Poets Books

The /mandatory/ companion to Berryman's /Collected Poems/, as Berryman isn't Berryman without the /Dream Songs/.
Always confessional, sometimes maudlin, never mawkish, always jerking language around to try to make it mean what he sees, the /Dream Songs/ are a brouhaha among his various selves, all passionate in their aspirations and their disagreements, an ongoing (1955-71) ruckus that made Berryman as he made them.
Warning: If you simply can't stand a ringside seat at a fight, don't; this ain't television.

HAHA guys

What is this........... eh, not quite sure, but, slipped so easily into the unknown without PREJUDICE, completely into the author's syntax, thoughts and, yes, dreams.

This author waved to the onlookers as he descended to the hard, craggy Mississippi Rocks that he LOVED. Not a particular story many people in the press want to hold above THE LAUREATES and Fakes that permeate our Poetry industry. A truly strange trip through the head of an albatross in flight....

I love ROCKS.

the main point of criticism of this poem is its hyper-personal self-referential content. i have to say, however, that i have never felt so comforted, so saddened nor so delighted by any work of art or literature or film as i have by these songs no matter how little i know about what he really means or is talking about. i don't even want to know the specifics or the origins behind every line.
this is the most jarring and successful work of experimental anything i've ever encountered in my life. berryman had such a command of language; vernacular, colloqialisms, meter, form, internal rhyme, schizo pronoun shifts, multiplicity, this masterpiece has it all. 'the dream songs' take language and poetry to its limits and does so succinctly, with meter and rigid sonnet form berryman devised for the work.
the fact that the beats overshadow people like berryman and john barth and william carlos williams is simply a crime. i honestly feel that this work surpasses 'leaves of grass' and is probably the most amazing achievement in american poetry.
this is not to say that i think berryman is america's finest poet (more than likely our most erudite, but not our finest). on the contrary, i think he was a marginal writer who caught fire like no one ever has. this is what art is; one person's fractured assemblege of all the shattered pieces of everything in an epic confession where he is in fact three people and is killed and raises from the dead and cheats and lies and is mistreated and is wrong, all in heroic fashion. to want to know where it all came from is wrong and selfish and diminishes the work. to be consoled or bored or outraged is what must be done.
i re-read this beast about once a year, last time through 191 was probably my favorite. like all masterpieces, you appreciate something different every time.
buy this book, steal it, whatever you have to do.

At first, I didn't find much to rejoice about in this collection of poems. The expectation Berryman sets up with his title is deceptive. I found little evidence of "dream." What I mean is that I found this writing highly literal, straight-forward and self-conscious, i.e. the antithesis of dreamy. Secondly, "songs" troubled me. One of the thing that distinguishes poetry from prose is poetry's musicality. And having "songs" in the title of a collection hints that there may be lyricism within. However, I found the diction flabby, the tone impotent and therefore lacking any semblance of lyricism. Perhaps what Berryman meant by "songs" is this: Perhaps these poems are loose ballads (without the envoi and without the predicable rhyming scheme). Ballades address an important person (Henry, in this case) and sums up the point of the poems.

It's terrible to sum-up a collection of poems (or is The Dream Songs considered one poem in parts?), but here goes: Basically, in each section we have the protagonist, Henry, in various situations, or in mere contemplation. The forward for this book is interesting in that, along the lines of Pound and Eliot, Berryman has made a concerted effort to inform his readership that this is, indeed, a persona poem, and therefore, not to be confused with a biographical poem. Perhaps what Berryman has produced here is an eclogue. An eclogue is a poem "written in the form of a monologue or dialogue in which the speaker tells us what he feels about a particular theme (and why) and why others ought to feel that same way (from Handbook of Poetic Forms)." When I approach these poems as bucolics (or, eclogues), Berryman's craft and the poems' meanings open up for me. Otherwise, these seem banally idea-driven and terribly discursive in that they're sometimes laden with private references. For example, the opening few lines: "Huffy Henry hid the day,/ unappeasable Henry sulked./ I see his point,-- a trying to put things over."

