Short Stories Books

In the little town of Wootton Major, they have a wonderful tradition where a special cake is baked every twenty four years, and eaten by twenty four good children. But, when a magical Faery star is slipped into this year's cake, it is eaten by the local smith's son. And so the life of the younger smith is changed beyond anyone's imagination - he is marked by beauty of face and voice, and (unbeknownst to anyone) he can even visit the land of Faery whenever he likes. It is a life of magic and giving.

I have long been familiar with J.R.R. Tolkein's famous books - The Hobbit and The Lord Of The Rings - but, this cute little book shows that just about everything that he put his hand to he did beautifully! This is a most wonderful little book, one that is sure to charm anyone who believes in beauty and wonder...and maybe hopes just a little that that land of Faery is a real place after all!

I read this book, Smith if Wooten Major, quite a while ago, but i still remember a lot about it. It was a very good book, but some parts did not seem clear to me.
It is about a baker who puts a star in a cake. And when a child eats it that star appears on his forehead. Then they enter another world when they desire to. This tells sbout one person who gets the star and then who has to let it go so someone else can get it.
Right now it is the only J.R.R. Tolkien book i have read, but i am eager to read his book the Hobbit and the Lord of the Ring Trilogy and i will do so soon.

This new extended edition, edited by the estimable Verlyn Flieger, is a must-have for students and admirers of Tolkien. Of course, most of you will already have Smith of Wootton Major on your bookshelves, either in its own volume or in one of the several collections in which it has been reprinted -- so why get another copy?

Because Verlyn Flieger has included several additional (and essential) pieces to the Smith puzzle that have never been available before. These include: Flieger's introduction and afterword on Smith; Tolkien's Note to Clyde Kilby on the Genesis of Smith; his draft preface to a proposed new edition of George MacDonald's The Golden Key, from which kindling the story of Smith was struck -- though the preface was abandoned and the edition of The Golden Key never published; a long essay by Tolkien on the internals of Smith; a timetable and cast of characters with never-before-published details; and most interestingly, the entire draft of Smith, in both typescript and manuscript, reproduced in facsimile.

This is invaluable material for anybody interested in the development and meaning of Smith of Wootton Major. Prior to this edition, Verlyn Flieger quoted from some of these unpublished pieces in her 1997 volume A Question of Time: J.R.R. Tolkien's Road to Faërie, and even Tom Shippey (in The Road to Middle-earth) acknowledged the advantage she had in having seen this material. Now, it's available to all of us.

My one complaint about the book is that it is poorly produced (by HarperCollins, Tolkien's British publisher). The production quality -- and sadly, this is typical of British-made books of the past several decades -- is rather low. The spine is glued, rather than sewn, and it creaks and cracks, threatening to break any time the book is opened. The paper is like stiff newsprint and has a tendency to smudge. Terrible. But unfortunately, this volume has not been printed in the U.S., and the content is important enough to overcome the lackluster production quality.

J.R.R. Tolkien's short work, "Smith of Wooten Major," which he wrote late in life, has already appeared in several fine editions, both by itself and in combination with other pieces by Tolkien, and most of us Tolkien enthusiasts already have it on our shelves. So why another one now, and why should we buy it? There are several compelling things about this book that make it highly attractive to those seeking a deeper understanding of Tolkien as a writer and thinker, and I'll only mention four here. First, this extended edition includes an important never-before-published essay by Tolkien on the story and on Tolkien's views of the nature of Faery, of its importance to him, of faery tales, and of the role of allegory in stories of this kind. It is a fascinating piece that provides new insight into Tolkien's thought as an artist trying to capture glimpses of Faery in his writing. The essay is in some ways an echoing companion piece for his famous earlier essay "On Fairy Stories," in which, among other things, Tolkien outlines his theory of sub-creation that he executed so successfully in "The Lord of the Rings." Second, the book contains never-before-published early notes and draft manuscripts for Smith, several pages of which are reproduced in the book itself in their original hand-written form with helpful transcriptions on the opposite page. These papers not only show Tolkien actively creating and revising his story and the history of its characters, but they also show Tolkien's working methods as a writer and so demonstrate, in a microcosm, the methods he used on such a large scale for "The Lord of the Rings." Third, Flieger's editorial contributions are very helpful. She provides an afterword that discusses the critical treatement of Smith, its genesis as a story, and outlines the new material which, as she says, allow the reader to follow "the authorial progression from explanation to inspiration to formulation to painstaking revision." Flieger's notes are also very helpful, for she points us to relevant matters in Tolkien's other works and illuminates puzzling aspects of Smith. And fourth, this is perhaps the first edition of Smith that takes Tolkien's statements that it is not a children's story seriously. He called Smith "an old man's book, already weighted with the presage of bereavement." Previous editions of Smith have ignored this statement and dressed the tale up as a children's book, presumably based on the unquestioned assumption (which Tolkien questioned very sharply in "On Fairy Stories") that because this is a faery tale, and because it is short, it must be for children. This edition honors Tolkien's view not only of Smith but of the importance of Faery and faery stories in general by beautifully reproducing the tale and the lovely Pauline Baynes illustrations, which were made for the first edition, and by setting them within a handsome hardcover text that Tolkien readers will prize very highly. This is a must have.

People who know anything about the mind of J.R.R. Tolkien know that he disliked allegory. That makes "Smith of Wootton Major" a bit of an oddity among his writings, but not an unwelcome one. It's a sweetly fantastical little fable that drips over with Tolkien's love of real, deep fairy tales.

It takes place in a little town "not very long ago for those with long memories, not very far away fro those with long legs." The Master Cook of that village takes a vacation, and returns with an apprentice in tow. But something odd happens at the Feast of the Cake -- the cook stirs in a "fay-star" with little trinkets in the cake, and it's accidently swallowed by a boy there.

