Oscar Books

After reading this book...I just need to point out that was not a La-La Land during the Revolution and even presently. I think its nice that Dr.Orbea can remember his own personal pleasant times. I just wonder if he has any idea of what really went on outside of his "Happy Garden".....?

I bought this book for a school essay project, I was drawn to it by its title I though it would be information about Cuba, but it turned out to be about this family and I have to tell you it was even better. By the way I made an A on my essay, thanks.
Amy

Dr. Ramirez if I had not read that this was your first book I would have never known. It was a wonderful read full of laughs, crys and screams, all the good stuff of life, family and crisis. I wanted to know if you have any more work out or coming out soon. I would love to read more of your work.

A New Fan

This is a moving story and highly recommended for anyone whose heart goes out to those who suffered the stones of Communism. One thing is certain, we must never forget, and this book is part of that active remembering that we are called to do.

Recently Cuban dictator Fidel Castro temporarily handed power over to his brother, Raul, while he underwent surgery and recuperation from intestinal problems. As the news media reviews the legacy and rule of Fidel Castro, now would be a good time to look a that legacy from the point-of-view of one who lived in Cuba pre- and post-revolution. Oscar Ramírez-Orbea is one who grew up pre-revolution and saw all that his family work hard for be taken by the Communists under Castro.

As the title suggests, this book is bi-lingual, written by a professor who actually was born and raised in Cuba and fled Cuba as a boy with his family. The Ramírez-Orbea family lost all they had worked for when Castro seized private property "for the common good."

The author also includes illustrations of the homes he lived in as well as photographs. The Ramírez-Orbea family trees are also illustrated.

Ramírez-Orbea's dislike of the Castro regime is not hidden. There is nothing about Communism that has a redeeming value in his eyes. After seeing all that his family worked so hard to build up being taken away "for the common good," you can't blame his views on the subject.

Ramírez-Orbea also hopes that the book becomes a movie. It could be a good movie along the lines of A Christmas Story (based on In God We Trust--All Others Pay Cash by Jean Shepherd). It is not a straight narrative of his life as the author tells us about his family or the homes he lived in or the schools he attended.

The period between Castro's takeover of Cuba and the family's flight to the United States was dramatic. The family had to move to a smaller home and the author was sent to a Catholic school (even though his mother taught in the public schools--and had an underground business as a tutor). His final day at the Salesian school St John Bosco was marked by rampaging "revolutionaries" breaking through the fence and taking over the school. Imagine fearing for your life at school? Most clergy left Cuba shortly after this.

The family had decided to leave Cuba and applied for exit papers. Of course they became unemployable, people marked as "unpatriotic." For several years (when they did get permission to go to the US) the family couldn't get any official jobs and were unemployed and unemployable. Ramírez-Orbea highlights the irony that even as the government reported no unemployment his parents were unemployed--and were considered "unemployable." It was then that the family found ways to support itself, such as baking cakes to sell, the mother tutoring in her home, and other odd jobs.

This book is a must-read for anyone interested in Cuban history, in the realities of Communism, and in the indomitable human spirit. Being bilingual, the book can be used as an aid in teaching a second language (Spanish to the English speaker or English to the Spanish speaker). Granted most instructors won't want the book's handy "jimmy" structure, but for myself I am able to try to learn Spanish on my own. The author also has an appendix for instructors wishing to use this book in the classroom. Check it out!

The author has some pointed barbs about Communism. Usually it's of an ironic sort, such as his unemployed, unemployable parents in a land with no unemployment. There is the reminiscence of the trenches dug for missiles which were never finished. The author states: "Given this Communist efficiency, thank God the Americans never attacked us!" Of course the trenches filled with water and became prime breeding areas for mosquitoes, which may have spread malaria. The Communist government did nothing about the mosquitoes or the malaria (so much for the vaunted health care system).

The book has three major sections. "From the Old House/Desde la casa vieja" focuses on the author's life and home before the Castro revolution. "From the New House/Desde la casa nueva" details post-revolutionary life and the home the author's family moved to after the revolution until they left for the United States. "From the Other House/Desde la otra casa" details the author's religious memories from Cuba.

Overall I enjoyed reading this book. The layout takes some getting used to as alternating pages contain the Spanish and English. Since chapters don't begin on a consistent page, some chapters have the English on the right side page, other chapters have English on the left side page. Perhaps starting every chapter on an left side (even numbered page) would allow the Spanish and English to exist better side by side. The Spanish also takes up more space, so possibly leaving more white pace for the English will allow a better pairing of English and Spanish. Or have English throughout start from one cover and the Spanish from the other cover.

this book was written by carol spinney, fan of henson, who ended up working with him and doing big bird and oscar the grouch for years.

i had seen an interview with him prior to reading the book where he equates working with henson to being asked to be a member of the beatles. just awesome.

this book has many anecdotes of his times working with henson, on sesame street, the story of the girl they did "big bird goes to china" with, getting punched in costume by rappers, and he tells the story of hensons death and how it affected him.

for any henson fan, it really is a must have.

