Barton Books

This book is probably the best introduction to biblical interpretation out there. It's simple and straight forward as well as informative. It is definitely a book I would recommend from from which the reader will benefit.

The book covers the most common methods starting with literary competence and genre-recognition, on to literary, form and redaction criticism. Barton also covers the canonical approach, structuralism, historical-critical method, intentionalism, poetics. The 1997 edition of the book also addresses, albeit briefly, rhetorics and post-structuralist trends such deconstruction and postmodernism. It uses the book of Ecclesiastes as an example and a case study for the discussion of the methods presented in the book.


Additionally, I feel a need to respond to the objections presented by the previous reviewer. Judging by his first complaint about deconstruction, he is clearly speaking about the first edition of this book, the 1984 edition and not the current 1997 edition. As I've mentioned above, Barton addresses post-structuralist trends in this new edition, albeit briefly. Hence the first complaint isn't applicable to the present volume. As for the second complaint, I disagree with the reviewer that Barton leaves a little hope for those who believe the Bible to be the Word of God. Barton simply presents the reader with a set of tools and methods for the study of the Bible. These only enhance ones understanding of the Bible, not hinder it. One can still seek and come to know God -- understanding of literary forms or genre for example, does not prevent him or her from doing so.

Barton's book would serve as a fine introduction to any student interested in practical application of source, form, redaction, or structuralist criticism to the Bible. Barton's prose is lucid, his examples extraordinary. His discussion of structuralism is the clearest demonstration that I have read. The book suffers from two flaws. First, Barton's book was written prior to the time when deconstruction became a trendy approach to scripture. Thus, students should be aware the structuralism has transformed into another approach more suited for the nihilistic climate of our age. Second, for those of us who believe that God is speaking to us through his word, Barton leaves little hope. He concludes that future study should focus on the act of reading rather than the mimetic relationship between text and man. While perhaps an intriguing scholarly study, it does little for those of us seeking to know God more fully.

The lives and deaths of Shelley and Byron ought to interest the world--not just the readers of English--for their poetry covered every topic: the rise and fall of empires, nation-building and nation-breaking, and the vanity of the men who would lead them in victory or defeat. And Edward John Trelawny shows us each poet as a human being. The production of fine writing should not be a mystery; beautiful language comes most eloquently from a troubled heart and a mind committed to seeking knowledge. Trelawny reminds us that Byron's and Shelley's lives were focused on connecting to people through their work; Tre begins each chapter with lines from the work of Byron or Shelley.

The Introduction to this edition of Trelawny's book is written by Anne Barton, a professor at Trinity College, Cambridge University, from which Byron himself graduated about 200 years ago. I disagree with her that Tre's writing is "focused for the most part upon himself" as though he were self-centered, though Barton does say he had "hidden depths" (xx). Based on the form and structure and content of Records of Shelley, Byron, and the Author (and Tre's subsequent life), it seems that Trelawny was aware of the nuances of human character and was more than adequate to the task of knowing complex people. The details he provides in key places are so specific that they could not have been lies or fabrications; Byron's claim that Trelawny could not tell the truth was simply evidence of Byron's pleasure in teasing banter. "Byron's idle talk during the exhumation of [Edward Elliker] William's remains," Trelawny writes, "did not proceed from want of feeling, but from his anxiety to conceal what he felt from others" (146). Byron also concealed his feelings at the cremation of Shelley's remains. It's clear throughout the book that Tre is a sharp observer--of himself and others. And Tre was sensitive to what Mary Godwin Shelley and Williams' wife, Jane, felt about the drowning of their husbands in the Bay of Spezia. Mary Shelley wrote to Tre that she experienced a "blank moral death" (176). Tre shows that the breakup of the Pisan Circle--because of Shelley's drowning--was clearly a personal tragedy with far-reaching consequences.

This is a book for all seasons--but better appreciated while strolling on a beach in some far-flung corner of a poetic universe.

