Classics Books

My wife remembers this book from her childhood and is one of her favorites. It is one of those timeless books that thrills all children. We read it to our grand kids and they love it. This same story could be in any country. Kids are the same everywhere.

This is a book most kids and adults can realate to.Its a book about friendship and celebration.(Such a wonderful read with great illustrations) I recommend this book for ages 8 and up because of challanging vocab.But a great read aloud for all ages!

I'm an American mother living in Germany. I grew up with Pippi Longstockings - but never had much exposure to the other wonderful stories. Though the English title is a little silly, this book is so wonderful...a nostalgic look of childhood in truly the most innocent of days - it is so well liked in Germany - and is on just about every child's shelf here in Germany with other stories from Astrid Lindgren. I have reccommended it often to my friends in the states and it has been well received. This year (2007) we celebrated her 100th birthday with no small oversight - she is the best loved children's author of all time in this part of the world. I can only hope that some publisher rekindle Lindgren's charm and make the children of the South, North and Middle Farms along with Michel - Lola - Madita - Kalle and Karlsson more accessible in America.

I bought the book because of the Author - I grew up on her books and my girls listen to each chapter with great pleasure

My own son is nearly out of high school and will no longer sit on my lap to let me read to him. Imagine! The rascal! But I have two boys, children of my cousin, and a niece, who are beginning to appreciate my reading talents. Their mothers have not been slow to recognize my utility on that front.
Astrid Lindgren was famous in America, years ago, for her Pippi Longstocking books. I think those are still common in bookstores. As an ex-boy reading to a boy, I enjoyed Lindgren's Rasmus books much more, and I loved the "Noisy Village" series. Lindgren's children's books are deliciously old-fashioned and rustic. Rasmus is the Huckleberry Finn of Sweden, and the five children of Noisy Village might remind English readers of Tom Sawyer and Little Women melded together. I read all these books in Swedish, and I'm just becoming acquainted with them in English for my young relatives. The translation is good - not quite as idiomatically piquant as the original, but attractively brash and blunt. Boys will enjoy the stories as much as girls. The target age for hearing these stories is about four to six, and quick-to-read children will be able to handle them at seven.
Life in a village in oldtime Sweden was little different from life in rural areas of the Upper Midwest before TV. Parents also may feel the pull of that good-natured, fundamentally decent community. There are no tickets to the past, however, except in books.

This translation is very readable. The notes are always very interesting and help the text come alive. Red Pine has really provided a lot of value through them - without them, some of the poems could be very obscure. It is rare to find a translation of the complete works of a Chinese poet: most books only present a selection. If one takes the time to read the complete oevre, however, the author comes alive in a different way - you begin to recognize certain recurring moods and themes; in the end, you feel you have learnt something about the things that concerned him, and come closer as a result.
The only criticism is that Red Pine uses a personal transliteration that is neither pinyin nor Wade-Giles; as a result, it is often hard to be sure of the identity of people and places he mentions.

As other reviewers have already stated, this is a very nice volume of poetry, very nicely put together with the original chinese on one page and the translation on the opposite page. This is the third volume of Han Shan that I have, and it is by far the best in terms of completeness and the essence of the translations. Get a copy or three before the print run is over!

This beautiful edition of the legendary poetry by the "Zen" poet Han Shan is a priceless contribution to know and experience his fascinating and miraculous, almost stoic and sometimes mystical utterances. Carefully edited, wonderful translations. I am happy to have purchased this book as a gift for a good friend

Cold Moutain chuckles still
as he reads through my eyes
those poems that he carved in stone.

Appropriate now
as they were back then,
his laughter knows no bounds.

No center, no boundaries,
all opposites dissolve.
Suchness beyond "as one".

Moon over sea,
Wave against rock.
All returns instantly!

Somehow Cold Mountain, limping along from his mountain, creates seemingly simple and clear songs ("called by others crippled / he stands along steadfast") . Wonderful footnoted by "Red Pine" explain deeper references to Taoist or Buddhist texts and humorous digs at Chinese officials. Cold Mountain avoids the dogma or sophistry of any organization or religion, and avoids the chains of strict poetic for:m
"I've made elixirs and tried to become immortal
I've read the classics and written odes
and now I've retired to Cold Mountain
to lie in a stream and wash out my ears".

