Classics Books

This beautifully written, lyrical book is genuinely scary in a way that puts much modern children's literature well and truly in the shade. Grandmother Oldknowe is protected by all the good things of the earth - stone and water, and all the deep things of nature - in her struggle with the horrible Melanie Powers. Aided by Tolly and Ping, it's a battle for the soul with moments that will make adults draw their breath sharply.
Not a book for those who are easily scared, nor for those with strong prejudices against the supernatural - but for the bravehearted reader, an truly thrilling ride awaits.

Why is this book out of print?

In this, the fifth Green Knowe book, Tolly AND Ping come to spend the summer with Tolly's great grandmother, Mrs. Oldknow, and do battle with the forces of evil as personified by a newneighbor, Melanie Powers.

Absolutely wonderful -- my favorite part is the very end, where everything comes together serendipitously to defeat Miss Powers, leaving you to feel that all is right with the world.

After "The Children of Green Knowe," this is my favorite of the five central books of the sequence. It includes all the elements that make the series immortal: the mysterious old Norman manor house with its lush garden and bordering river, the wise and wonderful Mrs. Oldknow who often seems to have more than one foot in any time but her own, her young great-grandson Tolly (now probably about 12) to provide the spark, tales of the mysterious past of the house, and magic--some of it not very nice. Kids who enjoy identifying with the juvenile protagonists of R. L. Stine's horror tales may be well served by being introduced to Tolly and his friend Ping, the Chinese refugee boy, and following along as they slowly become aware of the character and lack of scruples of "Dr. Melanie Powers," the sinister lodger at The Firs, who wants to acquire a gramarie (book of spells) said to have belonged to a tutor employed at the house in the 17th century. While Mrs. Oldknow quickly comes to agree that Dr. Powers is both powerful and evil, it's left up to the boys to beat off her nastier efforts and, ultimately, find a means of defeating her utterly. (Ping has an excellent heroic role when he summons the shade of the slain gorilla Hanno.) Mrs. Oldknow's lodger, the scholarly Mr. Pope, also has his moment of glory when, reciting an ancient Hebrew spell for his tape recorder, he unknowingly halts a spell that threatens to literally ruin the manor. Even the time-travelling blind girl Susan makes an appearance, though I wonder that Tolly's first ghost-friends, Toby and his sibs, are conspicuously absent, this being as much their house as Tolly's--perhaps more: they've been there longer! The one question that itches at me is what has become of Tolly's stepmother: her husband, his father, is mentioned and even arrives at the end of the book, but she isn't and doesn't.

Children like to be deliciously frightened, and this book is a superior title to frighten them with--though not one you'll want them reading alone in their rooms late at night! A superior entry into the series.

The fifth book in Lucy Boston's "Green Knowe" series finally brings together our two main protagonists: the house's blood relative Tolly and the Chinese refugee Ping, both of whom have featured in the previous books, but never together. Unfortunatly we do not see their meeting, but instead join the story half-way through the summer, by which time the two are already best friends.

As always, the mysterious Green Knowe is filled with ancient and semi-magical artefacts (all of which are actually real relics that belong in the author's home on which she based the books) and Grandmother Oldknow tells the children stories concerning the past inhabitants of the house. Now for the first time, she tells them a story that holds a more sinister edge to it. In the 17th century a young boy had a tutor that was said to dabble in alchemical practices, and have a number of magical books with which he created his spells. An author with astonishing vision for her time, Boston highlights the unfairness of such a man being thought of as noble and intelligent for following such a practice, whilst harmless women were often prosecuted for dabbling in herblore. Grandmother Oldknow tells the children that Doctor Vogel eventually burnt all his equipment with the help of the local minister (whose testimony was found in "The River of Green Knowe", but only now translated), but it is rumoured that one book of dark spells may have escaped the flames.

In typical Green Knowe fashion, in which the past regularly surges up to greet the present, it is not just a coincidence that directly after this storytelling a new neighbour comes to call: Melanie Powers, whose interest in the house and in the legend of Dr Vogel hints at her true intentions. She is after the missing book, and begins a systematic assault on Green Knowe as its first truly evil antagonist, whereas up until now the worst the children have faced is meddling adults. Like the Twelve Plagues of Eygpt, Ms Powers sends nasties crawling into the Green Knowe: maggots, snakes and bird-snatching cats.

But of course, Tolly and Ping have their own spells and allies, and with this comes wonderful reappearences from previous characters, including the spirit of the gorilla Hanno and the ghostly past-resident Susan. Even the starlings, who have been pests in previous books, prove their worth. It is stirring stuff to see the children fight passionatly for the home they love and attempt to reach the book before Powers does. I only wish Boston had taken the opportunity to include more characters: what about Ida and Oskar? Toby, Alexander and Linnet? Boggis and Feste the horse?

It is the first Green Knowe book to instigate a good against evil theme, and for that reason is sure to be a favourite among most readers since all the other books make more meandering and whimsical reading. In fact, one should be warned that this installment can get a little scary at times, and even gruesome, as in the case of Powers hanging dead birds on a clothesline or the sight of a horned ritual stick, which was described so evocatively that it sent shivers down my spine: "they recognized it at once as absolutely evil." I should also warn New-Agers and modern day "witches" that Ms Powers is a witch in the medieval description of the word - with black magic and links to Satan.

A great addition to the "Green Knowe" books, though often mistaken for the final installment. This is false, as there are six books in the series, and the last title is "The Stones of Green Knowe", an essential part of the collection. Boston claims that she wrote these books for her own amusement, and that has never been more apparent than in "An Enemy at Green Knowe" since many questions are left unanswered concerning the background of Mr Powers and the real intentions of Dr Vogel, yet despite that, this book is one of my favourites.

And as always, Peter Boston's illustrations are excellent, and I love Brett Helquist's new covers; let's face it, these books were in need of a face-lift.

