these stories, as well as the longest. It tells of a hospital in Siberia with a ward for mental patients. The story centers around a doctor (Andrei Yefichmych), a decent and compassionate man who gradually descends to the depths of the place. Along the way he has an interesting exchange with a mental patient, Ivan Dmitrich. The doctor suggests that one can be happy anywhere, even trapped in a prison, and cites the example of the Greek philosopher Diogenes who so distained material things that he lived in a barrel. The patient disagrees strongly, shouting, "I love life, I love it passionately!" He adds, tellingly, that maybe Diogenes would not have been so happy if he had had to live in a barrel in the wintry cold of Siberia!

The other stories in the book treat of a variety of people and situations from all walks of Russian life. While despair and a sense of hopeless fatalism remains the main thrust of many of these stories, there is also an element of hope present. Chekov keeps coming back to the idea that the future will be better. Some stories, such as Anna on the Neck, even have an element of humor. The last story, The Fiancée, perhaps sums up Chekhov's view of Russian life. In this tale a young woman living in a small town becomes engaged to a local man. A guest from the city, Sasha, starts to talk with her about how empty her life will be if she marries this man. Gradually she begins to come to this realization and in the end leaves to move to St. Petersburg to have "a new, expansive, spacious life, and that life, still unclear, full of mysteries, lured and beckoned to her."

I have given Chekov a rating of 4 stars, rather than 5, because, compared to Guy de Maupassant and O. Henry, his stories do not sufficiently express the full range of human emotions. Both of the latter masters of the short story infuse their work with humor and even broad satire and this is the stuff of life as well as the dreary world that Chekov inhabits. Yet maybe Chekov is reflecting the reality of Russia in his time. In any case these stories are well worth reading.

There are no better short stories than those of Anton Chekov. He wrote characterizations that resonate across the years and across cultures. Chekov takes you deep into these people's lives and struggles so that the reader feels a very definite strong connection with these characters that populate pre-revolutionary Russia. Short on plot and yet each story is satisfying and memorable. Some , Ward 6 is an example ,are masterpieces of the short story form.

Excellent translation and stories that you can read and enjoy again and again for years. You can't go wrong here.

This is the first series of works that I have read by Chekhov. I wanted to read some of his shorter works before beginning reading his novels. Now that I realize how much I enjoy his stlye, which I think other people will like as well, I am looking forward to reading his larger works. I very much liked the insight into the Russian culture.

Chekhov simply astonishes. "The Lady with the Little Dog," one of his most famous stories, is rendered splendidly by Pevar and Volokhonsky. I don't know of any other writer who captures the confusion, fear and excitement of romantic love as well as Chekhov does here. The last line is perfect.

John Domini has done it again. When I first discovered Domini's books (see Bedlam, Highway Trade, etc.), I became a die-hard fan. His recent novel has won me over again. Domini writes with clarity and tooth: his characters so alive, they practically emanate from the page, springing from one adventure to another. The book is true to its title, chronicling the adventures of the protagonist Kit, who upholds the written word, as a writer /owner of an independent rag that outs the heinous political undercurrents of that era. Domini captures this with wit, excellent research, intrigue and as always, astounding character development. This author is a tour de force of the written word and a celebration to the field of literature. Bravo!

The 70s may be the most misunderstood decade of the 20th Century. While most people would prefer to not try and understand the 70s, cracking jokes about polyester leisure suits and disco dance lessons, John Domini is not ashamed of the culture of that time. And if nothing else, this book is a reminder of what we shouldn't forget about the 70s. Certainly the punk movement of that time should be remarked upon even if David Byrne rode on the New Wave from the basement bathroom of CBs in NY to stardom while Joey Ramone stayed true to the form. But perhaps that's Domini's point. His main character often asks via an ongoing newspaper story in his head, "How can a punk be a success?" Maybe a punk has to be a success to have an effect on the culture. Perhaps David Byrne was on to something. Domini's character, Kit Viddich, channels Hamlet and Odysseus throughout the story as if to say this moment in time, this story, this punk artifact will too last through time. In other words it will be added to the culture, even if it is just words, words, words.

And in the most brilliant aspect of the work, Domini channels the maestro, Marshall McLuhan, pairing David Byrne's band, the Talking Heads, with the message itself of the Talking Head. Certainly the 70s didn't invent the newsreporter but it was in the 70s that the newsreporter turned into the talking head: the news interpretor, the god of the media, the ever yakking, ever usurper of the print media.