He has no problem mixing Buddhist and Taoist metaphors if it will make his point. This book provides a nice refuge and finding of a relation to nature:
"Spring water is pure in an emerald stream
moonlight is white on Cold Mountain"

Cold Mountain also finds peace inside:
"we all posses a miraculous creature
with neither form nor name
call and it answers clearly"

To top off the book are 4 poems by Big stick and 49 by "Pickup" friends of Cold Mountain. A great book!

I have been crocheting for many years and love to experiment with my work so when Myra Wood released this book, I was very curious about it. Myra's work in freeform crochet and her bead work are legendary so I had a feeling that her book would be very inspiring as well. I couldn't have been more right!

Let me start by saying that this book is not a line by line pattern book, nor is is a stitch guide or any other traditional crochet format that you may be used to. It IS, however, a wonderful guide teaching the reader easy to follow techniques for creating totally freeform garments using your own creative ideas. She has outlined several styles of freeform crochet lace, given ways in which to shape and style the work, how to lay it out properly, techniques to join the smaller pieces you may have into a larger item, and things to consider about fit and drape as you work.

This book is a beautifully laid out, easy read with gorgeous photography and lots of very good, sound advice for anyone wanting to get into the field of freeform crochet.

Thank you Myra, for such a wonderful book!!!

I just got my copy of Creative Crochet Lace and I am in love. I have seen some lovely freeform crochet in the past and was intrigued by its beauty, but never wanted to try it myself because I thought its end use was limited, and how many wallhangings does one really need? This book not only shows a variety of freeform techniques, but also shows how to make items in freeform that are practical as well as beautiful. I'm hooked - pun intended!

A great resource for those of us who are bored with the same old patterns. Myra explains how to develop your own crochet lace and free yourself from the "doily" look. Just what I have been waiting for!

This is a great addition to books on freeform crochet. Don't expect lots of line-by-line instructions which, IMHO, is antithetical to freeform. Instead you get lots of advice and guidance on how to create freeform lace crochet garments. It's up to you to take the leap of faith that freeform crochet requires to start and complete your own unique project.

This book is sensational. No patterns, what a concept. Myra's whole philosphy about crochet sings out loud with this book. I cant wait to get started.

Thanks, is a classic, is special for me, I read 40 years ago, and now I felt to read and enjoy his lexicon and fantasy.

The book should be a mandatory reading at university level.
It gives you a different perspective about the human psychological behavior and how it interacts with the reality of society.

Its a great book but the binding was questionable. This is the 2nd book I have seen that has come apart made by the same publisher. Be cautious. It looks nice but the binding could come apart.

This is a wonderful edition (in Spanish) of this classic. It's surprisingly modern and entertaining in the original Spanish. The footnotes are very helpful. The book is compact and easy to transport. Essays about the text round out the novel. If you want to read Don Quijote in the original language, this is the book to get. The price is right. The binding is excellent. My only complaint is the small print which is a little hard on the eyes, but probably only for older readers (like me).

I read Don Quijote in Spanish (my native language) and actually started the book as a sort of challenge. I am not daunted by long books or by the classics, but I was afraid I would not care much for the story of the madman who fancies himself a knight after reading too many chivalry novels.

I started out with a lot of dread - the language is old-fashioned and it needs a little getting used to. I had to look up words frequently and I thought the whole 1100 pages would be a chore. But I was in for a big surprise: not only did I get used to the language right away (the notes to this edition are very helpful in that regard), I also started to enjoy its beauty. Cervantes has a way with words that is a delight to Spanish speakers of any time or age. And it is so funny! I found myself laughing out loud many times, especially at Cervantes' turns of phrase or at the sheer ridiculousness of the situations Don Quijote and Sancho get themselves into... what a delight! I had certainly not expected this book to be FUNNY - but it IS!

Also: Don Quijote and Sancho Panza are two of the most endearing characters I have found in literature, absolutely lovable. I had a hard time saying goodbye to them at the end of the book. And as Jorge Luis Borges said, it seems Cervantes had a hard time letting go of Alonso Quijano, too: the death of Don Quijote is told in a sentence that gets me every time in its simplicity and its love for the subject.

