Classics Books

Reading these essays which span more than two decades (early 50s to mid-70s), I am struck both by their craft and their antiquity. E.B. White wrote the book on writing, literally, with William Strunk; THE ELEMENTS OF STYLE remains the most useful and concise rule book for modern English exposition yet written, and White's CHARLOTTE'S WEB remains a childhood favorite for many. White was a master of the essay form, sparking a reader's interest in the subject at hand and cajoling further attention to the tangents and digressions which are an essayists stock in trade. He easily wends narratives which include broody geese, nuclear power stations, old dogs, oil tankers and mortality. His voice is plainspoken -- the viewpoint that of a person with deerhunters for neighbors, who enjoys the occasional venison steak, who roots for the deer in hunting season, and yet admits to shooting the foxes who kill his chickens. At the same time, his writing feels dated, rooted in an era when feelings were less admissible than ideas. His writing seems honest, but guarded, particularly after my recent immersion in Ann Lamott, a decidedly unguarded and modernist chronicler. Thus, I emerge from White's work impressed with his grace, language and fluidity, but disappointed in the gut. There are tales untold between these lines and I am left hungry. Old-school excellence, but aging fast.

What do you expect of tomorrow? "THE WORLD OF TOMORROW", perhaps the best known essay among his essay collactiond,"Essa of E.B. White". It contains thirty other essays organozed into seven sections.

The scene of "THE WORLD OF TOMORROW" is in New York in May 1939. White mentions "Tomorrow" remembering the World's Fair held there. The Fair's theme was also "THE WORLD OF TOMORROW", and there were the white ball and spire named the Tylon and Perisphere which were two landmark monumental buildings in the fair. Actually White had to visit there with a box of Kleenex...

At first, the road to the World's Fair is refered as the road to "Tomorrow". Through the street, he arrived at "the very threshold of Tomorrow". At the Fair, he made a few notes about what you may expext of tomorrow--In tomorrow, most sounds aren't these themselves, and we can't tallk back.

The New York World's Fair was filled with man's dream, and it's held 66 years ago! The more I read this book, the more I can be into White's world. His way to use metaphor is brilliant, and it makes me feel more comfortable. So, I really recommend you not only this essay but also his another collection.

I live on a small rural island in the Pacific Northwest, home to fewer than a thousand people in the winter, so I have a deep understanding of what E. B. White means when he writes: "Feeling ran so high that some people stopped speaking to each other--which is a form of discourse."

Lately, I felt the need for something calming in my life and, for the first time in years, I picked up a collection of E. B. White's essays. Reading him is like lighting a fire on a cold and windy evening. This man can write a sentence and create a sense of life as well as anyone I've ever read.

And no one ever wrote more heartfelt prose about barnyard geese.

This is such a marvelous book.

The sentences are simply perfect and the sense of wonder he creates makes this a text you will want to go back to over and over. A great gift for any literate person in your life.

Really great.

Twenty two of the essays appeared in THE NEW YORKER. White had candor. His piece on the death of his pig is masterful. He examined his own feelings and community reaction. The role of his dachshund, Fred, is described amusingly. It is no wonder White wrote so winningly for children.

In 1954 when he had no television he was looked upon as an eccentric. During Hurricane Edna radio worked people up to an incredible state of alarm. It seemed that no wick was available for the Whites' kerosene lamp. White has some gentle fun with mistakes of the exhausted radio announcers. Battered down was said instead of battened down, and unindated for inundated. There are two stages in the country of a storm. There is the period when phones and lights are still going, and then there is the stage when these cease to work. The storm itself did not seem long in comparison to the radio vigil.

He came to feel that living in New England in the winter was a full time job in itself. Another use of his time was having an enemy, the fox. Darkness was more insistent than the cold. Farming, even the kind pursued by the author, is infinitely complex. When the snow arrived early in 1971 White was cut short. The usual things were not done. It got so there was no place to put the snow after it was plowed.

In the city section of the essays it is noted that New York City bestows the gift of loneliness and privacy. In 1939 there were eight million people in the five boroughs. In Florida it appears that the sun and the lizard maintain the same schedule. The tiny spots of the fiddler crab's body enlarge during the daytime hours. To have a pointsettia plant at Christmastime in
Florida seems faintly ridiculous. Pointsettias bloom naturally in the yards. A small chameleon arrives with the Whites' tropical substitute for a Christmas tree much to Mrs. White's delight.

In 1923 the author kept a diary of his trip to Alaska. A ship, docking at Seattle, was to go on a journey for forty days. He had only forty dollars, enough to traverse the inner passage to Skagway, and so he went. The Buford, for some of the passengers, became a high class floating jail because although food and scenery were good, there was no escape. Youthful, White absorbed the vast scene of Alaska. This was a trip promoted by the Chamber of Commerce, but White's roommate was another odd man to the enterprise, a Laplander. He was a reindeer butcher, going to a job in Nome. When the boat reached Skagway White's ticket ran out. The captain came up with the idea of putting him on as a night saloonsman. His metamorphosis took the passengers by surprise.

WALDEN is not a well-liked book among White's acquaintances. Thoreau was torn by two desires, to enjoy the world and to set the world straight. He tended to write in sentences, and WALDEN is a collection of certified sentences. I have tried to give the prospective reader some notion of the enjoyment to be obtained from reading White's essays.

