Authors Books

Christmas On Deery Street is a collection of short, cozy stories centered around the popular Christian holiday. Steven Roberts has neatly spun a collection of his father's well-told tales into an entertaining and often inspiring book.

Each segment is a fictitious account, "with a small element of truth" according to Roberts, of life in the not-so-distant past. The reader learns about the hardships and miracles of life through the eyes of everyday folks during the magical time of the Christmas season.

"The Angel at Union Station" is one tale that seems almost too good to be true, but nonetheless, you believe it anyway. The reader has little choice because in this nutty world of ours, a dreamy story that firmly puts a smile on your face is a welcome respite.
Who would not want to read about an anxious soldier, away from home for several years, wondering if his girl still loves him after all this time? Of course we know how it turns out, but the charm is in the way Roberts tells the story. The magic and mystery are what make it all worthwhile.

"Magic Socks" and "Our Star"are two others that go well with a fire and a hot cup of tea on a cold night. And if you are sitting, reading next to your Christmas tree or not, you may find yourself happily reminiscing of your own favorite childhood memories or ones of your family or friends.

Christmas On Deery Street is a wonderful book for all ages that will delight the heart and warm the spirit. And you can get these good feelings reading them at Christmas or any old time of year.

Reviewer: Gene Berger

I know of very few writers that can recreate the "spirit of Christmas" the way Steven Roberts has done in "Christmas on Deery Street". If you want to spend a few hours reliving the best moments of your childhood, then you should read this book. It will make you laugh, it will make you cry; but most of all it will fill you with a longing for the goodness of humankind.

Christmas on Deery Street is a collection of real, accessible stories set within a Christmas theme, but it is actually a group of rare, readable, delightful parables about the human condition. They touch the heart and the conscience, and they show us what we know about everyday experience but had never put into words. There is hope and comfort in these stories, and there is genuine wit. These are stories you read over and over again because they ring true to the way life is or ought to be. The book is a special gift to give for Christmas -- or for all seasons! season!

Christmas on Deery Street is a wonderful collection of holiday stories. It's perfect for those weeks before Christmas when you want to be fully immersed in the season from decorating to reading. I gave several for Christmas gifts last year and will do the same this year. It makes a great hostess/host gift to take to holiday parties.

Steve Roberts' gift is touching hearts with unique characters, beautiful prose, and stories that cause us to recall our own childhoods. I laughed and cried and was always uplifted at the end. Bravo! Hopefully there will be another volume so I can reenter my childhood next Christmas.

Stuart Dybek is truly a gifted writer. But moving beyond my humble opinion, this unique collection of short stories shines. Dybek's prose is haunting, his language at times startling and spare, at others languid and nearly musical. His characters are alive and absolutely believable in their mistakes and victories. Each story stands as a reflection on everyday beauty; Dybek that takes time to notice the details other authors overlook or dismiss as mundane. In 'The Coast of Chicago' Stuart Dybek has managed to do something quite rare in the all-too self-conscious realm of short story writing-- create stories that are rich yet still real without trying too hard to be so. Allow yourself to get sucked up into the twisting paths of his Chicago-- it's a journey you won't regret.

Lovely stories that take place in the intersection of dream and waking life, stories you'll want to read again and again from one of the most original and lyrical writers working today.

You would have to search long and hard to find stories anywhere with this originality and beauty. They will stop you in your tracks. Dybek has staked out a territory purely his own, the lost and dispossessed of Polish Chicago. Chicago has proudly produced Dreiser, Norris, Algren, Levin, Bellow and Farrell--and now Dybek. His work is enduring, funny, incisive and unforgettable.

I have read all of Stuart Dybek's books and have even had the privilege of having lunch with him and discussing his works. Being of Polish descent, I have lived in the neighborhoods that he describes. All of his books accurately depict real Southside Chicago people and their histories, their hardships, their heartaches, their woes and their lifestyles. I read his stories and I am transported back 20 years to my childhood neighborhood. I am always overcome with a feeling of nostaglia after I finish one of his books.