I won't go into the metafiction aspect of the novel - I mostly read for pleasure and I'm not a literary critic, but I enjoyed the essays that accompany this edition. In particular, that of Mario Vargas Llosa really opened my eyes to the fiction-within-fiction and the construction of the novel, as well as to other aspects of Don Quijote that enriched my experience of the novel.

In sum - this book works at all levels and for almost anyone, old or young. It delivers entertainment, two memorable and thoroughly lovable characters and food for thought, all in one package. Quite an accomplishment. No wonder Cervantes is among the literature greats!

Finally able to visit London, the author leaves the states
and describes vividly her experiences there. Lively, fun
and brief. Quite satisfying.I felt I knew Helene....

Years ago I read 84 Charing Cross Road,as a Reader's Digest condensed book found in a flea market cheap...Later, loved the film with Anne Bancroft..then fairly recently saw there was a sequal... Hooray she got to England.. I enjoyed the adventure as much as she did..Lovely little book ~

for anyone who's read 84 charing cross road, this book is a delightful follow up to the original. you will come away loving helene hanff, and wishing you could have her as a friend.

A fabulous ending to over 20 years of letter writing. Penpals of sorts. A must read for anyone, but writers it can tear down any writers block you could possibly have. She is so articulate and real. I highly suggest this book!

For those readers panting to find out what happens to Helene after the publication of her wildly popular "84 Charing Cross Road", this book will satisfy you. HH's romp through London is rewarding, for those of us who are loyal fans know how desperatly she wanted to go there.

These stories set in Mr. Parkhill's classroom at the American Night Preparatory School for Adults ("English -- Americanization -- Civics -- Preparation for Naturalization") are wonderfully humorous and warm. They reflect a generous humanity and a keen ear for language in author Leo Rosten (1908-1997), who first wrote the stories for The New Yorker using the pen name Leonard Q. Ross.

When Rosten wrote the stories in the 1930s, the debate that had roiled American society over the high levels of immigration at the beginning of the century had ended with passage of the restrictive Johnson-Reed Immigration Act of 1924. Readers of The New Yorker could well remember the rancor and the stereotyping of the debate.

Rosten countered the prejudice against immigrants by portraying Mr. Parkhill's students, drawn from several national and ethnic groups, as earnest learners eager to know about and join American society by first learning the English language.

When people from different cultures meet, there are bound to be some collisions. A dark side take on those meetings is the ethnic joke. The bright side is this book, finding humor in the encounters that all can smile at.

I read The Education of H*Y*M*A*N K*A*P*L*A*N as a teenager in the early 1960s. Though I do not recall negative attitudes about immigration in my family, school, or suburban New Jersey neighborhood in that decade, the book surely shaped my attitudes and feelings about immigrants and immigration in a positive way. Hyman Kaplan taught me immigrants make America a better and richer society.

Each time I look through the book now, I worry whether Rosten crossed any of our modern "PC" redlines that would cause it to be crossed off reading lists. The book's humor ("comic dialect" is the scholar's term) depends on the rendering of accents, not much used at present. I found one use of the N-word (misspelled, in accent, not in anger) by a student character. On the whole, however, the book stands up well.

I give copies of this book to friends who are ESL (English as a Second Language) teachers. Leo Rosten's own nights as an ESL teacher, while he was working on his Ph.D., gave him the inspiration for the stories.

The shape of our nation's immigration policy is certainly a licit issue for debate and disagreement. Current immigration has some different countours than in the 1930s. Some voices, however, get carried away and tip over into negative stereotyping. They should take a break, have a cup of coffee, read this book, and meet Mr. Kaplan.

-30-

Having just begun teaching English As A Second Language to a group of Asian adults, a relative thought I might enjoy "The Education of Hyman Kaplan". The novel takes place entirely at the American Night Preparatory School for Adults. There under the tutelage of Mr. Parkhill, Hyman Kaplan, Miss Mitnick, Miss Caravello, Mrs. Moskowitz and an assortment of Jewish and Italian immigrants struggle with the complexities of the English language, anxious to master the language and learn about the history and culture of their newly adopted home. The irrepressible Mr. Kaplan takes center stage in the classroom with his singular logic in using the English language. Abraham Lincoln becomes Abram Lincohen, King George III of England is an autocrap, and Valley Forge becomes Velly Fudges. Kaplan conjugates the tense to die as "die, dead, funeral", and when talking of the contents of a newpaper he can't understand why he must say "it said", instead of "he said", since the paper is decidedly of the masculine gender. It's the Harold Tribune after all. This is a hilarious yet touching book. We are never laughing at Hyman Kaplan's linguistic foibles but with him, as we appreciate the struggles of all immigrants, those seventy years ago, or those today to come to terms with becoming Americans and learning the language that binds us together.