Pat Jordan wrote this book about his three years playing minor league baseball trying to live up to the giant bonus the Milwaukee Braves had given him to be a pitcher for them. He chronicles what days he can remember spent in small towns, meeting interesting people, and going through the struggles any 18 year old boy must go through with the extra added pressure of having to throw a small white ball past a professional athlete.

What makes this book stand out from other such books is that Jordan is an extremely strong writer. Some of his landscape descriptions bring back Steinbeck and his tales of dankness Dreiser. He is very talented and I finished the book in about four days because of its easy flow.

The biggest disappointment was that many parts of the story are left unresolved. About halfway through the book he drops a major bomb after calling an old girlfriend and yet nothing more about it is ever mentioned. The ending too is sort of dropped on us, almost as though there is was another chapter that got cut off. I know this is a non-fiction book and sometimes real life is unresolved, but it seems as though there are parts left out. I only hope some of the answers are contained in his sequel to the book written almost 30 years later entitled "A Nice Tuesday".

Like so many baseball books, this really isn't just about baseball. It's about a young mans' journey growing up. It's about what happens to a "can't miss" prospect when he does miss. Pat Jordan looks back 15 years after he threw his last pitch--trying to figure out what happened. He's still not sure-I got the feeling he wrote this book for theraputic reasons. But we learn a lot about Mr. Jordan, and some of it is not too flattering. It's obvious he's still searching for the answers, and that's what I like the most about the book-because YOU understand while reading that he just didn't have what it takes to be a big league pitcher. A wonderful peek inside Mr. Jordan's "coming of age." Highly recommended!

I first read excerpts from "A False Spring" about 30 years ago when they appeared in three consecutive issues of Sports Illustrated. From the moment I began reading that first installment, I was entranced. It is hard to describe exactly why, but I am sure that the baseball action in the book was not the reason. Instead, I remember Jordan's vivid portrayls of such seemingly mundane things as a prarie thunderstorm, an afternoon fishing in the swamplands of Florida and the glow of the instruments on his dashboard. These depictions riveted me, I'm convinced, because they put into words how I saw the world. As an 11 year-old, this was a unique and novel experience for me.

Jordan's portrayal of his own feelings of dissatisfaction, disappointment, anger, rage and finally resignation also resonated with me. Most of the reading I had done up to that point portrayed life's events in a linear fashion that was totally at odds with what I had already experienced. I was fascinated that Jordan could take an accessible subject matter and weave all of these other elements into it.

Mind you, all of this came to me from reading the three SI excerpts. I never did read the book until, by chance, I was searching on this site and came across a name I remembered. So, 30 years later, I got a copy and tried to find out whether this book would have meaning for me anything like what I experienced as an 11 year-old.

Some pompous windbag spoke at my college graduation ceremony about the test for what he called "clahsic stahtus." According to this guy, any writing qualified for that status if one could read the work at widely spaced intervals and still feel the same spark as in the previous readings. He assumed, I guess, that peoples' perceptions and interests change over the years and that only writing that had a certain breadth would be able to appeal to a reader who had undergone those changes.

"A False Spring" certainly passed the test. All of the vivid descriptions -- the hand-me-down uniforms, the barracks-like atmosphere of minor league spring training, the experience of pitching in frozen northern outposts-- remained as vital and gripping as before, as did Jordan's portrayal of the unravelling of his baseball career. With the benefit of 30 years' experience, I was able to understand the author's struggles in more than the visceral way I did as an 11 year-old. Further, I got the strong sense -- confirmed in Jordan's later memoir, "A Nice Tuesday" -- that Jordan himself had not figured out exactly why things had gone so wrong for him.

At times, reading this book was like watching someone reliving some horrible nightmare. At other times, it was simply a pleasant experience to read Jordan's description of day-to-day life in small town America in the late 50s. Throughout, the book was just as gripping as those SI excerpts that grabbed me 30 years ago.

I have read that Pat Jordan set about to create a persona in this book and that the portrayal of that persona was calculated and not always accurate. Even so, this book reveals enough of the real experiences of the man that it withstands the test of time. I'm not so interested in absolute historical accuracy when I come across a book that can hold my attention and bring me back for more 30 years after the first reading.

Those of us who are profesional sportswriters spend a lot of time in press boxes with other writers who criticize what they see on the field, but either never played the game or never played it well. "The Suitors of Spring" is brilliantly written by Pat Jordan, who did play the game. It also brings to mind some of the best sports books ever. "Ball Four's" Jim Bouton played the game. "North Dallas Forty's" Peter Gent played the game.

Having stood on the mound, facing down a hitter with the bases loaded, the crowd yelling, the opposition hurling insults, your future on the line and the hair standing up on the back of his neck, is an experience known by few. Jordan knows it.

Here he writes about pitchers, his specialty. He writes about superstars like Tom Seaver, playboys like Bo Belinsky, hardthrowing drunks like Steve Dalkowski, 6-6 lefties who never lived up their potential, like Sam McDowell, and prep phenoms from his home state of Connecticut who met the same fate as the author.