It is only fitting that this collection of 14 short stories was chosen for the One Book - One Chicago program hosted by The Chicago Public Library this spring. What a better way to promote communal reading in Chicago than to sponsor a book about life in their own city. While reading each short story it is apparent that Stuart Dybek has an intimate knowledge of Chicago. He successfully uses his memories and fondness for the city from his childhood of growing up in the Little Village and Pilsen neighborhoods during the mid-20th century. Each short story details with the passage of time and what it means to live in Chicago. A sense of place is an important factor running throughout each story and successfully unites each story into this collection. The story that resonates the most for me is "Chopin in Winter" about one boy who is immensely affected by an upstairs neighbor who plays the piano each night. The portrayal of the grandfather Dzia-Dzia and his relationship with the principle character are noteworthy and memorable. THE COAST OF CHICAGO is a wonderful collection of short stories that will remain in a special spot on my bookshelves for enjoyment for years to come. I love living in Chicago; and these stories resonated strongly with me. Highly recommended.

Great book. I've learned so much about Maya Angelou and am fascinated by her life.

I am not African American, not African, not American, and this book was such an eye opener. It is so rich in humanity, it is a pleasure to read. Each one of the 6 books is written with a distinctive voice as a person is maturing. Maya has a way of writing that is refreshing, intimate and profound.

Through her eyes we become aware of the distinctive culture and values that her characters share or challenge. We see the need that every person has to live life fully and the questions we all need to answer about who we are and what are we here for.

I particularly liked the "All God's chhildren need traveling shoes" best. this book is a must for people who seek to accept that we can be different, yet valued.

It is a distinctive book because it is written in a way that lifts the spirits and intrigues the intelect. .... "to the determination to be no victim of any kind".

I happened to hear her speak at a lecture series. She spoke for an hour and I was interested to read more about her life. I am only on page 280 but this woman is amazing and her writing style is so crisp and clear, it is as captivating as she was as a speaker. I enthusiatically recommend this book.

I purchased this book after reading, "I know why the caged bird sings", I found myself captivated by the spellbounding aura of maya angelou and in a thirst for her story purchased this book. I have drank her words readily and my only regret is that like all great things, the pages shall run out and my feast shall come to an end. This is a wonderful gift for any Maya Angelou fan, it branches outside of her poetry and makes the goddess of words appear a little more human.

Other than Maya's poems, I have never read her autobiographies. WOW barely describes what I read and felt. I always thought of Maya to be just what she is....a poet, an author. To read how her early life was, I see how her life's experiences brought her to where she is today. Not only does she speak honestly, her style of writing makes one feel they are her in the books. The size of the book may seem intimidating, but I could not put it down. I had to schedule myself to study for my class and read this book!

Kees is a brilliant modernist poet, who describes the world he sees in dark and apocalyptic tones, filled with biting satirical wit. He poems read like photographic images of the dark reality in which he lives. His style is inventive and original. The world around him is hollow and meaningless, as seen through the eyes of bathers, lovers, scholars, soldiers, politicians, businessmen, actors, and Robinson -- the caricature of the average man of the cold-war era. His vision is the opposite Whitman with a vision that's closer to Kafka and Samuel Beckett, expressing the pointlessness of war and mechanistic civilization. As he writes: "If this room is our world, then let / This world be damned. Open this roof / For one last monstrous flood / To sweep away this floor, these chairs, / This bed that takes me to no sleep. / Under the black sky of our circumstance, / Mumbling of wet barometers, I stare / At citied dust that soils the glass / While thunder perishes. The heroes perish / Miles from here. Their blood runs heavy in the grass, / Sweet, restless, clotted, sickening, / Runs to the rivers and the seas, the seas / That are the source of that devouring flood / That I await, that I must perish by." Kees is one of the best American poets and deserves a wider audience.

--Alexander Shaumyan, poet, author of "Spirit of Rebellion"

If the passive despair of Prufrock (or should we say Eliot in a Prufrock mood) could be entwined with the searing wit and rage of S. Plath, the result might resemble Weldon Kees' unforgettable best poems -- twenty of them perhaps, all included in this book. And the comparison with Plath is fair I think, not because both lives ended in suicide but because both were spectacularly inventive imagists and masters of the craft whose poems peer into the abyss. Although this collection contains some of the most harrowing English language poems of our times -- the final poem in the "Robinson" series, certainly -- flashes of black comedy ensure that this book is as pleasing as it is troubling. I for one, find the following lines from "The Crime Club" devilishly pleasing: "Consider the clues: the potato masher in a vase,/The torn photograph of a Wesleyan basketball team,/...The unsent fan letter to Shirley Temple,/The Hoover button on the lapel of the deceased,/The note, 'To be killed this way is quite all right with me.'"