The book was easy reading, took me about 3 hours and filled with life stories/lesson's from Caroll Spinney, the man behind Big Bird & Oscar the Grouch. I laughed and cried and totally enjoyed the book.

A fun read. Carol Spinney is a man whom I never knew much about besides seeing his name in the credits of Sesame Street, and other productions where Big Bird made an appearance.

It was interesting to read about how Big Bird's character was developed, and how just playing the part of a lovable children's icon changed Carol's life.

Worth your time. For sure.

I'm still in the middle of reading this book. but, I'm admiring the work of Carroll very much and every time I look at Big Bird or Oscar now I imagine the position that Carroll is in to make the muppet come to life.

To be honest, I have not kept up on Sesame Street since I was a regular viewer from say, oh 1974-77. So I was surprised that there was but a single guy playing Big Bird! I would have otherwise presumed the role was like Vader, a guy in the suit and a guy doing the voice. Moreover, the same guy did ALL the public appearances, award shows, White House dinners. I was floored; what an interesting time this guy had stemming from the Big Bird suit. He's very matter of fact about much of this so I am perhaps overly impressed? In any case, he comes across as very genuine and extremely kind and generally a good person. He also offers odd but intriguing insights into the puppetry world. A neat short read.

As I read this book I could almost feel the track clicking below the engine, hear the chuffing of the engine as it labored to pull the cars, listen to the lonesome sound of the whistle as the engineer arrived at the crossing and feel the power as the fireman put the coal to the firebox and the engineer pulled the Johnson bar. All in all a great read and a book that anyone interested in the steam era would read with relish.

One of the most compelling railroad books I've read - the narrative is compelling because of Orr's consistent, insightful commitment to doing his job well and discovering the most efficient way to get his train over the road. Of course hardcore railfans will enjoy this book, but I think students of industrial history and those interested in the way people go about their jobs (a la Studs Terkel/working) will get something out of this book as well.

The detailed descriptions in "Set Up Running" will have you smelling coal smoke. Even though I have been a rail fan for all of my 65 years, was an NYC-PC employee, and I'm a native of Pennsylvania, I learned something new on nearly every page and thoroughly enjoyed this book.

Although "Set Up Running" deals almost exclusively with operations on a PRR branch line, ferroequinologists (students of the iron horse) everywhere will love this book. It has the unique quality of making you wish it would go on forever.

When I read a book or article about railroads it is easy to tell when the writer is over his head. Not here. This book is authentic.

The time covers a great period of growth of steam locomotive development. PRR classes from the old class R through the M1a are run and evaluated. Which one is the engineer's favorite? You might be surprised.

The book is a labor of love. It is human as well as technological. Here you find the enthusiasm of the young man, the confidence of the mature man, and the feelings of being squeezed out of the retiring man. As I finished the book I sat and thought about the family for a long time.

Set Up Running is simply the VERY BEST railroad related book which I have EVER read! If you don't have it GET IT! PERIOD! (PS: I have NO financial interest in this book or any organization/company which sells it). I'm doing YOU a favor by rating this book and advising YOU to get it!)

ceh

a most wonderful and pleasant reading throughout...i borrowed the book from the library first and while reading it decided that i have to have a copy near me so that i can pick it up any time i want. the only slight is that the dust jecket has a different photo of the author, the one on the older edition is much better. a great book.

This book has it all. If you are an Oscar fan, than it is a must for your collection.

I'm very pleased with the book. All of Wilde's wit is right there at my fingertips. It's a handsome book, too. Thank you.

This particular compilation is not only complete, but is a well printed, well packaged addition to the books you would want in your top 10!

Though the print is small for those of us over 40, it's worth it - if not, it would weigh about 10 pounds! As it is, it's a tome, but worth reading, and re-reading time and again. It has everything - everything! - that you'll ever hear mentioned - his stories, his novels, his essay's.
It would make a great gift for a young writer, as well.

I couldn't believe the depths Ellmann takes the reader in his biography of Oscar Wilde. Everything; every aspect of Wilde's life is thoroughly explored. The best single word review of this book would be just that; thorough.

On the other hand, the text is very dry at times, and you may find yourself frusterated. It always seems that, too often, biographies fall victim of the "dry writer."

Just as to know James Joyce, discover his daughter, the spark of his own genius.

Lady Wilde was a writer and Irish revolutionary who raised her son to infiltrate the highest ranks of the empire and expose their foibles, faults, cruelties and hidden shames, which he so fully did through his theatre work and other writings. He was investigating the widespread homosexuality of the British aristocracy when he was arested for his prying and blamed for that which he himself investigated and reported. He was silenced through breaking imprisonment (read his post-prison poetry, and the uneven yet revelatory De Profundis written from prison) which debilitated, discouraged and killed him a few short years after his release.

