Europe Books

A pleasure to read a book that, as with the original disputants who comprise the subjects of the five chapters, addresses the general public in clear, spirited, and engaging fashion. While the content's aimed at an academic reader, the prose flows more smoothly, and the author remains aware of the need for a personal perspective that keeps her in control of the mass of material she sifts through and organizes in support of the often dramatic, if self-consciously so, performers on the stages and streets of Dublin almost a century ago. Rather than (and Prof. McD acknowledges in her preface that she labored not to use "ludic") become embroiled in abstruse jargon and faddish theory, McDiarmid takes on the early debates that characterized cultural nationalist contentions that served as a synecdoche for the larger issues of Irish Ireland.

These are covered in five thematic sections about public spats and private correspondence, and these do overlap slightly: Hugh Lane's bequeathed 39 paintings, Shaw's "The Shewing of Blanco Posnet" with Lady Gregory & GBS for the Abbey Theatre squaring off against Dublin Castle, Fr. O'Hickey's defense of compulsory Irish, the "Dublin kiddies" vs. the socialists and philanthropists, and the "afterlife" which Roger Casement's diaries with their homosexual content represented for later 20c Irish discussion of sexuality and rebellion. Unlike later spectacles that entered the Irish arena, these riled up not only academics and writers, but the common people. It's a telling sign of the retreat from the "agora" in the past century that shows how willing many people are to leave to the intellectuals and literati what once might have been the dispute of many a dinner table-- think of the contention over Parnell in Joyce's "Portrait."

The details of the book have been previewed on this site and by earlier respondents. Many illustrations, endnotes, and explanations carry along the text in more brisk fashion than one might expect from a professor. I might add that the notes document generously the assistance from many who assisted McDiarmid in her years of research. The book may betray a bit of the assembly from disparate pieces that many collections do when gathered from earlier talks and articles, but the introduction and conclusion tie together the threads efficiently. There's even a well-chosen Irish-language proverb that begins each chapter cleverly. Such details show the author's own personality in a study that abounds in spirited, strong-willed, and stubborn smart meetings and maulings of the minds.

I enjoyed Lucy McDiarmid's The Irish Art of Controversy on many levels. It helps me get into the spirit of several of W B Yeats's poems and, more importantly, reminds us all of the value of understanding our pervasive controversies. It is very educational to see how they operate over time. She's done us all a wonderful service through her lucid explanations of key controversies present in Ireland's successful struggle to achieve a national identity. If you are interested in Yeats, Ireland, or controversy this book is a must.

Here is the perfect book for anyone who likes cultural history, politics, or Ireland. I couldn't put it down; it is lots of fun to read-scholarly but very accessible, written with humor and grace. If you want a lively, detailed account of the intellectual and cultural brawls taking place in Ireland at the turn of the 20th century, this is THE book.
A.N. Oakes

I'll read anything about George Bernard Shaw, so when I saw his name on the back cover of this book, I bought it, even though I'd never heard of the incident it mentioned. I wound up enjoying EVERY chapter -- it was like going back to an earlier time and meeting all the most colorful people in a small, tightly knit community. Life at the turn of the 19th century into the 20th century seems to surround you as you read. This is a fascinating book for anyone who enjoys experiencing the rich texture of another era, described with humor and sympathy.

The Irish Art of Controversy provides a wonderfully vivid look at the intimacies of Irish politics by Lucy McDiarmid. With her usual wit and fastidious scholarship, she explains how public controversy determined what it meant to be Irish in the early 20th century. She evokes an extraordinary series of dramas played out by opposing factions on such issues as religion, sex, class values, the labor movement, censorship and civil rights. Issues that shaped the coming revollution and the nature of Irish government. In contrast to the romantic concept of recovering the poor old woman's four green fields, McDiarmid demonstrates how hotly contested was the question of what should be planted in those fields.

During the strike of some 25,000 Dublin workers in l9l3, for exxample, a violent tug of war developed between Catholic clergy and labor sympathizers attempting to place starving children temporarily in the homes of English workers. The clergy largely defeated this plan by accusing Irish mothers of endangering the faith of their children by allowing them to be "kidnapped" by English Protestants, socialists and feminists. Archbishop Walsh proclaimed that "the Irish people would rather their children perish by the ditches than that they should be exposed to the risk of being perverted in their religion." Under such pressure, it is not surprising that of some 300 children initially enrolled, only 18 reached England. This episode reveals the unfortunate bigotry of the clergy, but also identifies cultural memories and beliefs (souperism, fairy abduction) that subconsciously, or otherwise, intensified the fears of Catholic parents.

