Classics Books

Absolutely outstanding book on the complicated second American revolution that occured as a result of the American Civil War and the startling reversals that took place not ten years later. McPherson's essays are masterful.

First rate.

This thin book which contains series of essays on how Abraham Lincoln revolutionized our nation during one of the most important periods of our nation proves to be well written and amazingly easy to understand. James McPherson writes clearly how the American Civil War was truly a revolutionary moment in our nation's history and how Lincoln took steps to ensure these changes. How we lived, our political/racial/social norms that are part of our society today took form during the Civil War. Even the way we waged war, have it roots in the Civil War, all have Lincoln's fingerprints all over it.

The book proves to be easy to follow and read. But in its simple prose, lies amazing insights and perception of Lincoln's influence during the war and his abilities to effect changes in our nation. I would say that this book is a "must read" for anyone interested in American history.

This well-argued collection of James McPherson's occasional pieces focuses primarily on what the author sees as the fundamental changes that the Civil War brought to America's polity, economics, culture, and self-identity. The first, second, third, and seventh of the essays deal especially with this theme. The middle fourth, fifth, and sixth essays are less directly related to it, but nonetheless offer fascinating explorations of Lincoln the total war president, Lincoln the wordsmith, and Lincoln the "hedgehog."

Many of the people who lived through the Civil War thought of it as a revolution. Many historians since have agreed, although for varying reasons. McPherson's main project in this book is to figure out whether and how the Civil War can be considered the "second American Revolution."
He believes that the war was in fact revolutionary on several counts.

First, the war shifted the economic and political power balance in the United States. The war's devastation of southern property and demographics, especially after it evolved from a limited to a total conflict, shifted economic superiority to northern industry and agriculture. Moreover, the southern states' virtual antebellum monopoly of the White House, as well as their immense congressional power, was broken for the next half century. This is what McPherson (and others) refer to as the "external" revolution.

But there was an "internal" revolution too in the realm of legal rights and national self-identity. Four million slaves were freed and granted civil and political rights, and the southern aristocracy, along with the entire way of life and set of values it maintained, disappeared (or at least went underground). Moreover, argues McPherson, the war brought about a shift from early Republic concentration on liberty as "freedom from" (negative liberty), which distrusted strong central government, to liberty as "freedom to" (positive liberty), which emphasized the responsibility of the federal government to guarantee civil rights. This shift helped create a new sense of national identity that focused on the nation rather than the region: hence McPherson's claim that the Civil War moved the country from a "union" to a "nation."

The influence of the political philosopher Isaiah Berlin is present throughout much of McPherson's thinking about liberty, and McPherson also draws on one of Berlin's most famous essays in designating Lincoln (Chapter VI) as a hedgehog in his single-minded devotion to preserving the union. McPherson might be drawing on the work of philosophers of language in his fascinating discussion (Chapter V) of Lincoln's influential talent for creating and manipulating "live" as opposed to "dead" metaphors in expressing his opinions and seeking support for his policies. In both these cases, McPherson nicely weaves some philosophical analysis into his historical interpretations.

Where I find McPherson less helpful is his rather uncritical discussion of Lincoln's suspension of habeas corpus (Chapter III). He rehearses the well-worn argument that the suspension was simply necessary from a pragmatic perspective--end of discussion. As Lincoln said in another context, "often a limb must be sacrificed to save a life." But this interpretation begs for a discussion of the moral and political short- and longterm trauma that the amputation inflicted on the body politic. How far can one go in suspending liberties in order to preserve liberty?

Nonetheless, the essays collected in Abraham Lincoln and the Second American Revolution are exactly what readers have come to expect from McPherson: illuminating, gracefully written, well-researched. They aren't the final word, and I suspect McPherson doesn't expect them to be. But they wonderfully enrich the on-going conversation.

James McPherson (Battle Cry of Freedom) is the preeminent Civil War author and scholar of our time. The Princeton University professor provides fresh insight into A. Lincoln in these seven essays.

McPherson demonstrates conclusively that the Civil War was indeed the Second American Revolution - it abolished slavery and smashed the political, economic, and social status quo. Before the War, southerners dominated American politics - after the war it was decades before a son of the south could be elected President. The absence of the south from the national legislature during the war allowed the passage of the great progressive and modernizing legislation; the Homestead Act, enabled a continental railroad, and land-grant colleges. After the war, blacks made great (if far from complete) progress in education, politics, and economics.