The boy (later called Smith) is changed by the fay-star, which sparkles on his forehead. When he grows up Smith ventures into Faery itself, and even meets the Faery Queen herself. The message she gives him is for her mysterious, missing husband, the King -- who turns out to be the last person anybody in Wootton Major would have expected.

"Smith" is a fairy tale in the best sense. Don't expect cackling witches or convenient loopholes in spells here; Tolkien was too skilled for that. Instead we have majestic fey and sparkling magic, woven with a tidy medieval town. (Not to mention the custom of naming people after their jobs -- Smith, a smith, capisce?) Never once does it become precious or cutesy.

It's among Tolkien's simpler writings. In fact, it's so simple that it barely has a plot -- the vanishing King is the closest thing it has. But Tolkien's writing sparkles with little details of the fey, with only a minimum of description. His glimpses of Faerieland are too brief, but they're also reminiscent of a few passages from "Lord of the Rings."

A sweet, fantastical little story, this is one of Tolkien's lesser-known but still deserving stories. Charmingly symbolic.

Always difficult to pick up anything else after reading Selby. These shorts aren't quite as disturbing as LETB or The Demon, but they're still enough to put the thousand-yard stare on my face. Especially enjoyed "Puberty" and "Penny for Your Thoughts".

This is the first book of Hubert Selby Jr.'s that I have read and I must say, it definately will not be the last. Stories like "Of Whales and Dreams" are beyond captivating--riddled with intricate details and powerful messages. Put quite simply, this book is a must read for anyone who finds value in innovative and experimental forms of writing.

This is the first book of Hubert Selby Jr.'s that I have read and I must say, it definately will not be the last. Stories like "Of Whales and Dreams" are beyond captivating--riddled with intricate details and powerful messages. Put quite simply, this book is a must read for anyone who finds value in innovative and experimental forms of writing.

Some of the stories will make you laugh, some will make you want to cry. All main characters are called Harry. All have different lives, different stories, but something underneath is the same. What is the common thread of the different Harrys? Read the book.
This is 13 short stories as aposed to his other novels, granted,but is also the easiest book of Selby jr to read. A great place to start with this wonderful and truely original American author.

I've read a couple of Selby's full length novels, and his writing always leaves me heavily affected for days afterward(for better or worse). This book, a collection of short stories, was at times funny and sad, bitter and naive, and essentially is a portrayal of the most mundane and ordinary things imaginable in an extremely beautiful and grandiose way. If I didn't know better(and I guess I don't, I'd swear Selby was a psychic, the way he knows people's minds' inner workings so well). The story 'Of Whales and Dreams' tore my heart out. Amazing. Selby will burn you alive with your own emotions.

Memoirs are almost always interesting but this one is like nothing else I had ever read. Truly touching and endlessly interesting, this book has something for everyone. If you have ever felt like an "outsider" you will appreciate Hugo's plight. Can't stop ready it. It was a joy until the very last page.

This is a magnificent story of the author's growing up in Ireland.It takes place mainly after WW2 and until the mid-seventies.The son of an fanitically nationalistic Irish father who doesn't want to give up the past, and a German mother who is haunted by her past of growing up in Nazi Germany.
The author shows us the tremendous pressures of trying to get along when you are different from others in your community and country.This problem exists everywhere and we learn that it also occurs even in Ireland.This family lived with it as a central issue at all times and no matter how hard they tried,they could never get away from it.I don't think I have ever read a book that so clearly defined the issues and struggles that had to be faced.
Not only has the author described the struggles his family faced he also gives us a great deal of insight into the culture,thinking,perceptions,anguish,and the effect that the past has on the personality and feelings encountered when one is different.
Ireland is a very fascinating country and like no other.One never ceases to be amazed by what one learns by reading about its history and its people;and this book is no exception.
Several lines that really struck me were:

"Some things are not good to know in Ireland."

"We serve neither King nor Kaiser."

"My father says the Irish can't live on imagination forever."

"He doesn't want the song about immigration to go on forever."

"Ireland unfree shall never be at peace."

"Maybe there was no failure in Ireland,only bad luck,and
maybe there was no bad luck in Germany,only failure."

"Nelson's head was on the ground and the dust of the empire
was all around."

"When you're small you know nothing and when you grow up there
are things you don't want to know."

And finally,one that sums up the story:

"I'm walking on the wall and nobody can stop me."

The author's skill in the use of language is a whole order of magnitude higher than so much we see today;but still in a class with several of his Irish compatriots.What wonderful stuff this small country produces.

I found The Speckled People after encountering a fascinating article by Hugo Hamilton on the "Loneliness of Being German". Similar to the article, the book immediately struck a chord with me. Those living within and without their own language will find a special connection to this book. Language as the identification of "home" and "country" and "language wars" are explored here in a rather exceptional way - through the voice and outlook of a growing child. Like a patchwork quilt the vignette chapters of the book come together for the reader to form an exquisitely drawn portrait. Hamilton's family is pictured against the backdrop of their Irish reality of poverty and want in the fifties and sixties. Complexities are accentuated by his dual identity as a child of an Irish nationalist father and a German mother who left Germany after the war.

While The Speckled People is an intimately personal chronicle of his youth, Hamilton's story has significance far beyond the autobiography genre. There are advantages and challenges in using the language of a child. On the one hand, experiences can be conveyed in a direct and innocent way. Johannes (Hugo) has not yet learned to query all he observes: "When you're small you know nothing". He is a sensitive and perceptive child who intuits that there are more untold dramas in the family. "You can inherit a secret without even knowing what it is." On the other hand, it may be difficult to maintain the language as the boy's capacity to analyze and reflect becomes more pronounced with age. Hamilton succeeds admirably in keeping his style consistent even where he integrates numerous events from the wider world as they become relevant to the young boy. As you settle into his style, the narrative becomes deeply absorbing.