TO know Wilde, know his mother: Speranza, Lady Wilde, whose wonderful works of Irish history and legends are now available on amazon.com only in Spanish translation. Several good biographies are also available at unattainable price.

Know alos his son. Wilde was a loving family man who wrote wonderful bedtime stories for his own beloved children. What broke him in prison was losing them, as he writes in De Profundis.

Ellman's is a fine biography. Find out far more about Wilde than the popular and shallow slander urgently promoted by the Empire

Imagine the challenges facing a Wilde biographer: the contradictions of an outrageous, larger-than-life subject whose brittle public persona masked his inner torments; Wilde's enormous drive, which led to success and acclaim, but also set in motion his ultimate fall from grace. Worse: so much already written, including Wilde's own glittering one-liners - what could anyone presume to add to the already crowded record?

Professor Ellmann, who worked for almost twenty years on this book, doesn't fail to deliver. In what will clearly be the definitive biography, he lays out details of Wilde's life, illuminates the work, and cuts through the brilliant and brittle public persona to show us Wilde's soul. All of this is accomplished with wit, intelligence and compassion -- this book confirmed Ellmann's status as the English professor I always wished I'd had. Professor Ellmann doesn't make a single misstep in this astonishing biography.

His final assessment of Wilde:

"He belongs to our world more than to Victoria's. Now, beyond the reach of scandal, his best writings validated by time, he comes before us still, a towering figure, laughing and weeping, with parables and paradoxes, so generous, so amusing, and so right."

If I may be forgiven a paraphrase of Ellmann's own words, this biography is also "generous, amusing, and so right."

I had just finished this book ten minutes ago and I am completely in love with the man. His life was one of both tragedy and creativity. I felt so sad for him in the last part of his life. He was an amazing soul and this bio accented it. A must read!

I remember reading this book when I was 16 and being blown away by the erudition. Even to this day it's probably the most erudite biography I've ever read. The scholarly weight and depth of this book is tremendous. It is amazingly comprehensive. This is the kind of book that takes 20 years to write and must be a labor of love for the writer--the writer must really love his subject, in this case, Wilde. And one has every indication from the book that Richard Ellman did. His portrait of Wilde is no less sympathetic as it is complete. This must be the definitive biography which all other Wilde bios should be measured against. A superlative achievement.

David Rehak
author of "A Young Girl's Crimes"

A dear friend of mine had this book and I was intrigued. Although he had an edition that was dated back in the 50's, it was very worn out with its brown loose pages. Depsite that, I read some of the greatest poems that you can imagine and some familiar ones that I knew but not in its entirety. They were some of the most beautiful words written on paper. I decided to get my own copy and got a new edition for my friend and was thrilled with emotion. I knew I gave my friend a renewed treasure that he can now read without worrying about the pages falling out of its binding. I truly recommend this book of poems to anyone who really wants to feel well written words in verses that are truly beautiful and memorable. Get this book!

As with all anthologies, there will be a number of reviewers sniffing in an offended manner at the dearth (or glut) of Cummings, Yeats, Aiken, or Pope, but any 600 page anthology, by it's very nature, must be incomplete. I purchased this compilation three years ago for long flights and such and it has yet to disappoint. For the size and price of this work, one would be hard-pressed to do better.

As for content, all the major poets are more or less liberally represented. Cummings gets short shrift, and several of Yeats' most memorable pieces "An Irish Airman Forsees His Death", for one) are excluded. Yet I am certain novice and old hand alike will find this work passes the time admirably.

Having been with me through several housheold moves, military action, and cramped backpacks no self-respecting piece of literature should have to endure, my copy is now fairly falling apart. Yet when it expires, I will buy another copy. No other anthology, especially in terms of price, convenience, and memories, could ever compare.

As other readers have said this anthology contains selections from the great poets of the English language from Beowulf to the middle of the twentieth century. It is the kind of book which can be read and reread for years upon years. I would however take exception to the claim that it is the best anthology of its kind. It does not have explanatory material provides no introduction to the poets, no interpretation of their work. There are other anthologies ( Among them ' The Concise Treasury of Great Poems' by Louis Untermeyer) which do so. Nonetheless the bottom line is that this Anthology contains very much of the greatest poetry in the English language.

I too love this anthology. A passionate love of poetry has been part of my upbringing. Let me say that both my mother, Gene Derwood, and Oscar Williams, my biological father, contributed to the selection of the greatest of the great poetry of the English language. Thus we have the contribution of a husband and wife team. Reviewers have mentioned updating this volume, but what has happened is that modern poetry writing no longer follows a firm tradition. Modern poetry is a shotgun blast. There are no recognizable standards for universal selection. Plath is recognized because you cannot divorce her from her suicide. Ginsberg you cannot divorce from his beard and little clanging bells, a media invention. Bob Dylan you cannot divorce from his being a song writer and media invention. If you are not a media invention and only a poet, what chance do you have? So Immortal Poems represents classic taste before media took over the American mind. The media is immortal these days, not poetry. Selecting from contemporary poets not using traditional standards would be difficult to do. I would still love to do it. For those interested in Oscar Williams there is information now available on the web. Just search it with oscarwilliams and see what their world was like in the twentieth century.