Think you can read an uproariously funny book without laughing out loud? Think again. Adventures of an English-as-a-second-language class for new immigrants in 1950's America.

As a new ESL teacher, my husband thought I'd enjoy this book. H*Y*M*A*N K*A*P*L*A*N* is an irrepressible immigrant to the US, struggling to master English, but that doesn't stop him from communicating at every opportunity. Waves of malapropisms spoken with a thick Eastern European accent don't get in the way of his enthusiasm. Set in the 30's, this is a world where teachers and students are Mr., Mrs. and Miss, immigrants worked in garment factories, and all still believe in the American Dream. Even Mr. Parkhill, the god-like teacher, can't help but be infected by Mr. Kaplan's unique interpretations of the great works of English literature--the Shakespeare story was a classic. Definitely dated, certainly politically incorrect, these stories hail from a simpler, but maybe tougher time--Leo Rosten originally wrote under the name Leonard Ross. A lovely little collection of stories!

This book, along with its sequel, "The Return of H*y*m*a*n K*a*p*l*a*n," (and don't be fooled, those stars are important) is a beautiful work and one that I'm surprised hasn't been rediscovered by critics and readers alike. Originally published as a series of stories in a magazine, these stories were finally collected into book form and later combined with its sequel in a grand form called O, K*a*p*l*a*n, My K*a*p*l*a*n (which is now out-of-print, but worth reading if you find it in a library or rare book store, since it was edited and improved by the author, with new characters and stories).

The stories all revolve around a group of immigrant adults attending the American Night Preparatory School for Adults in New York City in the 1930s. Under the tutelage of the fastidious, but patient and kind, Mr. Parkhill, the book chronicles their challenges in learning the English language. This is in and of itself a masterpiece: Leo Rosten (who had to publish the stories under a pseudonym since he wrote them while living off a fellowship and did not want to let his professors know that he was working on totally unrelated research) has found humor in GRAMMAR!! He not only shows how difficult English is to master, but how irrational and arbitrary the grammatical rules are that we all, as students, desperately try to commit to memory. Moreover, he writes with an expert ear, hearing the subtle differences in the accents and common foibles of English speakers from various language backgrounds. The fact that these passages are life-out-loud funny (and not at all in the sense of laughing at any character's mistakes but at the English language itself for torturing non-native speakers so) is astounding enough.

But this is the story, however, of a true comic hero - Hyman Kaplan. Leo Rosten has created a character as complex and poignant as Shakespeare's Falstaff, or John Kennedy Toole's Ignatius J. Reilly. Hyman Kaplan is a force of nature, yet distinctly human -- irrascible, dogmatic, determined and yet sensitive, noble and joyous. He is a man who refuses to kow-tow to the rules and guidelines of the English language and who truly relishes the joys of wrestling with learning. Since his exuberance leads him into constant conflict with his fellow students, his character is one of the greatest literary devices ever devised by an author. The stars emblazoned in red, green and blue crayon that are part of his signature, only serve as the ultimate monogram, defining this character as one worthy of the ages.

While this book is about efforts by foreigners to assimilate as Americans, it also highlights the glories of America's immigrant, melting-pot past -- a heritage and tradition that is sadly rapidly being forgotten and lost in this modern globalized world. Moreover, with the advent of the politically correct era of hypersensitivity, it is likely that this book will never experience a renaissance of popular support that it richly deserves. This is a true treasure -- I discovered it as a teenager and have often enjoyed returning many times to visit with these charming, inspiring characters. I cannot recommend it enough!

I have GOT to make some of these quilts! What a lovely book! I can't wait!!!

Book was received in top condition and unbelievably in timely manner even considering the holidays !

This book takes you step by step through making each quilt (and include all of the templates for each quilt). I have now made 6 quilts out of this book and they are fantastic!