The best way to enter these poems, then, is to embrace Berryman's eclogues as a means to engaging with the main character, Henry. Because these poems are character-driven, the language is conversational, idiosyncratic, and at times, pedestrian (like how most of us are just plain boring in our impromptu conversations). In this sense, these poems have an immediacy to them; the reader can almost hear Henry's diatribes straight from his mouth. However, Henry is not without pithy insight. In part #28 Henry displays his humor and resign: "If I had to do the whole thing over again/ I wouldn't." At times these sections begin with such intrigue, they reel-in the reader. Part #44 begins: "Tell it to the forest fire, tell it to the moon." And at times, the readers are reminded of the fact that Henry's merely a character in Berryman's head. These last two lines of part #74, "Henry mastered, Henry/ tasting all the secret bits of life." And that's just what we get from these Dream Songs, bits of a Berryman character in all his intricacies, both commonplace and celebratory.

I am not very knowledgable about Berryman and his work. I certainly have not read the poems with the time and intensity of a number of the reviewers on this site. I have an impression of Berryman and his work. It is of something vaguely likeable occaisionally able to provide a line which hits home. It is of a very variable voice in which the disorder and the breakdown somehow make the text too mixed- up.
Perhaps this is unfair. Bellow thought Berryman the best, and among other poets he too was understood as one of the best of his time.
Perhaps then I should let his lines , lines of one sonnet at least speak for themselves:

These lovely motions of the air, the breeze,
tell me I'm not in hell, thojugh round me the dead
lie in their limp postures
dramatizing the dreadful word 'instead'
for lively Henry, fit for debaucheries
and bird- of- paradise vestures

only his heart is elsewhere , down with them
& down with Delmore specially, the new ghost
haunting Henry most:
though fierce the claims of others, coimedela crime
came the Hebrew spectre , on a note of woe
and Join me O.

'Down with them all!'Henry suddenly cried
Their deaths were theirs. I wait on for my own,
I dare say it won't be long,
I have tried to be them, god knows I have tried,
but they are past it all, I have not done,
which brings me to the end of this song.

The translator deserves a nobel prize for rendering the Russian into an English poetry which stands on its own as first class literature.

I came to this book by way of reading Le Ton Beau de Marot by Douglass Hofstadter, and therefore I was expecting a sparkling and smooth translation of Pushkin. I was not disappointed in the least. The rhymes are wonderful and the syllable counts and meter are almost always perfect. I fully understand what Hofstadter meant when he said that after reading Falen's translation one gets the true sense of having read the original (this despite my not reading Russian). I recommend this heartily for anyone wanting to read this classic of Russian literature.

Coming to this, I was already familiar with Pushkin -- both from his short story "Queen of Spades" (and Tchaikovsky's operatic version), and from other allusions to him in later Russian writers. Pushkin has for Russians the same sort of significance that Shakespeare has for English speakers. Everyone, from Gogol and Dostoevsky, to Pasternak and Solzhenitsyn, has riffed on him. And although the "Queen of Spades" hinted at why he holds place of pride in Russian letters, "Onegin" only offers additional proof of his genius.

Without giving away too much, the story itself has a nice, circular design to it. One of Pushkin's chief virtues must be his voice itself -- which, as I am not a Russian speaker, I guess to be a sort of cheeky, and Byronic, one,(nb: Pushkin is obviously familiar with, and indebted to, Byron, particularly in this work). This James Falen translation is particularly meritorious -- it preserves Pushkin's "Onegin octave" verse form, and iambic tetrameter. Falen's translation is gorgeous, musical, and in remarkably clear, grammatically sound English.

Aside from its story, "Onegin" may be thought of as commenting on, and narrating the death of the long poem as a viable literary form, and the rise of the novel. For instance, consider that the death of Lensky coincides with the narrator's own growing dissatisfaction with verse, and preference for prose. Pushkin's own dissatisfaction proved to be prophetic -- after "Onegin", epic verse has practically vanished, as a form. The longest poem (that I am aware of) which is of more recent vintage than "Onegin" is by another Russian, but in English: Nabokov's "Pale Fire."

Ultimately, we witness the passing of an entire world in "Onegin," that of late-eighteenth century (and early nineteenth) Russia -- with its duels, its music, its ballrooms, its manners. It is about to be supplanted by the grittier, dimmer psychological world of Dostoevsky, or the bright, hard-edged realism of Tolstoy.