Unfortunately, the reactionary forces led a counter-revolution that attempted to turn back the massive changes in society with much success. That counter-revolution eventually yielded to a Second Reconstruction in the mid-20th century.

McPherson repeatedly returns to Lincoln's political evolution as the War changed from a limited war for limited ends to a total war for revolutionary ends. In the end Lincoln insisted on unconditional surrender.

I particularly enjoyed the essays entitled 'How Lincoln Won the War with Metaphors', which contrasts the communication abilities of Lincoln and Jefferson Davis, and 'The Hedgehog and the Foxes', in which McPherson favors us with a description of Lincoln as the single-minded hedgehog outlasting the multifarious foxes such as Horace Greeley and William Seward.

My only small quibble is that similar points are made using the same quotes in multiple essays (perhaps unavoidable in a collection of previously published essays), but the quotes are so evocative of Lincoln's thinking that the repetition is not only forgiven, but enjoyed.

Highly recommended for anyone interested in US history, Lincoln, or the Civil War era.

ABRAHAM LINCOLN AND THE SECOND AMERICAN REVOLUTION by James M. McPherson is a thin juicy volume. You feel energized as you read and absorb its deep insights. Each of six essays shows that it was Lincoln's reality anchored character and powerful intellect that transformed the United States to the country it is today. One essay shows how Lincoln's use of metaphor, culled from Aesop's Fables, the works of Shakespeare, and the Bible made him a consummate communicator. His metaphors resonated to the deepest layers of mind of the average American in way that instilled motivation and purpose to a war that seemed impossible to manage or win. Compared to Jefferson Davis who was so highly educated and abstract but was unable to connect with ordinary folk. But it is McPherson who too is able to convey to us this president's great powers with his own metaphors i.e. "barnyard philosophy," and his essay, "The hedgehog and the fox," which compares and contrasts Lincoln's abilities with the "smartest contemporaries." ABRAHAM LINCOLN AND THE SECOND AMERICAN REVOLUTION is a great distillate of the voluminous Civil War Literature. You must have it for your library.

These plays are modern classics. Albee has an interesting view of our modern word (especially the american way of life) and expresses it really good in his theatre plays. Zoo story specially is a 'must do it' play for all the actors

These are the two of the three plays ("Virginia Woolf") that will go down in theater history as Albee's contribution to the stage. The others may not make it. Both of these plays capture Albee at his rebellious best, just in from Westchester County where he had been living the country club life with his adopted parents, and now living in Greenwich Village. "The American Dream" captures the world of his parents, while "Zoo Story" takes up Albee's new life on the streets of New York (paid for out of his grandmother's trust fund). These plays have a vernacular zip and zing his later plays lack. They make for wonderful theater. Much of this early promise was realized in "Virginia Woolf" but then Albee, like the man with three arms, seems to have lost his voice.

Zoo Story

There is something unique about the works of Edward Albee, a kind of mood, or wry-but-not-entirely-dry attitude, one recognizes but can't quite put his finger on. This "story" of a suburbanite with two daughters minding his own business on a park bench who is accosted by a poorer but somehow wiser man who has been at the zoo was Edward Albee's first play to be seen by the public. Dating from 1958, the one-act play, which like much of Albee's work seems to deftly mix absurdist elements with an intimate rendering of the American bourgoisie--and a sort of silent, if perhaps ironical, nod to mystical Christianity--he reminds me of a dramaturgic Saint Francis of Assisi--was first seen in Berlin. As in Who's Afraid of Virgina Wolf? and The Goat, the object of desire is off stage, at least until the end, at which point "its" "retrieval" reveals a generalized dissatisfaction which the playwright allows to be dispersed as satisfaction after all, in conformity with the peculiarities of human desire and the conventions of literary endings. This two-man play seems to work largely because the older, more well-to-do man, Peter-a kind of icon of smug suburbanite self-satisfaction, who wants to be entertained, as it were, from the outside--is drawn in--across the white picket fence, or here, the green slatted Central Park bench--to the life of the slightly younger Jerry--a sort of stand--in it would seem for the playwrite, and his dramatic task to involve us all in a participatory experience this side--or perhaps a little more--of religion.