I remember reading these books on my summer vacations to my grandparents...I was bored and the local town librarian recommended them to me. Many years later, looks for books on mysterious houses for a nephew, I remembered and re-discovered them. My favorite is An Enemy At Green Knowe. The story is full of twists and turns and quite frightening events, with the excitement lasting just long enough to tantalize the reader. You feel the house itself is a living breathing character, as is true of the entire series. This is the kind of book an adult needs to put in the hands of the student -- as is true with A Wrinkle In Time -- and sit back while the child becomes wrapped in the world of Green Knowe. A superior children's book!

This is the second of the two volume Loeb Classical Library edition of Epictetus' Discourses, with Greek and W. A. Oldfather's English translation on facing pages. For those who have no intgerest in the Greek, purchasing this volume may seem like a bit of overkill when compared with inexpensive reprints such as the one from NuVision Publications (September 19, 2006). As someone who bought the reprint first, I must tell you I tried to use it once and was immediately disappointed. Just as with my copies of Homer, Plato, Aristotle, and practically every other classic author, I rarely read them or parts of them from start to finish. Rather, I look up sections when I find references to them in commentaries on, for example, parts of the Old or New Testaments. In order to find the appropriate passage, one must use the established section and paragraph numbering. Unfortunately, this numbering is entirely missing from the reprint, which I have donated to my nearest library after receiving my Loeb copies. These little gems cost about four times the reprint, but for that, you get a book you will be proud to own, and even show off a bit on your bookshelf, plus a great little commentary on the Discourses, as well as the 'Fragments' and 'The Encheiridion', a summary of Epictetus thoughts by his secretary, Arrian. The reprint has none of this and, for the third time, I suggest it is less than useless, as it gives the illusion of value, and you will be disappointed when you find it missing.

I bought this book to help me improve my New Testament Greek because I was told that Epictetus' koine Greek is fairly easy. It was a good choice because although no Greek is really easy, this is much easier than say Plato or even some of the Church Father's I have tried. I have read through the Encheiridion and have found the vocabulary, and, to a lesser exent, the syntax, to be very similar to the New Testament. This is important because for those of us whose goal is to read the Greek New Testament well, we don't want to spend a lot of time learning vocabulary not found in the N.T. Almost every word I had to look up in the Encheiridion is either in the N.T. or has a similar cognate that is. Epictetus uses several words that appear in the N.T. only once or twice quite often, which means that if you read and re-read Epictetus you will begin to master rare N.T. words. The other problem with finding good non-biblical Greek to read is that a lot of it is either worthless or anti-Christian or both, but Stoicism is a worthy philosophy in its own right and does not conflict with the Christian faith. It is of great comfort and the Encheiridion is that rare book that one wants to read over and over again, which, like reading the New Testament over and over again, is the only way that I seem to be able to master Greek to the limited extent I have.
The Loeb classical library is renowned but not exactly ideal. Having a tranlsation on the facing page is a must for non-biblical Greek, because again one does not WANT to master every word or construction if it is not found in the N.T. What I do is to annotate my copy with vocabulary words I am trying to learn or cross reference to similary N.T. words. Oldfeather's translation is not the best, nor even is it literal enough to unpack the Greek, but it is okay and the main thing a reader of this book would want is a Greek text. The book's small size allows one to carry it around easily, although a larger Greek font would always be appreciated. The footnotes are adequate. Bottom line; this is one of the greatest works of philosophy and very helpful to those learning New Testament Greek.

I found epictetus' guide for living in a bookstore, and I had to read more. Discourses is wonderful book on many levels. It is disorganized and at times anachronistic, but it is well worth reading.

It is one of the most comforting books to read if you having trouble in your life. It should be required reading for anyone who is depressed. His simple lessons allow one to overcome fear and recognize real priorities. His style ranges from brilliant clear logic to deeply and beautifully spiritual. Thus he reaches the skeptical critical thinker as well as the more emotional type.

The book is also a window into the mindset of the Roman Empire in the first century. Though Epictetus was a pagan his concept of God is very Monotheistic. Clearly stoic thought and philosopy influenced early Christians. Interestingly Epictetus argues that we ought to live a way of life that is very similar to what Christianity prescribes. Forgivness of self and others is just one of the similarities. However, he argues not that each of us carries original sin, but that each of us carries a spark of divinity: We have been given understanding and intelligence to recognize right from wrong as well as the ability to choose. The shear wonder of this gift and of creation in general motivates us to choose right, not fear of Hell or desire for Heaven.

It is amazing to me that one who spoke so long ago can speak so clearly to the real life issues we face today. Read it to understand history. Read it for a fresh view on Judeochristian thought and morals. Read it for your own mental and spiritual health. Read it.

In the first volume, Arrian builds up a few foundational concepts while tearing down a few others. In the second volume, comprising Books 3 and 4, along with the Encheiridion, Arrian's Epictetus continues an in depth broadside on many topics.

The book deals with a huge array of topics, from the very interesting calling of a Cynic, the type of training one should cultivate, the attitude to news, to circumstances and so on. This book contains such a large variety of teachings from Epictetus, I think one could spend a lifetime implementing it all. It would certainly, like the previous volume, deserve additional readings.

Throughout, Arrian's Epictetus maintains his direct, forthright verbal assault on a variety of characters who have both high and humble positions and stations in life. Epictetus' style is very much "in-your-face", and he leaves no doubt as to what his opinions are.

In short, if you have read the first volume, you get a lot more from this one in terms of practical every day living. This volume goes beyond the basics and the foundation, and takes you into the real world of everyday life. It is a great book, and one that will soon have you asking for more.