The experiences of life under Nazi rule as part of an anti-Nazi family, continue to haunt his mother. Her painful memories are conveyed to the son in small doses, like selected scenes from a black and white movie in which she had a part. Nonetheless, she is homesick for her native country and all things German. Books, souvenirs and toys arrive regularly resulting in outbursts of happy laughter. Johannes records his mother's mood swings expressed through either laughter or primarily mental withdrawal and silence.

His father feels more Irish than anybody around them. He insists on preserving Irish culture and on "freeing" the Irish people from British influences. His children become "his weapon" against the enemy. He forbids the family to speak English. The children tend to "live" in German as their mother has difficulties speaking Irish. The Irish language has to be protected even if it means losing business. This can mean that cheques are not accepted from people who cannot spell Ó hUrmoltaigh - Hamilton in Irish. The language is your home, "your country is your language", he insists - it identifies who you are. The pressure on the children to speak German and Irish at home sets them apart from people in Dublin at the time. There, English was the preferred language. The children suffer from this enforced isolation. The neighbourhood bullies, responding to their otherness and German identity call them "Nazi", "Hitler" or "Eichmann". They attack them whenever the opportunity arises. While Johannes repeats to himself and to his mother "I am not a Nazi", he does not defend himself against the assaults. One of the rules of the house is to adopt a form of pacifist resistance, the "silent negative " and not to become part of the "fist people". As Johannes grows up, he understandably rebels increasingly against these strictures. In the end, he discovers his own way out of all the identify confusion, his anger and pain.

The Speckled People is a memoir like no other. Any comparison with other Irish memoirs would seem inappropriate to me. While Hamilton chronicles his childhood and growing up, themes and issues beyond the personal play a fundamental role. In particular his exploration of the complexities of "language" as "home" and "country" gives this book added richness and depth. [Friederike Knabe, Ottawa Canada]

okay... this book is absolutely gorgeous - It is sweet,deep,and dark...an original story. it reads like a beautiful poem -i am so happy to read a new book by an author who writes so well... thank you, Hugo!

The cover picture and the packaging are obviously attempting to ride on the coat tails of the phenomonal success of "Angela's Ashes." Which is okay in this case, because there are many similarities, and also because this book is almost as good. Almost. It's very close. Which is to say: it's still better than just about any other memoir you could get your hands on. This is a most charming, most intuitive, most page-turning read. I loved it. You probably will too.

This classic Victorian novel popular in its time is a fine example of descriptive writing at its best. It will entertain as well as educate the most prolific of readers with references to world-wide geographic locations, foreign phraseology, and descriptive paragraphs that are refreshing different to 21st century reading. A tale of romance and intrigue woven with Christian morality will delight the reader into imagining themselves present in an era now passed. I can see why it was a favorite of my grandmother and will remain a favorite with me.

Although the book chronicles the life of Edna Earl from childhood into adult life, it was titled, 'St. Elmo.' Edna Earl maintained a very high sense of morality, and strongly valued her belief system and her integrity. It was this sense of morality, expressed through her confident personality, that resulted in the eventual 'spiritual reawakening' of St. Elmo Murray. St. Elmo was truly 'born again' as a man and as a spiritual being. His turnaround from an angry, misanthropic individual into an enlightened individual was remarkable. It was Edna Earl who triggered this awakening in him. Therefore, naming the book 'St. Elmo' was a testament his receiving of grace. Agusta Jane Evans was an outstanding writer, as good as any whose books I have ever read.

I found St. Elmo at my grandmothers house last year and decided to read it since I live in Columbus, GA around the area where it is set. I couldn't put it down. I've just finished reading it a second time and it is more wonderful the second time around.

Deep reading with good Christian standards. I loved all the references and quotes from famous authors and philosophers. It's all about a real-life hero who has real-life problems to conquer. Definately recommended!

I have read this book threetimes. The first was when I was a teenager no more than l4 years. I read it again soon after I was married at twehty three. The first two times were borrowed books - I then found it still in print so I finally bought my own copy. I treasure it and probably will read it again for the fourth time. It is the greatest book I have ever owned not counting the Bible.

I also own "Strange Travelers," a previous short story collection, and I thought it was very inconsistent. One story would be fascinating, the next would be ho-hum. I'm pleased to report that Starwater Strains is extremely consistent, and almost every story in this thick volume was a joy to read. The topics covered are all nominally "science fiction," but within this grouping Wolfe manages to cover a wide range of topics, and the tone of his stories run the gambit, from more classic-style hard, cold space science fiction, to dreamlike tales that could be set almost anywhere, at any point in history, the future, or the present. As is usually true with Wolfe, there are also tinges of horror throughout - not Steven King style gore, but subtle, horrifying little twists that will burrow into your mind and stay there, rising to the surface every so often, long after you're finished reading.

Many of his stories concern a speculative near future, and I was pleasantly surprised to find that several of these had a strong social or political message about our modern lives, always elegantly included so that without the message the story is still interesting if you don't agree with his stance or don't care for politics in your fiction.

I'll finish by saying that after I received this book for Christmas, I had several mornings at work where I could barely stay awake because I'd been up until 4am the night before, reading "just one more story" over and over again. It's a fine collection.

I am always eager for a collection of Wolfe's short stories even if I have read some of them in other places. I particularly loved the cover of this book...it's so clever/humorous. Thanks for putting this book together!

