Authors Books

Lorca's poems flutter your heart, and Christopher Mauer really knows Lorca, the translations are true to Lorca's magic.

Garcia Lorca's poems are beautiful in Spanish. The translations in English seem a little heavy or awkward. But, in Spanish, they're lovely.

Frederico Garcia Lorca is wonderful as always. This gives my granddaughters who know some Spanish and my friends who do not speak an opportunity to read and enjoy him.

I don't know if this is the best way to work on learning Spanish, but it's certainly one of the least painful. It's great to have the original Spanish and the English translation opposite each other. I can't think of a better way to work on your pronunciation than to read these poems out loud to yourself [or others if they're interested]. The musical sound of the poetry makes you love the language and want to learn it. Maybe someday I finally will. In the meantime just reading and speaking it is it's own reward.

I usually find most modern poetry boring. Not Lorca's. His poems are short but potent and piercing, full of vivid imagery. His Spanish is difficult to translate literally into English while still retaining vibrancy, but this translator did a good job. The Spanish poetry is presented on the left-hand pages and its English version on the right-hand pages for easy comparison. Not a literal translation by any means, but a very effective one. A strong recommend.

John McGahern captures the music and pathos of Ireland like no other author I have ever read...I am right back on the farm of my youth, or in the middle of a tense conversation I had yesterday.
His sense of the rhythms of season and relationships are so subtle they happen before you notice them
By the time you are finishing 'Like All Other Men' you will be casting the movie.
If you like short story collections, this one will stay on your shelf and eventually become as well-thumbed as my old one that fell apart and needed replacement

This is a good introduction to McGahern's work, who I personally think is under-represented in other short story anthologies.

One of the promos on the cover refers to McGahern as the best Irish short story writer since Joyce. Hmmmm.... not so sure about that for several reasons. I understand that the statement isn't intended to be direct comparison between the two, but it's unfair to both writers and to the reader. I would compare McGahern to the often over-looked Frank O'Connor instead.

While some of the stories included in this collection are set in Dublin, it's the stories set in the country where McGahern's characters, themes, and prose really work best. Like O'Connor, McGahern's best stories allow the reader to "see" what isn't said or what isn't done. It's the absences and the mis-fires between everyday people doing everyday things that resonate so achingly in the best stories in this collection.

I do like that the stories are arranged in such a way so that when a character or set of characters appear in multiple pieces, the reader finds herself pleasantly surprised to encounter someone again after having read about someone or something completely different. This organisation of recurrent characters or settings allowed me to create a mini-novel in my head and to think about the various conflicts, relationships, and absences even after I'd put the book down.

I just wanted to respond to Larry L. Looney's "Bleak, Bleak.." review regarding John McGahern's focus on the grim, which is obviously correct. As for William Trevor, I'd say McGahern is more the unremitting artist-realist (one suggestion is to read his brilliant first novel 'The Barracks') and Trevor (to simplify again) perhaps more the excellent storyteller. One of the greatest differences I think is McGahern's frequent use of dark Irish irony and flashes of wit, both grim and otherwise, in his stories. But I think both authors are very rewarding and tremendously worth exploring.

McGahern writes beautifully, and he obviously has a keen eye - his portraits of the various Irish men and women who populate these stories are well-drawn, and he evokes not only the speech but the total experience of the Irish very well. If only these stories weren't - at least for the most part - so bleak, I could personally enjoy them much more. There's humor to be found within this volume, for sure - but for the most part I found hopelessness and resignation and emptiness and pathos. Far too many of these tales - for my taste - involved people who were living in doubt: doubt about their lives, their loves, their faith, their very place in life, the very land in which they dwell. Doubt is not necessarily a bad thing - it calls us (hopefully) to reassess our beliefs and values, so that we may, when needed, reorder our lives. The doubt that has entered the lives of these characters, however, seems to cover them like a blanket - and rather than struggle with it, they seem to welcome its false warmth, pulling it more tightly about their shoulders.

The stories take place in an Ireland in flux - torn between its spirited yet peaceful, more agrarian past, and the `new' world that encompasses industry and the so-called luxuries of modern life. It's a change that has obviously ripped the very heart and soul out of many of these characters - even the ones whose stories are clearly taking place, more or less, in the present. They inwardly and silently bemoan their state, yet they do nothing about it - and many of them use this dissatisfaction to justify the shallowness and dishonesty of the lives they lead.

All that being said, I did find a good deal of fine reading in this collection - especially the stories `The wine breath' and `Swallows'. For me, these two stand head and shoulders above the rest - but different ones will no doubt appeal to different readers. McGahern's writing is clear and powerful - I certainly wouldn't recommend any reader passing him by. At the same time, I don't think I'd put him on a level with the short stories of James Joyce. For modern Irish stories, I'll take the work of William Trevor any time.

I have McGahern's novel BY THE LAKE - I've read many good things about it, and I look forward very much to reading it. Some things I've read about another novel of his, THE DARK, are intriguing as well.

For anyone that reads, McGahern is an essential reading companion. He speaks for the man in Dublin, single running into middle age, or brimming it, and whose heart is a flutter for a nurse too far, or a far field where a father is dying into a landscape that nobody wants, that nobody values. McGahern maps the difficult transition of Ireland from a largely rural perspective, and then from the rural to urban. A sef confessed Joyce freak, McGahern has tried to emulate Portrait, and Dubliners in his own way. The rain will fall very gently on this mans tombstone.