The American Dream

Although I have read/seen only four of Albee's works (Who's Afraid of Virgina Wolf, Zoo Story, and The Goat), this seems to me the work of his that owes most to-or is closest to- the theater of the absurd-particularly to Samuel Beckett. And yet, as the title suggests, the work is far more American-down home, you might say-and so is the humor. The main characters are "Mommy," "Daddy" and "Grandma"-and Grandma is a scream. Her brilliant, if irascible, wit contains some brilliant, if not exactly unbiased, observations on the treatment of, expectations from, and inner reality of, the elderly. She comes off as the most intelligent person in the play, and the one we identify with the most-even if her metaphysical capacities for hiding objects, forgetting who her strumpet daughter is, and desiring with spiritual ardor the flesh of the young who may or may not be her own are not necessarily everyone's instantiation of satisfaction's successful pursuit.

An unqualified genius with language, Edward Albee has a fair claim to being the USA's most important living playwright, though most would give the nod to Arthur Miller. *The Zoo Story* and *The American Dream* are among Albee's first plays, and both dabble in the absurdism that defines his work. The plays are very different from each other: *The Zoo Story* is a more serious play that builds slowly toward the inevitable, while *The American Dream* is more of a nonsense-farce, with echoes of Ionesco and Becket. But the logic of *The Zoo Story* and the comic brevity of *The American Dream* make these plays much easier to get a handle on than his later *Who's Afraid of Virginia Woolf* and *A Delicate Balance*. In fact, both plays have a spiffy economy that Albee's work seemed to lose until his recent masterpiece, *Three Tall Women*.

Anyone interested in American theater should study Albee, and these plays are a good introduction. Also (unlike most of Albee's plays) these plays could be performed by student or beginning actors.

The American Dream is another of Albee's many commentaries on our society. Albee saw that in every one of us there exists an ideal, the American dream. While this dream is different for us all, Albee felt that all of us simply expect our American dream to come true. This play examines the anarchy that can result from the realization that life just doesn't work the way we all imagine it can. Albee's goal is to make us all more aware of the way we think, so that we may alter it to be more correct and fulfilled. This play is not for a reader looking for entertainment. The lack of humanity in the play makes it a very abstract piece, obviously aimed at conveying a point rather than a story.

I found the history of the drive-in very interesting in this publication. It would make a great gift for any friend or family member interested in this type of history.

Although the drive-in theater didn't start in Hawaii, it may be that the outdoor movie did.
In "The American Drive-in Movie Theatre," Texas drive-in buffs Don and Susan Sanders have a photograph of a sizable crowd watching films projected against the outside wall of a building next to Sacred Hearts Convent School in Honolulu in 1906 -- about a year after the silent movie came to America.
It took a surprisingly long time to marry the outdoor movie and the automobile. In 1933, Richard Hollingshead Jr., the "father of the drive-in theater," opened the Camden Drive-In in New Jersey.
Although cars and movies seem as natural a combination as milk and cookies, it wasn't so easy for the pioneers. The Sanderses say the studios never liked "ozoners" and refused to make first-run, or even good second-run, films available.
And getting sound to the customers was a problem that took years to solve. When the problem eventually was put in the hands of a professional engineer, at RCA in 1941, a workable solution was simple.
But drive-in entrepreneurs were not engineers, nor were they the kind of people who turned to engineers for help.
They tinkered. The results were weird and wonderful -- and likely to annoy the neighbors. One solution was a giant speaker that broadcast the sound over the lot, and much farther.
Cold nights cut into business, too, but every problem was an opportunity to the drive-in operator: In Anchorage, the Billiken Drive-In offered 18-hour, seven-feature admissions in the wintertime.
The 1945-55 decade was the peak for drive-ins. The nation had more than 5,000 of them, though they never caught on much overseas.
From 1955 on, the Sanderses say, television and other changes started to suck the family trade away, leaving the field to teen-agers and Samuel Z. Arkoff's American International Pictures for another half decade or so.
Since then, drive-ins have steadily declined. There are about 500 left, mostly in rural areas. They require too much land to be affordable in cities.
Some individual theaters are doing well, and drive-in societies seek to preserve and protect them.
The Sanderses have traveled to more than 40 states to interview drive-in people and take pictures, and they have ransacked archives for illustrations.
They came up with enough material not only for this charming bit of nostalgia, but for another volume, "Drive-In Movie Memories."