Calling Gene Wolfe a great science fiction writer is a mere literary understatement, since he ranks, along with Ray Bradbury, not only as one of the premier elder statesmen of American science fiction, but more importantly, as one of the finest literary stylists in American fiction of any genre. "Starwater Strains", his new short story collection, merely reaffirms his splendid literary gifts for writing brilliant, evocative prose and marvellous storytelling. Most of these stories in this collection were written in the past decade, ranging emotionally from horrific to suspenseful to tranquil, covering themes as vast as contemporary fantasy to space opera harkening back to his "The Book of The New Son" series of novels. My own personal favorite is "In Glory like Their Star", which is an absolutely refreshing, polished literary gem of a tale about the religious connotations of First Contact by space travelers visiting a primitive planet inhabited by pastoral, devout believers. But it is not the lone gem, which I think also includes such diverse tales as "Of Soil and Climate", "The Fat Magician", "The Boy Who Hooked the Sun", and "The Seraph from its Sepulcher". The ones I've omitted citing are, in their own way, almost as riveting as those cited above. "Starwater Strains" will certainly delight those unfamiliar with Wolfe's impressive body of work, as well as his long-time fans and admirers.

to have a writer like Wolfe *consistently* writing great stories. If you like thinking for fun, if you enjoy inventive storytelling, if you enjoy the feeling of being in hopelessly over your head, but in the hands of a chuckling, mostly benign master of his art, then by all means read Wolfe.

This collection contains:
Viewpoint
Rattler
In Glory Like Their Star
Calamity Warps
Greylord Man's Last Words
Shields of Mars
From the Cradle
Black Shoes
Has Anybody Seen Junie Moon?
Of Soil and Climate
The Dog of the Drops
Mute
Petting Zoo
Castaway
The Fat Magician
Hunter Lake
The Boy Who Hooked the Sun
Try and Kill It
Game in the Pope's Head
Empires of Foliage and Flower
The Arimaspian Legacy
The Seraph from Its Sepulcher
Lord of the Land
Golden City Far

Some notes:
Wolfe has some typically intriguing and all-too-brief comments on each story. Each! Story! which excited me.
"The Arimaspian Legacy" is linked to, and evidently happens *before* the short story "Slow Children at Play from Wolfe's _Innocents Aboard_. Hint: Wolfe likes Herodotus.
"Lord of the Land," as Wolfe notes, is Wolfe doing a Lovecraft story; it was first published in _Cthulu 2000_ and also appeared in a Tor anthology, _Lovecraft's Legacy_ (1990).

Disclaimer: I expect many negative ratings as Mr. Wolfe's fans feel it their duty to discredit anyone who rates him less than a 'god' (5).

That said, I always enjoy his short story collections. Even the stories I rated 2 out of 5 are worth the read. There are some I did not enjoy at all, but that may be simply my taste.
Of Soil and Climate
The Dog of the Drops
From The Cradle
Empire of Foliage and Flower
Lord of the Land
The Boy Who Hooked the Sun
being my least favorites.

The stars of this collection (for me) are
In Glory Like Their Star
Calamity Warps
Graylord Man's Last Words
Hunter Lake
Pulp Cover
The Seraph from the Sepulcher

Well worth your time. I've enjoyed ever Wolfe collection I've read and I believe I'm up to date on all of them.

Don't miss
The Island of Doctor Death and Other Stories and Other Stories
Stories From the Old Hotel

After my best friend got diagnosed with kidney failure, I searched for a book on dialysis and kidney transplants from the patient's point of view and was disappointed to find almost nothing. Somebody told me about this book and the poem "Obituary" by Hortensia Anderson. It and the other poems and stories had a very humbling effect on me. A lot of the book deals with cancer and although the writing is great, I have a lot of books on that (from my father's lung cancer)and want to find more on dialysis especially. I enjoyed reading the whole book and recommend it to anybody.

I didn't want to read this book, but it was assigned for a class so I had to and I am so glad that I did have to because it made me think AND it made me laugh. Stories has both prose and poetry and I was excited to find one of my favorite internet poets Hortensia Anderson (who I found on the internet)who did an obituary to her transplant. The editing is wonderful and has many wonderful offerings. Don't miss John Penn's stories about his chemotherapy either. You won't believe it but you will laugh.

A book that reminds me of the Sufi saying, "If I can get through this life without dying, I'll be amazed." Editor Carol Wierzbicki tells her own tale of the relationship triangulation between lover-caregiver, medical-caregiver, and fatally ill patient. One interesting poem by Hortensia Anderson mourns the loss of a transplanted kidney. I only wish there had been more.

We will all have to deal with sickness and death in all of our lives. I have often found myself trying without success to imagine Kristan Ryan and her dealings with ms, John Penn fighting 2 battles at once - cancer and AIDs, Hortensia Anderson and a life on a dialysis machine. All because of a book I bought on the suggestion of a friend with fibromyalgia. There are many lessons to be learned from STORIES - I have had the privilege of a life not yet touched with sickness. But all of the poets and writers in STORIES by disclosing theirs, humbles me. STORIES is not at all preachy - the purpose seems simply to wake us up and make us aware. This, it does without technical jargon nor self-pity. STORIES is a heart-wrenching and truly elegant book.

Virginia Woolf predicted that some day the world of illness would become one of the major topics of literature. In "Stories from the Infirmary" that time has arrived. These stories and poems are literature at its best; real, interesting and enlightening. The contributors to this collection are not a bunch of sick people feeling sorry for themselves. They are people fighting for their lives, their loves, their dignity and sanity. The issues at stake here are those at stake in each of our lives, ill or well. Will a partner continue to love inspite of disability? Can joy be found even if one has to receive blood transfusions? How do you share a parent's or a child's disintegration? Courageous is the word I would use to desecribe these people. These works are full of wonder as much as they are honest about pain. This book is extremely well written and powerful.

In this anthology about "women and fatness," fat women eat, exercise, laugh, cry, love, give birth, and are abused and exploited. In fact, they experience the joys and tribulations of women everywhere, but what defines them, or sets them apart, is their body size.