I have not been this impressed and delighted by the written word, especially by short stories, in my entire life. Frank O'Connor's writing encapsulates universal wisdom and injects it into the everday lives of working class people struggling for understanding of the interstices of their heart and minds. There are marriages here, and deaths. There are relationships here, and growth. There are happinesses here, and despair. There are lessons here, and frivolity. But mostly there is a knowing heart which pries apart each chamber of itself, disclosing love.

One tends to know great writing by how one's own personal outlook and relationship to life grow and change during the course of reading a story, and if it's wisdom and greater articulate understanding of people, men, women, families, children, and life one searches for...look no further.

My particular favorite stories within this collection are "Expectation of Life", and "A Set of Variations on a Borrowed Theme." These stories moved me to tears. Not many writers achieve this...

f you aren't already familiar with the short stories of Frank O' Connor, do yourself a favor, and buy this (relatively fat) collection. His stories will make you laugh ("First Confession"), weep ("Guests of the Nation", one of the most powerful anti-war stories I've ever read), or just lose yourself in the humanity of his characters. These stories seem uncomplicated, but that's part of the author's genius, the way he manages to give the stories such an emotional impact.

Although, in my opinion, the stories of Seán Ó Faoláin are slightly more nuanced and psychologically perceptive, it's a close call. Both authors are to be recommended highly.

Generally, when it comes to literature, I'm fairly hard to please. That being said, I love this book without reservation. I've recommended it to and foisted it on friends for years now. Many of them react much the way I do: there isn't anyone else like Frank O'Connor.

The stories are lyrical, sharply and humorously observed, and told with elegance in an easy but precise idiomatic diction. O'Connor always gave his work the test of being read aloud, and this care for the sound and cadence of his prose shows on every page.

Then, there is O'Connor's feeling for people. Reading the stories, one gets the impression that he was an intelligent but fundamentally kindly, generous man. Even when a character in the stories does something that seems objectionable, O'Connor never loses sight of that character's humanity. There is no absence of modernist irony, and the irony can sting (as in "The Mad Lomasneys"), but it is never cruel.

O'Connor's stories take place in Ireland, but they are not circumscribed by a desire to depict Irish regional color or romantic notions about the place. He wrote what he knew and understood, and what he understood was the people he grew up with. If that makes him a regionalist, then so were Faulkner and John Millington Synge. In his own subtle way, O'Connor was a realist, and ultimately, these stories are universal: they touch places in the psyche and the human heart that are common to us all.

Any selection of one's "favorite" stories will be personal. To an interested reader, I would say, "Read them all." To friends who ask, I add that they should start with "Guests of the Nation" and "First Confession." These aren't his "best" stories, but I've always liked them both, they are typical of his best, and one must start somewhere.

When I've given 5 stars to a book, I've often had to argue with myself as to whether it deserved it. Not for this one.

In an interview published in THE PARIS REVIEW, Frank O?Connor stated that he wanted to be either an artist or a writer and chose writing because a pad of paper and pencils were less expensive than art supplies. O?Connor has an artist?s touch when he writes and this is evidenced in his many short stories, many of which can be found in this volume.

Most of the stories in this collection take place in Ireland in the years after the Southern Republic of Ireland became an independent nation. Some of the stories such as ?Guests of the Nation? which may be O?Connor?s best known story and ?The Martyr? have this struggle as a backdrop. Most of the stories are about ordinary people facing ordinary situations. The stories tell of people young and old, rich and poor, in a variety of situations, some enviable, others not. We find priests, some holy, others not, but all human. Parents and children face daily life. Some of the stories have tongue in cheek humor (?My Oedipus Complex?) whereas others such as ?An Act of Charity? deal with tragedy. In each of the stories, there is a dignity to the characters. The characters can be familiar, but are never clich?. While I admit to being biased in my praise of O?Connor?s works, since I love my Irish heritage, especially the great Irish writers, I believe that while O?Connor?s writing and characters are distinctly Irish, the emotions and struggles O?Connor writes of are universal and can find a spot in the heart of anyone who loves great writing.

That realism has a natural humor which needs no embellishment or exaggeration seems to be the guiding principle of the fiction of Frank O'Connor, whose nearly seventy short stories of the lower and middle class in Ireland, many of which were originally published in the New Yorker at a time when the magazine was the authority for the best new short fiction, are gathered in this collection published by Vintage. His settings are localized to villages and towns; his stories, unlike the plays of Sean O'Casey, give little indication of the Irish political situation of the twentieth century, rarely even mentioning the World Wars, and instead focus primarily on religion, marriage, and childhood.

O'Connor's portrayals of the church and the clergy, ranging from the slyly satirical to the somberly sympathetic, illuminate the influence of Catholicism on the Irish mentality and the often strained relationships between priests and their parishioners. In "News for the Church," a teenage girl goes to confession for carnal intercourse with an older man, but the priest cynically guesses she is merely brandishing a badge of honor to prove her sexual maturity to her married older sister. O'Connor sees the unrewarding side to being a moral compass, but he never suggests that a priest's work is all in vain.

Many of the stories are about the confusion of youth and are narrated by a child with the voice of an adult. "The Man of the House," for example, struck me as a quasi-parable of the Fall, an adult-oriented parody of a morality tale that is told to children: A boy (the narrator) is entrusted by his sick mother to procure for her a bottle of cough syrup, but a bewitching girl he meets at the drug store tricks him into sharing the temptingly sweet medicine with her, leaving him to face the consequences of his mischief. These stories tend to culminate in poignant moments that, while not exactly equaling the Joycean epiphanies of "Dubliners," resonate with aching truthfulness.