Jordan's talent is not one that can be learned in a literary class. He is of the school of hard knoocks, rough hewn, real, human. Bravo, Pat.

STEVEN TRAVERS
AUTHOR OF "BARRY BONDS: BASEBALL'S SUPERMAN"
STWRITES@AOL.COM

"A False Spring" is so good I cannot do it justice here. It is, along with "Ball Four", "The Suitors of Spring" (also by Pat Jordan) and "Bo: Pitching and Wooing" by Maury Allen, one of the best baseball books ever written. This book describes minor league baseball, the hopes and dreams of a young athlete, youthful sex, raunchiness, crushing disappointment, and Americana. I read this book and memorized it, then went off to play minor league ball myself and totally lived all of it. My experiences in the Cardinal and A's organization did not resemble Jordan's, they rhymed. This book tells the story of thousands of young hopefuls who live amongst us, and many more of us can relate to it than can relate to the superhuman life and accomplishments of Barry Bonds.

I can't imagine a better guide to Shakespeare than this. It's like a "for dummies" book, but better. The author covers just about everything, but she never bores you. In fact, I could hardly put this book down.

After a very lively introduction (about Shakespeare's life and the Globe theater), the author lists the plays in the order in which they were written. She divides them into four groups: the romantic comedies, the historical plays, the tragedies, and the romances. Then she tackles each of the four groups, writing about some of the plays. She tells you why the play is famous, she covers key characters (like Falstaff), and she explains the controversies that surround some of them. (For example, the charge of anti-Semitism about Merchant of Venice.) She makes a point of not covering every play --- if she covered them all, the reader would eventually lose interest.

Instead of getting bored, you are starved for more. The book is packed with trivia and intelligent observations. The author isn't shy about the sex and violence in the plays, either, which keeps things interesting. I highly recommend this book to anyone who wants an overview of Shakespeare's work. If you don't know about his plays, you probably want to, but you need a guide that was written specifically for you. This is the book.

I mean it. It really is.

Norrie Epstein, who also brings you _The Friendly Dickens_, has produced an absolutely unbelievable wealth of information involving Shakespeare's life, work, and times, all in an extremely readable, interesting, and -funny- way. If you ever thought Shakespeare was unapproachable, you thought wrong. _The Friendly Shakespeare_ takes everything your high school English teacher said about Shakespeare's elegant and classy prose and throws it out the window, showing Shakespeare's work for what it really was: sex and violence - extremely graphic sex and violence, filled with the ultimate bawdy talk and most injuring insults ever to be seen in English. It takes the sentimentality out of Shakespeare, making it as unclean as it always was, explaining out-of-date references and slang that would otherwise mean nothing to the modern ear but made a great deal of sense for the Elizabethans.

Epstein explores almost every possible aspect of the Shakespearean world: examining each play and its virtues and downfalls, delving into the twisted world of Elizabethan culture, discovering Shakespeare's life (and the mystery as to whether Shakespeare was who we think he was, or a pseudonym for any number of other writers, or if Shakespeare stole credit), interviewing actors and directors, the zany adaptations and unusual performances by unlikely actors, and reviewing the many film versions available on video. Nearly every page has a marginal tidbit with a quote or statistic or other little-known fact about Shakespeare's world or productions of his plays. Just from flipping randomly through the book, you could learn more about Shakespeare than you thought you ever wanted to know.

Being a student, I can say that _The Friendly Shakespeare_ is the finest reference for students - whether or not they have an interest in Shakespeare. Everything is presented in a fresh, exciting manner, and for those "experienced" students who have a passion for Shakespeare, it isn't "dumbed down." This isn't _The Idiot's Guide to Shakespeare_. It provides both the basics to get those non-enthusiasts going, and some extremely thought-proviking information for the veterans. Never once is Epstein's text dry or boring or overly wordy, like people expect most Shakespeare studies to be. Nor is it childish or pathetically simple.

What I love most about this book is how it really breaks through the stereotypes and barriers that most teachers have set up, making students HATE Shakespeare - they oversanitize it, making it pretty and beautiful, they oversentimentalize it, making it weak. Shakespeare's plays would not have lasted so long if they were just attractive poems about love. Certainly not. _The Friendly Shakespeare_ takes us back to the true Shakespeare, the Shakespeare that the original audiences must have seen - the gritty, dirty, audience-pleasing text, from the sexuality of _Othello_ to the extraneous gore of _Titus Andronicus_, to the often hushed-up fact that the sonnets were written to another man and not a woman.

Yet Epstein never makes it just about the sex and the violence - she does not deny Shakespeare was a genius of words, as he truly was. She just makes us more -aware- of his genius, for no true genius was ever all fluff and flowers. She tells us -why- he was brilliant, not merely saying he was because popular opinion states it. And after reading this book, you'll understand why, too. And you'll think Epstein is a genius as well for bringing us such a fantastic reference.

I recommend _The Friendly Shakespeare_ to everyone - students, adults, actors, directors, teachers, the veterans, the novices - it will inspire, it will enamour, it will delight, it will shock, and most importantly . . . it will make you love Mr William Shakespeare the way he -should- be loved.

+++++

This book's preface instructs, "Don't feel compelled to read this book from cover to cover" since it's meant for reading at a relaxed pace. Guess what? I DID read it from cover to cover!!