An equally fierce and lasting controversy emerged over Roger Casement. On trial for treason in the aftermath of the l9l6 Rising, he was fatally compromised by discovery of the so-called Black Diaries containing graphic descriptions of homoerotic encounters. Both Irish and English opinion turned against him despite his patriotism and the humanitarian work for which he had been knighted. Casement was hanged, and his remains were not returned to Ireland until 1965. Even then, there was consideraable uneasiness about enshrining a gay man in the pantheon of Irish heroes. With the growing secularization of Ireland, however, Casement became a pivotal figure in open debate about sexualities and civil rights. In fact, as McDiarmid demonstrates, it was the transgressive example of Casement that allowed such debate to be made public.

In sum, an excellent book. A pleasure to read.

I love this book. The crochet patterns are amazing. If you love crochet and are up for a challenge this is for you. All the instructions are written out (no graphs) so you do have to put in a bit of effort. I'm thinking I might photocopy each piece and then highlight each row as I go. Each piece is photographed and even if the instructions seem a bit unclear you can refer to the photo and figure it out.
Even if you don't want to make Irish lace the decorative possibilities of the patterns is exciting.

I have only had time to breifly look at the book but I am impressed. I plan to soon start working on the projects so I can gain a better understanding of this beautiful art. I want to be able to pass the knowledge on to others so it won't be forgotten.

This book opened a whole new dimension of crochet for me. --Beautiful, mind-boggling stuff. The directions are quite accurate although rather different from modern crochet books. Loved it!! This book was 1st published in 1907, and raised rather interesting questions, like :how big was an Irish match 93 years ago? You are supposed to wrap cord around 1 to 4 matches. My answer: best to add one to their count- I use 3 Chinese wooden skewers for their 2 matches!!

Finding this book was a revelation to me! This unabridged reprint of the Priscilla Irish Crochet Book first published in 1909 by The Priscilla Publishing Company in Boston is filled with exquisite Irish crochet such as is rarely seen or made today. Leaf through this book and you will be astounded by the breathtaking delicacy and intricacy of which a hook and a thread is capable! Three-dimensional roses, shamrocks, thistles, passion flowers, daisies, blackberries, grapevines, chysantheums, and myriad other motifs and floral pendants, with instructions for making up -- using the various background and edge stitches -- into a variety of beautiful items, from edgings, insertions, medallions, and doilies to stunning masterpieces such as purses, collars, cuffs, portrait hats, blouses, gowns, and coats. With crochet hooks in sizes ranging from 13 through 16 and cotton threads in sizes 40 up to 100, I have made a many of the projects in this book, all absolutely spectacular!

Thank goodness for reprints. Learn how to create an heirloom quality piece of crochet for your family. Directions and illustrations are easy to understand and follow.

A dear friend of mine sent me this book a week before I went to Ireland. As I read it, I became even more excited to see the places Howard Franklin described. By the time we had landed in Ireland, the book was read and I had a list of the places I definitely wanted to see. Thank you Howard for writing about Glendalough. If I hadn't read about it, I would have totally missed the wonders of this place! This book was our constant companion in our travels across this Emerald Isle. If it wasn't in the car it was in my backpack, always close at hand so we could learn more about where we were. The snippets of history Howard interjected throughout his book is my favorite thing about it. I read these parts out loud to my husband as we traveled along the same path as Howard. Knowing the history of what we saw made it all so much more poignant. If you plan on visiting Ireland don't leave home without this book!

ALTHOUGH I MAY NEVER VISIT IRELAND, HAVING READ THIS DELIGHTFUL AND INSIGHTFUL BOOK MAKES ME FEEL AS THOUGH I HAVE WALKED THE STREETS OF
IRELAND WITH THE AUTHOR WHOSE ENTHUSIASM FOR LIFE IS POSITIVELY CONTAGIOUS.

"An Irish Experience" is a delightful mix of Irish history, travel information and humor while providing insights into important meanings of life. I highly recommend it!

Howard Franklin's book, "An Irish Experience is one of the most all-around travel books. It is jam-packed with humor, history and must-sees. This book schools the reader on the history of Ireland, providing keen insights into it's culture and people. The whimsical way it is written, along with the goods on where to get a great pastry in even the smallest of towns, makes this a great read and a must for anyone going to, or daydreaming about Ireland.

If you have, or are planning a trip to Ireland, Howard Franklin's book is a must read. His knowledge of Irish history, geography and literature make this book a classic adventure tale for the 21st century traveler. Combine all that with a poet's eye and a lyrical style and you have a first-rate read.Buy this book and then buy your ticket. Ireland's waiting.