The American interest in fitness seems to have begun in the late 1800s, when urban sophisticate May Welland of Edith Wharton's The Age of Innocence was compared to the hunt goddess Diana and noted for her slimness and athleticism. By the 1920s, thinness was firmly established as the fashion, with characters such as F. Scott Fitzgerald's Jordan Baker (The Great Gatsby) representing the slender, athletic, almost boyish ideal. In Koppelman's collection, Octavia Thanet's "The Stout Miss Hopkins's Bicycle" (1897) is an early example of how women suffered socially for their weight and how they began trying to manage it through exercise--an unthinkable notion for ladies of previous generations. One hundred years later, 1997's "The Strange History of Suzanne LaFleshe" (Hollis Seamon) also pairs two woman who to the world appear to have eating disorders--Suzanne Brown, who prefers the fullness of flesh, and Theresa, a teenager with apparent anorexia.

Some stories, like "Fat" (Grace Sartwell Mason) play purposely to the popular stereotype. Mrs. Payton Tierney substitutes a constant supply of rich foods for the love that no longer exists between her and her husband. Food is the problem and the solution as "The prison of her flesh received her" and the story ends in a surprisingly predictable way.

Stories like "Good-Bye, Old Laura" (Lucile Vaughan Payne) and "Skanks" (Rennie Sparks) capture the respective times and experiences of their teenage protagonists. Laura and Janine are complex characters whose peers influence their feelings about themselves and their bodies, with disturbing results for both. "The Hershey Bar Queen" (Elena Diaz Bjorkquist) is a teenage revenge fantasy, although the protagonist's food obsession and child-like simplicity and gullibility make the supernatural ending disappointingly ineffective.

If Mrs. Tierney, with her bonbons and distaste for exertion, is the stereotypical fat woman, the husbands in "The Feeder" (Maria Bruno) are alpha males whose wives fight back by taking control of their food, their bodies, and their weights--the thin wife consciously, the fat one less so. This story stands out for the disturbing image of a trapped, dying bird, wings broken, that is not worth saving to the insensitive husband.

"Perfectly Normal" (Lesléa Newman) is about the fat hatred and other prejudices of an anorexic wife. After making her promise not to get fat like her active, happy, lesbian sister, her husband sends her to a sanitarium before she wastes away even more. The combination of the wife's first-person perspective and the extremities of her opinions ("The least she [sister] could do was rip out the labels [of her clothing] so she would not have to be embarrassed" [about her size]) puts this story at the border of two-dimensional for the sake of making a point.

That is part of the problem with any focused collection like this; the focus on food, fat, and fat attitudes casts a blinding glare on the issues rather than truly illuminating them. It's interesting to see attitudes over the past 100 or so years, but questions arise, such as: How do those attitudes compare to those toward fat men, or to those who are different physically in other ways? If, as is claimed, only 10 percent prefer a fat partner to a normal-sized one, can the bias against fat be so definitively said to be social and cultural? Are those influences that widespread and strong? If the claim is true, are fat women really powerful erotic symbols to any but a few? It's mentioned that Lillian Russell, at more than 200 pounds, was a sex symbol of her time--but is that because she was fat or despite the fact she became fat with age?

In her defensiveness about fat, Koppelman writes, "There is nothing in women's fiction to affirm the calamitous claims of health risks made by the bariatricians, the exercise gurus, and the weight reduction mavens." Koppelman cannot be so single-minded as to confuse what appears in fiction with what happens in reality. Obesity, like other extremes, not only comes with serious health risks (for example, diabetes and all its complications), but also can limit the fat person's activities in ways that have nothing to do with societal bias (for example, I am too heavy for horseback riding, which I would love to be able to do). Koppelman's logic seems to be that, until a woman writes fiction about obesity-induced illnesses, they are not an issue for women.

The big question here is, "What does fat mean?" To the 5'7" patient in "Perfectly Normal," it means weighing more than 100-115 pounds. "The Hershey Bar Queen" weighs more than 400 pounds, as must the sideshow attractions in "Noblesse" (Mary E. Wilkins Freeman) and "Even as You and I" (Fannie Hurst). Suzanne LaFleshe weighs a little over 200. It's an important question because an active, confident, 200-pound woman, while fat by medical and social standards, may fall within the realm of normal deviation, while a girl like "The Hershey Bar Queen," enormous and obsessed with food, is a clear case of pathology. People fear pathology, whether it's morbid obesity, autism, or obsessive-compulsive disorder.

The Strange History of Suzanne LaFleshe {and Other Stories of Women and Fatness} is hampered by the restrictions and biases of its focus. A few stories stand out, but many are slices of life that lack depth, context, and subtlety. Another issue is that the book copy was not proofread; there are numerous typographical errors throughout, sometimes several on a page, so that the trustworthiness of the texts is in doubt--an unfortunate problem in a work produced by an academic professional like Koppelman. Still, it's worth reading for the handful of gems.

I suppose we all have days when it seems hopeless--days when the so-called "War on Obesity" is so overwhelming, so pervasive, and so apparently effective that it seems impossible that we will ever get our point of view across. I was having one of those days when Susan Koppelman's book of short stories arrived.

I am not exaggerating when I say that this book lifted my spirits and gave me hope again. Koppelman asks in her introduction "What could women accomplish, how powerful might we become, if all the energy we turn toward our own bodies were released onto the world?" The introduction is a reaffirmation of the truth that the personal is the political, and a concise statement of the connection between feminism and fat liberation.

The book itself is arranged chronologically. "Juanita" and "The Stout Miss Hopkins's Bicycle" are both wonderful nineteenth-century stories. These women's voices from the past gave me historical perspective and made me feel a part of an inexorable tide, rather than a drop in the bucket. I especially enjoyed Lesla Newman's "Perfectly Normal," and the story by Hollis Seamon that gives the anthology its name, partly because they create memorable characters, but also because both of these stories deal with the strong connection between fat oppression, the dieting mentality, and eating disorders.