One of the most pointed stories explores a curious contrast between the Irish and the English: In "The Sentry," an Irish priest with a Catholic parish in England during World War II discovers an English soldier stealing onions from his garden and challenges the man to a fistfight. When the priest later learns that the soldier--a sentry--could be shot for deserting his post, he tells this to an Irish nun, who replies, "Isn't that the English all out? The rich can do what they like, but a poor man can be shot for stealing a few onions!" Of course, the point is that the soldier would be shot for deserting his post, not for stealing onions; but the subtext of the nun's statement is that the Irish tend to see the bigger picture.

O'Connor is a natural dramatist with an uncommon ear for sincere, fluidly colloquial dialogue; he never overdoes a situation because he trusts the inherent strength and vitality of his characters to draw our interest. Here we have a collection of people who delineate the culture of their nation, always remaining fiercely individualistic, speaking the same language as the English but refusing to identify with them.

With poetry like this available, why do we continue to read Rita Dove and Billy Collins?

Quite simply one of the best poets writing today producing some of the finest work of rhyme that actually makes sense to heart and mind. Cogent and cajoling; humble and humourous;impassioned and yet not impulsive. If Richard Wilbur has an heir apparent to the great legacy of New Formalism, it would be hard to deny Timothy Steele a full reading of the will. College Prof. at Cal.State L.A., he makes sure his poetry is not steeped in musty,over-erudite academia. He's down in the streets of Southern California or under the Golden Gate Bridge or in a classroom or describing his wife after a shower or comfortable with Biblical metaphors. An example (not in the current volume, but on the internet-Poetry Daily): Toward the Winter Solstice (excerpt)

'Some wonder if the star of Bethlehem/Occurred when Jupiter and Saturn crossed;/It's comforting to look up from this roof/And feel that, while all changes, nothing's lost/To recollect that in antiquity/The winter solstice fell in Capricorn/And that, in the Orion Nebula,/From swirling gas, new stars are being born.'

A great New Year's resolution is to feed your poetic soul. Take and read anything by Richard Wilbur, Timothy Steele, Dana Gioia, and bon apetit!

Tim Steele has already proven his strength as a poet, and has quite a reputation for his work in meter. This collection only solidifies his reputation. The poems are well written (and Steele does some interesting things with meter and rhyme). Anyone interested in formal poetry should read his work.

Extending the range and depth of his two previous collections of poetry (available from the University of Arkansas Press as a single volume, SAPPHICS AND UNCERTAINTIES), THE COLOR WHEEL confidently establishes Steele not only as the premiere metrical poet of his generation, but also as one of the very best poets writing in English today.

THE COLOR WHEEL takes its title from one of the volume's central poems, "Portrait of the Artist as a Young Child," a witty and wise meditation that begins with a description of a small child coloring with crayons and segues smoothly into the poet's memory of first seeing a color wheel, a spectrum of choices not only for the budding artist, but also, on a metaphorical level, for the poet and reader. The poem ends with one of the most beautiful passages I've seen in recent poetry: "You're off and traveling through the wheel/Of contrasts and of complements,/Where every shade divides and blends,/Where you find those that you prefer,/Where being is not linear,/But bright and deep, and never ends."

This enticing invitation to choose freely from the world's variety extends to Steele's entire collection, which ranges from a mock-Stevensian anecdote about a sugar bowl to a sobering recollection of doomed Holsteins in "Georgics." The Horatian alcaics of "Luck," in which the poet confronts the good fortunes of others, complements the mildly brooding blank verse of "Pacific Rim," in which the poet hints at the luckless victims of 20th century brutality. Yet the tenor of the collection is decidedly hopeful, and perhaps no title (or poem) in the book better exemplifies this than the charming "Beatitudes, While Setting Out the Trash."

Steele's art, which frequently explores the interrelationships between nature and human nature, regards human consciousness as fragile and in need of preservation. His superb meditation on "The Library" draws upon and condenses some of the material to be found in his magisterial prose critique of the free verse movement, MISSING MEASURES, and yet the emphasis in this poem is on the wit of foraging squirrels as well as the cleverness of archiving humans.

The volume contains a number of exquisite lyrics, including the opening "Aurora" with its subtle echoes of Valery, and the delicate homage to Thom Gunn, "Vermont Spring." Readers who admire the poetry of Edwin Arlington Robinson will certainly enjoy "Cory in April," a poem about a drunken homeless man who was once a boxer, and admirers of Frost will be tickled by the humorous and moving "Fae," one of the most memorable poems in Steele's outstanding ouevre.

With his flawless ear, deft rhymes, and penetrating intelligence, Steele is already a poet for the ages. Read THE COLOR WHEEL and SAPPHICS AND UNCERTAINTIES to discover why.

Extending the range and depth of his two previous collections of poetry (available from the University of Arkansas Press as a single volume, SAPPHICS AND UNCERTAINTIES), THE COLOR WHEEL confidently establishes Steele not only as the premiere metrical poet of his generation, but also as one of the very best poets writing in English today.

THE COLOR WHEEL takes its title from one of the volume's central poems, "Portrait of the Artist as a Young Child," a witty and wise meditation that begins with a description of a small child coloring with crayons and segues smoothly into the poet's memory of first seeing a color wheel, a spectrum of choices not only for the budding artist, but also, on a metaphorical level, for the poet and reader. The poem ends with one of the most beautiful passages I've seen in recent poetry: "You're off and traveling through the wheel/Of contrasts and of complements,/Where every shade divides and blends,/Where you find those that you prefer,/Where being is not linear,/But bright and deep, and never ends."