Long hailed as the Russian Shakespeare, Pushkin's novel in verse is a tantalizing combination of never comedic irony and agonizingly unrequited love. Full of many now-obsolete references to works of his day, some verses serve to interrupt the story line by making obscure indications to the poet's own explots and experiences. Interesting; but were it not for the notes in the back matter, they would have been lost on most readers, as they were on this one. That said, once the poet returns to his plot - which, by the way, is so good that it could be read in one sitting save the repeated departures - one finds oneself hooked. The verse is never delicate, never gentle. It rips the heart out and confiscates the senses. The young, naive, and love-struck Tatyana sends a letter to Onegin (pronounced on-ye-gen). He does not return her feelings, and tells her as much. But by a classic twist of fate, Onegin finds himself much changed in his opinion, and Tatyana, while not changed in her own, is in circumstances so changed, that her feelings are no longer given the sway they once were. It appears that Onegin was the naive one after all. For its universal value to Russian literature and its excellent translation, I recommend it fully. Eugene Onegin is a work full of reality, harsh and true; as such, a love story becomes believable.

James Falen's stunning translation of Eugene Onegin is a paragon of grace and subtlety. Despite the formidable challenge of converting Russian verse into English, this edition conveys Pushkin's fluidity of language, varied spirit and love for the human heart with precision and artistry. Indeed, as I breezed through this staggering work of genius, I kept marveling at the beauty of an English translation made possible, of course, only through Falen's understanding of the writer's intentions.

So the translation is a technical tour de force: the diction, style and tone are sublime. But the novel itself - through frequent transitions between bliss and morbidity, through lively dialogue, and through a devilish combination of action and wit - is also a fully-riveting tale. When encountering such Russian literature, some Americans will dismiss it as hoary or pessimistic, but this is facile. Pushkin holds darkness and sadness in relief to a soaring, more soulful encomium of life, and in doing so, presents us with humanity's casual, and often unintentional, profundity.

My Titles
Shadow Fields
Snooker Glen

A lovely book. Translations from another culture and time that we can still relate to. A pleasure to read and reread.

Wonderful poems showing the power and of two woman poets of the Heian Jidai. Exposes the "nature" poetry prejudice that derives from the unfortunately all male cutesy pie abbreviations of Westernized haiku. Waka yes, Haiku no.

The Heian period of Japan was artistically fertile time that produced numerous classic works of literature. It was even more remarkable in that most of the major literary figures of the time were women. Among those great women, Ono no Komachi and Izumi Shikibu were two of the best. Their waka poetry (now called 'tanka') is some of the best literature ever written in Japan and the poetesses themselves have become the stuff of legend.

Doing justice in translating ancient Japanese into modern English is no easy task, but Hirshfield and Aratani have created translations that are as beautiful as the originals. Anyone who enjoys poetry, who loves love, or who is interested in other cultures and finding the universal passions of the human heart will enjoy this book.

--M. Kei, editor of Fire Pearls : Short Masterpieces of the Human Heart

Jane Hirshfield and Mariko Aratani have done a marvelous job with the translation of these lovely tanka-- manages to capture both their fragility and robust complexity. I had an acquaintance who was a scholar with a focus on Japanese literature. She explained to me a little bit about the complexity of translating waka. I have nothing but admiration for those who can do it well. Hirshfield actually has an essay at the back of this book called "On Japanese Poetry and the Process of Translation". I recommend it highly, even if you do not normally read this kind of essay.

I am a little bit afraid that the focus on the love poems and the emphasis on Ono no Komachi and Izumi Shikibu as female writers may give the wrong idea about the strength and importance of the poetry. Shikibu is widely considered the greatest poet of her period and Ono no Komachi was one of the Rokkasen-- the six best waka poets of the early Heian period. The reason that I am not giving this volume five stars is because of this packaging and not because of the poetry itself.

These poems are a joy to read aside from any issues of scholarship. They are strong and sad and very affecting. There is actually no stronger recommendation to read this than the poems themselves, so I will close this review with one of the poems by Shikibu:

What is the use
of cherishing life in spring?
Its flowers
only shackle us
to this world.

Unlike other reviewers, I am not an aficionado of Japanese poetry or culture, nor have I ever studied this period in Japanese history. I found this book entirely by chance buried in an obscure corner in my college library. I read a couple of random pages and fell in love. I checked it out repeatedly throughout my academic career, then bought it.

These women so effectively communicate, in few words, universal feelings of love. While the poems are deceptively simple, they manage to be so beautiful that I am amazed every time I pick it up.