I enjoyed this book immensely, but probably for the wrong reasons. The book is a bit chewy in places, but stick with it, as it's surprisingly enjoyable on it's own merits. On a more selfish, sadistic note, I had been mecilessly bludgeoned on a regulary basis by a work colleague, a second generation descendant of the Emerald Isle, with tales of Celtic martyrdom and Anglo tyranny, and none of which I felt I had the right to dispute. Then I read the book. After ten minutes of lively debate, challenging all he knew as 'fact', he has not spoken to me since. No-one had ever shut him up before. Heaven. But back to the point, I found this to be a rather good read.

Baby Cromwell, Nottingham, England

R. F. "Roy" Foster author of 'W. B. Yeats: The Apprentice Mage,' 'Charles Stewart Parnell: The Man and His Family' and 'Modern Ireland,' has written this experience and interpetation into Irish history and literature. He does a fine job of it. His bravery in massacring every sacred Irish cow as one would have fun reading it. It leaves you with a warm, passionate, giggly feeling. It's entertainingly brilliant look at the past and present Ireland. I particularly love the chapters and passages on Theme-parks & Histories (with some warning from Foster on expliotation); the chapters on Yeats; When the Newspapers Have Forgotten Me: Yeats, Obituarists and Irishness; Selling Irish Childhoods: Frank McCourt & Gerry Adams; and, Remembering 1798. They're totally smothered in clichés and lots of traditional tidbits of fond or fatal memories, known to some as the Irish experience.

Foster cleverly works moments of Ireland's past into narratives of Irish culture on myth, folklore, ghost stories and romance. The result is from a varied interpetation of opinionated and right down funny interlinking essays. In Theme-parks and Histories-Foster writes of the Irish are to remember or commemorate anything. It is worth remembering the upward curve of Irish cultural achievement-referring to W. B. Yeats, Hugh Leonard, Ezra Pound, Cashel Heritage Society and the 2,000-acre Famine Theme Park in Knockfierna Hill west of Limerick. Irish history, the most distinctive achievement for it. His suggestion to form a monument to Amnesia and forget where they put it. As a historian he would be shocked, but as an Irishman he would be attracted to the idea. Foster shows no mercy on his view of manipulating Irish history on political places and Irish poverty and oppression as a commerically packaged heritage park. His exploration of Yeats' authority of the Irish story's fitting moments as the voice of his Ireland countrymen.

Foster leaves teeth-marked criticism of Frank McCourt (Angela's Ashes) and Gerry Adams and their devil may care attittude of taking hostages for fortune. Transcending into the bestsellerdom of Irish childhoods. Simply a technique of marketing where Irish version brag and whimper about the woes of their early years' experience. I find this to be an entertaining reading. In some places a bit wordy, but good telling of Irish culture. You may hate or love it. But, if your interest is in Irish history and literature it's quite essential.

Irish people of all persuasions and in all walks of life have developed a talent for building up a national history to their liking and drawing conclusions from it. Roy Foster's essays are about some of the ways in which Ireland's history has been interpreted, embroidered, exploited and packaged. I think everyone will agree there are cogent reasons for preserving the distinction between history and "national fiction". Ultimately, poor history makes poor propaganda, and propaganda in any case is a shabby use to put something as precious as a nation's history. This book is essential reading for people with an interest in Ireland. (I also recommend strongly the same author's earlier "Modern Ireland 1600-1972".)

This book ought to be on the shelf of anyone with an interest in Irish history. Foster has done an excellent job at making his points about the various 'uses' that history in Ireland has been employed for. From downright propaganda to 'memoirs' masquerading as vague truths he unleashes the power of clear thinking and valid sources. For so long Irish history has been treated as 'story' and this book attempts and succeeds in telling the difference. It is so refreshing to see something sensible in print! It is a great source book or reference and could also be read by delving into the different subjects in the index. I would recommend this for all who are involved in getting to know the real history of Ireland and the Irish and how some Irish 'history' came to be written in the first place.

Porter's tongue-in-cheek treatment of the marketing of Ireland is refreshing after an avalanche of Irish hype came from unscrupulous little publishers.The Disneynification of Ireland ,apparently propelled by American ad agencies for the Irish Tourist Board,is treated by Porter correctly as hype to snare innocent Irish-Americans.Porter gets almost every hilarious Irish twist of recent decades in this collection of exposes, including the hilarious, almost unbelievable marketing of the potato famine in Disney-like theme parks.Unfortunately, he closed his collection of revionist chapters without pointing to the biggest Irish hype of all -the invention and collapse of " The Celtic Tiger", based on runaway inflation and a Dublin stock market bubble that aped the rise and fall of America's Nasdaq.Foster's book is a must if you wish a clearer view of the Irish .