This enticing invitation to choose freely from the world's variety extends to Steele's entire collection, which ranges from a mock-Stevensian anecdote about a sugar bowl to a sobering recollection of doomed Holsteins in "Georgics." The Horatian alcaics of "Luck," in which the poet confronts the good fortunes of others,complements the mildly brooding blank verse of "Pacific Rim," in which the poet hints at the luckless victims of 20th century brutality. Yet the tenor of the collection is decidedly hopeful, and perhaps no title (or poem) in the book better exemplifies this than the charming "Beatitudes, While Setting Out the Trash."

Steele's art, which frequently explores the interrelationships between nature and human nature, regards human consciousness as fragile and in need of preservation. His superb meditation on "The Library" draws upon and condenses some of the material to be found in his magisterial prose critique of the free verse movement, MISSING MEASURES, and yet the emphasis in this poem is on the wit of foraging squirrels as well as the cleverness of archiving humans.

The volume contains a number of exquisite lyrics, including the opening "Aurora" with its subtle echoes of Valery, and the delicate homage to Thom Gunn, "Vermont Spring." Readers who admire the poetry of Edwin Arlington Robinson will certainly enjoy "Cory in April," a poem about a drunken homeless man who was once a boxer, and admirers of Frost will be tickled by the humorous and moving "Fae," one of the most memorable poems in Steele's outstanding ouevre.

With his flawless ear, deft rhymes, and penetrating intelligence,Steele is already a poet for the ages. Read THE COLOR WHEEL and SAPPHICS AND UNCERTAINTIES to discover why.

Glyer's book provides valuable insight for fans and scholars of The Inklings collective works. She has a fresh slant on material that most Tolkien and Lewis readers have seen in other formats. Her agenda, though, presents the idea of "influence" in a changing light. I think that she opens doors of critcical opportunity that will allow much more fruitful sorts of investigations of Lewis, Tolkien, and William's work.

The Company They Keep is scholarly writing at it's best. I used it with gifted high schoolers with excellent results. The students became excited about how Glyer did such extensive research and then wrote about it in such an interesting and readable way.

Glyer has put together an incredibly researched study of the relationships of "The Inklings," the social gathering that included C.S. Lewis and J.R.R. Tolkien among others. "The Company They Keep" is not a casual read for the Narnia fan; it is a scholarly exposition of the influence that the Inklings had upon one another and the way that that influence appears in their works.

Using a formula for determining influence created by another scholar, Karen Lefevre, Glyer analyzes the way the Inklings served as Resonators (encouraging voices), Opponents (thoughtful critics), Editors, and Collaborators (project teammates) for one another. She then adds her own fifth category, that they were Referents who wrote about one another and promoted one another's books to publishers and the public. Ultimately, Glyer rejects what Inkling scholarship heretofore has asserted: that the Inklings by their own admission did not largely influence each other. Glyer argues that such claims were aimed at acknowledging their independent credibility, but that in fact they had significant roles in shaping one another's works.

So the book is important on two levels. It contributes notably to biographical scholarship on the Inklings. But is also makes thoughtful contributions to literary criticism, which traces and debates the nature of influence. Glyer is immersed in the field and defends her thesis well.

It's a great book; not a "fun" read, but definitely a fascinating one for the serious reader.

James W. Miller is the author of God Scent: A Devotional

The fantasy literature of C. S. Lewis and J. R. R. Tolkein is so imaginative and idiosyncratic that one accepts that they wrote such lasting works somewhat obstinately and mainly privately almost as a hobby with little hope they would ever be published, much less popular. The picture of J. R. Rowling writing the beginnings of the first Harry Potter book sitting along at a table in an English shop comes to mind with this image of the earlier authors. Lewis and Tolkein are known to be good friends as well as professional colleagues at Oxford University. But as professor of English at Azusa Pacific U. in California Glyer puts forward, Lewis and Tolkein were part of a circle of academics and writers who had a large, discernible, and often documented influence on their works. From diaries, memoirs, letters, and other sources, Glyer finds that this influence is most evident with Tolkein. This circle which acquired the name "The Inklings," "modeled the behavior of poets and storytellers, provided feedback on his drafts, helped him develop his own critical faculties, recommended reading material that supported and shaped his imagination, and suggested that certain pieces be started, reworked, completed, or submitted for publication." Glyer continues, "It is no small matter that all of this early influence took place within a highly interactive group setting." What the author says with respect to Tolkein applies as well to Lewis, though not quite so overtly recognizably. In their turn, Tolkein and Lewis were active participants in the group offering the same support and suggestions to its other members. Shortly after arriving at Oxford as a student, Tolkein founded the literary society named the "Apolausticks."

In an appendix by a David Bratman, relevant background on 17 members of the Inklings besides Tolkein and Lewis is given. Most became university professors of English or medieval literature or of language studies, with most doing scholarly writings on literary criticism. This work of literary criticism and author biography is obviously timely given the current interest in these authors as evidenced by widely-popular movies made from books of theirs.

This book shows scholarly intellect, hard work, dedication, and insightful thought that I have only achieved in lofty dreams. Diana Glyer presents interesting, insiteful, and inspiring information about the Inklings that you will not find anywhere else. I have never read a book that so skillfully puts scholarship in such an accessable read. For anyone who is a fan of the Inklings, Lewis, Tolkien, Williams, or anyone remotely related to these men do yourself a favor and read this book.

Wonderfully insightful. Truman's own words give you an entry to this great writer's philosophy. It's a fast read.