Kees is a master of image, and has a profound sense of time and place--his language has the direct and unselfconscious quality of a newspaper headline, and his meters are natural and terse. There is a lumious, jarring quality to his work that makes you feel like you'd found something important that's been lost for a long time. You have. This is the first collection of his work that has ever been generally available.

It would have been sad indeed if the work of Weldon Kees had disappeared into obscurity, as it was dangerously close to doing. Nothing escapes this poets' dark, razor edge sensibility;
the whole thing reads as a kind of pessimistic culture shock. Taking his cues from Joyce and Eliot's "Waste Land", he is pitiless in his assessment of the human condition and civilization.

He is not, however, tiringly depressing like Philip Larkin. He has a voice all his own and it is compelling and vivid. It is pretty obvious that his "Robinson" poems are autobiographical, at least in terms of Robinson's perceptions of the world around him. "For My Daughter" is a poem you will not soon forget.

For my part, I do not believe Weldon Kees is still alive. After reading and re-reading this collection I can't help but see that as wishful thinking. You can't fake this kind of sincerity. I would liken him to Leopardi, Beckett, and other masters of poetic darkness, but he has a voice so individual that he needs no predecessors. An absolute must read.

Weldon Kees has been recommended to me by more than one person. And the reason is that he is a very dark poet, and a very interesting one at that. Kees is slightly outside of academia, though his reputation is getting bigger. I found his earlier work to be better than his later work, that's not to say that there isn't good stuff in his later work, just that I preferred his early work. I'd also recommend you did up a good biography of Kees, since he also has an interesting life.

The classy look of the hardback cover is just perfect for the treasures inside the book. Thanks!

would put Pushkin in category with Turgenov and Chekov for a good read with a hot cup of tea in front of a roaring fire. Everyman's Library edition offers a decent look at historical Russian window through stories.

If you want to sincerely have a happy, fulfilling marriage to a Russian lady then you better not be complacent either.  Study the Pimsleur language lessons, read all the books you can, study Russian history and culture, read their literature.  The works of Pushkin alone are rewarding for any scholar with or without the motive of a beautiful Russian bride!

Readers seeking an entrée into Russian literature are prime candidates for this prose collection. Pushkin's stories are well-paced--not a word is wasted--and those who look beneath the surface of the writer's refreshingly lucid, taut and unembellished style will find a world that bristles with energy and life.

Among my favorite short stories in this collection were: The Tales of the Late Ivan Petrovich Belkin, The Captain's Daughter and The Queen of Spades. The epistolatory introduction to Tales of Belkin consists of a wry letter from the publisher, which kicks off a hilarious and sweeping commentary on Russian society. Filled with such characters as an arrogant fop, a wistful maiden and a heartbroken father, these poetic stories were beautifully crafted by a bon vivant who, without a doubt, appreciated the art of entertainment. The only selection I didn't care for was The Undertaker, as it struck me as silly, but the rest of Belkin's tales were page-turners. The Captain's Daughter was a heartwarming and often amusing tale of love, persistence and respect, as well as a not-so-oblique commentary on Tsarist aggression: the subject nearly landed young Pushkin in scalding-hot water, too. The protagonist Petr Andreich, who remains callow and a victim of circumstance throughout much of the story, incidentally, reminded me of Pip from Dickens's Great Expectations (Penguin Classics). Finally, Queen of Spades is a poignantly dark and cynical exploration of greed and treachery.

The images this artist pours into his short stories, as well as the plethora of superb scenes and economy of writing he employs, are reminiscent of modern screenwriting, and I suspect even harried readers who are accustomed to a steady diet of film and television will find themselves welcomed here. To wit, several stories struck me as prime candidates for a short film; I'd especially like to see an adaptation of The Shot, one of the five Tales of Belkin. Too bad this Everyman's Library edition isn't available in paperback, although it's probably small and light enough to fit into a travel bag.

Regardless, it's a fine read.