Which leads us to one final artifact of the 70s that should not be forgotten: the alternative newspaper. Again, not invented in the 70s, but certainly legitimized therein. Our modern zine culture is a testament to alternatives born in the decade after the 60s when so many idealists were left empty-handed and asking what now? They knew what the truth was, had seen what could be from those hippy-dippy days, and we weren't tired yet as so many others were. They weren't ready to accept the superficiality that turned out for the 80s. They weren't all leisure suit-wearing disco ducks after all. And political corruption was still rampant.

If nothing else this book is an American story complete with happy ending. Against all odds and frankly good sense, the good guy remains steadfast against the corporate giant. He doesn't accept the bribe, he doesn't fold, he doesn't give in. Whether or not he wins is not really the point; the fact that he remains is what's important. Corporate and political greed will always be with us. As long as we have our little heroes slogging it out in their independent and under-funded press against those Goliaths, we can feel we're on the right track. For in the end it is the story of the individual that is important. As long as we don't lose our integrity, we have a happy ending.

Domini's book doesn't insult intelligence, so please don't read this book if you lack a sense of humor, reality, sensuality, or common sense because this experimental novel is just that: about the senses. Sometimes the reader becomes as lost and confused about the world and moral obligation as Kit, fumbling through each scene with new light and revelations. This book of senses unfolds, layer upon layer of Kit's, his wife's, hard emotions and what to do with life and it's decisions and consequences. The split-screen effect of Domoni's style with Kit's thoughts doesn't distract, it adds to that confusion that everyone in life must face...just not as much as the characters in this rich book of characters.

Perhaps it is the language of this novel that elevates it above the level of mere crime drama. Domini juxtaposes elements of noirish intrigue with retro-hipness to create the tense story of Kit Viddich's struggle of ethos in a dark world of corporate and government conspiracy and negligence.

The best part of this book is the many allusions to Shakespeare's Hamlet, partiuclarly one of Domini's choruses, borrowed from Act II, scene ii: "Words, words, words..."

I loved this book because of the really cool and modern writing style. Domini uses a "split screen" technique to give you the main characters thoughts and plans for turning his experience into an article for his independent newspaper. the characters use an almost stylized dialogue -- one minute Kit and his wife soundlike a 1940's film and the next the newspaper staff is talking like the hippest underground punkers the late seventies/early eighties had to offer. Very cool. All the characters have secrets and adgendas. It's a great read that is literary and experimental.

If you've read any of Harold Jaffe's writing at all, you know he writes with tremendous heart and devotion to his cause. Certainly this heart manifests itself in angry textual roadside bombs and subversive attacks, but the underlying cause is a nobel and brave one. A devoted fan of Jaffe's work, I find myself impressed with his precision and relentless social critique. In "Mother Palestine," Jaffe tweaks a familiar formal innovation, an unsituated dialogue, by simply employing the device of motherhood. The effect is stunningly effective, it pulls us into the politics of this remote struggle through a minimalist suggestion of intimate human relationships that every reader will respond to, on one level or another. It is an example of Jaffe exploring the range of textual methods and structures he has been using now for well over a decade. "Revolt Wives" is another important inclusion here--it suggest a humanistic compassion for all who suffer at the hands of the oppressive ruling class, not just the muslims who suffer. In that regard, especially considering how the book can be received, Jaffe's work remains so very important as expression of what a growing portion of the US population is feeling--a contempt for our (our=corporate war machine whether US or Israeli or otherwise) punishment of innocents abroad and at home in the name of profit and sweet crude. Incidentally, and sadly, I think the populace's disagreement with the war machine would be much better contained if gas were still $1.50 a gallon, but that's another story. "Mustache" is also wonderful, and especially important as it seems whatever party is in power, the deference to Israel is reliable and unwavering. Hate to be a self-hating half-Jew, but man it is a bummer to witness the recurring atrocities that happen under the blind eye of US-Israeli relations. And the way the US is treating Hammas after they won the (clean) democratic election--what the heck is that? It is a despicable time, and Jaffe's recording of absurdities such as the orange alert, atrocities such as the corpse wagging of Hussein's sons, is another important accomplishment in his long and committed carreer.