I didn't find the cover appealing, but picked it up in a hobby store, opened it and immediately decided I had to have it. It has 101 patterns with beautiful photographs of every quilt. There were a number of applique quilts that I had not seen before. This is a treasured book in my quilting library.

This book is a keeper. I use mine for identifing quilts seen and
possibly purchased at yard sales, estate auctions, and where ever I
see them - mostly handed down through the family. This book has paid off several times the cost of the book. I also use it for recreating period quilts.

This review mostly concerns the Enquiry. The Letter is primarily a defense of Hume's earlier Treatise of Human Nature, while his Abstract is an anonymous review of the Treatise. It strikes me as very funny, though not surprising, that Hume would review his own work. Funny because any author would give his right arm to get at least one favorable review when all the other critics are completely missing its point. Unsurprising because Hume was probably one of the only people alive at that time who could truly grasp all the facets of his radical philosophical claims.

The Enquiry was written after the Treatise. Hume, though he claimed the opposite, seems never to have really recovered from the blow he took from seeing his Treatise "fall dead born from the press." As a result, his Enquiry is far more cautious in the steps it takes. (For those of you who have read both, yes, I swear, Hume IS more cautious. Compare the claims.) A more robust philosophical stance is taken in his Treatise, while a more focused stance is taken in his Enquiry.

The Enquiry is mainly a work of epistemology and as such, scrutinizes our methods of acquiring knowledge. Making perhaps the most radical (and poignant) claim in all of modern philosophy, it posits, and supports, that there is NO causation, only conjunction. That, for example, when we see a glass drop and break, we cannot say we know gravity caused this (in the way we know two plus two equals four). All we see is constant conjunction. The connection is lacking, i.e., it is not inconceivable that the glass wouldn't bounce, turn to ash, or dissolve into sand (the way it is inconceivable that two plus two equals five). This, in effect, nullifies all the so called "laws" of nature that are formed by science. (Note that this does not state that there are no laws of nature, just that we really can never make the claim that we ever really know there are laws of nature.)

This could be thought of as the philosophical shot heard round the world. Agree or disagree, Hume must be answered. Hume has historically been charged with creating an intellectual and philosophical cul-de-sac with his skepticism. To paraphrase Bertrand Russell, Hume makes a claim which none can refute, but at the same time one which none can accept. In effect, Hume's philosophy seems to bind the human mind, stopping its journey of discovery and ultimately accomplishing what his predecessor, John Locke, set out to do, i.e., map the extent of human knowledge.

However, where one may see Hume's philosophy as shackles and fetters in the search for truth, one could also equally see his philosophy as liberation. Implicit in his philosophy is the idea that ANYTHING is possible. There are no shackles, no fetters, no limits; only those that we create for ourselves. Our limits are self-imposed, constructs of our observance (and inference) of connection. In this way Hume appears in the same light as the Eastern masters seeing that reality is not what we have (through experiential knowledge) believed it to be. It is something much more wondrous. In Zen, our causal thinking is the only barrier between the person and enlightenment. Hume could be seen as implying that when the idea of causality is removed, with only conjunction remaining in its place, the state of true knowledge and wisdom (true zen) is achieved.

This, of course, is only idle speculation. But it is stated so as to demonstrate the richness and immense possibility Hume's philosophy possesses when seen in the correct light. Instead of saying, "Nothing is certain," after reading Hume, one can say, with equal validity, "Anything is possible." The first statement approaches philosophy with despair. The second approaches it with a sense of childlike wonder and hope at the immense possibilities of reality. It approaches life as a beginning, not an ending. It approaches life as the philosopher approaches it.

If one accepts the methodology of Descartes in applying scepticism to reason and the senses, in effect denying the existence of all things but a "thinking thing," two entailments are logically consequent: Either Berkeley's idealism or Hume's scepticism. I don't accept Descartes' starting point, so I find the entailments confused and incoherent. But if one does accept Descartes' starting point, then the two extremes must be heeded. If for no other reason than observing the absurdity of either man's conclusions, it is valuable to read both entailments. But in their confused process, both men bring certain salient features to light.

Hume accepts Descartes starting point, making it his own. But to Descartes method, he adds Pyrrhonist scepticism: That all reason leads to infinite regress, and that all sensations (or impressions) can not be trusted.