My Titles
Shadow Fields
Snooker Glen

This book contains the major prose works of Aleksandr Pushkin, which include "The Tales of the Late Ivan Petrovich Belkin", "Dubrovskii", "The Queen of Spades", "The Captain's Daughter", and "A History of Pugachev". Also included in the book are many unfinished stories and fragments, which provide some glimpse into what Pushkin was thinking in between the years that he wrote his masterpieces.

Pushkin's stories range from melancholy to humorous to psychological and yet they are all written in a clear, and crisp style that is easy to grasp. Unlike Pushkin's poetry, little is lost in the translation of his prose works from Russian to English and thus we can fully appreciate his genius.

Although all of Pushkin's prose works are excellent, but one that continues to remain in my memory for some reason is "Egyptian Nights". Here the two main characters are Charskii, the nobleman who upholds the aesthetic and personal nature of poetry writing, and the greedy Italian improvisator, who lives by giving public shows and is able to deliver a poem (and quite astonishing at that) on any topic at a moment's notice - but for a fee. Is it possible that Charskii and the Italian both represent different facets of Pushkin's own personality? Anyway, I thought the story ending was erotic and exotic...

Even if you are not interested in Russian literature or in Russian culture in general, I would daresay that you would find it hard to put this collection of stories down after you started reading them.

The only problem that I had was with the publisher. I wish that they had provided a bookcover, because the paint on the outside of the hardcover kept coming off onto my hands!

I had heard of this book many years before I was tempted to read it, and now I truly regret my lack of interest in Sassoon up to this point. He is a great poet, but as a memoirist he absolutely sparkles. Robert Graves' book, "Goodbye to all that", often described as a classic, is a mere string of unrelated anecdotes compared with Sassoon's modest, humorous, poignant account of his own youth, which takes us from his childhood in Kent to the end of his military career after the First World War. Don't hesitate to read this book, especially if you enjoy seeing the English language used at its very best.

World War I had a far greater impact on Britain than the US for the obvious reasons that they were in the war for over four years and suffered horrific casualties. The literature produced by that war made a sharp break from what came before, which reflected the feeling in the country that the war had irrevocably changed life in Britain. This is well illustrated in Siegfreid Sassoon's "The Complete Memoirs of George Sherston," a fictional version of his own experiences. The first part covers Sherston's pre-war life, with his obsession with fox-hunting. This is so well written that you will enjoy it even if you don't have the least interest in the subject.

The next section, "Memoirs of an Infantry Officer" covers his experiences in World War I, during he is highly decorated. The horrors of the war, which many of Sassoon's class thought would be a great adventure, are accurately portrayed. Eventually he becomes disillusioned with the war, and writes a letter denouncing it that could have led to his court-martial. A close friend (Robert Graves in real life) gets him classified as having a mental disorder and he is sent off to a hospital to recuperate.

This book is deeply moving and is one of a handful of books that changed the way that the English-speaking world views war. Sassoon's writing style is plain on the surface, but its plainness makes the emotional impact all the greater.

I find this book completely compelling, particularly volume 2 (Memoirs of and Infantry Officer). The descriptions of degradation experienced by those who fought in the trenches and their ability to create a sub-culture of derring-do is powerful in its modesty.Sassoon's mounting frustration is skilfully portrayed, especially in his allusion to details about provision for and management of warfare. His ennui is almost palpable on those train journies across France.

The first volume (Memoirs of a Fox-Hunting Man) is possibly of more interest to those of us born and raised in the parish where Sasson himself lived. I enjoyed playing 'spot-the-location', but must declare that I am in possession of a comprehensive list, produced by Brenchley History Society,of pseudonyms/real names.

The writing in this volume has some of the lyrical quality of his autobiography (The Old Century and Seven More Years - out of print)on which it is based. Rather than a treaties on Hunting, I consider this to be a gentle study of the awakening of Sassoon's poetic sensibilities; the Hunt and the relationships he formed with particular characters was, for him, an early catharsis. They also augur the events and characters in the following volume.

The final volume (Sherston's Progress)is probably most poignant if one is aware that this is, indeed, a thinly veiled autobiography. Sassoon's heroism is, for me, as great beyond the era of World War I as it is within it. This volume should certainly be read within the context of the previous two, but stands alone as a testament to the debt future generations owe to the perseverance of men such as Sassoon.