An excellent account of the life of a great musician, musical director for Vernon and Irence Castle, forerunner of Duke Ellington, mentor of Eubie Blake and Noble Sissle, stunningly illustrated in the author's characteristically powerful style. Suited to all audience's but especially older children.

It's always refreshing and enriching to finish a book and feel enlightened. R2C2H2 has done a great job in writing about the life of this American pioneer. R2C2H2 not only informs the reader of James Reese Europe, but also the time period in which he lived. You won't be disappointed!

This exemplary combination of biography, chronicle and illustrations of one of "our" great forgotten heroes is perhaps one of the most innovative publications in recent years. The product of meticulous research, strategic assembly and an obvious intimate connection to the life, deeds and legacy of James Reese Europe, R2C2H2 has taken art and scholarship to a place not visited since the days of Duke Ellington, Mary Lou Williams, John Coltrane and most recently Tupac Shakur. I am humble enough to say I learned a great deal from the wealth of research and the rich perspective that [R2C2H2] offers. I really enjoyed learning about sister Mary Europe, I had no idea of that connection nor of her greatness!!! R2C2H2, through his unique aesthetic and independent voice has given us a history lesson in a fashion that no historian could do. Through this book we feel, experience and see the struggles that Lieutenant Europe faced, reveling in his victories while lamenting in his untimely and unfortunate demise. Yet, because of R2C2H2's ability to tell the story that needs to be told, Lieutenant Europe lives. The art adds another dimension as it personalizes [R2C2H2's] intimate connection with "the jazz lieutenant" offering more than just a book, more than just a pictorial biography, but a magnus opus!!! This is a monumental achievement that is only surpassed by its ability to captivate the reader from cover to cover in a mysterious yet historically correct realm of the past. The book is wonderful, my only regret is that I was unable to unpack it and dive into it when it first arrived... but I was greatly pleased!!!

Emmett G. Price III, Ph.D.
Assistant Professor of Music and African-American Studies
Northeastern University
351 Ryder Hall
Boston, MA 02115-5000
(617) 373-7700 office
(617) 373-4129 fax
e.price@neu.edu

This is a well documented account of the life of James Europe who was a war hero and instrumental in advancing the cause of Black musicians in the heyday of racism and bigotry. Europe formed the first black musician's union, known as The Clef Club. His was the first black orchestra to record and to play at Carnegie Hall.

While in service with the army in the first world war, James Europe was the victim of a gas attack while in battle. He led the band of New York's 15th. National Guard Unit known as The Harlem Hellfighters. The unit was reputed to be the most decorated regiment in WW1.

James Reese Europe was a true pioneer of black jazz and influenced the works of Ellington, Basie and others of import.
At the age of 39 Europe was tragically murdered by a member of his band and his brilliance was left tragically on a Boston hospital bed, hislegacy lives on, however, to this day.

This book is illustrated magnificently by R2C2H2 in the folk art genre.

Eubie Blake described Europe as being among the major influences in both jazz and the advancement of the black musician in society. George Gershwin, as a child would sit outside the Harlem club where Europe was performing and no doubt was hugely influenced by his artistry.

This is a book of historical significance in both jazz, race relations
and heroism.

John Gilbert
Visit California Coast Jazz At:
http://community-2.webtv.net/johnnyjazz/johnnyjazzsjazzpage

TISHA ST. CLAIR REVIEWS
James Reese Europe Jazz Lieutenant
by R2C2H2
BookSurge, LLC, © 2005
ISBN: 1-4196-0245-4 (paper)

R2C2H2's book about the life of James Reese Europe was an informative and delightful read. Not only was he the author, but also the brilliant illustrator. R2C2H2 used his drawings to punctuate the story of Europe's life. Especially haunting was the picture entitled "Welcome to Spartanburg, South Carolina!!!" R2C2H2's words told of the harsh treatment of Europe and his band, but the picture truly shows the ugliness of racism, prejudice and segregation. R2C2H2 captures the loathing and hate in the eyes of the white southerners.

R2C2H2 includes many of the ground-breaking achievements of James Reese Europe, and the composers and musicians that benefited from his hard work. One of Europe's crowning achievements, prior to World War I, was creation The Clef Club, the first black musician's union and booking agency. This agency was responsible for getting black musicians the same or sometimes better pay than their white counter-parts, and ensuring they would be treated as professionals rather than traveling minstrels. During WWI Europe served as the commanding officer of the 15th Regiment Band. The band was well received in France. Europe and his men also became fierce soldiers, despite a lack of training from the United States Army.
They were awarded numerous medals from the French government during the war.