Truman Capote was a great writer and self-promoter. Both characteristics come through in these interviews with Lawrence Grobel, an interviewer who has done his homework and only intrudes when he has something to add.

The book stands up well on its own merits, but will prove more enjoyable if you read some backgound material first, notably (in order of priority) "Music for Chameleons," Gerald Clarke's first-rate biography, and "In Cold Blood."

After you've read it, you may want to watch A & E's excellent documentary on Capote's life.

I own several books of conversations with authors. This is the first one I've wanted to read cover-to-cover without pausing for a breath. It's the first one I haven't been tempted to skim, looking for the best nuggets, because this one is FULL of nuggets. Capote isn't afraid to say, flat-out, what is on his mind. The chapter about his contemporaries is particularly interesting to me.

For instance, of Faulker he says: "Well, he was completely reckless. I'm not a great admirer of Faulkner. He never had the slightest influence on me at all. I like three or four short stories of his, 'That Evening Sun,' and I like one novel of his very much, called LIGHT IN AUGUST. But for the most part, he's a highly confusing, uncontrolled writer."

Which is all absolutely reasonable. Then Capote adds, "I knew Faulkner very well. He was a great friend of mine. Well, as much as you could be a friend of his, unless you were a fourteen-year-old nymphet. Then you could be a great friend!"

And Capote doesn't hold back about any of his other contemporaries, either, like Ken Kesey, Jack Kerouac, Norman Mailer, Gertrude Stein, and more. For instance, when the interviewer expresses his respect for Bellow's HENDERSON THE RAIN KING, Capote says, "Oh no. Dull, dull."

This book also has several photographs of Capote. The quality of the photos, at least in my softcover edition, are rather poor, unfortunately, but many of them I've never seen before, such as the one with Truman showing up to a court appearance on a drunk driving charge in shorts! The caption reads: "He [the judge] was very insulted...Actually, I looked quite smart. I had a very smart pair of shorts on and a very smart jacket and shirt and sandals."

In some ways, this is like reading a great comedy routine, yet there are definitely undercurrents of anger and sadness in this book. I highly recommend it.

This is the book that makes you sad at the prospect of Truman Capote dying before he could finish his last novel, but you suspect that he didn't have to finish it since you get a lot of it from these interviews. He was one of the most fascinating figures in literary history and his insights into art, literature and celebrity are amazing.

There's a running rivalry with Norman Mailer, a dismissal of the beats, discussion of Breakfast at Tiffany's. He talks about interviewing the killers for In Cold Blood and how that led to other interviews with convicted killers. He discusses Hemmingway and leaves the reader with one of the best lines ever - "I am the man that Hemingway pretended to be." which is even more interesting when you consider Hemingway's repressed homosexuality (or accusations thereof) in light of Capote's openly gay personae that he displayed when that could get you killed.

Be warned. Once you start reading this book, you won't be able to put it down. So set time aside so you can finish it in one sitting.

everything and perhaps a little more than you want to know about Truman Capote. A nice easy to read bok.

The stories in the book should each be taken singularly. The writing itself is pure nostalgia. You should be warned: if you're easily offended by racial slurs - this book may not be for you. The writers use words appropriately to set the mood. A couple of stories have surprise endings!

The other reviewers misunderstand "Pick Up", (****warning -- spoiler****) which is a fascinating novel because the narrator is mentally disturbed and completely unreliable. This fact explains the "twist" ending, a number of apparent editing errors and the unlikely events that occur throughout.

In this area of noir, I suggest starting with Raymond Chandler. If you've whipped through his books, like me recently, as well as those of Micky Spillane and Dashiell Hammett, then you are definitely ready for this collection and its partner volume of crime novels from the '30s and '40s. I need to mention, in particular, a real treasure in this collection, which is The Real Cool Killers by Chester Himes.

At this point, allow me a brief political comment. These days, when I see an anthology of five books, and one of the authors is a woman and one is an African-American, perhaps you will forgive me if I guess that something other than storytelling merit went into the selection process. Too harsh? Keep in mind that we are talking about a genre (in this case, hard-boiled crime stories from the 1950s) where you don't exactly expect to see a rainbow coalition of gender and ethnicity. What's more, my suspicion was initially confirmed by reading The Talented Mr. Ripley, which is clearly the weakest story in the collection, and only then observing that this was the first novel in the field I had seen written by a female author.

That introduction brings me to the Real Cool Killers, by Chester Himes. I have since learned that he was an African-American author who wrote many books. But I will fight it out with anyone who claims that Real Cool Killers was selected because of Himes' race. This story is the best of the lot, and I look forward to reading more of his work in the future. In fact, our era of political correctness in literature and academia probably means that Himes does not get nearly the attention he deserves. He is wonderfully impartial when it comes to skin hue in his presentation of nasty characters and their evil deeds. He is equally impartial in his socio-economics. The poor are not automatic angels; the police and the wealthy are not cardboard oppressors. Himes is just a great writer. His novel, which is the last in the book, was a surprising treat.

This book is the second volume in the Library of America set on American crime noir. I enjoyed the first volume so much that I decided to read the second one during Christmas break. Once again, the LOA has done a nice job of collecting a fine series of stories. These stories were written during the 1950's and 1960's. The book is nice to look at too; it's covered in red cloth with a cloth bookmark.