I have several books of poetry at home, but this one is my favorite. It is a good collection of poetry from the time of Middle English to almost to the present. There are a few modern poets I would like to see included that haven't been yet. Maybe someday someone will update this wonderful volume.

It starts with Middle English poet extraordinaire Geoffrey Chaucer, with excerpts from the Canterbury Tales and other writing. I would like to have seen Beowulf and some Old English poetry included. There are excerpts from anonymous poets of Middle English leading into the "Shakespearean" times where English is becoming more modern.

Shakespeare of course is well represented, with passages from plays as well as poems and sonnets. This is true for some others like Marlowe, too.

By the time after the Elizabethean period, English poets were not confined to England. There are Celtic poets like Robert Burns of Scotland, Dylan Thomas of Wales, and several Irish poets and American poets well represented in the later part of the book.

The poets are arranged chronologically in the book, but there is are indexs of titles and poets alphabetically at the end of the book for cross referencing. This book has over 600 pages, but it is still a small paperback and will fit in a coat pocket, which is where my copy often lives, dog eared and highlighted all over the place!

I had heard of most of the poets in this collection before I got the volume, but there are some I hadn't heard of and am glad to know. This is an excellent beginning collection, easy to carry and easy to read. Being a mass market paperback, the printing is not the best, but the poetry certainly is.

This selection of Romero's sermons should be read by every Christian. Romero preached and lived the Gospel better than any modern man or woman. If one can get a hold of the DVD of the movie "Romero" and read these sermons, it will be a most loving, powerful spiritual experience. As Jesus spoke for the oppressed and poor, Archbishop Romero carries this message to our times.

Oscar Romero was the archbishop of San Salvador, assassinated while saying Mass in 1980 by death squads, tacitly backed by the United Sates under the Reagan administration. These ideological political forces that executed him were challenged by his public voice against poverty, social injustice, political killings, and torture in El Salvador. Romero was an incredibly eloquent speaker and writer. Here is an excerpt from one of his sermons that appears in "The Violence of Love":

"There is no dichotomy between man and God's image.
Whoever tortures a human being,
whoever abuses a human being,
whoever outrages a human being,
abuses God's image."

Here is another excerpt:

"A preaching that does not point out sin is not the preaching of the gospel A preaching that makes sinners feel good, so that they are secured in their sinful state, betrays the gospel's call. A preaching that does not discomfit sinners but lulls them in their sin leaves Zebulun and Naphtali in the shadow of death.

A preaching that awakens, a preaching that enlightens as when a light turned on awakens and, of course, annoys, the sleeper that is the preaching of Christ, calling "Wake up... Be converted!..." Naturally, such preaching must meet conflict, must spoil what is called prestige, must disturb, must be persecuted. It cannot get along with the powers of darkness and sin..."

Oscar Romero, martyr, spoke the words in this second excerpt Jan. 22, 1978 - roughly 2 months before his assassination.

It is probably worth noting that I am not a Catholic. However, I do consider Oscar Romero to have been a brother in Christ and a fine example for religious people everyewhere. This book, "The Violence of Love", has been invaluable to me in my own studies and spiritual walk. The sermons Romero preached those decades ago ring every bit as true and pertinent in today's world of war, hatred and violence as they did when he spoke them. They are timeless. As an "American Indian" and Christian I found the liberation theology that Romero so eloquently articulates to be a theology that is imperative for the salvation of my people and/or anyone that wishes to explore more deeply the true message of the Gospels. This book has my highest reccomendation.

The words of Bishop Romero are very inspirational. This book contains a collection of short quotes from homilies given by Romero to people in need of liberation. The topics of the quotes vary and are applicable to all walks of life. I would recommend reading a biography of Romero or the history of El Salvador before reading this book to give his words a better historical context. I would recommend this book to anyone seeking direction in life or anyone seeking the inspiration of a hero for humanity.

A voice of a martyr and prophet. Explains what it means to be a Christian.

On this day a near quarter century ago Archbishop Oscar A. Romero got shot during the Offertory of the Mass in his small but beautiful Teminal Hospital Chapel in San Salvador. I visited there a few years later, seeing where the military shooter crouched as the Archbishop raised the chalice and Host in offering, offering his own body and life to the ultimate sacrifice of martyrdom, having spent years preaching and striving courageously and prophetically for Peace and Justice in Jesus Christ, for the most vulnerable and impoverished people amongst us, and the Gospel "preferential option for the Poor" declared in Medellin by the CELAM.

This book, published in reprint a few years back by the great Catholic publishing house Orbis Books, presents for our strengthening and meditation golden spiritual ore mined from the sermons of Archbishop Romero, mainly from the late seventies, collected acording to theme by the Jesuit scholar, journalist and priest, the late Rev. James Brockman, SJ, editor of the well-known and long published Catholic magazine America.