Some of Europe's other achievements included working with Eubie Blake, Vernon and Irene Castle; performing at Carnegie Hall; establishing a music school for aspiring black musicians; and re-establishing the black musical theater art form. I really don't want to tell you much more, because you really need to read all about it yourself.

Through this book, R2C2H2 introduced me to James Reese Europe, a visionary and pioneer. Any primary school aged child could benefit from reading this book. It shows how a person can overcome obstacles to achieve his goals. Any lover of jazz would find this book enlightening and may prompt them to search for some new (old) music for their collection. Any admirer of R2C2H2's work would be please to have a gallery of his drawings at their fingertips.

As a young girl, Jane, in her own witty style decided to write "The History of England". It's certainly not an accurate history, but a young girl's view of the world in which she lives. The text is printed in her own handwriting and is charming and fun to read.

Jane Austen wrote these short snippets on a number of the rulers of England in chronological order - using, as she says, 'very few dates'. The result is a wonderful collection of highly prejudicial outlines of various Kings and Queens - and after all the purpose of history to be scandalous and slanderous can be undermined by sticking too closely to extraneous detail such as dates and so on. The whole thing would probably take you much less than hour to read. Austen proves her talent for sharp observation and wit from an early age for this little book was written while she was still a teenager in the early 1790's. Its a lovely introduction to her writing for those who haven't had much to do with Austen before but are keen to try her out.

Jane Austen may be best known for her biting and sarcastic wit, her compassion for her characters, and her understanding of the truth of their lives and situations. But this short piece of juvenilia combines all of her mature insight with the confidence, humour, and unmitigated self-satisfaction of a younger and more whimsical Austen. Definitely not to be overlooked in favour of her more serious work, this book will take merely minutes to read but leave you with astoundingly funny comments to treasure and smile over for years to come. It is Jane Austen at her very best: uninhibited, cruel, funny and ultimately self-deprecating. She knows what she is doing and does it with consumate skill. A must read for any Austen fan or anyone with a sense of humour.

This book may not be used in any history class, but it is one of the most charming works she ever wrote. I had this smile painted on my face the entire 15 minutes it took to read it. Very, very witty.

This hilarious little book is full of wonderfully biased observations on the Kings and Queens of England between henry the 4th and Charles the 1st. Of Henry VI she writes fiercely "I cannot say much for this monarch's sense, nor would I if I could, for he was a Lancastrian" She is a supporter of Richard III's claim to innocence, averring that he may not have murdered his wife for "if Perkin Warbeck were really the Duke of York, why not might Lambert Simnel be the widow of Richard?" She includes a very rique charade on the homosexual habits of king James I. I feel that Sellar and Yeatman, who wrote '1066 and All That'may have derived inspiration from this book, her N.B. at the beginning 'there will be very few Dates in this History' has a very Sellar and yeatman sound. I increasingly find Jane Asuten's Juvenilia more amusing than her later works, and this book is a prime example.

Exquisite book, most comprehensive I have seen on this subject. Worth ten times over the Amazon price!

This beautiful book really opened my mind to the influence that Japanese art had on the Impressionist movement. Some very interesting comparisons of woodblocks and the work of Van Gogh.....Wow...It had never occurred to me before & to see the works side by side is fascinating. I first found this book in the school library & kept borrowing it; such wonderful images.I decided I had to own a copy & made my first Amazon.com purchase. Great service, Amazon, thank you....so quick & efficient. This book is great value and very well illustrated. The text is extremely interesting and thought provoking.

This is probably the best and most beautiful art-book I have ever read. I traces the roots of different western artforms like impressionism and abstract expressionism from the japanese traditions of brushpainting an calligraphy.. -I want it!

For anyone interested in both Japanese Art and European Art at the turn of the last century, this book will become the most satisfying reference book in your collection.

"Japonisme" is the term used to describe the Victorian fascination with all things Japanese. Wichmann's book successfully demonstrates the influence of this fascination on the fine art of the era. Lavishly illustrated with over a thousand images, Wichmann's essays are informed both historically and artistically on the detailed ins and outs of the sharing of the two cultures of East and West. Topics include the Asian influence in composition, pictoral space, design, choice of material, and subject matter in the visual art and architechture of turn of the century fin de siecle Europe and America. Visual examples are given from a wealth of artists including Van Gogh, Manet, Cassatt, Whistler, Degas, Mucha, Klimt, the architechs Frank Lloyd Wright and Richard Neutra, and Japanese artists such as Hiroshige and Hokusai, just to name a few.