Why did I do this? Here are my reasons:

(1) THE AUTHOR'S WRITING STYLE. The author, Norrie Epstein, writes in a relaxed and leisurely but enthusiastic way making a somewhat difficult subject easy and enjoyable to read. She writes for the intelligent, common reader who's tired of technical, academic (and patronizing!!) jargon.

(2) THE BOOK'S ORGANIZATION. The book progresses logically with general comments on the works of William Shakespeare (1564-1616) to discussing the man himself to looking at the Elizabethan stage and then lastly discussing the plays. There is also a discussion of the Shakespearean sonnets. Finally, there is a fascinating end-discussion on the spin-offs that have resulted from Shakespeare's works (for example, music and films).

(3) DISCUSSION OF PLAYS. Not only are the popular ones discussed but the more obscure plays are also given attention. The plays discussed are as follows: eight romantic comedies, eight histories, one "problem" play, seven tragedies, and one tragicomic romance. All discussions are EASY to follow. And don't worry. There are NO boring plot summaries of the plays to read.

For many of the plays, there is a "What to Look For In" section. These informative sections highlight what is particularly significant in a play. As well, a major Shakespearean character of a particular play may be highlighted and given more detailed attention. For example, there are good, solid discussions of Shylock and Falstaff.

(4) ILLUSTRATIONS AND PHOTOGRAPHS. These are peppered throughout the book. I especially liked the black-and-white photo of Patrick Stewart ("Captain Jean-Luc Picard of the starship Enterprise") dressed up as Shylock.

(5) SIDEBARS. These also occur throughout the book. They highlight interesting bits of information that the author wants to bring to the reader's attention. One of my favorite sidebars is an open letter a critic of the 1600s wrote to Shakespeare entitled "As I Don't Like It." He commented on why he didn't like the play "As You Like It" (one of the Bard's best plays).

(6) INTERVIEWS. These are scattered throughout the book. The author interviews people (such as actors) who have a passion for Shakespeare. Notable interviews are with Kenneth Branagh and Ted Lange (of "Love Boat" fame).

(7) TRIVIA. And lots of it!! This Shakespearean trivia occurs throughout the book. For example, what does Shakespeare's epitaph say? Or, what Shakespearean character was Orson Welles' life ambition to play?

Finally, the big question: who is this book written for? Answer: for both novices and Shakespearean scholars--in short, everybody who is interested in the Bard.

I must confess that I thought I knew a lot about Shakespeare and his works. Was I wrong!! This book opened my eyes to how much I did not know.

In conclusion, after you read this book, you'll probably be like me and say, "What a piece of work was this man William Shakespeare!"

+++++

I bought this book based on the reviews at Amazon, and am very pleased with my purchase. I have "The Complete Works" of William Shakespeare, but it wasn't really complete until I bought this book.

Although this is billed as a book about Shakespeare and his work for people who don't like it (of which I am definately not numbered), I learned a lot about the plays and the periods in which they've been performed since to make this book worthwhile. For example, I hadn't known that the sonnet sequence for the most part is from an older man to a fair young boy. This isn't the idea of some fringe group either, but accepted by most Shakespearean scholars. Knowing this fact can certainly add a different level of meaning to many of the sonnets ("Shall I compare thee to a summer's day?").

Aside from the increased knowledge I gained of the texts, this book really helped me place the work against the time period that it was written for, and how people have viewed it since. Ms. Epstein's best analogy for aiding modern readers in grasping how Shakespeare was viewed in his day is comparing him with a writer for TV (strangely enough, a Twilight Zone episode did this as well). People who went to the Globe in 1600 went to see a "All in the Family Royal" or a "Three, Well That's Company" starring their favorite actor, Richard Burbage. The writer? Do you know who the writer of your favorite TV show is? Will "Cheers" be the "Much Ado About Nothing" of the 24th century? Or, even worse, will "Married . . . with Children"? (By the way, if you have any interest in Shakespeare, I strongly recommend Kenneth Branaugh's new version of "Much Ado." While Keanu Reeves is stilted, and Michael Keaton possesses Dogberry with the spirit of Beetlejuice, for the most part the film is a joy, especially any time that Branaugh or Emma Thompson is on the screen.)

Rather than summarize the plays (which only details the plots, which quite often weren't of Shakespeare's invention), Epstein attempts to comment on the play, quoting critical and personal reactions. She also presents some small interviews with some of the most famous Shakespearean's living, about parts and plays most commonly associated with them. I was disappointed because the book was incomplete. Although I agree with her dismissal of "Julius Caesar," she only goes into detail on "The Tempest" alone among the romantic plays, and misses quite a few of my favorite comedies as well. The books is quite a brick as it is, but this is due more to the large print and often wasted space between sections rather than the amount of words contained.

I read The Friendly Shakespeare from cover to cover, but it is well suited to be picked up and read from anywhere within its pages, most sections being only two pages long. For the bardolator and bard-avoider alike, Epstein's book is a lot like her subject--entertaining and fun, with enough serious matter for later contemplation.

This is masterfully written, solid, proven, best of the best, based on Scripture and years of God confirming His Word with signs following,just as He promised in His Word. The proverbial Philadelphia lawyer could not have laid out a more airtight case. Don't miss it. I sent a copy to a friend just diagnosed with cancer. He could not thank me enough.