Hume begins with the conclusion that all sense perception is either an impression or idea. Even memory and imagination, two other faculties of the mind, are conflated into these two species of perceptions, as impressions. Their difference is one of degree (vivacity), not of kind. Hence, Hume is the author of what is known as the "Copy Principle." Instead of unmediated, direct perception through the ordinary senses, all perception is mediated by the imagination into impressions and ideas. From this follows certain resemblances, contiguity, and causal associations between impressions or ideas, and from this association we develop a sense of self. But even the notion of causality here is one of implied inference, not of actual inductive reason. Hume denies there is any real causality that can be known, although we operate "as if" we infer cause from effect. Even probability is reduced to a mere association of ideas and/or impressions; because neither reason (which always leads to infinite regress) or senses (which can always be deceived) can actually be true. The Enquiry also treats of miracles and the testimony of others derisively; but don't we rely on the testimony of others who claim the earth is round rather than flat, just as we rely on others who testify to miracles in a byegone era? After all, few of us have direct experience with a spherical earth (Popper makes this observation).

Hume's method incorporates five kinds of scepticism: (i) methodological, (ii) conceptual, (ii) nomological, (iv) explanatory, and (v) reductive empiricism. His commitment to scepticism is not without some capitulation. While he denies absolute causality and inductive inference and probability in an actual senses, he relies on them for practical purposes. One can't remain a pyrrhonist for long; some elements of reason and some degree of confidence in impressions is necessary for ordinary life. But if one starts with Descartes' starting point, extreme scepticism is a necessary entailment. Which, after seeing Hume deny so much intuition, is it really worth starting with Descartes' scepticism? Answering that question is what makes Hume interesting.

David Hume was perhaps the leading light in the Empiricist movement in philosophy. Empiricism is seen in distinction from Rationalism, in that it doubts the viability of universal principles (rational or otherwise), and uses sense data as the basis of all knowledge - experience is the source of knowledge. Hume was a skeptic as well as empiricist, and had radical (for the time) atheist ideas that often got in the way of his professional advancement, but given his reliance on experience (and the kinds of experiences he had), his problem with much that was considered conventional was understandable.

Hume's major work, 'A Treatise of Human Nature', was not well received intially - according to Hume, 'it fell dead-born from the press'. Hume reworked the first part of this work in a more popular way for this text, which has become a standard, and perhaps the best introduction to Empiricism.

In a nutshell, the idea of empiricism is that experience teaches, and rules and understanding are derived from this. However, for Hume this wasn't sufficient. Just because billiard balls when striking always behave in a certain manner, or just because the sun always rose in the morning, there was no direct causal connection that could be automatically affirmed - we assume a necessary connection, but how can this be proved?

Hume's ideas impact not only metaphysics, but also epistemology and psychology. Hume develops empiricism to a point that empiricism is practically unsupportable (and it is in this regard that Kant sees this text as a very important piece, and works toward his synthesis of Empiricism and Rationalism). For Hume, empirical thought requires skepticism, but leaves it unresolved as far as what one then needs to accept with regard to reason and understanding. According to scholar Eric Steinberg, 'A view that pervades nearly all of Hume's philosophical writings is that both ancient and modern philosophers have been guilty of optimistic and exaggerated claims for the power of human reason.'

Some have seen Hume as presenting a fundamental mistrust of daily belief while recognising that we cannot escape from some sort of framework; others have seen Hume as working toward a more naturalist paradigm of human understanding. In fact, Hume is open to a number of different interpretations, and these different interpretations have been taken up by subsequent philosophers to develop areas of synthetic philosophical ideas, as well as further developments more directly out of Empiricism (such as Phenomenology).

This is in fact a rather short book, a mere 100 pages or so in many editions. As a primer for understanding Hume, the British Empiricists (who include Hobbes, Locke, and Berkeley), as well as the major philosphical concerns of the eighteenth century, this is a great text with which to start.

Hume, I and many others think, was the greatest philosopher to have written in English, and this is the book to pick up if you want to introduce yourself to Saint David's distinctive brand of classical empiricism. This is a must-read for anyone with even a passing interest in philosophy, and it's hard for me to see how anyone interested in the history of modern thought can avoid reading this book or the corresponding sections of Hume's Treatise.