Even more impressive than the writing is how easy it is to relate to the emotions behind it. As I have grown older and experienced so much more of life, I am surprised to find my own feelings mirroring one poem after another. What once seemed pretty words are eerily my own thoughts. It's amazing, considering they were written one thousand years ago!

If you're thinking about buying this, I suggest using the preview to read the few sample pages. If you like what you see, just get it. You won't be disappointed.

My Grandma bought me this book when I was a small child. We read it over and over again. I absolutely loved it!!! I will definitely be reading this book to my future children and the future children in my classroom. I hope they love it as much as I do.

This was one of my favorite books as a little girl, and now my two little nieces can't get enough of it. I'm actually buying a replacement book now because the one we have is so worn out from reading it again and again. I definitely recommend it for the kids in your life.

Awwww I feel like crying! This was one of my all time favorite books as a child! My favorite library teacher let me have it in 1st grade and I read it over and over until i knew the words by heart

This was my favorite book as a child. When my mom found out she was pregnant with my sister, my parents allowed me to choose her name if she was going to be a girl. I decided to name her Jillian after my favorite book. When I was in 3rd grade I memorized the book and brought in my sister for show and tell. Anyway, this is the best book ever.

this is a great story, both to read out loud and to read alone. it's about a girl whose mother wants her to clean her room, but her friends come over and they end up playing instead. her mother tells her a few times to go clean her room and she seemingly goes to do it, but she takes her friends with her, as well as her baby sister, and they get distracted by their imaginations, so we get to see them pretending to be a bunch of different things. at the end though her mother puts her foot down and tells jillian to clean her room, so she tells her friends to come back when her room is neater.

the book rhymes, which is amazing for reading out loud, or for singular readings, the flow is nice. the illustrations are great too, the characters look like they're having fun. the way they're drawn conveys a lot of energy and excitement, and yet the drawings are simple... i guess they kind of remind me of children themselves, not a whole lot to them, but invest your time and you'll have more than your share of fun.

this whole series is great. i recommend.

I was lucky enough to see Lois Lowry speak in Knoxville, TN over a year ago. Lowry is a phenomenal story teller--both in print and in person. She told the audience much about her family and growing up...indulged us with photgraphs, stories, and memories. I felt like I was listening to a member of my own family telling me stories; I was completely enthralled and really appreciated Lowry willing sharing her life with so many people. "Looking Back" gave me the same feeling.

The book is not a typical memoir: no linear narration. It is, as she states, "about moments, memories, fragments, falsehoods, and fantasies." Photographs (most taken by herself or her father) are dated and presented with short explanations, memories, or revelations. It brings together two of my very favorite things: pictures and stories. I especially love the story of how she met her second husband, Martin, and her quest for the ideal dog. Fans of Lowry's books (especially of the Anastasia books, Autumn Street, and The Giver) will enjoy quotes from novels which relate to Lowry's life. While reading this book, readers will revel in the extent to which Lowry has placed her own experiences, memories, and stories into her fiction. It's all about stories; how we become ourselves and the importance of remembering.

I believe that I, as a child or teen, probably would not have been entirely interested in "Looking Back." I believe it takes a more mature reader to realize/appreiciate the intimacy and life experiences and milestones expressed in the book. But young fans of Lowry could enjoy learning more about a favorite author and where her stories came from.

How do writers create the characters for their books? Writer Lois Lowry answers this question in this beautiful book of memories. Each individual memory with accompanying black and white photograph illustrates an important event in the author's life. Together they weave a story that is impossible to put down and leaves the reader wanting more. There is humor reminiscent of Erma Bombeck and sadness that makes you want to weep. Lois Lowry includes quotes from characters in her books echoing experiences that are provided in the memories. The death of her sister is found in Number The Stars, her grandparent's house is in Autumn Street, and her son and his horse in The Giver, and she herself in books like Anastasia Krupnik and The One Hundredth Thing about Caroline. Read this book to learn more about a new friend or to find a new one.

How do writers create the characters for their books? Writer Lois Lowry answers this question in this beautiful book of memories. Each individual memory with accompanying black and white photograph illustrates an important event in the author's life. Together they weave a story that is impossible to put down and leaves the reader wanting more. There is humor reminiscent of Erma Bombeck and sadness that makes you want to weep. Lois Lowry includes quotes from characters in her books echoing experiences that are provided in the memories. The death of her sister is found in Number The Stars, her grandparent's house is in Autumn Street, and her son and his horse in The Giver, and she herself in books like Anastasia Krupnik and The One Hundredth Thing about Caroline. Read this book to learn more about a new friend or to find a new one.