I highly recommend this book for anyone , especially for those who need Physical or Spiritual Healing.

I am enjoying the book as a bibile study with my church. The book is easy to follow and understand.

A great book! If you only half believe that Jesus wants to heal you, read this book. If your faith in divine healing is wavering, read this book. One of the best ever written on this subject.
If you want to balance it with someone else's teaching, grab The Real Faith for Healing by Charles S Price and read that as well.

This was a life changing book for me, as were FF Bosworth "Christ the Healer" and Norvel Hayes "How to Live and Not Die". I actually read the latter two first. While reading the scriptural teachings in those two books, I received healing and cancelled a scheduled surgical consult. While reading the scripture in "Healing the Sick," I received healing again from a different condition. Praise His Holy Name!

The latter two books are available on audio tape or CD.

A foundation from the Bible and the Holy Spirit, with the combination of teachings in these books, along with Kenneth E. Hagin Sr, Kenneth Copeland, and Keith Moore (all his are free on his website) have been invaluable healing resources for me. I pray you are blessed as well. Peace to you.

Once you get past the strange layout (described in other sections), this is a great edition of Henry V. It is easy and fun to read and offers valuable insights (not just for students either). Well worth a flutter.

This play is best known for the St. Crispian's Day "Band of Brothers" speech given by King Henry just before the battle at Agincourt. It is a powerful speech that rallies people at all times and everywhere. Sir Lawrence Olivier made a film version in 1944 during WWII and Kenneth Branagh made another as recently as 1989. You can count on there being more versions. Epecially so when computers can help them make spectacular battle scenes (that aren't really in the play) with less expense.

Audiences love this play and they should. There is a lot to like and enjoy. I think upon repeated readings Henry becomes a more equivocal character than he seems at first. And readers of the King Henry IV plays will know him before he became King Henry and know something deeper about his personality.

And of course there is the whole bit about the drive to France being sponsored by the Church to avoid confiscation of property by the Crown. Moreover, there is the slaughtering of the French prisoners, and his treatment of Falstaff (who dies offstage in this play). This isn't revisionist stuff, it is right there in the play, but it is easy to miss the first time you are trying to take in the play.

In any case, this Arden edition is the one to buy and read from. Why? Because it has the most authoritative text, but that is only the beginning. It also shows variants between the early sources. The notes at the bottom of each page of the play are simply fabulous. The editor includes not only helpful notes explaining what might be obscure in the text of the play, he provides sources Shakespeare probably used such as Holinshed and makes for some very interesting study. There are also some helpful notes on how various scenes have been performed over time.

And to make this sound more like an infomercial, you get more! The introduction provides great background material on the play, its sources, and how it has been performed throughout history. After the play, there is a photo reproduction of the first Quarto from 1600 and it is fairly readable. There are also a couple of maps showing the path of the English Army from Harfleur through other towns on its way to Calais and makes clear how they had to pass through Agincourt.

There is also a helpful genealogical table so you can see the confusing claims used by Henry and the French nobility to make their claims. And there is a doubling chart so you can see how theater companies can perform all the roles with fewer actors.

This is a great edition as are all the plays published by the Arden Shakespeare. The amount of work collected in these volumes is stunning and they will enrich your experience of the plays tremendously. I can't recommend them enough.

This play more than any others in the histories glorifies Englishmen and England. His characters in this one are larger than life, but each has their own limitations and flaws. The play covers the time of the Battle of Agincourt when the French King Charles was so sure of victory that he sent a messenger to Henry to ask him to give up and to pay a ransom before the battle. On the eve of the Battle of Agincourt, the English were outnumbered five to one, Henry's troops were on foreign soil and riddled with disease. The scenes where Henry dons a disguise and goes out amongst his troops to bolster their confidence are great. The English managed to triumph in this battle where all was stacked against them mostly because of Henry's leadership. This is such a sweeping story that it is hard to condense in a few words, the plot of the play, but it is a wonderful example of Shakespeare's skills as a writer.

'We few, we happy few, we band of brothers.' What more need I say? Henry V is an imortal classic of western literature. And this edition is complete and accurate. See the film if you want, but be sure to read the words at least once. They are inspiring.

"Now, if these men do not die well, it will be a black matter for the King that led them to it."

Particularly poignant poetry in these times of pompous presidential sabre rattling and wars based on questionable facts.

In response to some of the prattlings below-only those who do not know the first thing about Nietzsche think that he was at all anti-Semitic. He wrote clearly, very clearly, against that and against nationalism. In one of his books he stated that Germany should not admit any more Jews inside of her borders. Why? Because he felt that the German people lacked an identity, and knew that Jewish people had a very strong identity. He did not think that Germany, weak and unrealized as it was, could stand an influx of a people that he repeatedly characterized as remarkable.