Being a visual artist from the west trained in the Western tradition and yet fascinated with Japanese fine art and in particular the tradition of ukiyo-e, discovering this book for me was like finding the holy grail, a book filled to the brim with stunning visual compromises between the traditions of East and West from which to take my own influences. Fantastic.

the title says it all - "The Japanese influence on Western art since 1858" --- details print making, textiles, jewelry design, ceramics and glass, home and garden, objects d'art and of course painting. Amazing, for example how much Van Gogh was influenced by Japanese art especially wood block prints and you will see examples of his art and Japanese art which he had access to "Theo and I have hundreds of Japanese prints in our collection..." --- I truly wish I could see an exhibition as put together as this book --- it is absolutely indepth, articulate, clear and consise and immense in scope. Weighs a ton and worth its weight in gold.

excellent book! What Jan Peczkis goes to great detail to deny is really a sad joke because we have WITNESS TESTIMONIES from the pogrom. IN FACT, it was not confined to Kielce! Poles rioted all over Poland, including Lodz where they tried to murder my grandfather in the melee. This was sadly not the first instance if a blood libel that resulted in a pogrom. Jews lived in fear of their lives in Poland BEFORE WORLD WAR TWO. During the war, more Poles informed on Jews to the Germans and Polish police who turned them over to the Germans, than instances of the rightteous who indeed saved thousands of Jews...usually when it involvd converting an adorable Jewish baby to Christianity. I can talk to PECZKIS about it til he will be as red as borscht in the face. In fact, if you want a perfect example of Polish anti-Semitism, go and try to get back ANY PERSONAL POSSESSIONS that a person you know has that belong to your family in Poland. You have a greater chance of getting struck by lighting (literally) than getting it back for ANY PRICE! That IS anti-Semitism. Believe me, my life would be made a lot easier, if this was not the case. Sadly, it is. My hope is that more Poles will come forward to be kinder to Jews who want to reclaim their heritage.

Despite the frictions and mutual prejudices which sometimes developed between Poles and Jews, the fact remains that Poland was historically one of the most tolerant nations in the world for Jews. If the fact that 80% of the world's Jews, at one time, made their home in Poland does not prove this fact, then what does? This book makes it clear that Poland had been centuries ahead of others in terms of human rights and religious tolerance.

In recent years, there has been a great deal of emphasis on Polish anti-Semitism. This is despite the fact that anti-Semitism existed virtually everywhere, and in Poland never approached the level which Jews encounted in many other European nations. Moreover, the positive aspects of Polish-Jewish relationships have been virtually ignored. Pogonowski's excellent book does much to show, in fact, how Jewish communities flourished in Poland.

Iwo Pogonowski's book is a veritable mine of information about Polish-Jewish relations since the Middle Ages. This subject has been badly distorted in the English-language publications, mostly for reasons that have nothing to do either with history or honesty. "Jews in Poland" needs to be read slowly, in small doses, with frequent returns because sometimes a very important fact is hidden in a footnote or some such obscure place. This volume looks and reads like a scrapbook, and the impression is reinforced by its graphic aspect.

"Jews in Poland" is full of very instructional maps and diagrams, it also carries a good selection of illustrations (although their quality is rather so-so). All in all, a book that stands head and shoulders over any other treatment of Jewish-Polish history in the English language.

This review updates an earlier one, and refers to the 1998 paperback edition. This latter edition contains several articles not found in the original hardback edition. The authors trace many mischaracterizations of Polish-Jewish history in the American press. The informed reader can appreciate how little has changed since then. For example, the recent publications of NEIGHBORS and FEAR by Jan T. Gross have resurrected many old Polonophobic canards that should have been, if nowhere else, laid to rest by this 1998 edition.

There is an extensive expose of the so-called Kielce Pogrom--A Soviet-staged event (pp. 403-422). The Soviets wanted to discredit a free Poland in the eyes of the west, and to terrorize the remaining Jews into fleeing to Palestine. Other anti-Jewish actions in Hungary and Czechoslovakia got little press in the west, probably because anti-Communism had been relatively weak in those countries.

In Kielce, the tale of the blood libel had been spread by agent provocateurs (p. 414). The Jews were shot by Communist police, and club-wielding fake "steel workers" also took their toll. Other Communist police involved in the so-called pogrom had been dressed as goons or priests. There is the fantastic myth of the 15,000 to 75,000 cheering Polish onlookers (p. 406), a myth recently repeated by Gross in his FEAR. The actual number of Polish onlookers, most of whom were probably motivated by curiosity, didn't ever exceed several hundred at its peak.

After the "pogrom", inconvenient eyewitnesses met their deaths. The Kielce files themselves were burned in November 1989, shortly before the Communists left power.