Browsing at my local library, I stumbled upon this book. "HMMMM, this looks interesting," I thought to myself. Little did I know that I had found a book that would bring me to my knees crying and give me one of the biggest "book hangovers" ever. This book followed me through my weekend, and inspired me as a writer ( who wishes she could write with even 1/100th of Lowry's talent) a teacher (who thought of about a zillion really cool writing and reading lessons I could spring from this book) and as a mother (who realized the joy of life, and exactly how fragile and tenacious it really is).

You must read this book. It is easy, and unfolds into a love story, a story of loss, and a story of absolutely LIVING life with as much passion as the moment allows. I don't want to give this book away, because the suprise of it, the thing that made most of the essays connect, is what left me gasping and delighted on snowy Sunday here in Denver.

Absolutely appropriate for children, but I would guess that the essays would appeal more to girls. And if you are a teacher, you will discover a hidden treasure in the book by and about one of the most talented childrens authors of our day!

Enjoy. Have the kleenex handy.

The memoir I read is called "Looking Back a Book of Memories" by Lois Lowry. The book is a collection of Lois Lowry's memories throughout her life. Lois Lowry is a prize winning writer of fiction novels. Each chapter is separate memory. She begins each chapter with a quote from one of her many novels. In this memoir she relates different quotes from her novels back to life experiences. The memories that she describes seem to be used throughout her novels. Writers will draw on memories and events from their own life as part of their story telling.

Lois Lowry noted that she has a lot of babies as characters in her books. For example, in the novel "The Giver" one of the characters was the baby Gabriel. In the novel "Rabble Starkey" there was a baby named Gunter Bigelow. Lois Lowry thinks that she likes to use baby characters because she likes newborn babies. Her fondness for newborn babies was started by a picture her father took of her when she was born in 1937. Fathers weren't normally allowed in the hospital ward but he worked for the hospital and he was a photographer. Her memoir also includes pictures of grandchildren as babies.

In the book, "Find a Stranger, Say Goodbye", she describes a girl looking up as she is standing in thick forest. She describes the emotions as fearful, humorous, and warmth all wrapped together. When Lois was two years old her father took a picture of her standing in a thick "tropical growth" near her house in Hawaii. She is looking up at her father's camera in the same way that she describes the girl in the book. She comments that her life had challenges but was mostly filled with warmth and humor. She says most of the time she remembers she laughed a lot.

In the book, "Anastasia at Your Service", she describes a scene where a young boy is trying to prove to another young girl that he can read. In this scene it is very important for the young boy to be able to read and prove it. She relates this to her need to want to read. When she was 3 years old and her sister was 6 they would play school. Her sister was the teacher because she could read. Lois wanted to read so that she could be the teacher.

In her book of memories, Lois Lowry describes her life using quotes from her fictional books. She discovered that most of the scenes in her books came from her own experiences. She used her own life as an inspiration for her writing. It would be easy to find scenes inspired by her own life in her books because so much of her own life is in her books. She documented many of these in her book of memories.

Hirschfield writes about poetry with an intellectual as well as with an emotional clarity that illuminates and clarifies her subject. In doing so she draws from an vast well of deeply considered experience and insight. If you are interested in poetry in its many forms and manifestations I highly recommend this book.

I've owned this book for several years now, and I turn to it again from time to time, dipping into its rich prose and remembering the love I felt for it the first time I opened its covers and began to read. I was so captivated by Hirshfield's words that I read aloud from it to my friends, sharing her sense of beauty and mystery with them, and the joy I was taking not just in the way she formed her arguments, but in the wonderful feeling that came from hearing the words aloud.

I have a shelf full of books on poetry and poetics. I've got volumes of writers' exercises and essays on what poetry is and how to do it. This is the only one I've ever assaulted my friends with. Share it. Pass it along.