A rhetorical question. I've looked for these memoirs off and on in used book shops for years, chiefly because I remembered the first, foxhunting volume so fondly. I don't agree at all with the other reviewers that this section of the "memoirs" is dull. If you like animals or learning about lost sports and conventions--alpine climbing when it was a club activity, say, or round-the-world sailing--you'll enjoy Sassoon's description of hunts and hunters, especially those of the equine sort.

Sassoon's three volumes wrapped up into one take the reader into another world. First volume describes life in the English country, where a young George Sherston becomes completely immersed in fox hunting. To say he becomes consumed by this is an understatement. Sassoon's intimate depictions of the countryside, to include the life of a country gentleman are so detailed you can clearly "see" and feel how young George felt.

Volume 2, Memoirs of an infantry officer take George into the trenches of France, where again with graphic details, the horror and calamity of the fighting in WWI are brought to our attention. Of note is the latter part of the volume where Sherston's morals are challenged, and how he deals with this mental dilemma.

Volume 3 takes Sherston from the trenches of France, to a stint in Ireland and Palestine, but ultimately back to France where the novel is brilliantly wrapped up.

Sassoon's experiences in the war have given us perhaps one of the greatest novels from the era. The writing is absolutely outstanding and will give you pause to put the book down.

This book covers every one of the many, many revisions of Leaves of Grass. Great for enjoymen as well as research.

Walt Whitman is, indisputably, America's poet. He is vast, large, contradictory (Do I contradict myself?/Very well then I contradict myself/(I am large, I contain multitudes)), beautiful and loose and American to the core!

His greatest poem is, in my opinion, "Song of Myself." This is far from a controversial opinion, and for good reason; the eighty-odd page long poem is an astounding epic--albeit, an unusual one, but a monumental achievement of literature. It is Whitman as Everyman, Whitman as you, as me, as all other mortals from China to Peru. I quote his beautiful closing stanzas:

"I bequeath myself to the dirt to grow from the grass I
Love,
If you want me again look for me under your bootsoles.

You will hardly know who I am or what I mean,
But I shall be good health to you nevertheless,
And filter and fibre your blood.

Failing to fetch me at first keep encouraged,
Missing me one place search another,
I stop some where waiting for you"

Such beauty in verse, especially free verse, is scarcely found, and, when found, must be cherished. There is a reason almost all poets after him--and not just poets in the English language, either (Borges, for example, aspired to be the "Whitman of Argentina")--have been influenced by him more so than any other poet besides perhaps Shakespeare and Milton.

Nor is "Song of Myself" his only great poem, though it surely be his greatest. His elegy for Abraham Lincoln, "When Lilacs Last in the Dooryard Bloom'd" is monumental (the great critic Harold Bloom declares it Whitman's finest poem, and thus the greatest of all American poems--I dissent, but uphold its marvel nonetheless), as is almost all of his wonderful corpus of poetry. Whitman is remarkable; he is inescapable; he is beautiful. Read him, and thou shalt be infinitely rewarded.

I was turned on to "Uncle Walt," as my high school teacher described him, while taking American Literature, and am thankful for it. While Whitman has a unique style of writing, I am drawn to it and enjoy this book emensely. I definetely recommend this book to any Walt Whitman fan, and to those that appreciate American poetry.

Whitman is a special poet. As you read through his poems you get the feeling that you are not reading poetry but rather going through Whitman's mind. His compulsive style both simple and meticulous, his whirling rhythym, and his proud usage of the first person, all give you a vivid glimpse of the world through his eyes and heart; the eyes of his time and the poetic heart of his thoughts. Yet even though Whitman talks to you in social vocab. you know that you are listening to a poet because ast is ineveitable to sense his power to overwhelm. Lorca described Whitman as "viejo" and "hermoso", and these descriptions are true of Whitman the poet as Whitman the man. After reading this book you'll be short of words to describe it as I appear to be. It has too much inside it. But it is beautiful because the words inside it come from a man who knew how to appreciate and merge with the antiquity and great elderiness of the world.