The best book of its kind, bar none. Photos are excellent, and it is obvious that the authors really know and love their subject. Anyone who has ever spent an evening at the drive-in would love the memories this book evokes. Anyone who never had the opportunity to participate in the golden age of drive-in movies can experience it vicariously through The American Drive-In Movie Theatre. I've given several copies as gifts -- Everyone loves a Drive-In !

Being a huge fan of drive-ins, I really looked forward to reading this book. The only criticism I have is the sequence of the actual chapter text of the book, and the information inserts that the author has throughout. It is very "chopped" up. Reading the chapter, then turning the page to find there is information pertaining to something else on the next page. The chapter text starts a couple of pages later in some cases, breaking up the continuity. Other than this, it makes for a very interesting read for those who enjoy nostalgia and want to be transported back to a more simpler and fun time.

Don and Susan Sanders have captured the essence of the drive-in movie theatre and packed all of the magic into a really great book. I flipped hamburgers at the now defunct Belknap Drive-in when I was in high school and turning the pages of this time-machine brought back many memories. Forget about multiplex cinemas and theater complexes at the mall. The American Drive-In movie theatre lives!

I remember reading this book way back in Grade 12. Its not so way back considering that it was probably two or three years ago. This book ranks among the best war books I have ever read. In some places, I laughed so hard I nearly dropped a lung. In other places, I remember being so sombre and imaging the horror experienced by Mowat and his band of Hasty Ps.

This is a must read for any Canadian even remotely interested in the Canadian role in World War II.

I didn't really want to read another war book, but a friend convinced me he thought this was the best one ever written. However, I came away from it thinking it wasn't as good as "The Forgotten Soldier". The last chapter about the battle over the Moro river was just as good. However, the depth of the first three chapters I felt was diminished by the author's sense of humor and his tendency to exaggerate. For example, the dying of the inscrutable A K Long - taking out his pipe for a smoke and a book to read when he was so seriously wounded, calm in the midst of terror - struck me as unrealistic. In sum, this was a good book but I would say, not really memorable.

I bought this book almost in a state of doubt. I had seen the name Farley Mowat and automatically assumed it was a good piece of writing as is most if not all of his other pieces of work. He is perhaps one if not the best Canadian writer ever to pick up a pen and paper. And after reading this book, i quickly realized why.

I had been searching for a book that could possibly inform and educate me on a Canadian's standpoint of the second world war. I quickly realized that I had picked out a good book. It puts you in the mind of a young man reaching adulthood and as had every other young man at the time, had his mind set in joining his fellow Canadians and Allies in the battle. This mindframe had been to be fairly excited and actually happy to go to the frontlines. As it had obviously not been programmed to the unfortunate reality of the war itself. Farley Mowat tells a great and wonderful story of his life before and during the timeline of the Canadian military's part in the war itself. Whether it was the obvious anxiety of waiting to be shipped overseas to the frontlines, or the brutal and graphic reality of the battle itself, Mowat unveils a true and dramtically emotional story of World War II.

Myself I was seaching for a book such as this one. It retold the historically correct graphic and terrifying nature of war, more specifically that of the Second World War. I know that one such as myself will never know and hopefully never experience the reality of war but, I can honestly say that I have infinite gratitude and thanks for those who fought for our freedom. All in all, a WONDERFUL book and I highly recommend it to any Farley Mowat fans or anyone who likes great historical literature. I just cannot seem to express how great of a book this really was. Hope you like it too!

Undeniably the best war memoir written by a Canadian who served in the Second World War. The book chronicles Mowat's experiences in 1943 as a participant in the invasion of Sicily and Italy, and in classic Mowat style captures both the stark reality and lighter side of his experiences. Mowat also wrote a history of his unit--one of the first books he published, and which was later revised (and is somewhat difficult to find at the moment)--entitled The Regiment.

This book was a great surprise for me. I picked it up at a local library because I saw the name Mowat and thought, "Funny, Isn't he a Canadian naturalist? What's he doing in the History section?" What followed was a fascinating voyage of war,adventure,hilarity and,ultimately,tragedy and pain. Walking into the experience of WWII with a completely innocent demeanor, anxious to get into a fight, this brilliant writer has many funny and almost fatal false starts. When the fighting gets serious, the glib descriptions of his units treacherous challenges are positively riveting. I COULD NOT PUT THIS BOOK DOWN. If you like your war personal, exciting and honest, get this book to a comfortable chair and be prepared to not move for a night and a day. A brilliant book by a Canadian national treasure.