This is volume two of a two volume set. The first volume is "Epictetus : Discourses, Books 1 and 2 (Loeb Classical Library, No 131)". The contents for both volumes are as follows:

VOLUME I:

Introduction (editors)

Bibliography

Symbols

Discourses, Book I

Discourses, Book II

Index

VOLUME II:

Discourses, Book III

Discourses, Book IV

Fragments

Encheiridion

Index

The first thing worth noting is that although the titles of the volume refer to just the Discourses, the set is really a complete set of extant works, including fragments from other sources as well as a complete copy of the Encheiridion.

As is typical for the Loeb classical library books, the volumes are physically small, and the original text (Greek, for Epictetus) is given on the left hand page, with the English translation on the right.

The Introduction gives a brief biography of Epictetus and background information concerning Stoic philosophy. The Bibliography (which contains an update note from the original 1925 edition) gives the state of Epictetus scholarship. In the actual texts, footnotes are abundant and explain unfamiliar names, places, difficulties with translation, uncertainties about the source text, and Epictetus' quotes from earlier writers are more fully referenced. In summation, the background material supplied with these books is excellent.

As for the texts themselves, they were not actually written by Epictetus, but were notes taken by Arrian, one of his students (not unlike the Nicomachean Ethics, which were notes taken by a student of Aristotle). The Discourses are quite lively in style; Epictetus' personality and teaching style comes through vividly. This is not true of the Encheiridion, which Arrian abstracted from the Discourses and which had the life wrung out of it in the process.

The Discourses are not a well-organized body of work, as their origin might suggest. They are repetitive, and points that should have been grouped together logically are dispersed throughout.

The content is almost entirely ethical. Epictetus emphasizes the spark of divinity within man - that a man should always behave honourably. External things, such as wealth and power, are not things to be valued - they can be lost at any time, and are not worth a man's honour. Because his teachings are ethical, Epictetus is not concerned with what a man knows, but how he lives. The point isn't to understand his philosophy (which isn't hard), but to live it (which is).

Anna Carson is brilliant, the arguments set forth in her book are incredibly valid and reinforced with brilliant examples from ancient Greek poets one of which is Sappho. Very enlightening read, will change the way you view love, desire and want, it will change the way you view Eros forever. If you havent read it yet i suggest you do NOW.

This book applied to life. No only did the book put into words what can only be thought but it speaks to you. It starts out over most heads but then comes down to relate to all those in love.

This is a delightful book that analyzes love [desire] through classical literature. It is an academic treatise, poetical prose, and philosophy all at the same time. Carson's close reading and her wit make Eros the Bittersweet a must read.

The Greeks did not cover everything but they made a pretty good start. Anne Carson has always been the queen of fitting classical allusions to the evident. The book could be described as an extended exploration of `Odi et amo: quare id faciam, fortase requiris/ nescio, sed fieri sentio et excrucior.'- Catullus. (I hate and I love/ Why do I, you ask ?/ I don't know, but it's happening/ and it hurts.)A splendid place to mine for obscure quotes: `We aren't shutting you out of the revel, but we aren't inviting you either/ For you're a pain when you're present, and beloved when you are away'- Theognis

Carson is an inspired guide through the tangled and fragmentary corpus of Greek lyric love poetry. She has a whirlwind mind and a gift for pithy expression, though once in a while she slips into a kind of gauzy equivocating that weakens her arguments. Still, this idiosyncratic take on ancient eros has moments of great insight and deserves the attention of classical scholars and non-specialists who are interested in the topic.

I first read Henry Mitchell in the Washington Post when my husband was receiving cancer treatment at NIH in 1982, and when I realized that his columns were collected in The Essential Earthman I immediately bought a copy. I have subsequently owned (and loaned out and thus lost) two or three more copies. As each planting season arrives I remember how much I've missed reading Henry's wisdom, and I berate myself for having loaned out (and lost) those books. So for the sake of upcoming generations of gardeners (and the old hands among us), would someone please reprint this valuable book? It's a book to read in the depth of winter and the heat of summer, in a spacious country garden or a tiny city yard, for beginning gardeners and old timers with permanently-stained hands. There never has been anyone quite like Henry Mitchell on gardening, or on life, for that matter. Grouchy, opinionated, funny, informative, brutally honest--his words will never go out of style.

The two books I have read cover to cover as gardening advice and as literature are this book and Christopher Lloyd's Adventurous Gardener. I have shelves of gardening and horticultural books.
It gives you more each time you read it.

Dear Publisher...please reprint this book. I love Henry Mitchell. I was one of the 'blessed' because I actually read Mr. Mitchell's columns (both of them) for years. I live in the Washington DC area, and subscribed to the Post. Those of us who gardened locally were twice blessed because he was not only one of the best garden writers ever, he struggled with the heat, humidity, and high winds that attack us from all sides. Whenever I am in my garden I think of him. When I look at my Japanese Anemones I remember he said "Once you have them you'll always have them." There have been times when I thought for sure they were goners, but they always survived. When I see a little plant struggling under a bush, I remember him saying, "One of these days I'll have to crawl under there and pull it out." When I see a fish tank, I think of him and his horse trough. I miss him.

I bought this book a few years ago based on the reviews. When I got it I tore into it and was sorely disappointed. That's the reason for 4 instead of 5 stars.

Why even 4 stars you ask? Well, about a month ago, for whatever reason, I picked it up again and now I LOVE IT!

Henry Mitchell is dry - like the soil under an oak. But he's terribly warm and fuzzy once you get to know him. I write a newsletter for my local garden club and have found quote after quote that I want to use for future issues. They're not la-dee-dah quotes that speak vaguely about the lovely joys of gardening. BLAH! Rather, they're jewels that point fingers at snobby gardeners and kill-joys who scold children for picking crocuses.

This is not a "pretty picture" book. It's sort of a how-to in an essay form. But more than that, it's great writing by a wonderful author on a topic I am crazy for.

My original copy of "The Earthman" is in shreds. Why?