If you're interested in the life of Edward John Trelawny, you'll have to look elsewhere. Suffice it to say that Tre' (as his friends knew him) was a privateer, a scoundrel, a lover of poetry, a freedom-fighter and a loyal friend of the most prolific literary talents of the romantic period. "Records of Shelley, Byron and the Author" is an account, not of Trelawny's extraordinary life & adventures, but of the two men that helped make that life so extraordinary. In his own words, he tells of the secret lives of Byron and the Shelley's, their romp through sunny Italy and the tragic death of Percy in the coast of Spezzia. The tale continues as Tre' follows Byron to the bloody civil war in Greece, where Byron too dies. To his credit, though, it is never "Trelawny's tale", but "Byron and Shelley's tale" as told by Trelawny. This deep, insightful book shows the poets as only a close friend could. Yet throughout, one can not help but love Trelawny himself: the man who supported the impoverished Mary Shelley to her dying day... the man who bought a slave for $10,000 only to set him free... the man who reached into the embers of Shelley's pyre, withdrawing his heart. If you love the poetry of Byron and Shelley & have even a passing interest in the men behind the legends, then Trelawny's memoirs are a must-read.

Brings out something that has been forgotten in our history. In early America, Christian Pastors were often political and government leaders. This short booklet provides and overview of their role from a historical and Biblical perspective with a view towards what role they should play today.

A great book on the history of our nation and the role that Christians played in the past in forming this great land

This is one weird book. Barton bounces back between ancient Roman speeches, comments on Freud, French films, rock bands, Christian origins and cracker barrel philosophy. She sometimes writes like the Camille Paglia of classical philology. Her footnotes, which are helpfully printed on the page they annotate, often read like a series of asides. Her parenthetical remarks -- particularly those which have little or nothing to do with Roman histody (like her claim that American free speech is based on the premise that we can say whatever comes into our heads) are often tendentious and almost always provcative. Barton has a "dump truck" mind -- if she thinks of something, she can't help putting it into her hopper and pouring it on the page.

And yet it works. First, Barton has a wonderful command of Latin -- she would be a terrific, if idiosyncratic, translator. I have rarely read an author more comfortable with her sources. Second (and related), she can tease out what the Roman writers are getting at behind what they say. Third, she offers a wonderfully fresh view of the Romans as passionate, insecure, and rather histrionic creatures, far removed from the stoic supermen idolized by Livy and Cato. Of course Barton probably overstates her case and at times simply gets it wrong. But what is important about this book is her demonstration that the traditional view of the Romans not only needs revision but is sometimes 180 degrees off. One cannot help but wonder who Barton is (and, frankly, why we haven't heard more about her). Even if the book lacks focus and does not come to a conclusion (or rather coes to about 20 of them), her eclectic style of analysis is worth 50 more "responsible" monographs. I want to hear more from her.

Dr. Barton has done a magnificent job of introducing the Roman world to the modern reader. Throughout the book, she makes reference to the differences between modern culture and that of the Romans without simplification. This was not an easy task, since the book will probably not be a disappointment either to a well-read Classics scholar or a beginner in both its clarity and thoroughness. Dr. Barton did a great job in weaving together the various texts of the Roman world into a complete picture that is captivating. Yet, I never felt lost, even as a beginner in this area. For me, 'Roman Honor' was a real eye-opener, not only to the Roman world but to my own. I think Dr. Barton offers marvelous insights into the roots of modern society while exploring an ancient culture. One of the best books I've read in a long time.

"I'm getting married, very soon, maybe yesterday or last year," exclaims the mad, but humble narrator. The entire book reads like a disheveled dream outside the boundaries of time, but somehow it all makes sense in the end. Few books in the history of writing have managed to capture as much soul and satire as this one.
If you decide to read it, you may feel confused at first. But stick with it and hopefully you will enjoy the little Poe-isms, references to the River Lethe,(etc.), and the realization that perhaps what society terms "madness" is a more honest condition than "normalcy".
As a Russian major, I had to read this book for class, but I couldn't recommend it more. Many people who pass through Russian literature classes do not agree. I admit that I prefer odd books like "Master and Margarita", "Petersburg", and "Pale Fire" to their Western-born rivals (and each of these works add a necessary spice to even the genius-ridden Russian classics) and anything modern, but School For Fools deserves recognition.
The modern literary field is a little lacking of luster in my opinion, forcing book-fiends to search overseas in places like the Czech Republic for a mental challenge.
Everyone has different tastes, so I hate to criticise any one writer--and often I find over time that I was wrong.
I'll get to the point: Even Pelevin disappoints me in the Russian realm. Vladimir Nobokov listed this book as one of his favorites, which is lofty praise in itself. Although I am someone maybe ten times more stupid, I agree.