The first story is from the demented mind of Jim Thompson. This story, called The Killer Inside Me, is much better than The Grifters, a book by Thompson that I read some time ago. The Grifters seemed to be pretty one-dimensional with respect to its characters. This story is the exact opposite. A deputy sheriff in a Texas city has a terrible secret. He plays dumb on the outside, but inside he is a cunning sociopath. A long simmering resentment leads to a terrible revenge. Bodies quickly stack up as a result. This seems to be the story that Thompson is best known for and it's no surprise why. This is a dark, twisted tale with a grim ending.

Patricia Highsmith wrote a whole series of stories concerning Tom Ripley. The one included here is The Talented Mr. Ripley, probably better known due to the recent film with Matt Damon. This tale isn't as noir as I would have liked, but it still has enough twists and turns to keep anybody in suspense. Ripley is a low class conniver who ingratiates himself into a wealthy family who wants him to go to Italy and bring back their son. Ripley sees the potential for bucks and meets up with the kid and his lady friend. Of course, things take a turn for the worse and the bodies start stacking up. This story was probably my least favorite out of the entire collection.

The next story, Pick-Up, by Charles Willeford, is a depressing tale about two alcoholics who go bump in the night. The story follows the adventures of this alcoholic couple as they attempt suicide, check themselves into a mental hospital, and drink themselves into a stupor. After the female half of the couple dies in another suicide pact, the story switches to a prison tale. The end is somewhat of a twist, but really doesn't impact the story that much, in my opinion. Again, not really noir as noir can be, but still a fine story that can stand by itself.

Down There, by David Goodis, is a wild ride of a tale. Full of suspense and death, this is a great story that deserves to be included here. A family of ne'er-do-wells drags their talented piano-playing brother into their personal problems. The background information on Eddie, the piano player, is phenomenal. The tragedy that has struck him once is bound to repeat itself again. This story has great bit characters that really liven up the background.

The final story, by Chester Himes, is The Real Cool Killers. This is noir on acid: pornographic violence, massive doses of grim reality, and characters you're glad to see get killed. The story is set in Harlem and involves two tough cops named Grave Digger Jones and Coffin Ed Johnson. Someone kills a white guy in Harlem and the cops try and track them down. This story contains one of the funniest descriptions of a person falling off a balcony that I've ever read (and I've read a few, disturbingly enough). The writing has enough similes and metaphors to give Raymond Chandler an apoplectic fit. A cool story that certainly deserves a place in this book.

If you like noir, read these two LOA novels. They are long (together they're almost 2000 pages) but it is definitely worth the effort. These kinds of stories are just a great way to while away some free time and relieve stress.

"Crime Novels: American Noir of the 1950's" is the second and last volume of the hardboiled anthology published by the Library of America starting with the volume devoted to the genre in the 30's and 40's. This follow-up continues the saga of run-down characters hardened by experience and tough luck. The familiar cast of roguish males, femme fatales, and temperamental and violent detectives set the stage for a diverse and entertaining ride into the depths of the underworld.

"The Killer Inside Me" - Jim Thompson's most popular work is a memorable tale of a Texas law enforcer with a sinister past whose dark and psychotic nature is cunningly veiled behind a genial facade that barely contains "the sickness" which the main character has successfully concealed. A sudden turn of events unleashes the beast inside leading to a tragic odyssey of disillusion, violence, and murder. Pioneering in it's time for revealing the inner mind of the serial killer, the bracing prose and chilling character development makes this work one of the best in the genre.

"The Talented Mr. Ripley" - Tom Ripley is a con artist successfully making ends meet through one of the most reprehensible professions in New York City. A drifter and social outcast, one night in a bar he comes across a parent of an old acquaintance he barely recalls and is asked to do a favor. When he consents, his true nature unfolds in this story of murder, sexuality, and identity. Made into film in 1999 starring Matt Damon in the leading role, this cosmopolitan travelogue with a Decadent touch in the end introduced the world to one of the most oddly sympathetic and diabolical characters in Literature.

"Pick-Up" - Charles Willeford's winning style successfully conveys the sad and tragic tale of two lost alcoholics in the skid row section of San Francisco in the 1950's. Scene by depressing scene the author chronicles the faith, hope, and disillusionment of a couple whose time revolve around the contents of a bottle. The engrossing prose is marred unfortunately with an unbelievable twist and dissapointing ending.

"Down There" - The best selection of the entire series, "Down There" is an unforgettable account of a barroom piano man whose days of glory were ended by tragedy. Rendered indifferent to life by his soul-breaking experiences, he meets an equally lost soul and together they encounter adversity supporting each other as only similarly dark-fated individuals can. The heartbreaking ending still haunts me whenever I think about it.

"The Real Cool Killers" - Blaxploitation on speed! The talented Chester Himes vividly conjures this adrenaline yarn of two black detectives taking on the streets of Harlem in no holds barred action. Race, violence, and loathsome scenemakers feverishly grapple in this heat-inducing neon nocturne of urban society. Black humor at one of it's very finest.

Flawed but highly readable, these long forgotten and out of print works have been handsomely restored and given ample tribute by the laudable Library of America. Wanting to familiarize myself with the enduring genre, reading the two vols. of the "Crime Novels" series has been a pleasant introduction and reading experience to me.

Okita is a poet with a unique style. If you are looking for poetry that is off the main stream, but quite artistic, his work is for you.

When creating the setting for the poem, pieces of the environment are linked to emotions, creating a world of the tangible that creates a better understanding of the intangible. "Love, that busy street" is the environment for "Crossing with the Light". In "Kitchen" the room is really more like a secluded cell for the main female character. "Parachute" takes Dwight and his friend on a playground swing ride of human relations.