Jane Hirshfield's "Nine Gates" is probably the most interesting and insightful book I have read on the art and uses of poetry. While Hirshfield's approach to poetry is very much informed by (and often illustrated through) her knowledge of Asian arts and Buddhist philosophy, one need not be a Buddhist or a scholar to understand and appreciate her vision. Hirshfield is most interested in approaching poets and poetry through the essential work that they perform by helping us to understand the natures of, and the relationships between, the self and the world (that is, community in its largest sense). The book's argument is hardly as abstract or fanciful as this might sound, however. Instead, Hirshfield uses this approach to show how the most basic elements of poetry (rhythm, rhyme, image, and so on) function to help the poem build its meaning and fulfill its purpose. "Nine Gates" is an excellent book to strengthen your ability to read poetry, and to deepen your understanding and appreciation of this vital art.

...sometimes we need a personal classic to draw comfort from.

This past year when both grandmothers passed away, the soft voice of poetic comparison helped ease the heart.

In my small opinion, this is an inspired and gentle voice to turn to and read. And also reread.

I hope you also enjoy this reading experience.

At first I rebelled against the author's devoting pages to a discussion of poetry translation. However, once I dug hard into
her elegant but fairly dense prose, the more I found it fascinating, (including (of all things) certain esoteric aspects of Japanese language and poetry as well as translation.

I have begun reading NINE GATES for a second time, and I suspect not for the last. Although scholarly, the book is also moving, touching and definitely inspiring for any artist, poet or not.

This should give you a general idea of how good this book is: After reading the last page, I turned to page 1 and started reading it all over again.

When was the last time you read a book twice?

Ziolkowski's style is like a perfect wave--clean, gorgeous, and unique. It's not just about a surfer searching for perfection, but a boy searching for himself in post-Vietnam era of sunny Florida, where everyone is tan and bleachy-haired, Led Zeppelin is on every radio, and pot is as prevalent as palm trees.

The story begins with the author at ten, still reeling from his parents' divorce and craving diversion like any normal kid. But it is surfing that becomes his ultimate grace, giving him confidence and the room to dream outside the troubles at home. When his family begins to unravel, his heartbreak at dreams realized and lost will strike a sympathetic chord in anyone who is connected to the sea, to family, and to one's true self. The author's search for his identity comes full circle--beginning, ending, and beginning again--on a wave.

I loved this story of a young boy's passion for the ocean easing his growing pains. Very well-written.

thanks for the prompt delivery! I will definitely look for you again when ordering

Thad hits the nail on the head! Having grown up in Melbourne Beach during the time period described I feel qualified to speak on the authenticity of the scene depicted: perfect, took me back in time! Anyone who grew up in the space coast area during the 70's will be able to identify some of the characters described. This is an execellent book for the non-surfer as well as the surfer. This book will remain on my annual reading list along with Caught Inside, Lighting out and West of Jesus. Thanks Thad for an execellent read!

Excellent.This book will stay with you long after you read it. As a 50ish surfer from the Texas gulf coast this book reminds me of why I consider myself lucky.

Dazzling and intense works. Good overview of his output. Although this is not the Collected Poetry of Heaney it does contain almost all his best poems up to 1996, as well as his Nobel Prize acceptance lecture (a gem) and an excerpt from his play Cure a Troy. Essential poetry volume.

I needed the book for a class... I went in to reading it like it was going to be garbage... But it actually was a little bit interesting...

strong poems, there is a sadness and a resignation of fog that permeates these poems. this is a melancholy man, one for whom the all-pervading glue of inaction and paralysis bounds him to a bleak world, soiled and grey and drab. this is a weary poet, too nauseated with reality's bruised soldiers, slovenly rudeness, the uncouth glutton, the debauched fiend. i enjoy him, immerse myself in his dust-gloom, his inability to soar into elation and falcon-freedom.

author of Lorelei Pursued and Wrestles with God

After currently studying the quality of Seamus Heaney's poems, i am quite sure that this book will not dissapoint you. The quality of Heaney's poems are somewhat outstanding, they are a shock, as you dont normally read poems of this sort, and once you read one, you have to read the others. One of my personal favourites is Mid-Term Break.

Written by Kirk Aged 14

If you have not read Seamus Heaney, then you are not in touch with what the English language is in its heart. Heaney's simple, unstrained word usage, coupled with a deep knowledge of the rich Anglo-Saxon which is our cornerstone, evokes a strength which comes not so much from what we see and know as from something which is rooted deeply in our psyches as Anglo-Europeans (or at least those living in and a part of such cultures). Heaney also brings to light the beauty of the ordinary, primarily by weighting it with the yoke of history and the various passions of his fellow man.