This book is a must have for every one. I have been in Sales, Product management and Sales Management for 15 years and read numerous books on the 'sales' side though this book sums up what most people including sales people do 90% of the time - negotiate.

The book is a very helpful tool in learning negotiations. His style of explaining the concepts makes it easy to understand and makes you want to get out and try your new skills.

There are two basic styles or strategies in negotiation literature: advantage seeking and joint gain finding. The best work on joint gain is the seminal work by Roger Fisher, Getting to Yes. The best work on advantage seeking is the work of Chester Karrass who extols high aspiration and concession management. The great thing about this book is that it is simultaneously the second best book in two very different paradigms. This is the best work on the topic of the information parties exchange as part of the negotiation process. That is why this is such an insightful work and worth every penny spent to buy it and hour it takes to read it Five stars and there are only four books in this entire niche subject that deserve that rating. Since I teach this stuff I read or at least skim scores of negotiation books. Many are thoroughly second rate. Reading a really good book on a subject you care about makes you want to write a review for Amazon. See.

I found myself dozing off to sleep sometimes just trying to get past some of the "duh" moments in this book. Perhaps only for newbie b-schoolers or those getting a start in a career where heavy negotiating is key will this book really be a benefit. Otherwise, the best parts were the self-assessment to determine your personal negotiation style, and the chapter about "leverage." Recommended for those who may not have had very much business or sales experience, or experience particularly in a global forum where dealing with international company execs is uncommon.

As a long time mediator I've read many books on the subject of negotiating. I found Bargaining for Advantage so informative I bought copies for my grown children. Shell brings science into the "art" of negotiating and makes sense of an often mysterious subject. My two daughters especially enjoyed the discussion of women and wages and why women may earn less than men - because they don't ask for more! If there are two or more people in a room, then there likely is negotiating taking place, at one level or another. Do yourself a favor and get this book.

This book was a supplemental text for my Graduate level Critical Theory class, and I thank my prof for that every time I open it up. Barry's writing is incredibly accessible -- even inviting, and,at times, humorous. He breaks down most of the major theorists' important and influential works into their key points (which are often buried under obtuse and circular language in the works themselves) and (briefly) applies them to well-known pieces of literature to show how theory is "done". Even for those of us who are "into" theory, writers like Derrida, Spivak, and Lacan can be intimidating; Barry helps the reader get beyond that and deep into the core of critical theory. I would recommend this book to anyone looking to broaden their understanding of literary theory, and I definitely recommend it new students who find themselves overwhelmed or intimidated by theory.

Peter Barry's BEGINNING THEORY introduction to Literary and Cultural Theory is lucid, engaging, and challenging, and would make an ideal classroom text; but it's also a good one for those individuals like me who have been out of school for some time and are a little curious about how the reading and study of literature has changed over the past few decades. The book's thirteen chapters cover traditional criticism (liberal humanism); structuralism; post-structuralism and deconstruction; postmodernism; psychoanalytic criticism; feminist criticism; lesbian/gay criticism; Marxist criticism; new historicism and cultural materialism; postcolonial criticism; stylistics; narratology; and ecocriticism (the latter being the new kid on the block and usually not included in comparable Theory Introductions). Barry may not be the last word on all these subjects, but I felt he's a good starting point for just about anyone. He advocates reading carefully a few of the most pivotal texts on the subjects covered (rather than reading as broadly as possible); he succinctly summarizes each theory's tenets and practices in easy-to-absorb lists; he encourages readers to apply the theories in some way in "Stop and Think" exercises; and he provides annotated select reading lists for each chapter. This is a book I expect I'll be returning to time and again as I try to read some of the primary texts Barry recommends.

As a literature professor, I have a professional responsibility to know about literary theory. And let's face it: it's a pretty scary and complex subject, feared by many and mastered by few. In fifteen years in the business, I have read many books about lit crit and literary theory, and Peter Barry's book is BY FAR the best. It is, indeed, "only" an introduction to the subject, rather than an advanced study, but it is brilliantly clear, and blessedly jargon-free.