I have read (and re-read) The Earthman for more than 20 years. Every time I returned to The Earthman, I had a patient, passionate teacher by my side.

With Henry's guidance, I matured. I learned to accept the rains that turned my garden into a sea of mud. I learned to accept the dogs who had a deep need to explore and "investigate" my treasured plants.

Henry is my friend and mentor. I cannot imagine life in the garden without him.

One of the very best compendiums of Christian mystical writers. Perfect for the beginning student to provide a broad spectrum of insight, as well as for the advanced/matured scholar who wants either a reference or exposure to the great authors.

I have found it an invaluable resource, authoritative and easy to use.

I will be buying ther books from Bernard McGinn!!!

For anyone on a spiritual journey, this book is fantastic. I have been carrying it around for over a year and read it through twice. From the teachings of Christian Mystics and Saints, you will understand how to be totally honest with yourself and permit the Holy Trinity to reign in your life. This book can become your "how-to" if you desire to achieve union with God.

Paperback has 559 pages. Includes: Contents of 3 Parts and 15 Sections, Preface, Introduction with a note on the translations, Bibliography with earliest citation "Studies of English Mystics" 1906, and a page About The Editor. The three Parts are entitled: Foundations of Mystical Practice (Origen of Alexandria c.180 to Madame Guyon c.1648), Aspects of Mystical Consciousness, Implications of the Mystical Life.

Very well put together, this book is unique because it arranges the texts by theme rather than chronologically as in most anthologies of Christian mysticism. The depth of the book will really help to reader to become familiar with both the themes and authors of the Christian mystical tradition.
I must add that the notion that Christian mystics teach a unity of all religions and that Christ and the Trinity are just symbols of a deeper reality is an interpretive paradigm of modern scholars that is not reflected in the writings the Christian mystics themselves. They were simply devote Christians who experienced God in a deep and meaningful way.

This is a good introductory text regarding Christian Mysticism. The author is quite knowledgeable and the text is well-edited. This material provides a solid base from which the reader may expand his/her knowledge of the subject matter and put subsequent readings in context.

This book is a fabulous peek into 'Christian Mysticism'. It is inclusive, not divisive. It is 'Christian' mysticism in as much as humanity tailors garments to clothe Truth. For, as humans, we must shape it, if we are to share it. We must make language. Every idea comes through voice. Every picture, form. And despite this limit we place on the limitless, which diminishes it within comprehensibility, flashes of Eternity remain.

Here find vital excepts of writings by Meister Eckart, Nicolas of Cusa, and John of the Cross (to name but three), Gnostic Christians brimming with revelation. Theirs is the symbolism of the Christ, with the tripartite God as description of the unity among all existence. To the mystic, these reflections illustrate sameness.

Together these excerpts form a golden road. Like Ariadne's thread, then, these reasonings can lead us out of the labyrinth.

Drowning in words that crash, rumble, streak past, drip down through the cracks in the ceiling, swell up from the pages and invade my brain, stumble, drop, fall, plunge from every page, topple my usual sense of books, I made it through FADO ALEXANDRINO to the very end, sometimes wondering why I was subjecting myself to such a difficult novel, sometimes rejoicing that I'd heard of it by chance many years ago. Lobo Antunes, whose other works I don't know, has written a nearly-500 page masterpiece which definitely is not for everyone. It demands close attention, it demands patience, and you have to like the flow of language. That this is the case even in English is a tribute to the famous translator Gregory Rabassa, who almost single-handedly, brilliantly, has brought Portuguese-language literature to English readers. Five men gather in the 1980s in a bar. They served together in Mozambique around 1970, fighting in one of Salazarist Portugal's colonial wars. The novel covers their return to Lisbon, the resumption or crumbling of their previous lives, and then the onset of the bloodless Portuguese revolution of April 25, 1974. One man never speaks, but we feel his presence. There's a soldier, become a furniture mover for his uncle's tottering business. There's a second lieutenant from a humble background, married into a rich family who flee to Brazil when the Revolution occurs. Third is a lieutenant colonel whose wife dies just as he returns from Africa and who takes up with "a cloud of perfume" in silver high heels and oyster-colored eyelids. Fourth is a communications officer (also referred to as "Lieutenant" which caused me no end of confusion at first) an underground Communist agitator, jailed for his pains before being freed after April 25th. What happens to the men during that confused period in Portugal's history, and then when things settle down is the subject of the rest of the book. There's a lot of their sex life, a murder and a denouement. Set down like that, the `plot' of FADO ALEXANDRINO doesn't amount to much. No, you'll read this because you want to read a highly unusual work of art, one that weaves stories, the gritty side of Lisbon, times, voices, dreams, thoughts, imaginations, and moments together like a collage, like a Pollock painting, like a tapestry. Lobo Antunes changes direction on pages, in paragraphs, and even in sentences---some of which are extremely long. He draws a detailed picture of Portuguese society seen from the bottom up; no touristy views for him. You can't just skim along; you have to pay close attention.

Let's face it. Either you're going to be blown away by this incredible book or you're going to toss it after the first 20 pages.

This book is a amazing voyage to the most deepest places of the mind. Here you live, and on this book you will really live, the life after the african colonial war of four portuguese veteran. Their most inner desires, feelings and thoughts are exposed in a really vivid picture. You almost see them in a Lisbon City long lost.

I just re-read the Amazon description: dense and demanding. That's an understatement! I really enjoy Portuguese and Latin American literature (you know a "but" is coming), BUT why, why, why do the writers not want you to get to know who the characters are until page 17,348? It isn't that the characters aren't important to the story - they ARE the story.

Each of these should come with a disclaimer: "WARNING: you may never know who the characters are or what they are talking about. This is not a fault of your brain or the printer. It is doubtful it is part of a plot to take over the world since they wouldn't know who to put in charge or where to find them if they did. Read at your own risk." Don't be surprised if the warning is written by the author.