I am somewhat obsessed with Nietzsche, and this book started it all. Do not dive into his later, more well known masterpieces (Beyond Good and Evil, the Genealogy of Morals, The Gay Science) without acquainting yourself with this book. It is an introduction to his style, and there is no better example of his mastery of psychological observations. In this book he comments on all elements of social reality ("no one thinks to thank the clever man for restraining his wit when in the company of those who cannot practice wit" for example), going into love, friendship, the tenor of social gatherings, absolutely everything that is psychologically investigatable. He brings this method to his later books, in which he tackles larger issues, like the history of religion, philosophy, morality, and other things. But it all starts here-his later critiques of Christianity and everything else are far more understandable after a thorough acquaintance with his psychological method, first and best presented here. If you are at all sensitive and introspective, this book will move you to tears more than a few times.

O.k. So I have a minor in philosophy and Nietzsche was one of my inspirations to pursue this as a degree in college. Nietzsche deals with androgony. In more modern terms, men and women are crossing over the line of androgeny with their jock image. They are getting more and more androgynous you can't distunguish between even basic differences between the sexes anymore. While my philosophy professor and classmates dismissed Nietzsche as "not being a first rate philosopher," he does have his points about god and androgeny. This is part of our changing world and in philosophy class I did make my points.

I feel obligated to correct a distortion suggested by `unraveler' below. It is popular to suggest Nietzsche was an anti-semite, but this is a rather lazy habit. Nietzsche's remark on `the youthful stock-exchange Jew' was mentioned. Here it is in its proper environment:

. . . the entire problem of the Jews exists only within national states, inasmuch as it is here that their energy and higher intelligence, their capital in will and spirit accumulated from generation to generation in a long school of suffering, must come to preponderate to a degree calculated to arouse envy and and hatred, so that in almost every nation . . . there is gaining ground the literary indecency of leading the Jews to the sacrificial slaughter as scapegoats for every possible public or private misfortune. As soon as it is no longer a question of the conserving of nations but of the production of the strongest possible European mixed race, the Jew will be just as usable and desirable as an ingredient of it as any other national residue. Every nation, every man, possesses unpleasant, indeed dangerous qualities: it is cruel to demand that the Jew should constitute an exception. In him these qualities may even be dangerous and repellent to an exceptional degree; and perhaps the youthful stock-exchange Jew is the most repulsive invention of the entire human race. Nonetheless I should like to know how much must, in a total accounting, be forgiven a people who, not without us all being to blame, have had the most grief-laden history of any people and whom we have to thank for the noblest human being (Christ), the purest sage (Spinoza), the mightiest book and the most efficacious moral code in the world. . . .

Is this anti-semitism???

if you want to have your moral foundations knocked out from under you, read this book - and then build upon the ruins - Nietzsche's, in my opinion, most accessible work, as his aphoristic style floats over many different topics - don't stop here however, i recommend Kauffman's "Nietzsche, Philosopher, Psychologist, AntiChrist" as a starter if you find the complexity and diversity of Nietzsche's thought to be overwhelming or incomprehensible - he's frequently ambiguous and contradictory but it's more a positive trademark of his works and shouldn't dissuade one from further readings.

If you like aphorisms and philosophy, this book will become one of your bibles. If nothing else, it's just plain fun to read for his incredible wit. Of course you have to put his ideas in the context of the period in which he wrote and understand that he has his own odd prejudices, but the brilliance of his understanding of the human condition really shines through. The biggest mistake any reader could make is to think Nietzsche was an anti-semite---far from it. He was anti-neanderthal. In this book especially the reader sees his low tolerance for received wisdom. This book is nothing less than part of the origin of Western psychology as practiced today. It also represents the demolition of science and philosophy polluted by the received Western theological framework. Some of the best parts are when he skewers religion. You have to love his style even if you do not agree with his pessimistic disgust for piety. This is the kind of philosophy book you need not fret over, unless you harbor wishful thinking about a supremely benevolent deity. Instead of making an elaborate argument about the number of angels that can dance on the head of a pin, as preceeding systematic philosophers did literally and figuratively, Nietzsche bends the pin and throws it in the trash. I wish I had read this before his Genealogy of Morals, as knowing his thoughts here would have made that book far more interetsing and understandable. I highly recommend philosophy students first approaching Nietzsche pick up Human, All Too Human to start their study. And if you are religious and want to bolster your faith, well, you should stay far away from this book.

My son was given this book as a baby. I used to read it to him all the time and he loved it!! Now he is 9 years old and reads it to me!!

Our daughter was given this book before we left to moved to our new duty station. She loves it so much and so do I. Our friends wrote on the inside that no matter were we are in the world they will alway promise to find her. This book shows the love a mother or father would do to find their missing child.

I bought this book for my four year old son when he was only two, because the artwork was captivating, and the storyline was sweet and easy for him to follow. He got to know it by heart and for a while insisted on touting it everywhere we went, and would "read" it to himself. I lost count of how many times we've read it together. He's four now and it's still a favorite among others. I'll have to replace it soon, because it's so worn out... and that's when you know you've got a great book.

I purchased this book for my little sister in 1998. I wrote an inscription in the front promising her that, no matter where she goes, I promise I'll find her. I'd since forgotten about the book until my sister passed away a few weeks ago and her teacher told me that she had just read the book to her the day before, including my note to her. I now have the book in my possession and it will forever be special to me knowing that, although I'd since moved out and didn't go home to visit nearly enough, she was still reminded in my absence how much I loved her.