Barry writes as though his readers are new to the subject, but bright and curious. And he delivers the goods! This is the book I refer to when in doubt, and the book I encourage my graduate students to purchase. I would recommend anyone who is pursuing graduate study in the humanities to own and carefully read this book. If you read this one carefully, you won't need any of the other intro-to-lit-crit books on the market, which simply don't measure up.

Whenever a college student takes that required first course in critical theory, that student ought to realize that this course is admittedly dense in both content and style, and as a consequence should have access to supplemental readings. Peter Barry with his BEGINNING THEORY is one of three such useful texts. Lois Tyson and Charles Bressler are the other two noteworthy introductory tomes. What is helpful in Barry is his initial chapter on "Theory before `theory'--liberal humanism." Most other critical texts scant the reader on the state of criticism as it existed before Jacques Derrida took the podium in 1966 and shook up the academic world by suggesting that the neat and tidy world of the liberal humanists was founded on a heavy-handed patriarchy that took for granted a spectrum of Western-based assumptions that had stood unchallenged since Plato. These liberal humanists have been on the run since then and Barry succinctly summarizes and analyzes who the major players were in this seismic eruption.

Barry structures his analyses of each school with a general historical overview of that school's paradigmatic assumptions. He includes what critics of that school generally think about as they ponder how to relate the intricacies of that school to specified literary texts. This listing is more useful than the uninitiated might think since when it comes time for the novice critic to make that transcendental leap from the abstruseness that is theory to the concrete reality that is text that neophyte must understand a plethora of assumptions that all too often get lost in the French translation but are clarified in Barry's capable hands. One example will do. Jacques Lacan is notorious for being dense and just plain hard to understand, but when Barry connects the denseness that is Lacan to the clarity that is Poe in his "The Purloined Letter," the various stages of self that seem muddled in the former now stand etched in clear relief by the latter.

One minor note: Barry closes his text with considerations of Stylistics, Narratology, and Ecocriticism, none of which have yet hit the mainstream as accepted modes of literary discourse. Still, for the eager undergraduate or the uneasy graduate student, Barry belongs on the same shelf that also houses Lois Tyson and Charles Bressler.

Wow. I bought this book when I was in college, but I never got around to reading it until this past week. I am absolutely amazed by how good it is, and I wish I had read it earlier.

If I had read this before going to college, I swear I would have aced all my English courses. Why am I so confident that this book would help me? Well, basically, this book gives you something like twenty different approaches to reading literature. After finishing the book, you will be more attuned to what you are reading. You should be able to say to yourself, "well, a stylistic critic would approach this book X way, while a postcolonial critic would approach this book Y way." Imagine your professor's astonishment when you hand in your first essay and the title of it is: "A Lacanian Approach to Jane Eyre." Provided you are able to follow Barry's model for what Lacanian critics do, and you make some decent Lacan-influenced points, you are almost guaranteed to receive an "A."

Of course, many potential readers of this book are out-of-college and, like me, will never get those college literature courses back. This book has utility for us also. It is great because it can give us new angles from which to explore books we have read before. I'm tempted to re-read Hamlet now that I understand the Freudian interpretaton of the play. I want to go back and decide for myself whether the Freudian interpretation is tenable.

Some posters have criticized this book for not probing deep enough. What rubbish! The title of the book is "Beginning Theory." Its intended audience is either people who are new to literary theory, or people who have not been able to make sense of the bombastic critical essays they have been assigned for class. The book serves its purpose extraordinarily well. It is clear, it is to the point, it provides excellent summaries of the major critical theories, and it even provides lists of suggested reading for people who want to read more about the various theories. In short, it is everything you need to get started learning about literary theory. It is a tremendous work, easily one of the best books I have ever read by an English professor. Thank you for writing such a cogent and lucid introductory work to this difficult subject, Professor Barry!

This book got to me soon than expected which I was very happy about.
The book is in excellent condition

If you feel like you are a product of your parents and the tragedies that have occured in your life. Read this book. It is life changing. When you enter into Christ, not only does your future change, but so does your past. "All things" become new. Thus, your heritage... Christ. Your future... Christ. Your destiny, your freedom... Christ in you, the hope of glory! (Beleive the lie, empower the liar.)

It's almost impossible to take in the truth of being a new creature in Christ. I was a non-Christian professional pianist who was familiar with finding meaning and significance in the music world. Needham's poignant and vibrant book grabs me by the lapels every time I read it. The joy that results in understanding Scripture and my identity as a Christian, thanks to Needham, is only expressable through praising and loving God.