I bought this collection because I enjoyed others of his works (especially The Spirit Level and Seeing Things), which I uncovered at the library, too much to go long without his poetry. And this collection turns out to have all of my favorites from those volumes, as well as the best and most skilled of the poems of his earlier volumes. Do I recommend it? I wouldn't have prominently displayed the fact that I was reading it in numerous public places if I didn't, now would I?

Maya Angelou's poetry is so phenomenal. And the power of her voice reading her own words, is really moving.

Maya Angelou's reading of poetry is moving to the point ot tears and laughter. I highly recommend it.

This audiobook arrived in about a week and was in the condition advertised. Overall, I was satisfied with the transaction and would purchase from this seller again.

...Invictus is by William E. Henley......I do not like much poetry.....but 'Still I Rise', is one of the most moving and powerful pieces of literature of our day. You can feel the rumblings of motivation rising within you as you read it---it summons the power of our ancestors as you read it... YOU FEEL this poem with all your heart--or I fear you have no heart and you remember that feeling for years after you have read it!
It is a magnificent poem that the author not only wrote, but earned through her own life.
This book would make excellent Christmas gifts of inspiration.

This book is filled with wonderful, powerful poetry that really awakened me to the troubles of African Americans in that time of history. Diego Rivera's paintings in the book are staggering and breathtaking. This is a must-see for any ameteur or lover of poetry.

The Human Comedy is a saga of 92 novels that Balzac said was written by French society. Legend described him as the night-shirted social recorder working until dawn fueled by liters of coffee. Lost Illusions (1837-1843) is considered to be one of the best of the novels in the series in scope and structure. From the frenetic world of writers and booksellers in Paris to the grueling life of hard work and boredom in villages, Balzac traced the systematic destruction of illusions in his characters. No one could be trusted (friends, foes, or family) when the creative or inventive characters attempted to reach a goal. The flicker of hope and joy related to an artistic or business accomplishment was extinguished within days or hours. The enduring artists and producers were those who lived almost without hope, guided by a strict code of ethics protected only by their ability to keep their accomplishments secret. Ultimately, some of these survivors reached their goals. But by then, they no longer placed high value in them, much of the luster lost with their illusions. Lost Illusions set the standard for many of the wonderful French novels of the subsequent years of the 19th Century. The reader is immersed in French culture in a manner similar to the later writing of Gustav Flaubert.

Lost Illusions by Balzac is one of the most famous novels out of the ninety two he wrote in his lifetime and maybe also among a million his admirers have written in 175 years since his first novel was published.

Balzac choses Lucien as a romantic, good-looking dreamy poet. We are first thrust into his provincial life, with details about his ordinary life and extraordinary ambitions that he has no means of realizing. Except patronage by an older woman! She leads him to Paris, only to abandon him to fight his way into the high society. How Lucien rises and falls in the glamorous, amorous, corrupt and vicious life as a journalist in Paris is picturized through a narrative that is bathed in realism, and yet proceeds through both suspense and wit, in the spirit of the pace at which Balzac could conjure up such novels.

In the provinces, Lucien has a friend, David, who likewise is somewhat lacking in social and economic acumen, and is a hard working inventor. David own father ruins him by extracting an unreasonable price for the printing press that he leaves or sells to his own son. Crafty competitors take advantage of David's credulous character. David endures both provincial small mindedness and economic setbacks suffered to keep Lucien afloat. Balzac displays his knowledge of these disparate characters with remarkable attention to detail. He weaves an undercurrent, of what could have passes as a dissertation, on the art and science of paper making.

Balzac creates in his one book, a saga that unravels friendship, love, jealousy, lust, ambition, vanity, greed and absurdity that lurk in our beings and in our relationships. By using two main pillars, Lucien and David, Balzac erects a bridge into the two worlds of poetry and science. He shuns hint of any romance of either worlds, and shows how much character, how many hardships and set-backs, how much devotion and labor are required for a man to become a known poet or a scientist.

I am quoting an example from this translation (carried out by Katharine Prescott Wormeley):

"No one can be a great man cheaply," said d'Arthez in his gentle voice. "Genius waters her work with tears.Talent is a moral being which, like all other beings, is subject to the maladies of childhood. Society rejects undeveloped talent just as nature removes her feeble or deformed creations. Whoever wishes to rise above his fellows must be prepared to struggle, and not recoil at difficulty. A great writer is a martyr who does not die - that's the whole of it!"