The themes around which Fr. Brockman gathers these fairly brief citations from Archbishop Romero's sermons include: Pilgrim Church, History of Salvation, Idol of Self, God's Justice, Bright Light of Christ, Option for the Poor and Good News to the Poor, etc. As a great editor, Fr. Brockman leaves us what is most permanent and prophetic from the Archbishop's sermons, in sizes we can easily meditate and digest, as well as more lengthy selections.

The introduction by the great theologian and writer Father Henri Nouwen beautifully and brilliantly places these readings in the context of salvation history and prophetically as a call to conversion and to action for each one of us. Father Nouwen personalizes our dazzling encounter with the spirituality of this saintly martyr in a way that we are not overwhelmed nor confused but made able to receive his Words, based continually in the words of Our Lord Jesus Christ. For once an introduction truly serves to introduce us to the main body of a work, making us capable of comprehending and of conversion through the great homilies of the Archbishop.

If you have time for only one work regarding Archbishop Romero, whose canonization is in process in the Vatican, this is an excellent place to begin, and to dwell.

Watch Video Here: http://www.amazon.com/review/R1M1TYFS1DHIRK Yo look at THIS!

I bought this book for a class, but while I sold most of them back this beauty I kept. The play itself is obscure. Since it was written in (rather poor) French originally and translated back into English, it lacks some of Oscar Wilde's trademark style. This is not to say that the style of the play is without its own merits. As the book is the retelling of a Biblical story- that of Salome, daughter of King Herod, and John the Baptist (Iokanaan in this rendition)- the style of the play often mocks Biblical style. The wording is thus often repetitive and simple, but there's a beauty to it that is in many ways indescrible. While wordy, there is also a particular depth to it that you'll miss if you don't look carefully. Thematically, the play was very entertaining and I enjoyed the revisionist take on the Biblical story. Overall I found this work enthralling. This particular edition is beautiful- it includes all of Aubre Beardsley's stunning ink illustrations of the play. This is well worth having on your bookshelf (although it is rather large- 8x11)

Oscar Wilde's 1905 shocking, controversial play is no longer as disturbing to modern desensitized audiences and critics/literary scholars who recognize it as a play of psychological/Freudian aspects and as a fin-de-siecle example of the Decadence movement in the arts. Wilde's flowery, poetically lyrical, Biblically-influenced orutund words is devilishly at variance with its cruel violence and horror. In this edition, we are treated to the full illustrations by Aubrey Beardsley, Wilde's friend and himself a playwright and exponent of the Decadence. The pictures are dark, erotically charged but full of feminine lines and flowery imagery which were typical of Art-Noveau style in art/architecture. This is the entire play in a single act and I find makes a eye-grabbing book to put on your coffee table so guests can marvel at it. You'd be surprised to see the looks I get from them whenever they see the cover art!!

Wilde did not regard this work as his greatest when compared to his others, most notably The Importance Of Being Earnest. Shortly after Salome premiered, Oscar Wilde poked fun at himself and his play by dressing in drag in Salome's sexy costume for a photograph. It's likely Wilde had a bit of fun in writing a play that was bound to turn heads in a society fresh out of the Victorian Era. The words are indeed poetic and beautiful descriptions of nature, spirituality and romance mix with carnal innuendo.

The main characters- King Herod, Queen Herodias and Salome- are each in dire need of therapy, though they themselves may not admit it being a vainglorious and proud royal family. Queen Herodias became a target of John the Baptists' righteous anger and condemnation because according to old Mosaic Law she sinned by marrying the brother of her deceased first husband and thus committed incest. Full of hatred for the Prophet, she waited for the right moment to extract her revenge as well an opportunity to get him to "shut up" forever through his death. John the Baptist languished in prison at King Herod's Palace Dungeon, though in Wilde's play it was changed to a cistern in the palace courtyard garden. Herod thought it better he live the rest of his life in prison rather than be executed, for internally, Herod had always suspected that John was a reincarnation of the long dead Prophet Elias. Perhaps he thought that his presence would bring good fortune to his home. Herod has his own complexities. This is not the same Herod who ordered the deaths of the infants upon Jesus's birth. This Herod, possibly the son, ruled Jerusalem as a puppet-king and was a sycophant to the Roman Emperor. He lusted after his own daughter or stepdaughter Salome. "You stare at her too much" says the jealous Herodias whom we assume is aging and lackluster compared to her teenage, nubile daughter. Herod entertains sexual thoughts about his daughter and is aroused when she dances her famous Dance of the Seven Veils. I don't buy that he was just dead drunk. He has always lusted after Salome. But...he was in awe of John the Baptist and secretly respected him which is why he is so reluctant and even opposed to have his head severed upon Salome's request.