In "Trader Joes" Jaffe introduces the notion of a forgotten, non-threatening and invisible young Arab woman--a victim of the violence--and then echoes that figure in later texts. Of all the texts here, I will reread "Sewage" first, as I love the neatness of the way the three threads work together. Unfortunately, the caustic patriotic violent interrogator is most familiar to me, but the alignment with the ineffective water treatment plant and the compassionate cop is direct, useful, and does what Jaffe does so well--recontextualizes reality in ways that reveal ugly truths.

One final comment: Jaffe resurrects "Things To Do in Time of War," a story he first published in Straight Razor, which came out during the first Gulf War. The first version of the story was located inside the home, and it had a particular delirium to it. This version of the story is located in the workplace, on the freeway with other commuters, and it has has much less delirium and far more ingrained horror. In the nearly ten years that have transpired between these two installments of the same story, Harold Jaffe has shown his readers how committed writing works, how the indefatiguable machinery of corporate-government policy and "morality" can be challenged with anger and precision. More than that, he keeps hope alilve for those of us who believe that culture is not merely a marketplace for the hegemony of the ruling class. His next book is expected to be a collection of his essays and docufictions directed at writers who wish to join him in the project of textual rebellion against the status quo. It could not be a more timely and appropriate move from a writer who has inspired so many devoted readers despite the marginalization that mainstream publishers and distributors may have imposed on him during his career. So long as Jaffe keeps publishing books, committed writers will know that that there is a future for the voice of outrage and indignation. Guerrilla writing is alive and well and you can find it in the pages of Terror-Dot-Gov.

An extraordinary network of vignettes dervied from newspapers and on-line "news" sources. Jaffe has coined the phrase "docufictions" to describe his cunning deconstructions of what passes for objective data.

The result is something like postmodern America re-seen, or--beter--seen for the first time with a distressing clarity.

Brilliant.

With Terror-Dot-Gov, Harold Jaffe demonstrates he has the eye of a prognosticator. In his fictions (called "docufictions" because they're so accurate) he dramatizes how -- and why -- America is destroying itself and how -- and why -- it's taking a sizeable portion of the world with it.

The signs and portents are all presented and interpreted: heads severed for justice and sport; attack dogs sinking their teeth into the flesh of innocents; Baghdad treatment plants for processing raw (feces) and cooked (prisoners) sewage; and players in the game of "who would you bomb?"

I don't mean to imply that it's a grim book. On the contrary, it's humorous -- ironic and satirical without trivializing its subjects. And why not? As long as we're determined to act like neo-lemmings we might as well laugh as we plunge over the cliff!

"Harold Jaffe brainwashes a drug fetus to the guerrilla=sex in the 21st century." - Kenji Siratori, author Blood Electric