This is not Koppelman's first anthology of women's stories, each of which is grouped by theme. The scholar in me appreciated the extensive backmatter, explaining how each story fits into the history of weight obsession and women's self-empowerment. The activist in me loved the classic size acceptance quotes that accompany each story--many from books I have read, but not for a long time. We all need to hear those pithy statements over and over.

This book reminded me that the fight against fat oppression is part of the fight for women's liberation and self-empowerment. Of course the powers that be are arrayed against us. Of course it seems like an impossible battle at times. One of our most powerful weapons is surrounding ourselves with words that outrage, inspire, and uplift us--expressions of our beauty and worthiness. The stories in this anthology serve exactly that purpose.

Great choice of stories, never before gathered in one place. I used this for a women's lit class I teach, and it was the most popular book. Students related to it as a fascinating group of stories, not just as a textbook. I'll share just one of many student comments: from one who starts med school in August, "I know I'll be a better doctor because I read this book."

This book of short stories is in the best tradition of the feminist movement. It raises consciousness. Few women manage to grow up in our culture oblivious to issues of weight. Most have struggled one way or another with it, some all their lives. Susan Koppelman's collection honors all these women and tells them they are okay. They are not lacking in willpower, or morally corrupt, or selfish, or greedy, or any of the other negative judgments society has visited upon them. They just are who they are and what they are. The net effect of the range of stories is to raise our awareness of the presence in our lives of women who are too often absent in our art and culture. But The Strange History of Suzanne LaFleshe isn't simply a political statement and it certainly isn't just for fat women! It's a wonderful collection that spans decades, giving us a cultural history cooked up in many different literary flavors to savor. And it stays with you. When you read it, you are both satisfied and hungry again -- for more anthologies edited by Susan Koppelman.

There were a few stories in this book that I didn't like. Many of the stories presented the heroines as not just *feeling* badly about themselves, but also as somehow *objectively* bad. In one, "The Hershey Bar Queen," I still remember that in the main character's worst, most rock-bottom moment, the description we get of her eating her candy bars is of shoving them into her "cavernous" mouth. Ugh. I would have preferred to see more stories in which we understand the struggles and difficulties one faces as a large person in the world, but one which didn't present those of us who are as being objectively revolting.

With that said, context is everything, and many of these stories require a little more history around them to properly understand just how subversive they really are. Susan Koppelman provides this context in the Afterward, which changed the way I saw several of the stories by providing the cultural context for the times in which several of them were written. "Juanita," for example, which was written in the late 19th century, struck me at first as being a story that simply reinforces the notion that fat women are drab and dowdy, and can only get the sorts of men that no one else would want. After reading the portion of the Afterward dedicated to providing context for "Juanita," however, I see it now as a deeply feminist story dedicated to the ideas of choice and freedom and independence.

There are also several stories in this collection which made me laugh out loud, such as "A Mammoth Undertaking," which is filled with moments of delicate and delightful humor, and relieve the often deadly seriousness of the subject of weight. "This Was Meant To Be," was hands-down my favorite story, in which the reader is witness to the fickle and capricious nature of society's aesthetic values. Our heroine need do nothing but be herself to be a smashing success, and all the world changes around her. I wanted to cheer when I finished it.

In stark contrast is "Goodbye, Old Laura," which is by far the most compelling piece in the collection. The writing is brilliant, and immediately I was drawn into the world and the achy inner landscape of Laura, the 200 pound teenage protagonist. Just how far I was drawn in made the ending that much more horrible. (I won't say why, to avoid spoiling it.) The worst part is that I can't tell whether the author approves of what her characters do at the end or not. Is she endorsing the gruesome ending or condemning it? I just don't know, and that is much of where the power in the story lies. I read it almost a week ago, and I am still thinking about it, and the choices we make as fat women to please those around us, and am still left wondering how many of those choices really make us happy.

There are still some stories that I don't think do justice to the fat woman's experience, and could have done without reading. However, those are more than outweighed by the rest. The very fact that so many women's voices were reclaimed from obscurity makes this book worth reading. Susan Koppelman is a brilliant author in her own right, and I strongly recommend reading the Introduction and Afterward (which I often skip). All in all, this is a book filled with excruciating pain, incredible wit, fantastic writing, and a depth and breadth of women's experiences that is both heartbreaking and wonderful.

Nice book. But in this edition, there is no chapter title on each page, so it's a little difficult to track the chapters.

There is at least one author who may remind you of Stephen Leacock, namely Garrison Keillor of Lake Wobegon fame, but Leacock should be recognized as the ultimate master of quaint, bucolic humor. Leacock, who died in 1944, became arguably the most prominent Canadian humorist of his day (and probably of all time). What is ironic about that claim is that Leacock worked for most of his life as a professor of economics. We do not usually equate economics with humor, preferring to think of that profession as one of bow ties and supply and demand charts. Throw that presumption out the window and pick up a copy of "Sunshine Sketches of a Little Town," Leacock's best known work available through the New Canadian Library series.

For me, one of the funniest sections of the book was the introduction written by Leacock, where he gives you some background about himself and his profession. This short piece of writing quickly gives you an idea of the type of humor you will find in the actual sketches: a very sly, very quiet and clever type of humor that often takes a while to sink in. Leacock does not rely on rim shot jokes or manic posturing in his writings. Instead, he creates the fictional Canadian town of Mariposa and populates it with small town archetypes that are wonders to behold.