Besides the two pillars, the book has an interesting array of characters. Actresses, society women, editors and publishers, lawyers, struggling writers, dandies - all appear with their human failings and foibles as part of a drama that unfolds with an enrapturing narrative. Be it history, economics, alchemy, or psychology, or any topic under the sun, Balzac ushers in his great knowledge, suspending and supporting the story with able and apt pointers, tresses and metaphors.

Balzac's Lost Illusions is undoubtedly a classic everyone can enjoy and must read at some point in their lives. Highly recommended.

I read this book during my latest visit to my favorite middle east country. I must admit that I didn't enjoy this book as much as others. I felt like it was slow to come around and I thought there was too much detail on (seemingly) unimportant things at times. I'm just a regular person, so that said if you are an accomplished reader you may love this, for neophytes such as myself, other titles are more likely to be properly enjoyed (see my reviews)...and keep me updated!

This is one of the best novels by Balzac, which is to say much, since he is still one of the best writers that have ever lived. Here, as in the rest of his work, the reader can appreciate Balzac's knowledge of worldly life, and especially the world of business, so alien to other writers. In this book he elaborates on the printing business as well as on journalism -vastly so-, back when it first began as a mercantilist activity. He contrasts the small life and intrigues of the province with the -no less petty but more gandiose- life and intrigues of the big city, Paris, and in particular of the faubourg Saint-Germain, the paradise of the Parisian jet-set.

David Sechard is a young man who inherits, at great cost, his cold and greedy father's printing business. Lucien Chardon (later "de Rubempre", after taking his impoversihed mother's more aristocratic last name) is his best friend. Both of them share a love for poetry, but it is Lucien who comes to shine as the young genius of province, the promise for whom it is worth it to sacrifice it all. Lucien gets the love of one Louise de Bargeton, the "queen of Angouleme", the most cultivated and refined woman in town. Louise promises to take Lucien to Paris, introduce him into the great society, and make him triumph as a poet. His family gives him all they can to get him started, and off he goes to Paris. But he happens to be arrogant, proud, and insecure, and soon he suffers the despise and insolence of aristocrats and other rich people. After what he believes to be an offense from Louise, he rejects her, earning her eternal hatred.

In the meantime, Lucien has been spending time with two very different circles of friends. The first is composed of a group of young intellectuals, hardworking guys sacrificing money and fun for the sake of science, art, and knowledge. They are there for him in times of need, and encourage him to keep up with his writing. The second group is a bunch of journalists, easy going but corrupt people who convince him to achieve quick fame and money. Lucien gets more and more trapped by this seemingly easy life, and after he conquers the love of the prettiest actress in Paris, his fate is decided. He achieves fame and fortune overnight, and so he jumps completely into the world of parties, frivolity and silly competition for status. At this point in the novel, Balzac introduces us to the sordid, decadent, and disgusting world of journalism understood as an unmerciful network of extortion and constant blackmailing. Lucien slides down that road, getting recognition and fame, oblivious to the growing net of envy that closes in around him every day.

What follows is the sad story of an unlikable character. Lucien has very little redeeming qualities about him, as opposed to some of his early friends, his young lover and his family. He is blind as blind can be, since his extreme selfishness builds a cloud in which he lives. He cares for nobody, except perhaps for the little Coralie, and he goes on leaving too many wounded bodies by the side of the road. Nevertheless, this character is the vehicle that allows Balzac to show us the real world out there. This writer never ever gives up to the temptation of sweetening things for the reader, he's brave and persists on his plan. Balzac is never a moralizing preacher, he is just a skillful painter of life as it is.

Here, as in the rest of his work, you will find characters who also appear in other novels, an ingenious device intended to give us a feeling of reality. This book is never boring and builds up tension rapidly, even for its length. It is an encompassing ride through all the fancies of youth gone wrong, as well as an unrelenting depiction of all the falseness and emptiness of high society. Much recommended.

I love Balzac. At his best he soars above the rest of French literature and here he is definitely at his finest. Easy to see why Proust thought him the best, at his best. Vautrin/Collyn is at his most sinister and attractive. If you haven't read Balzac before, this is the best to start with.