If you are patient, you will eventually identify and identify with the characters and the events they are describing. Once you get to that point, the flow of the story will change for you and what went before will be clearer (you'll never be totally clear - Antunes probably planned it that way).

This is one of those books being referred to when you hear "it has to be experienced".

Late one night in Lisbon, Portugal, five army men are reunited on the tenth anniversary of their battalion's return from Mozambique. Since the horror of Africa, some of the men have been promoted, some divorced, married, remarried, demoted, fired, started a business, looked after family members, buried family members. They discuss their lives over wine, tongues loosening as the alcohol flows. In a few hours, one of the men will be dead, murdered, stabbed in the back by one of the other soldiers.

To boil down the plot to its very essence, the above paragraph encapsulates Fado Alexandrino. But this sprawling, extravagant, difficult novel covers so much more with every one of its nearly five hundred pages. The impact of this novel is not what is said, but how it is said, the way Antunes manages to weave five very different lives together into a coherent whole, spanning more than a decade of time.

Antunes uses an interesting style of extremely long paragraphs, broken up by the very rare period, but littered with commas. In one paragraph - this is not rare - a character will begin thinking about something, his thoughts triggered by an off-hand comment, and his mind will wander back to five years ago, or ten, or yesterday, and the focus of the paragraph will switch to this new scene, with new characters, without changing tense, staying in the 'present', and then another character will begin thinking, and they will take over the scene, they will direct the paragraph to another place and time, they will be the focus. This happens again and again, we constantly change from early times, when the soldiers were young and inexperienced, to the moderate years, with wives and children, unhappy or not, to the 'present', the reunion, when some are old and some are older, but all are weary in their own way. Yet somehow it works. It is a testament to Antunes literary skill that we are never completely lost, that there is always a thread to hold the path, that even with rapid, unflagged changes of point-of-view character, or scene, of time, of focus, we can stay on par with the course and understand what is happening. A good example of this shifting focus: What sad pusses dead people have, the soldier thought, what soft rubbery mouths, like a sick clown's, and their hands, Captain, so quiet like that, hanging down, pale, whether it was from the vitamin pills or the ampules, I was soon able to stand on my pins and shuffle along from room to room without any help, the day after tomorrow the little man with the briefcase will dump the furniture into the street and take over the house, the day after tomorrow, the soldier thought, they're going to kill my uncle for good, Odete stopped visiting me, waving, smiling, I'm fine, he remember Olavo in the apartment in Cova da Piedade, newspaper open on his knees, staring at him a little unwillingly with furtive eyes that tried unsuccessfully to congratulate themselves, to be happy, the ferry shaking and leaping on the waves, the trip of the truck to the town, the following day, in the afternoon, he got dressed and sneaked out of the buildings while the concierge went to pay the electric bill, he walked two or three... And so on, and so on, and so on. This paragraph continues on for another page.

The primary reason that all this works is because of the Revolution, a turbulent time in Portugal's history, when socialism and communism threatened to take over, when violence, raping and slaughter were commonplace. The novel is split into three section, Before the Revolution, During the Revolution, and After the Revolution. Generally, when jumping around, we are able to tell what is happening because of this time, this character, this situation's proximity to the horrible events in Lisbon. Granted, although the time can change so sudden and dramatically, during the 'Before the Revolution' section, most of the jumping is contained to a time that is before the Revolution, and the same with the other two sections. It is almost as though the primary character of the novel is the Revolution itself, a great maelstrom that sucks in the five soldiers, twisting and turning their lives about.

Antunes has a fantastic sense of imagery, an ability to describe situations and localities unlike anyone else I have experienced. He is very organic with his descriptions, a woman's mouth is 'an orange pulp', her thighs open 'like a marine polyp', and so on. Considering that the focus of the novel is the Revolution and its terrible, deleterious effects upon the nation of Portugal and, in particular, the city of Lisbon, the themes of death and decay are primary in the writing. So that in the daytime, with the sun cruelly exposing the mends, the filth, the lack of paint, and the sores of poverty that the lights disguised, everything seemed smaller, uglier, very depressing, and desolately poor. Unfortunately, this diseased, dirty quality of the writing - so effective when portraying a nation gone to rot - is difficult to read when referencing women. There is not a single positive female character in Antune's Lisbon, they are all selfish, or vapid, or dirty, or rotting, or old, or meek, or domineering, or... the list continues. However, it can be argued - quite correctly, I believe - that these negative qualities are not inherent in women so much as a part of the perception that the soldiers carry within themselves. In Mozambique, they were accustomed to raping and prostitution - male or female - and it is easy to imagine that they would have gained a low opinion of females and sex because of this.

There is one misstep in this book, and it is worthy of mention. The second to last chapter is the only chapter that completely focuses in upon one character, and is the only chapter where the narrator is a woman. The chapter is reminiscent of Molly's soliloquy, as in Joyce's Ulysses, with huge run-on sentences that take up an entire paragraph, long, detailed descriptions of sex and lust, wandering thoughts and ideas, etc. The chapter is written with fantastic skill, but the problem is that it does not really fit the rest of the novel. The tone is different, the pacing is different, the style is different, and it didn't seem to serve much point. Yet, it was an enjoyable read. An interesting dilemma.

By the end of this dense, difficult novel, there was a sense of relief that it was over, a feeling of accomplishment. However, there was loss, because, with Fado Alexandrino, I was able to fall into a decadent, violent world so completely that getting out again was a difficulty, and this is a rarity in a novel. The effect was powerful, almost physically so while reading, and I would recommend to no person reading two Antunes' novels in a row. Beautiful, morbid, complex, difficult, structurally amazing and intricately detailed, Fado Alexandrino is well worth the effort.