And there are many other poems to explore in this collection. Give this one a chance and you won't be disappointed.

i cannot start by simply praising his words. he is beyond that. he has a way of making the ordinary incredible. making you think twice about each second in life. enough for you to cherish the unimaginable. his eyes see, what others cannot. i recommend his words to enrapture you......

Dwight Okita offers us a masterful achievement in Crossing with the Light. This slim volume contains 60 poems that build a cohesive vision in a highly accessible style. The poems are at once loving, bold, and humorous. Most of the poems describe relationships as a subject, but the collection is not about relationships. Okita has something far deeper in mind. The poems are a triumph in combining tone and image. The images are everyday, powerful, and elegant, even delicate.

Quoting poetic elements out of context is a dangerous trade, but I cannot resist a few examples. "Kitchen" tells of a woman whose dreams are dashed in a marriage. The poem opens "Here in this room/ where many women go under...." We see the despair and loss the woman experiences. At one point she silently asks her husband while he is sleeping "What have you done with my husband?" Reminiscent of Nora in Ibsen's Doll's House, but we hear no slamming doors, no screaming arguments, no threats. Okita does not do histrionics. Rather the last lines tell us "When she leaves that room, she leaves for good, / she does not bother to push in the chair." Okita here reminds us that most of life is made up of small things, small things done and left undone.

In "The Life I'm Walking Towards" we read: "I buy green bananas/ and put them on a rattan tray./ I watch them bring yellow into this house/ a brightness./ I wish I could do that,/ whatever the place." "Letter to a Friend Who Left" tells of the unexpected announcement by a shop clerk that a mutual friend has died: "your Iranian friend working behind the counter/ told me you died as he was giving me my change. / I can still hear the quarters fall, / hitting the floor with a metal sound.... //Funny how things slip through your fingers."

There is a zen moment on almost every page. You should not miss this poet.

With his vivid and beautifully haunting images, Dwight Okita shows the reader a new way of seeing the world. "Facing the Mannequin" takes the reader into the world of a department store mannequin. I will never forget the image of the mannequin watching the narrator's shirt move as he breathes.
Also in this collection are the widely anthologized "Note for a Poem on Being Asian American" and "In Response to Executive Order 9066: All Americans of Japanese Descent Must Report to Relocation Centers." Both poems hold up to being read again and again, as do the other poems in this fine collection.

In "Crossing with the Light," readers can see, feel and taste Okita's words. His clean, vivid images evoke many different worlds: the scientific and the romantic, the foreign and the familiar. He delicately links familiar objects to intangible feelings, such as in the following poem, "My Next Life":

A young man coming into his own, you said of me
and in my head I see seedless green grapes
dripping in a glass of icewater on the terrace,
a grand piano I could press my fingers against
when I am lonely. And big parties:
celery stalks swirling on glass platters,
staircases to descend from--everyone
I have ever loved climbing down them:
forgiven, delivered. (Okita 3)

These concrete images of "seedless green grapes/dripping in a glass of icewater" and "celery stalks swirling on glass platters" subtly express the abstract feelings of maturity, loneliness, and love.

A wonderful first book of poetry, hopefully to be followed by many more.

In 2006 our county was challenged to read "Captains Courageous" in preparation for the "Tall Ships" event that summer. I have to admit I seldom read fiction. I like to learn something when I read. If I want to be entertained, I'll watch TV or go to a movie. The local Library arranged for Dr. Engel to be the guest speaker and give his take on Kipling. It was the nost enthralling talk I have ever been priviledged to hear! Our "county read" this year was "The Great Gatsby" by F. Scott Fitsgerald. Dr. Engel was our guest speaker again. I was able to tell him personally how much I have enjoyed his book and CDs! The CDs are great for travelling time listening. His essays on famous authors cannot be topped!

I started reading this book while recovering from surgery and finished it in two days. When I'd finish reading about one author, I couldn't wait to read the next. A wonderful book that I can't wait to pass on to all my friends.

It has been my great privilege to hear Dr. Elliott Engel in
a wonderful lecture on Margaret Mitchell. Elliott has produced
countless audio/video CD's and cassettes for those interested in
a general knowledge of the great writers of Western Literature.
This is a wonderful book! If more people read it there would
be rejoicing in this old English Literature major's literary
heart!
Engel writes in a light, lively and easy to understand. Enjoy
learning about the greats from Shakespeare to Dickens, the Brontes, Twain and others. Enjoy!

I really didn't know what to expect when I picked this book up. A friend heard the author lecture on Shakespeare and bought a copy for our daughter, a Ph.D. candidate in English (Shakespeare). She sent it to us to deliver, since she didn't have our daughter's address. My wife and I both read a little bit, and then decided we had to read it all. Our daughter will have to write a thank-you for a used book.
Engel belongs to the school of biographical literary criticism, and thinks that authors' works are influenced strongly by their lives and the times in which they live them. The brief, and partial sketches of these nineteen literary greats are based on his classroom lectures. All I can say is that I wish he had been one of my teachers. These lectures in writing are cleverly written, with a very pleasing dry wit, and are informative while being interesting. Do you know the origin of the term "box office" and the actors' wish to "break a leg"? You will after you read Engel's snapshot of Shakespeare. And no one ever told me before that Chaucer was satire. Finding this book was a fortuitous accident. I hope my daughter enjoys it as much as I did.

If you've ever heard one of Dr. Engel's lectures, you know what a captivating storyteller he is. Now, for the first time, the content of his lectures has been put into book form. You can almost hear his voice as you read through the pages of this book.