P.S. winter butterflies are the prettiest

Sokolov's "School for Fools" is a linguistically titillating thrill! The narrative consists of the network of memories, both childhood and adult, of a schizophrenic, integrated into a well crafted blend of innumerable references to works from genres encompassing an impressive range of both Russian and Western cultural traditions. The realist doubling that Dostoevsky uses so effectively to reveal the psychological state of his characters takes on new meaning in this post-modern, intertextual playground; the main character becomes a medium through which public and private memories interact, subtly illuminating the delicate subconscious threads that connect each to all. This disturbed child/man becomes a prophet to the mysteries of cultural development and the communal self through a deconstruction of the traditional sense of temporal linearity, individual identity and place. The novel is not what you might call a quick read. However, the combination of original insight and elegance of language, rhythm and style make it more than worth your while. Sokolov is part of the exciting rebirth of the Russian novel, perhaps akin to Victor Pelevin.

I read this book about ten years ago when I was a graduate student completing a PhD in Classics. Although I've since left the field, it's one of the few books I've never been able to part with--or to forget.

As a classicist, your subjects are removed from you in just about every conceivable way (temporally, spatially [at least for us American scholars], culturally, linguistically). Barton's book was the first I ever felt helped me bridge that gap in a meaningful way.

It gave me a whole new perspective on the rest of my academic pursuits and, in some ways, a license to think in an entirely different way about primary sources.

TV Guide used to rate the moveis which were on television that week, and I once came across an issue which gave the movie "Batman Returns" three stars and the Charleton Heston version of Shakespeare's "Julius Caesar" two stars. Even granting that the production values of the former were far superior to the latter, it is hard to imagine that a great "Batman" was superior to a mediocre "Caesar." "The Sorrows of the Ancient Romans" is a better book than "God is Not Great" and in that spirit, I give it five stars.

Barton is a wonderfully learned, somewhat scatter-shot writer who has a first-rate command of the Latin sources (including very obscure Latin sources). On the one hand, the sheer originality and freshness of Barton's pronouncesments on Roman civilization inspire awe. On the other hand, here inability to let any idea which pops into her head escape the printed page invites chaos. She moves deftly (or randomly) from Latin incriptions, pop music lyrics, World War II analogies, Biblical literature, and French sociological and philosophical tracts. Good as this book is, one suspects Barton is better at article length.

In essence, this book involves a consideration of some of the darker aspects of the pagan Roman psyche (one wonders, after reading this book, whether that psyche had any lighter elements). Focusing on Roman fascination with gladiators and monsters in the late-Republican, early Imperial period, Barton makes a powerful case for the proposition that the Romans had a love of -- even a need for -- debasement, particularly the vicarious debasement of those like themselves. Thus, gladiators were at once the most despised and expendible element of Roman society and among the most admired. Barton locates this collective sadism in the Roman need to expiate their anxieties in the sorrows of others. She occasionally hints also at something more plausible -- that the pagan Romans were violent thugs, and that watching those who were victims of their thuggery show submission and honor to the thuggish Roman worldview tended to validate that worldview in the mind of the spectators.

At times, one is led to the suspicion that Barton has come to like her disgusting subjects all too much -- somewhat like a veteran criminal lawyer who starts to feel sympathy for his questionable clientelle. Of course, Barton also has a way of stepping back from her empathies to remind the reader occasionally that feeding people to animals or burning them as living torches is not altogether admirable behavior.

It is impossible to come away from this book unchanged, however. The world Barton presents is at once so alien that it is hard to grasp the psychologal processes behind it, and so familiar that we may make kick-boxing into an olympic sport. The book is, almost literally, a mind-bending experience and anyone who wants to reflect on some of the realities of ancient history would do well to read this book.

Barton Whaley is respected as the foremost expert in the field of deception, and his book "Stratagem" is by far the very best single publication on the subject. His work was exhaustively researched and provides the clearest and most detailed explanations of theory, principles, tradecraft and case studies on deception.

This book is an absolute 'must have' for any military historian (amateur or professional) or any military officers with any interest or responsibility for intelligence or counter-intelligence.

This book is written in the form of two books, and somewhat less obviously, three books.

Book 1 has six chapters of text that discusses the general concepts of deception from a theoretical standpoint and it's value in warfare. He points out the analysis of 27 wars where in only six of these was a decisive result obtained by a direct approach.