I agree with the previous reviewer. Antunes is a marvellous writer. Once you get into his way of writing it is hard to put the book down. His poetic language is so filled with images that you could actually feel the smell of Lisbon. In this story we follow the life stories of a couple of war veterans before, during and after the revolution in 1974. They come from different social backgrounds, so Antunes succeeds in portraying many aspects of his society. But to me is that not the main issue, no it is the moving life-stories of his characters. It is not an easy read but he can also be very amusing in a rather absurd way. Antunes has bee critizised for writing the same book over and over again. This is the second novel I read. His style is very similar but once I get into it I'm moved by the beauty and captivated by the energy of his prose.

Anyone interested in modern fiction must have a go at Antunes.

I read this book with no prior knowledge of the author or any of his other literary work. What first captured my attention were the two young men of color on the book cover. Second thing that captured more of my attention were the well done, scenic, and colorful illustrations by Brian Pinkney. Author Robert D. San Souci even added a glossary for the words that young readers of the English language may not be familiar with. For example, words such as Bon-Die, Bonjou, Monfi, and Monsieur.

"The Faithful Friend" tells the heartfelt story of just that...a faithful friend. Clement (of Martinique in the Caribbean) and Hippolyte (of French descent) were friends, yet as close as brothers. They embark on a travel for Clement to propose marriage to a young woman that he fell in love with by sight of a picture only. Along the way they discovered the dead body of an old beggar in a banana grove. The good hearted young men provide a burial for the body and continued on their journey. After reaching their destination, all was well with the woman... but her Uncle did not care for a marriage between the two. The Uncle was also a wizard. He attempted to cast a spell on the young man who sought a wife, but the faithfulness of a friend caused none of the spells to work. On their journey home the friendship is demonstrated in more ways than one. The mystery that surrounds the spells and the faithfulness of the friend captures the readers attention. At one point I thought that I could predict the ending, but the author was too slick to let his readers be disappointed by having a predictable ending.

Overall, this is one book that I will highly recommend to young readers because it is well done from beginning to end (story and illustration). It is like an old folks tale with a French & Caribbean flavor. It may also spark a young reader to want to learn a foreign language, which is a valuable skill to acquire.

Review by:
Pamela Jarmon-Wade

Set on the French West Indies island of Martinique, this classic telling of two inseparable friends who would give their lives for each other, offers more than mere fairy tale. Clement and Hippolyte are as close or closer than brothers, even though they do not share the same race. They have been raised together since birth and cannot be parted. On a journey to find Clement's true love, they find and bury a homeless man, run from an enraged uncle, and dodge three curses cast upon them by a quimboiseur (a wizard).

At first I wasn't sure I would like this tale, as I made my predictions while reading. I thought I had completely guessed the ending. "How predictable," I surmised. "Too easy to figure out." As I continued to flip the pages, my predictions began to unravel.

When author Robert San Souci isn't writing yet another version of the Cinderella story (this man has done everything from skeletons to Cajuns, I kid you not) he can be found writing the film script to the Disney film Mulan, adapting every folktale known to man, and collaborating with some of the best living children's illustrators out there today. He can probably tile his floor with his Coretta Scott King Awards at this point and that Caldecott Honor he acquired from "The Faithful Friend" probably doesn't look too shabby either. Of course, Mr. San Souci hasn't a degree in folktales nor has he ever worked in a professional capacity when studying them. My response? Capacity schmapacity. This guy does his research, knows his stuff, and produces some of the best darned picture book folktales out there today. If his backgrounds just in advertising and film reviewing, so be it. At least he has a healthy respect for the genre and a great ear for folktale text. "The Faithful Friend" is an excellent example of both.

On an island in Martinique, two boys grew up on a sugar plantation. One boy was Clement, a brown-skinned boy who's father owned the estate. The other was Hippolyte, Clement's white companion and servant of the house. The boys grew up together and one day Clement told his friend that he'd fallen in love with Pauline, the niece of a man rumored to be a wizard. Hippolyte worries that there may be danger in going to visit her, but his friend won't be talked out of it. Together they travel along the coast road and, as they go, bury a poor beggar they find dead along the road. When at last the boys meet Pauline she's charmed by Clement but her uncle is not impressed. Though she swears to marry her new (some might say instant) love, the uncle vows to stop them at whatever the cost. Now Hippolyte must save his friend and insipient bride from zombies, poisoned fruit, nasty water, snakes, and that awful fate of turning to stone. Friendship has never been so good.

In an Afterword of the book, San Souci gives a riveting account of the many variations of this tale and gives a mighty compelling explanation of why exactly he chose this particular version. Turns out that this story is a Martiniquan version with an alluring chance to incorporate ghosts and grateful dead (sans Jerry Garcia) to the mix. He makes several allusions to "The Types of the Folk-Tale" by Antti Arne, which lists every single folktale variant and gives each one a number. Hence, your average grateful deal/the dead man as helper tale is tale type 505 while the rescued princess/the grateful dead man story is more along the lines of tale type 506. I don't know about you but I'm now itching to get my hands on this "Type" book to find more stories that fit certain molds.

When he chose to tell this tale of a black character and his white hero sidekick, San Souci switched the genre from the typical white-guy-and-his-magical-black-friend story found in every bad movie and book to something original and interesting. Race is not necessarily a factor in this book, allowing the viewer the chance to concentrate far more on the story than the politics. Because San Souci is throwing every folktale trick into the mix (from the ghostly to the ghoulish to the ghastly to the gorgeous) you might think that he's in danger of spreading himself too thin. Quite the opposite turns out to be the case. Though he draws from a variety of different sources, San Souci finds the perfect balance between the fabulous and the meaningful. This is a story about friendship, plain and simple. It just throws in a few zombies here and there for kicks.