Pogonowski makes clear that the Communist anti-Jewish policies of 1968 were not Polish. They were plainly Soviet-dictated (pp. 30-31).

The atlas itself is chock-full of useful information. The reader soon learns that, despite the frictions and mutual prejudices which sometimes developed between Poles and Jews, Poland was historically one of the most tolerant nations in the world for Jews. If the fact that 80% of the world's Jews, at one time, made their home in Poland does not prove this fact, then what does? This book makes it clear that Poland had been centuries ahead of others in terms of human rights and religious tolerance.

I bought this book in my position as church librarian, seeking stories for preteens about people whose lives were changed by God. There are very few books for kids like that out there that don't send a heavy fundamentalist message. There's also the old joke that Noah's wife was Joan of ARK. I needed to set that piece of ignorance straight, too. So I found an excellent book about St. Joan in this illustrated copy. The text is preteen level with historical information like a timeline of Joan's life and map of medieval France, along with the text of Joan's life. This is a nice volume and I would recommend it if you wish to buy it for medieval history, religion, feminist issues, French history or all of the above. The illustrations are well designed and in soft colors, to express the femininity and grace of Joan.

The illustrations are very fairy-tale looking, lending a mythical quality to the long text. A great example of historical events turned into a stunning picture book. Even high school kids would be inclined to read this one cover to cover; I'd use it in middle school without hesitation! Compare to the new biography of Ann Frank by this team!

I had read this book before, and I loved it. Children will fall in love with this book. This book tells about the heroic story of Joan of Arc, the French maid that helped France win a war against England, and died a heroin. I think children will think she is a saint, and she is a great role model for children. Here children can learn from Joan, about bravery, courage, and patriotism. My favorite quote is, "A saint is like a star. A star and a saint shine forever." Parents, you children will like this book. Plus they learn a little history too on a level they can understand.

Regine Pernoud, the most respected twentieth-century biographer of Joan of Arc, noted that everyone can find a reason to love this saint. This book helps children begin to understand why she still haunts us 500 years after her death. I bought a copy of this book for my three-year-old son to introduce him to Joan of Arc's story, and it has been a pleasure for both of us. Now that it is available in an affordable paperback edition, a lot of parents will want to add it to their child's library.

Angela Barrett's illustrations are striking and memorable. In particular, I like the painting of the English bombarding Orleans, as it shows what a siege was like in those days. The cover picture (displayed above) shows Joan on her horse surrounded by the hopeful residents of Orleans who wanted to touch the maiden that God sent to liberate them. Without being heavy-handed, the fire engulfing the banner hints at Joan's ultimate fate, and her face reminds us that she was in many ways a child. This was a true incident, and Joan was said to have been masterful in guiding her horse to water to douse the flame. There is also an outstanding two-page illustration of Charles' coronation, in which Joan is shown standing in a position of honor as befits the liberator of the kingdom. The depiction of angels visiting the imprisoned Joan while she was on trial at Rouen captures the spirit of her faith in God and certainty in her quest. Remember that this uneducated peasant girl held her own for two months in a contest of wits with masters from the University of Paris. The illustrations alone make this book worth having.

Any biographer of Joan of Arc must find a way to explain the inexplicable. Josephine Poole's text is good, beginning with the simple statement that this is a true story. Ms. Poole offers Joan's story more-or-less at surface value. As is appropriate for her audience of children, she simply relates that Joan was a country girl working in a field when she heard voices that filled her with overwhelming happiness. The author includes some details of Joan's story that one could quibble with, but overall the text is solid as biography. I was frankly glad that she did not go into details of Joan's terrible death, concluding instead that a saint, like a star, lives forever. Indeed, Joan of Arc will always live in the hearts of all of us who love her.

Perhaps my son's actions speak loudest about the value of this book. We never go on a trip without "Joan of Arc," and I have heard him tell his friends, in his own way, that Joan of Arc tried to warn Classidas to go home, but that she ended up having to shoot and was sorry when he died. This book has helped my son begin to love St. Joan, and that is the strongest recommendation for it that I know how to make.

Josephine Poole and Angela Barrett's provide a compelling portrait of an ardent and spiritual Joan of Arc in this illustrated juvenile biography of the 15th-century peasant girl who led a French army to victory against the English and was later burned at the stake for witchcraft. Author Poole emphasizes that this is a true story, which is what makes the story of Joan's courage and humanity more compelling, especially with Barrett's illustrations, which provide a sense of both the time and the import of the story. Poole does an especially nice job of presenting the political complexities of the time in simple terms, yet provides a poetic touch to her text. What comes across is a story of a simple girl who was empowered by her beliefs to accomplish great things, that treats the triumph and the tragedy in equal measure, and underscores how after her martyrdom Joan went on to be named a saint by the Church.