As for the eponymous heroine herself, she has been a subject of scholarly chat, art, literature, poetry and music throughout the years. Richard Strauss composed a celebrated opera based on this very play in 1905 and the soprano singing the role is in for a challenge because not only must she look young and dance, but her voice must be gargantuan and yet delicate. Salome found herself within the poetic themes of French poet Stephen Mallarme among others and orchestral compositions were made about her. Why does Salome ask for the head of Jon the Baptist ? Simply put, she's crazy young girl. She is only a teenager, probably between the ages of 15 and 18, awakening to her own sexuality which can be a confusing time. She is naive and inexperienced, spoiled rotten and mentally disturbed. She is fascinated with Jon the Baptist as a child would be with a new toy. He is foreign, exotic and mysterious to her and that's what makes him sexually attractive to her. More specifically, she is enamored of his lips though she believes the rest of his features are hideous. Since the Prophet rejects women and worldly things, he scolds Salome's sinfulness and refuses to kiss her, refuses to even turn and look at her face to face. This spurs Salome's anger. No man has ever found her unattractive or turned her down. The Palace Guard Nabbaroth kills himself out of frustated love for her. Many men are intoxicated by her beauty. The jealous, sexually frustrated Salome has reason enough to want Jon the Baptist's head on a platter. I have always felt that Salome was not a naive, thoughtless girl that her mother the Queen used as a pawn for her own revenge, as the Bible seems to imply. Salome had her own reasons for wanting the head of the Prophet. The truth is very disturbing as it would seem that Salome wanted his severed head as a sexy toy. "You would not suffer to kiss me when you were alive," she says in the play," and now you're dead and I'm alive and I have kissed your lips, Jochanaan." Necrophilia at its ugliest! It was for a sick, sexual pleasure that she demanded his head. Yet for all this, Wilde makes her a sympathetic, pitiful figure. We the audience are able to see her thought process through her words each time the Prophet rejects her and we see before our eyes her mental breakdown. Even so, one cannot help but wonder if this child of sin is right about certain claims she brings up. Salome believes that if John the Baptist had turned to look at her just once, he would have fallen in love with her. Could this be true ? Is this why the Prophet controlled himself and averted his eyes ? Salome claims that the Prophet is the only man she ever truly loved, which is a fallible even illogical statement when considering Salome appears to be a virgin, a girl on her first crush and has never experienced mature adult sexual relationships. Salome may be a ditzy, emotional and mental wreck but she has one of the most thought-provoking and inspirational lines I've ever heard in a play: "The mystery of love is greater than the mystery of death" which contain in its own way a kind of spirituality. Throught the play the most mysterious, unknowable character is John the Baptist, who, parrot-like, quotes Biblical passages and preaches in a fire-and-brimstone kind of way and never once reveals any of his true character. The play is great and though it's not performed today, it continues to fascinate readers everywhere. And by the way, the proper pronounciation for Salome is not "salami" like the food but sounds more French: Sa-Lo-May.

Beardsley's illustrations for Wilde's "Salome" are quite well known. I enjoyed seeing them, in unexpurgated forms, in the context of the script they were meant to adorn. I think I can see wonderful possibilities in staging that play, where modern sensibilities could show and accept what England of 1892 could not. Even so, I found the script itself somewhat repetitive, with more in it to startle than to explain. Perhaps there's a knack to reading this script that I haven't mastered.

This isn't the only place to find Beardsley's "Salome" illustrations. Other books show the uncensored forms of the pictures, too. This book, however, reproduces them in larger format and crisper printing than the others I know, and is worthwhile for at least that reason.

//wiredwierd

The last reviewer has totally missed the genius of this incredible dramatic work. The story as told in this one act play has nothing to do with the theology of Christian Biblical Mythology. It is a carefully constructed a meticulously executed examination of 'real' personalities interacting within a particular network of historical and social relationships. The unfulfilled passion which drives Wilde's Salomé to murderous revenge is deeply convincing within the context and the characterisation of the personalities created by this greatly inspired Anglo-Irish dramatist.

Complaining that a literary work does not reflect accurately some personally perceived 'historical' truth is like complaining about the historical accuracy of Shakespeare's 'Julius Caesar' - it is missing the point entirely!

This play is a gripping, fast-moving tragedy which deals with the darker side of human nature vividly, imaginatively and with unguarded honesty. It is not, of course, like Wilde's other more popular plays which were designed to be humorous, witty and light. This like 'De Profundis'' "A picture of Dorian Gray' or some of his truly magnificent later poems, ranks as one of Wilde's greatest contributions to modern English literature. If you haven't already read it, do so - or better still - buy a few copies and stage it!

Father Lukefahr writes very easy-to-read books on the Catholic Faith and follows them up with workbooks that test your comprehension. This primary volume of his works is far easier that reading the Catechism itself. Father Lukefahr's warmth, knowledge, and love of souls comes through on every page. His books should be on every Christian's bookshelf!

This is a favorite book of mine, I just gave one away, to a young man leaving for Iraq, so this is a replacement. I use it often in teaching and recommend it for personal use for those who like to study on their own, or who can't get to regular meetings or study groups. All of Fr. Lukefahr books are helpful in learning and teaching about the faith.