not only the greatest selling poet who has been dead for more than fifty years, not only the poet whose translations are regularly read abroad, not only the poet whose name has in-spired countless others, not only the poet who freed us from the manacles of rhyme and decapitated the tyranny of meter but also a man of enthusiasm, a titan, a man whose soul floods with belch, fume and quake, a man who confronts the ravenous centaurs of humdrum and blugeons them swiftly in a spasmo of frenzy-fire, a wanderer, a searcher, one whose mind travels vig-orously throughout the cosmimosa and embellishes it with jac-inths of thought and blooms of popy! not only a man of gargan-tuan passions, one who rages in the face of metallic storm but also a man whose depressions, fogs, glooms and sensitivity to flowers, softness and the defenseless bloom in stark heart-throb. no doubt he is a poet well worth a place beside such other titano-giants such as goethe, milton and homer, for he too sings the song of war, his book is a chanson of bellum for he sings of the battle of the passions, the climaximum of the emo-ceans, he challenges the raw specters of gash, their eyes oozing of slime-drab and rather than succumb to the oxen of indiffer-ence he instead triumphs over the gray and his book thus re-sounds in shinning claria! his is an adventure of thought sur-real in its gusto, jumping in its excitica and wild in its leap of ideas! thank celestium that he liberated us poets from the ab-surd manacles of rhyme and meter and we can now surge through horiza with countless new devices, metaphors and similies awaiting in our platoons! he is the cougar of innova-tion, the lion of spasmo and the giant of vision.

kyle foley, author of Lorelei Pursued and Wrestles with God

Nicely bound. Really does have all of his poems. Good paper quality. Very satisfied.

I read some stuff by Carl Sandburg when I was in high school, but now that I am considering writing as more of an art form I wanted to delve more into poetry, and this book is definately a great collection of one of America's greatest poets

I am a big fan of Sandburg. This is the most complete collection of his works that I have seen. His poetry is so full of strength and hope. Nothing is too frilly but still very beautiful. His poetry always reminds me of the verbal equivalent of a piece of art by Norman Rockwell - true down to the dirt on the skin but so full of awe and respect for his subject. Have a wonderful time reading this collection!

For me Sandburg is the poet of 'immortal lines' gleaned from anthologies. " The cat comes in on little cloud's feet' " Tell me if the lovers are the losers in the tombs, the cool tombs" " Chicago, beefhandler, wheat- stacker of the nation" Sandburg writes clearly and some might say is poetry is just prose chopped up into lines, but he has a strength and a humane sense that I find admirable. He is not given today the attention I believe he deserves. An inspiring poet who should be read more than he is.

Fifty years ago Carl Sandburg's poetry could be found in nearly every library, classroom and (in some form) home in America, but in the hurried twenty-first century, where too much bad poetry has spoiled whole living generations on the art, he is all-but lost to our social consciousness. This poet of freedom (even his poems disobey every respected rule of form) penned verses that celebrated the American spirit as no other writer had since Walt Whitman. If presented with a sampling of his most famous lines, the average American would probably light up and say, "Oh, yeah! Okay, I've heard that one." Reading the collected works of this Midwesterner is full of such moments of re-discovery. All of Sandburg's published books are here, putting his many hundreds of poems on display. His finest work, the controversial, slow-moving, stream of consciousness piece "The People, Yes" alone makes this anthology a gift to modern readers, but many other unexpected gems await to delight, challenge, inform, or taunt with sheer irony. Though some of these poems date back nearly a century, at no time does Sandburg ever sound anything but cutting-edge and post-modern. He is one of the greats for all ages of man.

There are many great books on life in Communist China...Wild Swans, Life and Death in Shanghai, Mandate of Heaven, Iron and Silk etc.....Confessions is a great addition to the field.

Well translated and utterly captivating and scary. A look into the horrors of life under Mao's totalitarianism.

Some guys might be put off from Life and Death in Shanghai or Wild Swans which are told from very strong female points of view....Confessions is from a males point of view...I am not saying the other books are chick books and this is a guys book...but to some who might not want to read about generations of females this is a good alternative.

Its a great book and I hope it reaches a wide group of readers.

In his highly readable memoirs Yale University Professor Kang Zhengguo almost apologizes for not having it so rough in the Chinese Communist prison where he suffered privation and humiliation for three years, from September 1968 to September 1971. He reminds us that others have had it far worse, and points us to their books. But his tale of the common ailments including constipation and hunger that he and other prisoners suffered under the tyrannical rule of Mao Zedong's all-knowing and all-powerful party apparatus might be enough anyway to bring beads of sweat to a reader's brow. And for this precocious child of Xian, Shaanxi Province, who would never stop reading or learning or thinking, the prison term imposed for ordering Boris Pasternak's Dr. Zhivago by mail from the Moscow University Library in the "revisionist" Soviet Union was not the least of his suffering.