Young readers will understand how Joan's beliefs could inspire her troops at the siege of Orleans, but they will have trouble understanding why there were those who abandoned her or why the English made sure she would be convicted at her trail. However, ultimately this look at "Joan of Arc" is more interested in providing a look at the story of her life without really trying to explain the motives of anyone beyond Joan. Within that context, the illustrations by Barrett make it clear that although she is dressed up in armor and carrying a colorful banner, Joan was a young girl. Young readers will definitely have a sense for why the story of this particular young girl has been a dramatic and compelling one for centuries.

If an appreciation of the personal perspective of the poet can deepen the experience of his words, then Lemkhin's photographic tribute to Brodsky's beloved home belongs on our bookshelves alongside the poetry books and essays of the Nobel laureate. Except for an intimate foreword by Milosz, a moving afterword by Sontag, and brief postnotes in which Lemkhin provides background details on several of the images, the message of this book is delivered entirely through black-and-white images. The voice of those visions comes through most clearly when one imagines viewig through the eyes of the poet himself, not only in the streets and the statues, the skies and the stories of Leningrad, but in the mirror of the close-up snapshots of Brodsky himself placed throughout the collection of pictures. Even the mediocre artistic quality of some of the individual snapshots can be forgiven as the soft footsteps of the poet can be heard stepping through his own lines in the movement of these deeply personal worlds of his own home.

I greatly enjoyed the two books by Mikhail Lemkhin: "Missing Frames" and "Fragments". I am especially moved by portraits. There is something about the portraits that make them very different from most others. The pictures are not posed, but don't seem to be too candid either. I get the impression that the subject is aware of the photographer, but is not posing for him, at least not physically. It is as if the subject is exposing his/her inner soul to the camera. The photographs work, in deeply satisfying way, very well. I know I will look at them again and again.

JOSEPH BRODSKY, LENINGRAD: FRAGMENTS succeeds on every level. For those not familiar with Brodsky's brilliant poetry I would recommend that you spend time with WATERMARKS, his tribute to the city of Venice, before coming to this book. Once the gentle subtleties of his poetry are in mind, then spending time perusing this pictorial essay of Brodsky's face and the scenes of Leningrad (the old name for St. Petersburg is used because that was the city's Soviet name used when Brodsky lived there) will form a complete picture of this amazing expatriate. Mikhail Lemkhin addresses not only the pictorial influences on the poet, but also adds some words of wisdom. The tribute at the end of the photographs, in some of Sunsan Sonntag's most eloquent writing, is a fitting closure to this very lovely book. Highly recommended.

Mikhail Lemkhin's book is a book in the fullest sense: not an album of exquisite photo studies, but a composition which transcribes a train of thought. The pages roll like clouds across the sky: Look, this is what we cherished in our lives, this is what happens to people, to stone, to memory, thanks to a little acid rain, that most noiseless rain, they call it - `time`. This is an experience of the `literature of silence`. Like a telepathic séance. The Covetous Knight's soliloquy over a chest of devaluated bank notes. Poor Knight! Over a hundred shots taken at the speed of 1/100 - in all, why that's just around a second! Someone else's story, made up mostly of the same things or signs as mine or yours, only linked in a different way to yield a personal fate. In particular, or rather, most importantly, it included a City which inspired a dream about the meaning of existence, and a Contemporary who succeeded in rendering the tonality of that meaning. But the second has passed, having absorbed almost all that could be held dear. The light wanes. The sound is off. And a question arises: Out of that which man has lost forever, is there anything that he possesses for eternity? The gaze, seasoned with peppery essence of silver, shows irony, pain, and tenderness.

Samuil Lurie, Neva Magazine (St.Petersburg, Russia)

Photography informs the poetics of Joseph Brodsky, photographer's son and himself no novice to the camera. Mikhail Lemkhin's double homage to the recently deceased poet and the city of his -- and Lemkhin's -- birth should be thought of as photography's own reply to Brodsky. Lemkhin calls his _Joseph Brodsky, Leningrad_ a photo-poem; to this one might only add that it is a particularly Brodskian photo-poem -- Brodskian not in its type of montage but in its predilection for montage, not in its sensibility but in the realities it conveys. To imitate Brodsky is to traduce Brodsky. Lemkhin understands that Brodsky's prime legacy is intellectual independence; his photography engages Brodsky's poetry rather than illustrates it, works with, rather than within, its visual counterparts of Brodsky's speech. The end-result belongs on the bookshelf as much as it does on the coffee-table.