As is well-known, the Enquiry concerning Human Understanding was intended as an encapsulation and popularization of the views Hume defended in Book I of his magnum opus, A Treatise of Human Nature. Hume assumed that book's commercial failure could be accounted for by its length, difficulty, and lack of accessibility, and so, being a man who desired literary fame, he hoped to acquire commercial success by presenting the same ideas in a more appealing and accessible manner. Unfortunately, it seems Hume misunderstood what the literati of his day were looking for in a philosophical treatise. For the Enquiry, like the Treatise before it, didn't bring him the fame he sought. Still, Hume did understand what goes into writing excellent philosophical prose, and consequently this book is a much easier read than Book I of the Treatise. Indeed, this book constitutes an excellent introduction to Hume's thought, and, except for maybe Berkeley's Three Dialogues, I can't think of another primary source that would serve as a better introduction to classical British empiricism.

Now, let's get to the ideas here. Hume, like the other classical empiricists, was primarily concerned with the psychological question of the origin of our concepts. About the answer to this question, the empiricists were all agreed--our concepts are furnished by experience, which includes both sensory experience and introspection (i.e., the experience of our own mental states). And the empiricists also agreed about the way we can justify our beliefs. Some beliefs are true (or false) in virtue of the ideas they contained, and we can know their truth (or falsity) simply by thinking about them; other beliefs are true (or false) in virtue of how the external world is, and we can know their truth (or falsity) only by drawing on our experiences of the world. According to Hume, all substantial conclusions about the world fall into this second category. That is, the truth (or falsity) of all substantial claims about the existence and nature of things in the external world can be discovered only by checking those claims against the evidence of our senses.

The traditional way of placing Hume within the story of empiricism goes something like this. Hume takes up the empiricism of Locke and Berkeley and pushes it to its logical conclusion. Whereas Locke and Berkeley hadn't been wholly consistent empiricists, Hume, the true believer, demonstrates that classical empiricism leads to a pretty thoroughgoing skepticism. Since he's wholly convinced of the truth of his empiricist premises, Hume is willing to accept the skepticism that goes along with them. However, those who aren't convinced of that his empiricism is obviously correct think that Hume has actually demonstrated the implausibility of his empiricism. If this is where empiricism leads, they think, then it's clear that we need to reject empiricism. Indeed, some, like Thomas Reid, view Hume's arguments as constituting a reductio ad absurdum of his sort of empiricism. On this interpretation, Hume's philosophy essentially presents a dilemma for all future thinkers: abandon empiricism, or accept empiricism along with Humean skepticism.

But a different view of Hume, one of Hume as proposing a wholly naturalistic account of the human mind, has recently emerged as a competitor to the general conception of Hume's place within philosophy sketched in the previous paragraph. This interpretation downplays Hume's skepticism and emphasizes his professed intentions to provide a positive account of the operation of the human mind that appealed to nothing beyond the evidence of our senses. According to proponents of this interpretation, Hume is most interested in a description of the operation of the human mind. He's describing what human nature allows us to know and what it doesn't allow us to know. Furthermore, he argues that our nature is such that, where it fails to provide us with the resources to acquire the knowledge we might want, it provides us with a natural habit of forming the right conclusions anyway. Even though our nature limits our knowledge of the world, it ensures that we possess the habits of mind needed to make our way in the world. Hume dubs all these habits of mind "custom."

If this view is correct, then Hume has abjured many of the normative aims of traditional epistemological inquiry. He isn't attempting to show how we can answer a skeptic or why we have good reason to believe what we think we know. Instead, he wants us to stand back from our everyday beliefs and think about the natural processes that result in them. How, exactly, do our minds operate? How do we come to think what we do about the world? Hume thinks that this sort of inquiry will lead us see that, at some point, the explanation of why we think what we think reaches certain brute facts about the operation of the human mind. When we reach these points, there is nothing more to be said. We simply can't help thinking in these ways, and we lack the resources to demonstrate that these ways of thinking constitute an accurate way to represent the operation of the external world. And, Hume claims, it turns out that many of the fundamental elements of our conception of the world--the belief that things stand in causal relations to one another, the belief that we can know that there is a world outside our minds, the belief the future will resemble the past--end up not being open to ratification by experience. With respect to beliefs of these sorts, we ultimately have to appeal to custom in order to explain their existence and popularity. Hume, then, can be seen as demolishing the pretensions of reason in order to make room for a wholly naturalistic account of human thinking.