Fr. Lukefahr's orthodox little catechism has proved to be a valuable guide to the Faith since it was first published ten years ago. The most recent version is fully indexed to the Catechism of the Catholic Church and includes suggestions for further reading and reflection.

The advantage of this catechism vs. others available is that it doesn't merely replicate the CCC, but rather provides details interesting to the lightly catechized or new Catholic. (Fr. Lukefahr's highly-recommended "The Catechism Handbook" is in fact an abbreviated CCC.) For instance, in the chapters on the New Testament, Fr. Lukefahr includes the findings of authentic Catholic scholarship on the identity of the evangelists and apostles but excludes fads popular in less orthodox circles.

He also explains things like the importance of the "priesthood of the faithful" without diminishing the unique role of the ordained priesthood in the life of the Church. Unfortunately, many other guides to the Faith either blur or confuse such teachings.

Much like that other master catechist Fr. Alfred McBride, Fr. Lukefahr purposely writes at a "Reader's Digest" level of sophistication. At roughly 200 pages, the book is an ideal text for an RCIA class or program of self-study.

Readers can enroll in a free "We Believe ..." home study course by "Googling" the words "Fr. Lukefahr" and "Catholic home study".

As others have posted, "We Believe" is truly a resource for anyone interested in Catholicism. It should be added, however, that Father Lukefahr has a natural ability to write for his audience.

Most clergy are very well educated and spend years obtaining multiple advanced degrees. Although this may make them experts in their fields, somewhere along the way they also obtain a dialect that their flock no longer understands. "We Believe" is written in layman's terms which allows the reader to actually digest the material rather than chew on it for days in an attempt to acquire the flavor of it.

The material has been here for over 2000 years. Father Lukefahr simply has a knack of presenting it in a manner that makes it all seem new.

While you can find no greater authority on the beliefs in the Catholic faith like the Catechism of the Catholic Church, "We Believe..." is a wonderful starting point for non-Catholics interested in Catholicism and for any Catholic looking to "freshen up" their wisdom of the Church. Fr. Oscar Lukefahr breaks down the Catechism into easily digestable chapters divided into the main divisions of the Catechism, those being Belief, Worship, Christian Life, and Prayer. Each chapter gives a solid, Catechetical and Biblical explanation of its specific topic.

Fr. Lukefahr does a wonderful job of explaining things without losing the reader's attention by going into deep theological points. He provides plenty of cross-references in the Catechism that one can (and probably should) check out to see just where certain beliefs are derived.

Overall, this is a wonderful introductory look at the faith of Catholics. If you are not Catholic and just want know what we believe or if you're interested in joining the Church, this would be a wonderful place to start your journey. I was unaware of this book whenever I went through the RCIA process. This would have been a wonderful book to have back then.

As another reviewer has stated, there's a workbook full of multiple-choice and true/false questions available to those who want an even deeper study of the Catholic faith available for this book. I used it and it greatly enhances the reading experience. I highly recommend this book and its workbook companion.

One of the most famous - and infamous - letters in all of literature, De Profundis is a strange little piece of work: either much more than it appears on the surface, or much less. It is something I think everyone should read, if only for its insight into the human character, particularly that of one under great personal suffering. Wilde wrote this extraordinarily long letter from prison to Lord Alfred Douglas, his friend, lover, and the man who - by all accounts - was the reason Wilde was in jail in the first place. Despite repeated assertions in the first few pages alone to the contrary, Wilde seems reluctant to blame himself. He clearly blames Douglas to the hilt, and harbors a certain bitter resentment towards him. And yet... he clearly still hold much dear affection toward - and even loves - Douglas. He still seems to be asking for forgiveness - despite the fact that, by all accounts hardly excluding his own, he was the man wronged. It is quite clear from reading this letter that, desite the view history holds of him, Wilde was clearly a man of very high moral character. Certainly, one would not put Wilde atop a pedastal as the zenith of ethics - he himself says that morals contain "absolutely nothing" for him, and clearly admits - and is proud of - his having lived the high life to the hilt during his youth - but Wilde was a man of principles, and he stuck to those principles to the tragic, bitter end. Perhaps you might say he carried them too far. One gets the sense in reading this letter - or a biography of Wilde - that, not only could he have stopped his immiment imprisonment, but could have severed his ties with Douglas completely - had he wanted to. Apparently, he had his own utterly compelling reasons for not doing so. Whatever the case, Oscar Wilde is one of the most fundamentally and perpetually interesting characters in the whole of history. A self-described man of paradoxes - Wilde was subsequently the true essence of his time, while also being far ahead of his time - De Profundis makes for required reading by one of the most endlessly fascinating individuals you'll ever read about, and also provides a startling - indeed, perhaps too much so - insight into human nature.

