Ohio Books

This is a reprint of a book published in the 19th century. A source book for all other books on the Adena and the Hopewell. A Must have.

Ancient Monuments (more familiarly known as "Squire and Davis") is the undisputed primary reference source on Indian mounds in the eastern US till the mid-1800s. While there were a few others (such as Caleb Atwater's book), Squire and Davis offers the grandest illustrations of what remained of the unbelievable civilizations that inhabited this continent. Even as they published in 1848, hundreds of mounds were being plowed into oblivion; so few are still extant that theirs is the only guide to what was lost. The text is enjoyable on many levels, and can be forgiven for any lapses of scientific accuracy. They trekked over Ohio at a time when we weren't even sure who made the mounds, so everything they recorded is gold. The engineering prowess, the sheer magnificence and scale of some of the works, is astounding.

Vera Glenn has given a valuable introduction to an American Family and a sustaining faith. Authentic descriptions of the growth of a family through 300 years of seeking a Godly life, farming, educating and seeking education will resonate with many who have similar stories to tell. For others, it is a glimpse into the values, accomplishments, joys and sorrows of a large number of your fellow countrymen.

I loved this book.It was history with a personal feel to it.
Plus I live in the area and it was fun reading about places that you have seen.Also to read about the apple trees and how the seeds got around from other states and countries.

When DeLanna and Andrew finally arrive in the Ohio Firelands, they must face cold and disapproving matrons and the everchallenging environment. Slowly, they find acceptance, friendship and their place in the community. As the story closes we look to the future of their young daughter Mattie, and uncertain changes to the town as the canal opens the land to an uneasy progress. This was a wonderful series of books and I look forward to BOOK FIVE! Does anyone know when that might be?

I loved this book in the Apple Valley series. DeLanna and her husband, Andrew, have finaly arrived in Ohio after a long voyage from Pennsylvania. Together with Andrew, DeLanna fights to build a place called home and to gain acceptance in the community.

This is a haunting collection that manages to be both spare and detailed at the same time. It's amazing that someone can conjure such images and such complex emotional landscapes in so few words. Poetry at its best, and highly recommended!

Ann Hudson's poems reveal the beauty, irony, and pain of small everyday moments. Moments that I barrel by every day, taking no notice, Hudson picks up, burnishes and uncovers their essence helping me to see them in all their humanity. Buy this book--it's a wonderful testament to the power and relevance of poetry today.

White males are living a lie if they don't read Jane Marcus's heroic efforts to portray women's responses to literature as substantially different and independent of males' responses. The anger that women feel when they are continually told that women's literature is worthless, is stupid, and unimportant is displayed with devestating clarity in this work. It seems that women read more empathically, are better able to identify with characters' feelings, and are more able to experience rage at the injustices inherent in a fictional work; males, on the other hand, seem to desire books that contain violence, explicit sexism, and patriarchal systems of networks which exclude women from power structures. This book is a must read for women who wish to show that what they read is not "trivial" or "stupid" because a woman wrote it, it is trivial and stupid sexism that posits that what women have to say is not worth hearing.

I would suggest that this book be assigned to all entering college students. The white male patriarchal agenda of hatred has made it essential that the incredible variety of writings produced by women take center stage. Let's finally say goodbye to "Western Civ", which white males have perpetrated for far too long. Jane Marcus is brilliant and courageous, and I want to read more of her books.

How do you write a "children's" book that will hold readers' interest 50, 100 years from now? James Barrie, Francis Hodgson Burnett, and Terry Pratchett have. So has Nikos Kazantzakis.
This book is a gem, and deserves much wider recognition.
Mythology is usually presented, even in the much-lauded D'Aulaire series, as little more than a plot line. Here, the familiar story of Theseus and the Minotaur is enriched with well-developed characters. My favorite is Princess Ariadne: as imperious, sensitive, and curious as Elizabeth Tudor in her youth. Kazantzakis describes the splendors of the Minoan city-palace as lushly as one can infer from the historical artifacts that have been unearthed, then he enriches the picture with details of folkways that still exist today in Greece.
What raises this book from the merely entertaining to the classic is the author's dedication to his real mission: to impart the great truths of the world to his young readers. In the Palaces of Knossos, we learn a little about the nature of despotism, and how to test the long-term viability of a civilization beyond the veneer of its present power and wealth.
Teachers and parents, read this wonderful book, and be awed and entertained yourself before you read it to your kids. While you're at it, bring out a book like BBC's Civilizations by Jane McIntosh and Clint Twist so your charges can see the strange and beautiful paintings from the palace of Knossos of bull-leaping youths, the bronze dagger that Theseus himself might have carried, and one of the odd little iconic statues of the Great Goddess worshipped throughout ancient Crete.