San Souci has paired with every conceivable illustrator in the past and in this particular case he has been put together with the very well-known Brian Pinkney. Personally, I much prefer Brian Pinkney's pictures to those of his father Jerry Pinkney. His pairing with San Souci has always been particularly inspired, and I consider their work on "Sukey and the Mermaid" to be an example of one of the best picture books available to kids today (and certainly the top mermaid picture book every made). In this picture book Pinkney engages in full-throttle no-holds-barred scratchboard and oil pictures. The result are lush full-color spreads that shed delicate pink/purple light from oil skies onto scratchboard faces or delicately swirl circular winds of power around hot orange mangoes in a zombie's hand. Speaking of the zombies, I don't know how San Souci pictured them when he wrote this story down, but Pinkney has made them somewhat hot. These are good-looking zombie women. An odd but interesting choice on the artist's part.

You know, I don't usually like scratchboard picture books. When Mr. Pinkney wrote and illustrated, "The Adventures of Sparrowboy", I felt the technique was completely unnecessary. Seeing it in the context of this story, however, it not only works but compliments the story itself. All in all, "The Faithful Friend" is everything a good children's folktale should be. Creepy and lovely and with a good moral that is not moralistic. A jolly good read altogether.

This book represents the length that a friend will go to help and care for a true friend. These two young men have built a very strong bond that holds them together like brothers. This story takes place on an island with many twists and turns that make it a very exciting story. I think it is very important to let children know that we should be loyal to others in time of need. This story really hits on the true meaning of friendship, although it is fiction. My students love the illustrations which are done in scratchboard. Robert D. San Souci is a very good author for folk literature. I also like his book, The Talking Eggs. His work is good for teaching good values, or morals to students through unreal happenings.

The Faithful Friend is a French tale base in the Caribbean on the island of Martinique. Two inseparable friends, Clement and Hippolyte, are on a journey to propose marriage. After a beautiful woman named Pauline accepts Clement's proposal her uncle sets out to destroy them both. Three zombies have cast spells on the couple and it's up to Hippolyte to save them. The content seems to be appropriate for the ages indicated on the back of the book. However, there are some fairly complex words within the text, but a glossary has been provided at the beginning of the book. The Faithful Friend is definately written for young children, yet adults will enjoy the tale as well. Each illustration brings more meaning to the text. It uses bright, beautiful colors that words could never describe. They are also very accurate and consistent with the story. The artist uses a scratchboard technique throughout the entire book. This book seems to have been binded well, and the front cover bears two handsome young African boys, along with the Caldecott Honor sticker! Two thumbs up!!

A new bride, a screwdriver and the coffin in the sitting room -- if for no other reason, this book is a MUST for that scene.

I take issue with the reviewer who described Bathsheba as "not an evil person," but rather "a force of nature." In fact, she's the protagonist of the story. Like any tragic hero, she's flawed, and by her own unique brand of hubris. With her spunkiness, grit, beauty and abject stupidity about men, she's more of a thinking person's Scarlett O'Hara, if you ask me.

I'm not sure that this book qualifies as one of the greatest of all time, but it is certainly one of my all-time favorites. My first aquaintance with the story was seeing the 1967 movies, with Julie Christie, Terence Stamp, Peter Finch, and Alan Bates as the four main characters. (If you haven't seen it, this movie is very much worth the trouble.) Of course seeing the movie first has somewhat influenced the mental images of the characters in my head, despite the blonde, blue-eyed Christie playing the dark-haired, dark-eyed Bathsheba Everdene.

Yes, the story is about a beautiful women and the three men who court her, marry her, die for her, and swing for her (almost). There are lots of interesting sociological and historical topics here, and a great deal of the drama and pathos of the plot stems from the completely defenceless position of a women who, whatever wealth she may possess, essentially loses all control over her life when she marries someone whom, in contemporary terms, we might call a serial abuser.

But for me the real attraction of the book is the wonderful portrayal of nineteenth century rural life and the beautifully handled dialogue which is full of humor, pathos, and ultimately tragedy.

So, although in some respects the plot is not all the dissimilar from your typical Mills & Boon type scenario, there is much, much more in this book, and by the time you finish reading it, you have experienced a totally absorbing emotional rollercoaster ride and it is hard to say goodbye to these characters who truly come to life in the imagination.

Very, very highly recommended.

It took me a while to get into the author's style of writing, along with the dialect of the country folk, but once into it and the story it was very enjoyable. There are times where the author goes on with descriptions of the countryside, farming life, etc. and the story lulls a bit at those times, but then picks up again.

All in all well told and I am looking forward to more from this author.

FAR FROM THE MADDING CROWD, the first of Thomas Hardy's 'Wessex' novels, tells the story of a small troupe of farmers and their workers in a sheep-farming community in the fictitious county of 'Wessex'.

Gabriel Oak has been a shepherd since his teenage years, as his father was before him, but he's moved up and purchased, on credit, his own farm. The work is hard, but he is confident that he will succeed, and takes pride in being his own man. Then one day, a new woman arrives in town. Bathsheeba Everdene is beautiful, headstrong, intelligent, but incurably vain; Farmer Oak falls in love with her immediately. A few months later, he proposes, and is utterly rejected. Bathsheeba moves on to care for her dying uncle, and take over his farm. Gabriel continues farming - until tragedy strikes.

He and Bathsheeba will cross paths again, this time not as lovers, but as mistress and servant. Bathsheeba's beauty, vanity and impetuousness leave a trail of carnage in her wake, and Gabriel can only watch on as lives are destroyed, farms are ruined, and his own heart is crushed repeatedly.

Hardy is famous for his fatalism, and this is displayed no more than in the character of Bathsheba Everdene. She is not an evil person, as the above summary would suggest - but her stunning beauty and fierce intelligence combine with her vanity and impulsivity to create something like a force of nature, and though she means only good she seems to be able to do nothing but wrong by those who care for her. She has no more control over her nature than she does over the weather. One of the most interesting aspects of this character is that her vices - vanity, impulsivity, which Hardy attributes to her being young and beautiful - lead to the downfall of others, but she is continuously saved from downfall by her own intelligence and inner personal strength.