Book 2, the biggest part of the book is Appendix A. This consists of 115 known instances of surprise and/or deception from 1914 to 1968 (this book was first written in 1969). To list just two examples:

Case A30 - Details the efforts that the Japanese went to in order to obscure the fact that they were preparing to attack Pearl Harbor. This view puts an entirely different light on the question about what the Americans knew about the pending attack. Suppose the Japanese knew or even suspected that we might have broken their codes.

Case A45 - The deceptions directed at the Germans regarding D-Day. As Churchill said, the facts regarding the invasion were to be protected by 'a bodyguard of lies.' This details the well known aspects such as the appointment of Patton to head up the ficticious army. But it also reports the FBI, back in the US having one of their agents (code named ND98, and still not publicly identified) send signals to the Germans attempting to direct their attention to an attack in the Med.

Conclusion: Buy a copy of this book before it goes out of print again.

This is the best book for "style acting" I have seen. As an acting teacher, I know how hard it is to formulate an approach to acting which resonates with all actors. This book is a rich, detailed approach to many different styles -- from the Greeks to Postmodern -- incorporating movement, costuming, psychology, world view, euphemisms, religion, vocal patterns, statua, and much more. Indispensable!

Style for actors gives the readers and student a clear defintion of what it means to perform in a period, style or manner. Barton clearly defines everything you need to know in order to perform at the height of your ability. HIGHLY RECOMENDED. THIS BOOK RULES.

I saw this play in England and it was absolutely phenominal. The stories are being told to a group of American girls on a Greek beach so it is very understandable by the Westerner. I love all of these stories and feel that both someone who is new to Greek mythology, as well as someone well read in the subject, can really gain a lot from this book. To be honest, I was dreading the idea of sitting through such a very long play, but when it was over I didn't want it to end and could have seen the whole thing again the next day. I highly recommend this. Also, as an actress, there are fabulous scenes in this play and monologues for both men and women.

The unabridged version of this play, if performed in its entirity, would come in at just under 15 hours. TANTALUS is a new collection of cycle plays written by John Barton, famous for his work with The Royal Shakespeare Company, and is a continuation of his ten-hour cycle, THE GREEKS. The story focuses on the Trojan War, broken into three parts: The Outbreak of War, The War, and the Homecomings. Mixing in with modern settings and transporting back to ancient Greece of the 12th century BC, TANTALUS brings the timeless concerns, dramas and issues that were important to the Greeks into our contemporary world. The play focuses on many of the famous mythological figures of Homeric poetry and Greek tragedy, such as Agamemnon and Menelaus, Clytemnestra and Helen, Achilles, Neoptolemus, Odysseus and others, to give a perplexing and highly accessable version of the War that was ten years in the fighting. Originally staged with the Denver Center Theatre Company and The Royal Shakespeare Company, under the Direction of Sir Peter Hall, TANTALUS' world premiere became the focal point of epic theatre. The original production, which was an adaption of John Barton's script, runs approximately 10 1/2 hours, being broken into three nights of theatre, or one-day marathon performances, running from ten in the morning until roughly ten at night. The production has powerful performances, breathtaking scenic devices and a compelling and fascinating story which shows us that the Greeks are not as "ancient" as we might think. This production is currently on tour in Western Europe throughout the 2001 season. While this is an endurance read, it is truly a wonderful work for theatre buffs and classicists alike.

We look out her window with Lois Barton and walk with her through her beloved farmland. In these short pieces of prose and poetry, and in small drawings and photos, we see with Lois' eyes and listen with her ears. We feel with her heart. We are with her as she walks her cows to the barn and looks into their eyes. We smile at memories of her children's escapades. We delight with her when birds return in spring. We learn with her from the gnarled branches of a cedar tree to value in another person what had seemed to be a burden. We mourn losses. Lois Barton has generously shared with us, in direct and simple words, the richness of her eighty years. The winsdom of these gems shines lght on forgotten facets of our own rich life, past and present. Jane G. Novick

"Country Life, seen through Lois Barton's window, is rich in colorful images of living and love, rainbows and dandelions, crocuses, cows and towering fir trees. These poems and short essays are tales well-told of a country life well-lived. I greatly enjoyed reading them." Mike Helm, teacher and author of TRACKING DOWN COYOTE