This novel derives from a series of stories written byKazantzakis for a youth's magazine. The novel utilizes Kazantzakis'graceful style to add even more magic to this fantastic myth. In the beginning, a young traveler is found surveying the grounds of the Palace of Knossos, raising suspicions with security guards and catching the eye of the young princess Ariadne. The young traveller turns out to be Theseus, a prince who desires to free his people from the tyranical King. Included is the infamous minotaur and many greek gods. This novel remains interesting and exciting all throughout the story, and can be recommended to any age group. END

We bought a round flat crema cake /shaped like a moon /in Umbertide./ It looks like a phosphorescent frisbee./ We munch its wedges as the solstice turns.

-- from "Landscape with Bees"

David Young's poetic voice strikes its characteristic note here: wry modesty, mixed with love and longing for the world, and an invocation of the larger, mysterious cycles of natural change that surround and hold us. The poet writes of aging, acceptance, and, just to keep the reader on her toes, throws in the occasional surrealistic or metaphysical flight of fancy, as in "Landscape with Disappearing Poet," dedicated to the Czech scientist and poet Miroslav Holub, who died suddenly in 1998:

Angels seem to fall/ steadily/ in a rain around barns and pastures,/ distressed by the way the cows/ slump to their knees on the kill-floor,....

In his ninth book of poetry, At the White Window, Young's work continues, affectionately and patiently, to explore and chart the various landscapes in which the poet finds or places himself: the small midwestern college town where Young has lived for forty years, Oberlin, Ohio; travels to Europe; the internal landscapes of memory and grief; the quirky repainting of Oberlin as though it were a series of panels on a Chinese scroll, with human figures and their concerns placed in proper proportion to towering cliffs, lofty mountains, and vast mist rises. Because Oberlin sits on a flat, glacier-razed piece of Ohio countryside, Young tweaks the Asian tradition by seeing the cliffs and mountains in the clouds that fill the skyscape, along with its "denizens [who] are crows and hawks, herons and gulls." Irony and whimsy keep sentimentality at bay in Young's poetry, while the passionate lyricism that perhaps led him to translate Rilke's Duino Elegies and Sonnets to Orpheus some years ago manifests, sometimes ecstatically, sometimes more somberly, in this new volume:

Or has she journeyed to a prairie/ where all our codes and grids have been abandoned,/ no houses, no towns, no roads; clear sky,/ a few birds riding aimlessly across it,/ and a bird or two, meadowlarks probably,/ tossing around in its depths? -- from "My Mother at Eighty-Eight"

David Young is a poet of wide interests, encompassing but extending far beyond the literary, and a generous heart. The finely crafted poems in At the White Window reflect in myriad ways the poet's lifelong appreciation of T'ang dynasty poetry, Shakespeare, Wallace Stevens, music, science, landscape painting, and nature. They are poems that resist the tyranny of despair and meaninglessness, instead advocating for a vision of the world that includes beauty and suffering in equal measures. This vision urges our responsibility as well: we create from what we see, but the seeing is also of our creation, a function of what, in the book's title poem, the poet terms "our unabashed humanity, both frame and view."

We bought a round flat crema cake / shaped like a moon /in Umbertide. /It looks like a phosphorescent frisbee. /We munch its wedges as the solstice turns.

-- from `Landscape with Bees'

David Young's poetic voice strikes its characteristic note here: wry modesty, mixed with love and longing for the world, and an invocation of the larger, mysterious cycles of natural change that surround and hold us. The poet writes of aging, acceptance, and, just to keep the reader on her toes, throws in the occasional surrealistic or metaphysical flight of fancy, as in `Landscape with Disappearing Poet,' dedicated to the Czech scientist and poet Miroslav Holub, who died suddenly in 1998:

Angels seem to fall / steadily /in a rain around barns and pastures,/ distressed by the way the cows / slump to their knees on the kill-floor,....