REal tragedy finally does strike Bathsheba, but rather than let it destroy her as retribution for her wicked ways, she grows from it. We may not be able to escape the hardship of life, Hardy seems to be saying, but we can grow and prosper by learning from it.

This was a fantastically entertaining book. The only warning that I could give with it is that it is slow-moving. The action comes in fits and spurts, and Hardy has a penchant for elaborate descriptions of the countryside, for farmhouses, churches and festivals. They are beautifully written, but take time to digest fully. Highly recommended.

Thomas Hardy (1840-1928) is one of the glories of English Literature. Hardy wrote this novel in serial form for the Cornhill magazine edited by Leslie Stephen (father of novelist Virginia Woolf). In this Penguin Classic editon the editors have chosen to present the novel in the manuscript form in which Hardy first wrote it. The book is, therefore, free of the changes made by the Cornhill staff in which they sought to remove any improper language and changed some of the names.
The book was made into an outstanding movie in 1967 with Julie Christie as Bathsheba who has to choose three lovers. The bellicose sexy sergeant Frank Troy; the stolid and mentally disturbed rich farmer Boldwood and the reliable shepherd Gabriel Oak. What ensues is a tragedy filled with those ironical situations so beloved of the sceptical mind of Thomas Hardy.
All Hardy novels set in his mythical Wessex are filled with
rural humorous types and include many allusions culled from the
Bible and mythological subjects.
Hardy was greatest when he described the lush English countryside of southern England. His evocations of dawn breaking, snow falling and leaves tumbling to the groud are
beautifully drawn. The scenes of sheepshearing, barn burning
and the routines of rural life in 19th century England are
richly drawn.
This novel was authored shortly before Hardy wed his wife
and shows the novelist at the beginning of his great career.
Some readers may have trouble with the extensive use of dialect for the farmer characters but this novel is to be read
and savored and remembered long!

Part of my homeschooling curriculum...my son thought it was ok only because he wish it would have had more pages!

Chesterton was a household name at the turn of the (19th to 20th) century. Many have forgotten about him, but an energetic literary renewal is taking place. Brown has made an important contribution to this renewal by making Chesterton's most famous fiction accessible to anybody. Highly recommended.

I'm sorry to say that I never had a chance to get to know G.K. Chesterton when I was young. My first encounter with him came from a friend who often quoted his works. I've just gotten to know Chesterton as an adult in the past year, and I'm so glad I have. Now, Nancy Carpentier Brown has given my children a chance to get to know this wonderful writer through her excellent adaptation of four Father Brown mysteries in The Father Brown Reader.

I read The Father Brown Reader aloud to our 12 and 8 year olds. We all delighted in these mysteries, as well as the wonderful illustrations, and upon finishing the last page both kids were begging for more, more, more Father Brown!

I would highly recommend The Father Brown Reader to any parent who would like to introduce their children to the writings of G.K. Chesterton.

A perfect vehicle to introduce younger children to good mystery stories and to GK Chesterton, too. Adults will be impressed, too. The illustrations are delightful.

Delightful reading! Here are four mystery stories written for grade school children to understand and enjoy, yet interesting and thought-provoking enough for the most discerning adults as well.

Mrs. Brown selected stories to fit the emotional maturity of young readers. No murder mysteries are included. Instead the tales include burglary, misunderstanding, cunning, and surprise twists in Chesterton's unique style.

These adaptations provide an entertaining introduction to the writing of G. K. Chesterton, not only for children but for people of all ages.

Father of the Bride (Part I) is more than a Classic Film, is at the pinnacle of the Comedy genre. Is one of those few movies that you'll enjoy and laugh each and every than you watch it.
Though Steven Martin certenly is one of the best actors, superb as a comedian and excellent talent in dramatic roles, I prefer the Spencer Tracy version hands down the best though in Black & White you enjoy Specer's wit, he worked very hard get it perfect.
Spencer Tracy as Stanley Banks
Elizabeth Taylor as his daughter

This humorous play is based on the novel and has been successfully made into two different movies. The movie starring Spencer Tracy is more similar to the play than the Steve Martin film. However, the Steve Martin movie has one very important character that the Spencer Tracy film does not, Massoula (played by Martin Short); who is the funniest character in the script. Anyway, the play is a charming comedy that examines the horrors of the rituals we call weddings from the perspective of the father of the bride.

Mr. Banks is a happily married man with three children who doesn't have any major problems in life. Then his daughter announces out of the blue that she is engaged to a man the family barely knows. Chaos begins and continues throughout the play until the last scene when we see the true character of the father of the bride.

A delightful play that's not only a blast to watch, but is a joy to read as well.

Having already seen both movie versions and being cast in the play by the same name, I had to find a copy of the book and find out where all the delightful wit and humor had originated. I was also seeking to see if I could glean anything from the novel to use while acting in the play. I really enjoyed the movies and love the play. However, the book is more humorous than all three.

FATHER OF THE BRIDE is told from the vantage point of Stanley Banks, the title character but in an omniscient way. There are tons of witty, one-liners throughout the novel, and though there is some dated material, the Mr. Banks of the novel seems more real and down-to-Earth than any the films are theatre have produced. The book is full of observations on life; from women and men to children and business, but told in a humorous, yet enlightening way. The book isn't very long and makes for a very entertaining read. "How. . . How".

I read this book a couple of months ago. It's very funny and sad at the same time. i feel bad for the dad because he's going through a hard time. But it has a happy ending.

A pleasant read that pokes fun of all those fatherly qualities we can all find in our own dads.

I will definitely have this around for my father when I get married!!!