All of the characters are hilarious in their own way: Mr. Smith, the proprietor of the local hotel and bar, full of schemes to earn money while trying to get his liquor license back. Then there is Jefferson Thorpe, the barber involved in financial schemes that may put him on the level of the Morgans and the Rockefellers. The Reverend Mr. Drone presides over the local Church of England in Mariposa, a man who reads Greek as easy as can be but laments his lack of knowledge about logarithms and balancing the financial books of the church. Peter Pupkin, the teller at the local bank, has a secret he wants no one to know about, but which eventually comes out while he is courting the daughter of the town judge. All of these characters, and several others, interact throughout the sketches.

Leacock has the ability to turn a story, to make it take a crazy, unexpected twist even when you are looking for such a maneuver. That he accomplishes this in stories that rarely run longer than twenty pages is certainly a sign of great talent. By the time you reach the end of the book, you know these people as though you lived in the town yourself, and you know what makes them tick.

Despite all of the crazy antics in Mariposa, Leacock never lets the reader lose sight of the fact that these are basically good people living good lives. There seems to be a lot of feeling for the citizens of Mariposa on the part of Leacock, which comes to a head in the final sketch in the collection, "L'Envoi. The Train to Mariposa," where he recounts traveling back to the town after being away for years, with all of the attendant emotions that brings as recognizable landmarks come into view and the traveler realizes that his little town is the same as when he left it years before.

I suspect there is a historical importance to "Sunshine Sketches of a Little Town." These writings first appeared in 1912, a time when many people living in the bigger Canadian cities still remembered life in a small town. In addition to the humorous aspects of the book, the author includes many descriptive passages concerning the atmosphere and layout of Mariposa, something instantly recognizable to anyone who grew up in such a place. Nostalgia for the simpler life of the small town probably played a significant role in the book's success.

I look forward to reading more Stephen Leacock. While much of the humor in the book is not belly laugh funny, it does provide one with a deep satisfaction of reading clever humor from an author who knows how to tickle the funny bone. You do not need to be Canadian to enjoy this wonderful book.

no hype. i couldn't stop laughing as i was reading this. and i mean laughing out loud. in a cafe. with everyone staring at me. but i didn't care. and i couldn't help it if i did. it's just too hilarious.

Like the heading says, this is the funniest book I've ever read. Leacock was a comic genius and this is his best work. Buy it, read it, love it.

Perhaps the finest comment about Stephen Leacock in the last half century is that "he is a
Will Rogers for the 90's."

Rogers, of course, is one of the most beloved of American humorists -- he was killed in
1935 when his plane crashed near Point Barrow, Alaska. Leacock died on March 28, 1944.
Like Rogers, he had been Canada's favorite humorist for decades.

Sunshine Sketches is about Orillia, Ontario, Canada, where Leacock had his summer home
on Brewery Bay (he once wrote, "I have known that name, the old Brewery Bay, to make
people feel thirsty by correspondence as far away as Nevada.") His home is now maintained
as a historic site by the town of Orillia. I lived there for almost 30 years, and the people of Orillia are still much the same as Leacock portrayed them in 1912.

These stories about various personalities in town were printed in the local newspaper in the
1910 - 1912 era, before being compiled into this book which established Leacock's literary
fame. The people portrayed really lived, though some are composites; the events are of a
kindly humorist looking at the foibles of small town life. Once they came out in book form
and soared to national popularity, everyone in town figured the rest of the country was
laughing at them because of Leacock's book and he was royally hated in Orillia to the end
of his life.

Gradually, and this took decades, Orillians came to recognize that genius had walked
amongst them for several decades. (It's hard to recognize genius when your own ego is so
inflated.) Orillia now awards the annual "Leacock Medal for Humor" -- Canada's top literary
prize for the best book of humour for the preceding year.

Leacock died when I was six, but I did know his son, who still lived in town. I delivered
papers to the editor of the "Newspacket," Leacock's name for the Orillia Packet and Times
(where I worked) and the rival Newsletter. The Packet had the same editor in the 1940's as
when Leacock wrote about him in 1910.

But the book is more than Orillia; it is a wonderfully kind and humorous description of life in
many small towns. The American artist Norman Rockwell painted the same kinds of scenes;
it is the type of idyllic urban life so many of us keep longing to find again in our hectic
urban world.

Leacock realized the book was universal in its description of small towns, and in the preface
he wrote "Mariposa is not a real town. On the contrary, it is about seventy or eighty of
them. You may find them all the way from Lake Superior to the sea, with the same square
streets and the same maple trees and the same churches and hotels, and everywhere the
sunshine of the land of hope."

True enough, which gives this book continuing appeal nearly a century after it was written.
All great writing is about topics you know, and as a longtime resident Leacock knew Orillia
well. As for Leacock himself, he wrote, "I was born at Swanmoor, Hants., England, on Dec.
30, 1869. I am not aware that there was any particular conjunction of the planets at the
time, but should think it extremely likely."

He says of his education, "I survived until I took the degree of Doctor of Philosophy in
1903. The meaning of this degree is that the recipient of instruction is examined for the last
time in his life, and is pronounced completely full. After this, no new ideas can be imparted
to him."

In reviewing Charles Dickens' works in 1934, Leacock wrote what could well be his own
epitaph: "Transitory popularity is not proof of genius. But permanent popularity is." The fact
his writings are still current illustrates the nature of his writing.

In contrast to the sometimes sardonic humor of modern times, Sunshine Sketches reflects
Leacock's idea that "the essence of humor is human kindness." Or, in the same vein, "Humor
may be defined as the kindly contemplation of the incongruities of life, and the artistic
expression thereof."

Granted, this book is not what he recognized to have widespread appeal to modern readers.
In his own words, "There are only two subjects that appeal nowadays to the general public,
murder and sex; and, for people of culture, sex-murder." Yet, anyone reading this will
remember scenes from it for much longer than anything from a murder mystery.

In today's world, where newspapers almost daily track Prime Minister Tony Blair's dash to
the political right, Leacock wrote, "Socialism won't work except in Heaven where they don't
need it and in Hell where they already have it."