To read Harold Jaffe's pieces as a commentary on or critique of the war on terrorism is to under-read him, as Beckett was misread as being "symbolic" or Swift as a fantasist. Just as Swift made an ostensible target of the Irish in his "Modest Proposal" while actually targeting the bigotry of the English, so too does Jaffe construct a triadic argument. The ostensible target this time may be the war on terror, but the true target hiding behind the straw man is the reader. Jaffe reveals imbedded assumptions in the language of these docufictions and in so doing betrays the lack of objectivity in news texts and reports as we receive them. He points his pen at us and shows us how complicitous we have been in committing the atrocities he describes. We may revile the media's displays of violence and feign shock, but we are always willing to stand in line to pay the price of admission. In "Behead," for example, the beheading of Brent Marshall is described as not going very smoothly "because of Marshall's exceptionally thick neck." Thus the brutality of the slaying is blamed on Marshall, a Virginia "thick-neck" of the type we have learned to feel less compassion for over the years because a thick neck represents a "dumb jock," "a red neck," "a hick." "Big as an ox" means "dumb as an ox," as we conflate clichés to get there. In "Pizza Cannibal," one character says, "I just couldn't believe this guy [Salt Brumley] could have done something to bring out the feds." Brumley is described as a "homely bachelor" with "stick-out ears, large flat feet, cleft palate, and low IQ," and the first three attributes are taken as personality issues: people with stick-out ears and large flat feet are routinely made fun of as being "stupid" in our society (see Li'l Abner), and are generally considered too "simple" to be harmful. In the same story, Jaffe challenges us liberals to look at our own smug intellectual superiority--would we who uphold that what goes on between consenting adults in the privacy of their bedrooms is perfectly acceptable include mutually agreed-upon murder and cannibalism? Or are we liberal only up to a point? What point? Why? Caveat Emptor? The dialogue in "Trader Joe's" contains pure consumer speak. Where would conversations go nowadays without consumerism? Would we have anything to say to one another if we lost our retail chains and baseball scores? Even references to Pinochet and suicide bombs are dropped into conversations because of their impact on Chilean wines and Home Depot. My favorite of these docufictions, the one that really got me involved, is "White Terror." This is presented as a game, with the key refrain being, "Who would you bomb in that one?" Scenarios are given to us, such as how one of Queen Elizabeth's corgis was bitten by a terrier belonging to the daughter. Who would you bomb? The respondent is told the dogs are named Raj and Dottie, but even after knowing which dog was which, the respondent still assumes that Raj was the terrier. He assumes the violent one has the Eastern name. Assumptions such as these are at the heart of the book. Jaffe challenges the reader with disquieting juxtapositions and multiple versions of the same story. "Which is true?" we might ask. Can we ever know, even if we are "told" by media or government that one version is true? Of course not--all we get is filtered versions whose points of view and choices of diction reveal deep-seated biases. Look, for example, at the different descriptions of a group of dogs in the six alternate versions of a canine attack in "Revolt Wives." The dogs are described as a "lumpen," a "Gestapo," a "kasbah," a "death row," a "Bentustan," a "Gaza" of frenzied dogs--each term, of course, associated with death and abuse but carrying with it so many different connotations that they alternate versions of the scenarios are immediatley colored by that word choice. This is Jaffe's brilliance: he shows us how language has been used against us as a weapon, and he challenges us to wake up to that fact.

Tramp for the lord is an eye opener for you to look at where you are, where you have been and where you are going. A good read for those moving through life and a must read for those that want to celebrate life to it's fullest.

If you read this book you will NEVER forget it. Such wonderful testimony to the miracles that the Lord is still doing in the world. I highly recommend it. It's a real page turner.

Tramp for the Lord is ONE of the most rewarding books I have ever read in my life. Everyone should read this book. She too was a human who sinned and came short of the glory of God. Corrie shares so much of her heart and life - not only because of her experiences in prison, but in every day life as she traveled the United States and to other countries to share God's work. As she experienced real life situations with ordinary people, that grew her daily in her walk with God, because as Paul learned, God's work was not easy. It was those situations that she shared in "Tramp for the Lord" that she was also growing with each situation she faced as Paul did as he continued in his day discipling for God. Corrie's book, "Tramp for the Lord," is a must read after "the Hiding Place" and will be hard to put down.

This book is a sequel to "The Hiding Place" a biography about Corrie Ten Boom's experience during World War II, arrested and sent to a German concentration camp for hiding Jews.

Corrie surrenders to God's Will for her life to take the Gospel and her story to the entire world. Because of her humbleness, she is able to connect to people from all walks of life, from royalty to prisoners. She was especially able to connect with prisoners who were hopeless because of her own experience of being locked up.

It was easy for her to minister to the victims of WWII, but Corrie resisted going back to Germany, the land that she dreaded. But she obeys and goes to Germany where she meets one of her former prison guards, one of the cruelest, walking up to her after a meeting. A chill grips her heart and bitterness wells up when he asks for her forgiveness. Leaning on the power of the Holy Spirit, she was able to forgive her enemy and found God's love overflowing.

Each chapter is a story and devotional about a situation Corrie encounters. My favorite one is, "I'll Go Where You Want Me to Go, Dear Lord... but Not Up Ten Flights of Stairs."

An excerpt of this book might say it all (from Chapter 5)...

"A great ocean separated me from my homeland. I had no money. Nobody wanted to hear my lectures. All I had was an inner word from God that He was guiding me. Was it enough? All I could do was press on--and on--and on--for His Name's sake. Before going to sleep I opened my Bible, my constant companion. My eyes fell on a verse from the Psalms, "The Lord taketh pleasure...in those that hope in His mercy" (147:11). It was a thin web--a tiny filament--stretching from heaven to my little room on 190th Street in New York. I fell asleep holding on to it with all my strength."

Oh, what a joy to learn that God is for us and not against us! I highly recommend this book.