For me, the most touching stanza of the book is:
And if I had no other way,
I'd walk or crawl or run,
I'd search to the very ends of the earth,
For you my precious one.

This is a great gift for anyone with whom you'll always share a special bond.

I really liked the fiction book I Promise I'll Find You. It had beautiful pictures, and on each page there's a little doggy and a kid for you to find in the picture. It's a very touching and comforting book. I hope to see more books like it in the future.
By Emily, age 8

Working with kids is great...yet if you don't keep them occupied at all times my job description would be zoo keeper, not Elementary Art Teacher! At first, Sarah Perry's book "If..." served as a functional time filler. I knew the kids would get a kick out of the wonderful images! I introduce the book and the kids are still a bit restless and and not totally convinced that the art teacher is reading a book. Isn't that the librarians job, they think as they roll their eyes. I open to the first page and read,"If cats can fly..." their heads turn and their rolling eyes become transfixed on Perry's beautiful illustrations. I turn the page and by now the audience is silently screaming for more!!! By this time the students' teacher has come to pick the kids up from the art room, but instead of lining up the class, she has pulled up a seat to listen in on the fun! Nine times out of ten, when I am finished sharing the book, the students ask me to read it again. The kids walk out of the classroom with a smile on their face and their imaginations zooming!!! Parents stop me in the hallways to speak about the delight their child experienced when I was reading the book! I give the credit to Sarah Perry! Thank you Sarah...this functional time filler has become an imagination can opener!!!

This book is so beautifully illustrated and the ideas it presents are really fun. We got it as a baby shower gift and it immediately became a favorite of my husband and mine. Now my 2-year old loves to pour over the illustrations and giggles at the silly ideas. It's a book that I know she will keep into her adulthood.

My grandson who is almost four loves this book. He packed it to bring back to Me Me's when he spent the night.

The book, "If" is a great one for teachers to teach the trait of Ideas. Wonderful illustrations!

I have this book. I LOVE it. Sarah was a neighbor and kindred spirit who lived near me in Southern California. She gave me a signed copy as a going away gift when we moved last July. It is one of my treasures. From the adult point of view as well as the view of a professional artist, I found it totally delightful. Each picture deserves a dedicated block of focused attention. There is such detail and well thought out, enlightened imagery in each and presentation. Children are captivated and entertained for hours by this book as well. "IF" is a wonderful choice for any age. For those of you who own a copy of Shel Silverstein's "The Giving Tree", or Margery Williams' "The Velveteen Rabbit", and would like something equally inspiring, this book should be very high on a recommended list of "must-haves". Smart, sassy, challenging on many levels.

I just cannot praise this book enough. Ellman's biography of Joyce is amazing, bewildering, daunting (at least in its length) and wonderful -- not coincidently, just like James Joyce. One caveat: I imagine a reader might be quite confused if s/he read this before reading any of Joyce's major works (Ulysses or Finnegans Wake). I am kicking myself that I didn't read this biography years ago! Truly a marvelous work -- and a must for readers of Joyce.

For those of you interested in a biography of James Joyce that's as erudite as his works themselves, then Ellmann's "James Joyce" is most definitely for you. This is a product of years of interviews and correspondence with many of Joyce's friends and family members; and Ellmann's love for both the writer and the man radiate through every page. His sections on the key themes and events that inspired both "Ulysses" and "Finnegans Wake" are invaluable. Moreover, you'll find yourself chuckling a great deal of time, and even shedding a few tears, as I did. My only critique of the book, albeit fairly minor, is not so much directed at the author as it is at the publisher: there is little room in the margins for notes, as well as very sparse flyleaves; hence for those of you who like to engage a book with gushing pen in hand, then you'll find the layout of this book quite restraining, as I did. One might counter this critique, however, with the perhaps granted point that it leaves all the more canvas space on which to overlay layers and layers of brush strokes much needed when attempting to paint the life of this very complex, gifted, and charming man.

In all things about James Joyce, no one has exhibited more of an acute understanding of the man and his works than Richard Ellmann. He is the bridge by which readers who have not read Joyce or do not understand what they have read by him to the inner workings of the artist and his life.

This biography, "James Joyce" has been around for decades, virtually unchallenged. He presents to the reader all the facets of Joyce's life and personality. This is no mere star-gazing. Along with all the great things about Joyce, he also examines his weakness: his superstitions, his drinking, his occasional selfishnes, his sexual complexities, and his failure to really take care of his family. We get to see Joyce in all his dimensions and from several perspectives. That makes this book not only the best biography of James Joyce but one of the classic biographies of all time.

Richard Ellmann's biography of James Joyce is hands down among the three best or the best biography written in the 20th century. For anyone with a serious interest in Joyce or his writings, will truly enjoy getting to know Joyce and his writings through this book.

I've read maybe a few thousand reviews of other titles on this website but this is the first book I've felt I needed to comment on. I comment mainly because I noted that two reviewers gave this book "4 stars". What unmitigated gall!