He described his own home as follows, "I have a large country house -- a sort of farm
which I carry on as a hobby . . . . Ten years ago the deficit on my farm was about a
hundred dollars; but by well-designed capital expenditure and by greater attention to
details, I have got it into the thousands." Sounds familiar to today's farm policies ?

It's what I mean by this being a timeless work.

Leacock himself noted, when talking about good literature, "Personally, I would sooner have
written 'Alice in Wonderland' than the whole of the 'Encyclopedia Britannica'." This is his
'Alice' and it well deserves to be favorably compared to Lewis Carroll's work.

By all measures, it is still the finest Canadian book ever written.

I loved the stories; they were developed well, but I felt a let down by the end of the first story; It didn't really say for sure whether Elijah was free or not; it was just assumed; I would have loved to know how Kenneth felt watching that scene play out in front of his ex wife's house; I would have truly loved to see how the mother and sister felt but hey you can't get it all. The last story was interesting; my thing with this was it just left me hanging. no bow was tied.

In Taking Chances for the Holidays, Three talented authors, Adrianne Byrd, Donna Hill and Monica Jackson treats the readers to three very different stories that stirs, stimulates and makes you laugh. Adrianne Byrd's FINDING THE RIGHT KEY, is Hot and Sexy and should come with a label that says 'CAUTION CONTENTS ARE HOT". Donna Hill's "Out With the Old", adds an office romance that sizzles during the holiday and Monica Jackson's Merry Christmas, Baby completes the book with a sexy romantic/comedy that will have you bursting at the seams. Put the three together and you have the hottest read of the holiday. This one is definitely one to read and read again. For relief, have a cold drink and willing partner close by when you finish.

Taking Chances was a great book. Adrianne Byrd's "Finding the Right Key" was definitely off the hook and not for the faint of heart. We all wished we had a friend like Kimora. That story was the BOMB!! Being a die hard A Byrd fan I knew the story would be all that so I read the book backwards to save the best for last. Donna Hills "Out with the Old" was good also I like how she made reference to the "Pause" series. and Monica Jackson's Merry Xmas was funny I really enjoyed Sharyn's mother's character she was something else. Great Book. I suggest you pick it up.

The triple threat otherwise known as Adrianne Byrd, Donna Hill, and Monica
Jackson have pooled their collective talents into Takin' Chances For The Holidays. The result is a sharp, sexy story of three resourceful heroines looking to find a little holiday spirit! The stories were entertaining and the characters endearing. I would highly recommend this book for a fast paced and fun holiday read!

I am new to reading Ms Byrds books....So far I have read "Measure of a Man", When You Were Mine" and now this book "Takin Chances For The Holidays". I gotta say all three of these books I read in one sitting. They are all GREAT books. I am now a dedicated reader of Ms. Byrd's book. She has a great line up for 2007, I cant WAIT! I better get a jump on the older books because, she has so many other books that I heard are just as good as the ones I have already read. Keep up the excellent work....YOU GO GIRL!

Throughout a dozen or so stories the reader is confronted with an evolution of sorts. Pirx, initially a cadet in some sort of a space pilot school, later becomes a full fledged 'space-man' with experience that others can safely and often rely on. Not much of his personal life is shown since the stories concern itself more with a particular plot of the moment. Because of that, Pirx sometimes appears to be a bit alien and emotionless and although what he does can be considered heroic by many standards the book underplays this aspect very well

Pirx is confronted with different problems (on earth and in different locales in the solar system), which he has to resolve or help to resolve. Some of them very mundane, some comical, the others quite heavy with ethical meanings.

Although the setting can be assumed to be far in the future, when space travel has become almost as common as a ride on a bus, the technology often seems like it's on a level of a steam-powered locomotive. The ship computers are mentioned, on-board nuclear reactors abound but all that somehow seems so amazingly ordinary and `everydayish' as an old car or a kitchen gas oven. It gives the stories quite a transcendent feeling

The ending of this sequence of vignettes hit me like a sledgehammer. Pirx strikes me as a typical guy working in the space service. Several years ago I met a former cosmonaut and I had a much deeper understanding of whom I had met upon reading this book this year. The banality of evil is one theme in Lem's 1970's work, in Communist Poland with its official worship of technological progress as the justification for that now defunct regime. The ending of the book (which I won't give away) screamed at me that being dumb and numb is no excuse, even for a space jockey with "the right stuff." A couple decades ago, my Polish language teacher mentioned that in his opinion, Lem was the best writer in contemporary Polish fiction. Lem addresses the dark side of humanity as a constant in society with an ever-increasing level of technological complexity. More technology simply gives us more opportunities to confront who we are along with the responsibility to be prepared to think about what we are doing and what choices we will make.

Tales of Pirx the Pilot, and More Tales of Pirx the pilot are two excellent sci-fi books! What is unique is that there is such a strong psychological edge to them. And the fact that Pirx is such an everyman - kind of unsure of himself, and from the outside, unassuming and apparently not especially competent. But Lem does something amazing with Pirx - with each story, he gains experience, confidence, cynicism, and most importantly, judgement and wisdom. Make sure to read the Pirx books, as well as The Invincible, and Solaris.

Lem's Pirx is compelling and cool. The science is barely fictional and always thought provoking. The plots, however, are a little more predictable than the sequel. If you're going to read one of these, I'd recommend "More".

This collection of stories by Lem is based around a chubby cadet by the name of Pirx. The character is plucky and gets into all sorts of fixes. I found the first short story the most surprising and fun to read. It's most vivid antagonist are two insects, and it's wildly creative. Another very good story is this one about a robot re-living over and over the last few hours before the death of an entire ship (this was before Pirx's time). A very haunting tale. Overall, a great collection!