David Needham is one of the professors I've had the pleasure to sit under at Multnomah Bible College. This was the textbook to his Spiritual Life class at the school, back when he still taught it there. I have become deeply impacted not only by the book, but by the man behind it. David Needham is one of the most passionate teachers I've ever seen. When I read his book for the first time it turned a 180 in my Christian life. I realized how many of Satan's lies I'd been kept under, even in my Christian life. This book has impacted my life and relationship with God more than I can possibly say. Dear Christian, do you know who you are? Just another plain old sinner, saved by grace? Please don't buy into that lie! Read David Needham's book, and let the truth of the Word of God liberate you to dimensions of life you've never dreamed of!

"Birthright" is the updated, revised, expanded edition of Needham's earlier work by the same title.

Needham has done Christians a great service in biblically explaining the nature of our new nature in Christ. He teaches from the Scriptures with precision, clarity, and practicality who we are in Christ.

Carefully and graciously, he describes how the notion that Christians are not saints is inadequate. With depth, he demonstrates that the flesh and the old nature/sin nature are not the same.

The result is an increased joy in our regeneration and an increased confidence in sanctification through Christ.

Reviewer: Bob Kellemen, Ph.D., is the author of "Beyond the Suffering: Embracing the Legacy of African American Soul Care and Spiritual Direction," "Soul Physicians" and "Spiritual Friends."

As an avid fan of short story writing, this is an attention getter. Let this Generation X author take you on a path of morbid destruction then have him lead you back to the inner sanctuary of your soul. A true self-discovery of courage and elightenment. "Destination Life," "Destination Nirvana."

Not what I expected from a USC grad, but the book reads easily, almost as if the book is saying,"Come on Hepner!"

Surreal-YES? My only question.......are the characters for real? Zsatkowski gives you the opportunity to ghost ride in this book, making you realize that this is the perspective you want to watch from.

Stunning first novel....the tone has been set......

Black light flows very nicely, and Szatkowski knows how to engage the reader with just the right amount of details without bludgeoning him/her with long, flowery descriptions. Often he finds just the right turn of phrase to describe a character or situation that really gives it an interesting idiosyncrasy or quirk to remember it by. Still, there were some people I wish could have been fleshed out just a little more and a few periphery people who were pretty one-dimensional. That's inevitable with any book, but I felt more connected to characters like Jim--who popped in and out in a chapter--than some people I had seen through most of the novel. Szatkowski does a good job with dialogue and displaying personalities through the way they talk. And even though some short sections I thought were a hair cliche (description of the murder and Tommy and Matthias' reactions to it, for example) other parts were very realistic and insightful, like the acid trip and visits with family. And I think it makes a lot more sense if you know this is only the first part in a series, so I look forward to reading the rest!

This is a great fast-paced adventure novel. I enjoyed the way the author created vivid images of places I've never been (a rave party) and others I have (Dairy Queen at Picacho Peak). I found that I wanted just a little bit more at the climax, though. I'll definitely look for his next work.

I thoroughly enjoyed this author's tale of adventure. The two main characters are particularly intriguing. Credit to the author for capturing their wild, yet naive side so vividly.

Christopher Szatkowski has shown in his new book, Black Light, that adventure is where you find it. I felt compelled to read right through the book, because I was so intrigued with the storyline and characters! Great book! I highly recommend it to anyone looking for an exciting journey to experience.

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

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

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

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

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

A must read. A great selection of non-fiction material. If you know and like Borges you know you'll be pleased, if this is your first time reading Borges I guarantee that it won't be your last, you'll keep buying all his work. Borges wasn't a man, he was a library, a portal to knowledge and wisdom.

Enjoy

To read Borges, you become Borges. You see yourself in his mirrors, you regard the books you read as the books he reads. You appreciate what he appreciates, loving the literature he has absorbed, finding your way through the complex interweaving of his passions: Romantic English Poetry, Shakespeare, H.G. Well, Edgar Allan Poe, Dante, Icelandic Sagas, German Idealism, the Kabbala, Schopenhauer, Bergson, English Empiricism, Sufism, etc... All literary roads lead to Borges.

He lived a long, rich life. He is the Librarian you might meet in heaven. If only he were still alive to guide the reading public. If only he lived today and had a website, to think of all the books he might recommend. And wouldn't it be wonderful, to learn about his opinions on modern writers.