Richard Ellmann's biography is the most definitive and complete examination of James Joyce that has been written. This extensive work examines Joyce's life from his birth to his death. Ellmann's narrative derives from Joyce's letters as well as accounts from Joyce's brother, Stanislaus. The book is most revealing in offering an understanding of the process it took for Joyce to come up with his most monumental works, ULYSSES AND FINNEGANS WAKE. Ellmann states that Joyce intentionally made it difficult for anyone to understand what he wrote. He wanted to keep his critics, academics and scholars, guessing of what significance his nonsensical gibberish creation represented. In addition, Ellmann intertwines events that occurred in Joyce's life that show how they closely resemble the characters in the works he produced, such as his early work, A PORTRAIT OF THE ARTIST AS A YOUNG MAN.

James Joyce most likely can be considered a "starving artist." He would go without a new pair of shoes until they wore down to the soles, but looked debonair and sophisticated with non-matching suits. In the beginning, he aspired to be a work within the realms of Jesuit studies, but later opted for a writing career that would take him from Trieste, Paris, and Zurich. Joyce struggled with poverty through out his life even as his most famous works were published. Monetary problems and health conditions that affected his eyesight never hindered his creative process. If he lost his eyesight, he probably would have continued to write blind. Joyce appeared to be an eccentric and stubborn man. However, Ellmann shows a caring and supporting man who loved his wife and children, and most of all, his father, John Stanislaus Joyce.

In terms to history and literature, Ellmann constantly references Joyce's fascination with Shakespeare, ancient civilization and history. This is best displayed in ULYSSES, but one significant footnote is that he did not appear to care for American history. He makes a minute reference to Ulysses S. Grant in ULYSSES, but he did not even know who the man was; Joyce loathed the United States. Also, Ellmann offers a birds-eye view of what his cohorts thought of his work. Gertrude Stein as well as Ernest Hemingway praised and envied Joyce's contributions to Modernism.

Ellmann examines a tremendous amount of information within his narrative. When one completes JAMES JOYCE, what else do you need to know about this genuine writer who used his craft as a means of getting back home, but never quite made it there? But he preferred Zurich and its snow-capped mountains as home rather than the complexities of his former Dublin. JAMES JOYCE is the springboard one needs when beginning a study of Joyce the man and his works, which should begin with PORTRAIT and ending with WAKE.

Unbelievably inspiring. I challenge you to compare his reading with any one else's or your own in your head. He makes it alive. Not perfect, mind you. You'll find yourself suggesting to him in certain spots that he missed the meaning by putting some emphasis or other on the wrong words. Nevertheless, you know you couldn't do better overall. A real treasure.

My review is of the library binding edition released by Buccaneer Books. It is a very plain and small volume which is wonderfully bound. It contains nothing but the poem itself (including the prose arguments) with the original spelling and punctuation. That means no notes, commentary, or introduction, so if you're looking for lots of in-text help, this isn't what you want. The Fowler, Hughes, or Norton editions are all laden with helpful material like that. But if you just want to experience Milton's masterpiece alone, this is a lovely edition. I found that the book could be purchased much more cheaply if I ordered directly from the publisher's website.

Great for a long drive or while driving cross town in Manhattan. You can debate the issues of suffering with Milton in your head.

Sure do wish it were the whole work.

Contains extensive information in the introduction that is lends an understanding to anyone reading any of Milton's work. This particular version is very inexpensive, and contains everything one would need to understand PL. Excellent!

Milton in Paradise Lost unfurls a morning star banner heralding the cosmic story of the fall of angels and men in language eminently civil. I am sure that Homer and Dante were Milton's schoolmasters yet Milton almost exceeds them in the slendid language and poetry of this epic creation. Philip Pullman said "No one, not even Shakespeare, surpasses Milton in his command of the sound, the music, the weight and taste and texture of English words". This is a poem of majesty and sublime lyricism as in Milton's description of Mulciber falling: "from Morn
To Noon he fell, from Noon to dewy Eve, @@@+PARADISE LOST+@@@
A Summer's day; and with the setting Sun @@@+JOHN MILTON+@@@
Dropt from the Zenith like a falling Star".
Each book of Paradise Lost is introduced with an argument, or summary. These arguments were written by Milton and added because early readers had requested a guide to the poem. Milton's purpose in this masterpiece is to tell about the fall of man and justify God's ways to man. When the angels battle in heaven at one point they pull up mountains and hills and throw them at each other: "So Hills amid the Air encounterd Hills Hurl'd to and fro with jaculation dire, That under ground, they fought in dismal
shade." After their coup attempt in heaven Satan and the other rebel angels are lying stunned on a lake of fire. Satan rises from the lake and makes his way to the shore. He calls the other angels to do the same, and they assemble by and above the lake. Satan tells them that all is not lost and tries to cheer his followers. Led by Mammon and Mulciber, the fallen angels build their capital and palace Pandemonium. They decide to get at God through his new creation and Satan sets off on this mission. In reading Paradise Lost the poem reads the reader while being read. What I mean is that Milton lets his readers go awry in their affections and he corrects and instructs those misreadings as well as anticipates them. In this way the poem becomes a live text with meaning apprehended through the interplay between the peruser of the poem and the text itself. Milton allows the reader to subjectively question the justice of the current religious paradigm and then leads them back to the perspicacity of deity. Ultimately Paradise Lost is Milton's paean to a vast pattern in the universe, the disruption of that pattern by rebels, and the weaving of those rebellion threads back into an ever more beautiful tapestry.