As other reviewers have already stated, A Dab of Dickens is a collection of short biographical sketches of over a dozen of the greatest authors of all time. What is unique about these sketches is that, although they are short, they are filled with fascinating tales about the lives of our most beloved authors - tales that I am sure most of us did not ever know. For instance, I was fascinated to find that when he was only 3 years old, Edgar Allan Poe was forced to sit on the front row of the theatre and watch his mother, who played Juliet, stab herself and "die" - eight times a week. No wonder he wrote the kind of macabre stories that he did!

The great thing about Dr. Engel's new book is that it gives you just enough to keep your interest, it doesn't overwhelm you, and it makes you want to know more. You want to keep reading the chapter on Poe because you just cannot believe that even more horrible things could have possibly happened to one person. You may be bored by Ernest Hemmingway (for instance), but you don't mind reading his entire chapter because it's not information overload. And at the end of this wonderful book you have a list of authors whose major works you now cannot wait to read.

If you love literature and are fascinated by the authors who have brought us so many priceless works of art, this book is for you. If you don't know much about literature at all but are curious to find out more, this book is for you as well. But this book is also perfect for the person who hated English class in high school, avoided literature like the plague in college, and has been glad to forget it completely ever since. I promise that even you will find something fascinating and inspiring among the pages of this book.

Great service. Condition of book was stellar and it was delivered in a very timely manner.

"The Dancing Girl of Izu and Other Stories" is an odd collection of sorts, mixing an elegant, straight-forward short story together with some autobiography and a fluttering of palm-of-the-hand tales. Each element contributes a unique flavor, and a different facet of Kawabata's style.

J. Martin Holman proves himself again a master translator of Kawabata, retaining the flow and most importantly the feeling of the originals, far more than other translators I have read. The only flaw I found was that he splits the book into two sections, which I personally found a bit jarring. I think it more naturally flows into three distinct chapters.

"The Dancing Girl of Izu" is as fine a short story as you are likely to read anywhere. Every necessary element is contained, with no superfluous decoration. It is heartbreaking in its subtlety, and masterful in its craft. Everything important is unsaid. Kawabata can manipulate emotions so deeply using so little, leaving the reader with an aching emptiness as great as that of the narrator. Beautiful, and fully worth the cost of the collection alone.

"Diary of my Sixteenth Year," "Oil," "The Master of Funerals" and "Gathering Ashes" are four short autobiographical sketches of Kawabata's relationship with his only relative, a blind grandfather who would figure into several tales. Not factual per se, but true impressions. They present an intimate portrait of youth trying to understand the aged, of responsibility and resentment of responsibility, and of the numbness of death. The stories are presented as recovered diary accounts Kawabata wrote when he was 16, and they may be so. I believe the feelings, and that is enough.

The third section contains the 18 remaining unpublished palm-of-the-hand stories, Kawabata's personal trademark and contribution to literature. A page or three at the most, each story functions like a Zen koan, a story or riddle with no obvious meaning used as a contemplation tool by meditating monks to clear their minds and make them go hmmm...as they try to decipher. Koans have been called "extremely brief vignettes enabling the individual to hold entire universes of thought in mind all at once," and I think this sums it up nicely. Do not attempt to decipher these palm-of-the-hand stories, but instead read them and feel them and go hmm...

This is an interesting mix of Yasunari Kawabata's early work, well before he was Japan's literary superstar, and well before the works that would ultimately win him the Nobel prize. The title story (I can't say titular, can I?) is of a college student's crush on the youngest member of a dancing troup. Most likely autobiographical, it leaves the reader sharing Kawabata's youthful loneliness. The second larger short story (there's no better way to describe it) is Diary of My Sixteenth Year, which covers the disappating love of a youth and his dying grandfather.

The remaining stories are much shorter, ranging from 3 to 10 pages each. Birthplace is an interesting story of abandonment and leaving one's home behind. Burning the Pine Boughs is as much about reading between the lines as reading what's on the page. Oil is a deep work of overcoming childhood loss.

Three common themes permeate these stories. First is the idea of an imperfect, sour or unatainable love. Second is the idea that at least somehow many of them are autobiographical. Third is that much is left unsaid in the stories. In a sense they are a prose form of Zen art, where what is unsaid can be more important than what is put to paper. Despite being distinct, one can read inferences between the stories (the hands for prayer in both Master of Funerals and Hands, for example) and perhaps that is enough to tie them all together.

Although Snow Country is commonly referred to as Kawabata's greatest accomplishment, these stories were more accessible and emotionally powerful.

I recently read this collection of short (with the emphasis on "short") stories. This set of stories are very autobiographical; especially in the first part. The title story is a tale of young love. The message that came through to me was the innocence of the attraction of the two main characters. After that came a touching diary that told of the relationship of a teenage boy and the elderly, invalid grandfather who raised him. It reminded me of my relationship with my own grandfather. The other sketches were worth reading as well and most were only two or three short pages in length. There is certainly a poetic style in Kawabata's works. This particular collection is a good introduction to the writer.

Although Kawabata is most often associated with his better than good Palm-of-the-hand stories, I don't view them as my favorate Kawabata work. The Dancing Girl of Izu (mandatory reading for Japanese Junior High School Students) is a sort of coming of age story that made me step back and reflect. The semi-autobiographical work is tender, heart warming, and a keen glimpse into Japanese life. If you have read and enjoyed earlier works of this author I would strongly suggest this collection to you. If you have yet to discover Kawabata, I say there's no better place to start!