De Profundis, though long for a letter, is not a long work in the conventional sense. Consequently, as many editions of Wilde's collected works are available, buying this on its own may be deemed questionable. I highly reccommend purchasing a Collected Works of Oscar if you have not done so already - it's well worth the price - but, should you desire to have more compact editions of specific works, an edition such as this will be privy to your needs.

This is a very moving account of a heartbroken man who was betrayed by a person he loved dearly. The pain, the trauma, the love, the anger, the frustration is evident in every single well-written sentence. This book is not only a window into the mind of one of the best British writers of the late 19th century. It is also a timeless lesson on what can happen when one falls in love with someone who doesn't truly appreciate what they have before them. Of course there are other lessons to be learned in this book but rather than point them out here, I'd much prefer you pick up a copy of "De Profundis" as soon as you can.

Not actually a "letter," though it had to be originally presented as such for him to be allowed to write it while in prison, *De Profundis* is Wilde's masterpiece--one has to have really lived and really, really suffered to have written it and it's amazing that he achieved it.

I only very recently read it--and "got" it. It rings true to me, and is very, very moving and "profound." It ain't summer beach reading.

Wilde is still and will probably always be best known as a "Personality"--that and the author of a couple of decent period plays, a short novel, a few stories, and lots of forgettable poems and such. But THIS--THIS is IT.

He really WAS a great writer, it turns out, after all.

So many people concentrate on De Profundis' accusations cast towards Alfred Douglas. Yes, it's true that the letter was written to him and that Wilde is ruthless in letting Douglas know exactly what he thinks of him but that's not why De Profundis is a great piece of work. It is great for three reasons. Number one - It contains the best account of the life of Christ. Christ as the romantic artist is the only account that has moved me to tears and the only account I can personally embrace. Number two - it is chock full of the Oscar Wilde voice and wit and as a result it reverbates as a true work of art and number three - It is ultimately a work that celebrates the things in life worth feeling - failure, love, injustice, strength and forgiveness.

Don't waste your time with the accusations towards Douglas. He is unimportant. Oscar Wilde is what's important and De Profundis is Oscar Wilde bare.

Ah, me...one doesn't know which to be more irritated
and exasperated with: whether it be Walt Whitman doing
his dissembling shuck-and-shuffle about the children
he had sired (to throw off a probing, serious John
Addington Symonds) -- or Oscar, in this "j'accuse," which
he should have spoken while looking in a mirror, rather
than writing it on paper to Lord Alfred.
This is without doubt a fascinating, horrifying,
and yet in places humorous, "piece de Miserere mei"
(to combine a bit of French with Latin).
If one chooses to believe Oscar, his only fault
was weakness in "giving in" to Lord Alfred. Oh,
come now. Blinded by Eros, reason flies out the
door...if ever reason was in control. There are
some sentences which are devastatingly revealing,
but Oscar doesn't seem to see it. "The trivial in
thought and action is charming. I had made it
the keystone of a very brilliant philosophy expressed
in plays and paradoxes." Ye gods, and little fishes!

And this man dared to call himself a "Classicist?!"
Yikes!!!
The best exercise for the reader is to just take
many of the things which Oscar accuses Lord Alfred
of, and turn them toward the self-blind, self-
justifying Oscar, to see their devastating hitting
of the mark. Never having met the young man, but
only having the "benefit" of hearsay (mostly from
Oscar's literary defenders) Lord Alfred seems to have
been calculating, temperamental (using anger to get
his way), manipulative, etc., etc., etc. The best
description of him may be Wilde's referring to him
with the lines from Aeschylus' play AGAMEMNON,
about the lion cub being raised in a house and
being let loose to wreak havoc and ruin.
But Oscar bears his share of blame -- more than just
that of the "sin" of weakness which he constantly falls
back upon in his own justification. Even in the midst
of what purports to be some sort of penitent cry from
the depths of hell...Oscar still is ever the poseur:
"And I remember that afternoon, as I was in the railway
carriage whirling up to Paris, thinking what an impossible,
terrible, utterly wrong state my life had got into, when
I, a man of world-wide reputation, was actually forced
to run away from England, in order to try and get rid
of a friendship that was entirely destructive of everything
fine in me either from the intellectual or ethical point
of view...." Er, when was the last time that the
"everything fine" had last seen the light of day?
Was Oscar an "Artist," as he consistently claims?
Was he the wronged, harmed Artist? Perhaps only the
reader can decide that for himself. Without doubt
he was witty, acerbic, funny, cute, clever, perhaps
even charming (to some -- sort of like a Pillsbury
Dough Boy with flair and a clever tongue), perhaps
stylish (in a frumpy, velveteen sort of way). Was
he wronged by a predatory clinger and manipulator,
and a hypocritical social prudery and class power
play (Oscar is no Socrates--that's for sure!)? He
hardly seems worthy, in some ways, of being a poster-boy
for Gay Pride parades. More likely, he is a better
warning poster boy for the self-excusing, and never
take-responsibility-for-your-own-actions crowd.
But this is an incredible piece to read and think
about. There is some of it that is mordantly hilarious.