In his ninth book of poetry, At the White Window, Young's work continues, affectionately and patiently, to explore and chart the various landscapes in which the poet finds or places himself: the small midwestern college town where Young has lived for forty years, Oberlin, Ohio; travels to Europe; the internal landscapes of memory and grief; the quirky repainting of Oberlin as though it were a series of panels on a Chinese scroll, with human figures and their concerns placed in proper proportion to towering cliffs, lofty mountains, and vast mist rises. Because Oberlin sits on a flat, glacier-razed piece of Ohio countryside, Young tweaks the Asian tradition by seeing the cliffs and mountains in the clouds that fill the skyscape, along with its `denizens [who] are crows and hawks, herons and gulls.' Irony and whimsy keep sentimentality at bay in Young's poetry, while the passionate lyricism that perhaps led him to translate Rilke's Duino Elegies and Sonnets to Orpheus some years ago manifests, sometimes ecstatically, sometimes more somberly, in this new volume:

Or has she journeyed to a prairie / where all our codes and grids have been abandoned, / no houses, no towns, no roads -- clear sky, / a few birds riding aimlessly across it, / and a bird or two, meadowlarks probably, / tossing around in its depths? -- from `My Mother at Eighty-Eight'

David Young is a poet of wide interests, encompassing but extending far beyond the literary, and a generous heart. The finely crafted poems in At the White Window reflect in myriad ways the poet's lifelong appreciation of T'ang dynasty poetry, Shakespeare, Wallace Stevens, music, science, landscape painting, and nature. They are poems that resist the tyranny of despair and meaninglessness, instead advocating for a vision of the world that includes beauty and suffering in equal measures. This vision urges our responsibility as well: we create from what we see, but the seeing is also of our creation, a function of what, in the book's title poem, the poet terms `our unabashed humanity, both frame and view.'

how many steps of cone of experience in this book are tell in this book ? And what steps are refer?

how many steps of cone of experience in this book are tell in this book ? And what steps are refer?

What a spectacular trove of forgotten baseball and Cincinnati history William Cook has given us inside this wonderful and beautifully researched book!
One need not be a baseball fan to appreciate the wealth of forgotten American history contained in the pages of this book but any self-respecting baseball fan will be in awe of William Cook's ability to cull interesting and unknown bits of fascinating baseball & social color from our common lost past.
I highly recommend this biography of August "Garry" Herrmann, once Cincinnati's most famous citizen, and I look forward to Mr. Cook's next book on famed Cincinnati bootlegger George Remus.

August "Garry" Herrmann A Baseball biography.
"Just completed the book and found it great reading. The combination of sports, history and politics in a fast paced anecdotal style made for all the ingredients of a great story. I learned a lot and began to realize that as far as the Queen City is concerned, the more things change the more they remain the same. Just some of the characters. But we have all the same ingredients to keep us mired in the sludge of corporate welfare. Instead of the subway we have the banks. It if were not for petty politics we in Cincinnati might have a great public transportation system and maybe we would have had less of a decline in population and status as a major city. As far as August Garry Herrmann is concerned he probably did more for baseball and the city than Powell Crosley, Bob Howsam, Marge Schott and Carl Linder combined. I got the impression that although Herrmann tried to put the Blacksox scandal behind him it really did a lot to blemish and downplay his historical significance. Also the anti- German hysteria of the 1st World War did not help matters either Anyway I enjoyed the book."

Having been brought up on the notion that Elizabeth Barrett Browning was the slighter and less-talented adjunct poet of her husband Robert, I was pleased to find I was wrong.

She's terrific.

This is a brilliant work, full of dazzling poetry and insights.

It's loaded with allusions and references (I read the Penguin edition; and the notes there run for many, many pages--and these barely skim the surface), but it is remarkably accessible and fun.

This is a work full of wisdom and unusual perspectives. Luminous and grand and down-to-earth all at once. Imagine Jane Eyre written by Shakespeare.

It's an education in Victorian (upper-middle-class) England, and also the Victorian English infatuation with Italy. It's also a biting and incisive feminist portrait, full of rebellion and self-discovery.

I strongly recommend it to anyone who likes poetry, or Victorian novels.

E.B.B. set out to outstrip Milton and does so in an amazingly original way. Aurora Leigh is a novel in blank verse that is actually longer than Paradise Lost! She combines the genre expectations for a woman writer--the novel--with an audacious bid for poetic immortality. The book tells a good story but it also works as a formidable reminder to her contemporary poets that the novel is taking over and poets must make sure that they are writing in the spirit of the age.