First I would like to commend the excellent review of this book by CT Dreyer in which he correctly shows how Hume extended the empiricism of Locke and Berkeley to the point where skepticism seemed our only honest way of thinking about our knowledge of the world. Hume's questioning of induction, of how we can be sure tomorrow will be like today , his questioning of how we can trust our senses to know the outside world, his questioning of how we can hold our world logically together when analysis reveals that there is no necessary connection between ' cause' and 'effect' in everyday life action means he wakened not only Kant from his dogmatic slumber but Philosophy itself from the sense that it will provide absolute understanding.
Hume is a very clear writer. I remember reading the famous billiard ball account of causality in which our common sense view of ' before' and ' after' is questioned and taken apart. I believe Hume says after this account, something to the effect and ' still when we leave the room we leave by the door and not by the window'. A friend of mine in this class when the class ended opened the window ( on the ground floor ) and went out that way.
This is difficult and great philosophy. I do not pretend to understand it or its implications fully. A test of the mind and a necessary read for anyone who would know Western Philosophy.

I enjoyed the historical,and the new.
We find we make things up to add laughs
to the day.

Every member of 'a browse of readers' should have access to this book.

This is considered by many to be the authoritative collection of collective nouns.

From an 'aarmory of aardvarks' to a 'consumption of yuppies', there is something for everyone.

A highly recommended addition to your library of books.

Jennifer Cameron-Smith

The book is a delight not just of finches but of information and finches. The service was great. Thanks

Prompted by a discussion with my son about collective nouns, saw and purchased a copy for each of us. More than pleased with the service, and with the content of the book.In fact , there's more than either of us bargained for....its certainly comprehensive and really easy to browse for information.

Frankly, it's not a very readable book. But it's fascinating in that it does list so many group names of animals. It's quite humorous in part, too.

I must admit that I had never even heard of this series until a month or so ago (I'm nearly 45). I hate that I missed out on these as a kid, but the kid in me is greatly enjoying them now. They are a joy to read.

The only negative that I see is the fact that so much time has passed since these books were written, some of the vocabulary and vernacular present in the books will be unfamiliar or have a much different meaning to kids of today. However, the gentle humor and the life lessons present throughout the Freddy series are ageless, and well worth your money and your children's time. Highly recommended.

Originally published in 1928, this is the first of about a dozen children's books starring Freddy, a clever young pig with a taste for adventure. If you are looking for books for little kids that aren't too scary, too violent or laden with issues such as peer pressure,etc., this is a very good option. The story is a little slow-moving, but it's still clever and engaging, and other than a little bit of sexism (a barnyard rooster in henpecked by his wife) this holds up remarkably well for a story written before the Great Depression. Lots of different animals make up the cast, so if you are reading it aloud, there are good opportunities for doing different voices, etc. And, if you liked this first book, there are plenty more to follow. (Joe Sixpack)

In grammar school,"FREDDY" books were my favorites. I then graduated to Sherlock Holmes. I still love both "detectives"! Lucky you! All the books are available. I used to wait impatiently for each new one!

This is book 1 of the Freddy series (note that it was not originally published with this title, and Freddy is not as much the focus as in later books). These stories of the adventures of the intelligent and sociable animals on the Bean farm are beautifully written, and have some dramatic tension but nothing over the top (no Moms are killed in these stories, unlike Disney's favorite ploy...). The stories introduce some wonderfully adult concepts (like politics, banking, running a business) with well-crafted characters that will broaden a child's understanding of what makes people tick.

In 1955 I was eight, and the eldest of three brothers. My mother couldn't go to the grocery store with all of us so she'd drop me off at the children's room at the West Hartford, CT, public library, and pick me up on the way home. It was there that I discovered Freddy, and that pig spoke my language! It was Freddy, his wonderful compatriots on the Bean farm, and their fabulous adventures, that started me out right. Freddy Goes to Florida is the first of the series, and is where I recommend starting your own adventures with Freddy the Pig. Hats off to Overlook Press for re-publishing these books in their original look.