With the Collected Fictions, this book is a testament to the literary critic/philosphical wanderer in us all. Each essay is a delicate delicacy. This book is for you if you're a gourmand of good writing, great thinking and the pleasure of exploring the vast expanding world of literature. This book is rich, complex and wondrous. His writings on Dante and Shakespeare, his reviews, his philosophical essays... just read the book and become Borges becoming you.

Eliot Weinberger has done a real service to the world of literature by selecting, and translating these pieces. They show the range of interest, the incredible ability to make inventive creative cross- connections of one of Modern Literature's true masters, Borges.
Borges covers worlds in his writing, worlds of Literature , worlds of the Argentinean society he and some of his ancestors grew up in, worlds given in a universal encycopediac reading, which seems to cover all continents and all cultures.
Borges greatest work is considered to be his ' Ficciones'. But his signature is present in all , in a single page of a book- review or a philosphical meditation.
For him worlds mingle and combine, and are retranslated in such a way as to reappear as Literature.
He also in this work reveals himself to be a decent and courageous opponent of Fascism.
He confounds and surprises us at times with these strange mixings of things, but the poetic and parable- like element is so strong in this work that it engages us, and forces us to question our own small pictures of reality.
What a great and interesting writer. What a pleasure to have this work to enrich our minds with.

Because Borges lived and worked in Argentina, few have heard of him in the English-speaking world. Those that have are probably most familiar with his fiction stories. This book of non-fiction essays shows the vast knowledge and wide variation of interests of Borges. Therefore, this collection really does have something for everyone. Unfortunately, there are also many essays that are unreadable, some annoying repititions, and some essays are just plain dull.

So, what does Borges write about? He covers some metaphysical ground on the nature of time and infinity. He defines heaven as an infinite library, and then goes into the nature of infinity. On the more mundane end, he reviews movies and gives capsule biographies of authors - King Kong, Citizen Kane, and more obscure (and not necessarily Hollywood) films. He writes on contemporary (at the time) politics - Nazi Germany, the curators of the national library, etc. He gets intensely personal - there is one essay on the progression of his blindness. But if there is a main theme that permeates these pieces, it's his love of literature in all languages - Spanish, English (old and modern), German. He has an abiding love of the Greek classics (Homer, Virgil) and great admiration for Joyce, Poe, and Chesterton.

Unfortunately, those of us with a less classical education cannot keep up to everything that Borges says - I, for one, will never have the time to learn ancient Greek! - which makes certain essays difficult. There are other essays (especially early on) that are simply unintellegible (this may be the fault of the translators, especially since there are times when two or three essays cover the same ground with increasing degrees of murkiness). But it always happened that a real gem would appear just when I was getting frustrated with a series of uninteresting essays.

On the balance, about a third of the essays are not interesting (or badly translated, or repetitions), a third are interesting if not spectacular, and the final third have at least one moment of sheer brilliance. It's well worth buying, but it's unlikely you'll read it from cover to cover without taking a break - I took many breaks to read other things, and it took me over 1.5 years to complete the whole book. But you know what? - on the balance, I like his non-fiction better than his fiction

Borges claims in one of these articles that he was "more proud of the books he has read than the books he has written." I imagine I would feel the same way, had I written any books! And I think this statement captures the unifying theme of this compendium. Herein Borges will astonish and charm you with the breadth, variety, and whimsy of his literary taste.

The book is a compilation of critical essays, social commentary, reviews of the fledgling film art, and other oddities published in various media from throughout Borges's literary life. Each offers you new horizens for literary pursuit and further reading, and all are executed with Borges's renowned concision.

What I like most of all is that Borges is more interested the kinds of books people really enjoy reading, such as Bradbury, HG Wells, Lord Dunsany, and Kipling, rather than the fossilized academic "classics." One of my favorite features are the several recommended reading lists, in which Borges passes on his own most pleasurable reading experiences. There is also a refreshing eclecticism in Borges's taste--for example, this book lead me to Mathematics and the Imagination, a fun popular math book. Another personal highlight is the essay on Edward Fitzgerald.

This volume is not something one would read from cover to cover in several sittings, but rather a treasure trove to be mined from time to time, like the famous cave discovered by Ali Baba in that book so dear to Borges's heart!