The Cultural Revolution rendered an already ailing China almost useless as a productive country. In a land where education and scholarship had been given almost religious importance for more than 2,000 years, questions and the people who asked them suddenly became suspect. Students took over classrooms; workers became the arbitrary, vengeful bosses. Kang Zhengguo's father always urged him to stick to the sciences as he was growing up in a middle class family in Xian - knowing instinctively and through his own suffering that books and the ideas in them could ruin a person. That's the way it was under the Communist tyrants. Yet Kang would read, and write, like his grandfather before him. Suffering was his calling.

His writing and reading cost him his place at college, alienated him from his father, landed him in prison, left him a second-class citizen for a decade and haunts him even now, he explains in Confessions: An Innocent Life in Communist China. He can't return to China - or won't. The last time he was there, in the enlightened year 2000, he was detained and interrogated and threatened for two days. Only his connections to Yale saved him. The Chinese citizen has no power in China, not political power anyway. Mao's death in 1976 changed little and the reforms of Deng Xiaoping brought economic prosperity for a few but at the price of everyone forgetting that they were stuck in a political quagmire. Kang Zhengguo escaped all that for the idyllic life of the bookish language teacher in New Haven, Conn. His writing got him in trouble, then provided his escape valve. His story will be especially compelling to writers and others who trade in ideas. But it will provide delightful reading for any student of China, filling in the details of the lives of ordinary people living through an extraordinary time in world history. - THOMAS BRENT ANDREWS / more reviews at http://chronicdiscontent.wordpress.com ##

Highly recommended for the reader interested in how one thoughtful young person might have survived during the madness of Mao's years. Professor Kang Zhengguo provides a well-written reaffirmation of the ultimate power of the lone individual. He, while adapting to hard circumstances, quietly strove for what was just in a time of unjustness.

A harsh, deadeningly corrupt political/economic system, seemingly designed to bring out the worst in all people, is described in powerful detail.

I am now reading the book Confessions and it is very interesting and well written.Kang gives you a very descriptive picture of what it was like to be in China during the cultural revolution. Very frightening! I think it also gives one some insight into the culture of China today,and why their culture seems to drive their economic growth to excede sans a sense of responsibility or morality.

An excellent memoir of the madness that was China's Cultural Revolution. Well-written, in-depth and even-handed. The author's description of his imprisonment for "thought crimes" is chilling.

I have never read a short story that's any better than "The Films of Richard Egan".It's a knockout!

There are at most a handful of male writers whose honest portrayals of male psyches ring true, and Giardina is certainly one of them. What's special about these stories is that men reveal their lives with women and children as the measure of themselves. And though the stories revolve around one theme, the voices vary; there is a scarily ruthless loser; a couple of men looking back on adolescence; but best, men talking themselves toward deeper commitment. If I didn't have a wonderful husband, I'd be jealous of this writer's wife!

The Country of Marriage was great. It had a good beginning middle and end

I was trying to figure out why I liked this book so much because subject matter and other things were so bourgeois and a little pretentious - poets and professional type people drinking wine, listening to Jazz, going to therapy, driving semi yuppie cars, reading classics and watching foreign flicks. Despite all of that, it occurred to me, on my third or fourth reading of the first story, "I live in Yonville," that Giardina transcends. Without committing the sin of profundity, he reaches so deep (especially the first story, which, in my opinion, outshines the run of the mill contemp. lit. found in magazines and journals today and even the stories in this collection). He's got IT, as a writer. Reading Gardina is like getting high. He santifies those precious things we merely feel, on that touch and go level, though, we know it to be worth so much more.

Just when I thought there was not one man in this world who understood themselves, let alone other men, I stumble onto this book. Giardina writes such truth. His voice hits the mark on every imaginable relationship. It is hard to except such weak, yet successful, crap fiction from say....Nicholas Sparks, when there is an intelligent writer like Giardina, in the wings, waiting to save us all. Read this and recomend the book to your friends who give a damn. You will not be disappointed.