P Books

Love a good detective/police procedural mystery, step into the world of J.P. Beaumont. The pace of TAKING THE FIFTH by J.A. Jance rockets through the pages of a finely crafted story.
Twists and turns deluged the reader from the time one man's body is found by the tracks with a bloody woman's shoe nearby. The police enter the man's home to discover the body of a second man dead from natural causes.
J.P. has his troubles after his previous partner has been taken off the rooster adjusting to the style of Big Al, but Peters is determined to stay in the game.
Enjoy the genre at its finest with TAKING THE FIFTH.
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Have read every J A Jance book! They are equally well written and compelling. They have a wonderful flow to them, fascinating characters and she never gives up the mystery of who and why until the last few pages....excellent reading and nearly impossible to put down til its completely done.

J.P. Beaumont is one of the most likable and intriguing characters in the mystery genre. He is a divorced detective who has a daughter in college and enough money that he does not need to work, but he enjoys his job. J.P. is the proud owner of a long list of failures with women, not all of which were his fault. It starts with his divorce, and then follows with women with which he gets involved and who end up either dead or on the guilty side of a crime. Whenever I start a new book in this series I ask myself: will it be different this time?

This time around, the case involves a dead man by the tracks and a woman's shoe near the body with blood on its stiletto heel. This is complemented by another dead man, apparently from natural causes, in the house of the first victim. J.P. gets the case and he immediately suspects foul play in the case of the second body. And the discovery of a pack of cocaine in the victim's pillow adds timber to the fire. From then on, the plot starts moving full speed and there are plenty of twists and turns along the way to keep our interest at a maximum level.

All of the usual players are present in this story. We have the femme fatale, the annoying Maxwell Cole, who hates Beau's guts, and a new partner. Beau's new sidekick is Big Al Lindstrom, but we will soon see his old partner, Peters, help from the hospital. Peters is there due to a broken vertebrae, and after a period of depression he decides to start "living" again and pulls a "Lincoln Rhyme".

J.A. Jance has done it again. She delivers another novel that moves at a fast pace and that keeps us guessing as to what is really going on until the last few pages. The author shows how good she is at varying her style, and the contrast between this series and the one featuring Joanna Brady could not be clearer. She does a fantastic job in both series though.

I recommend this book to everyone that loves a good mystery, but I just want to give you a word of advice. Do not start this novel close to the end of your day, or you will find yourself reading well into the night. There is no letting go; trust me, I learned this from experience!

THE BOOK CAME IN GREAT CONDITION AND I AM SURE I WILL REALLY ENJOY IT. I LOVE THE AUTHOR AND HER WRITING. THANKS SO MUCH. JANICE

I feel that the fans of J.P. Beaumont will love this one. It is so typical J.A. Jance. I enjoyed every page of this one. Another reviewer has done a wonderful job of outlining the plot, so I will not repeat what is obvious. Jance's character developement (this author's strongest skill) holds very true to form with this work and we learn more and more of her detective Beaumont. We also get a look at the drug culture in that part of the country (Seattle of course) and some of the alternative life styles found their. This work has some fascinating twists (no spoilers here) and as one reviewer points out, just when you have things figured out, you get the rug pulled from under you. Of course, the book will be much better for those who have read the preceeding books dealing with this seattle Cop, but the book is also able to stand on it's own and is simply a good read. Recommend this one highly.

Poe, Doyle, Christie -- none of their stories is better than "The Stolen Cactus," "The Crime at the Post Office," or "Footprints." This collection of crime stories had all the twists and clever resolutions I could ask for. Unexpectedly, it also has quite a few insights into human nature and coping with reality. I read "The Man Who Couldn't Sleep" after a night of disturbing dreams and felt as if Capek were writing to me from the grave.

I found this book in the English-language section of a bookstore in Prague, during my first visit to the Czech Republic, which is a surprising and wonderful place. I didn't know the first thing about Czech culture or history before then. I didn't even know that one of Capek's contemporaries in Prague was Kafka, who was Czech, not German.

Reading Capek convinced me that Kafka was -- like Capek -- a humorist; unfortunately humanities professors in the U.S. don't get the joke. In other words, Capek is Kafkaesque and Kafka is Capekesque. Both drew quirky little images, too. That's right: Kafka drew pictures in his manuscripts. A few of Capek's illustrations are reproduced in this book, as well. (Karl Capek's brother Josef was a member of the little-known and very odd Czech Cubist Movement, a group that abhorred right angles.)

The prose in this translation is a bit ponderous, though, so I recommend that when your first open this book you temporarily abandon your requirements -- if any -- that crime fiction be terse and gritty. Remember that you're reading a translation from a Slavic language written a decade after WW I. In addition, the stories are first-person narratives, a form that is little used these days.

I'm eager to read more Capek. And it would be great if the publisher would create a Kindle version of his work.

A superb collection of stories told in a simple, yet very descriptive and captivating language, each a different nugget. Some are very funny, others reach a quiet conclusion, others make you think, but not enough to rob you of your sleep. Nice to read just a few at a time, otherwise it's hard to remember them all. Can be read completely out of sequence. Enjoy!

The fourth Earl of Chesterfield once admonished his son to "wear your learning, like your watch in a private pocket: and do not merely pull it out and strike it; merely to show that you have one." The stories contained in Karel Capek's "Tales From Two Pockets", unlike Chesterfield's watch, are worth taking out and reading again and again and again.

Karel Capek played a pivotal role in Czech arts, literature, and politics in the years of the first Czech Republic. He was a playwright and, with his brother, authored "RUR", the play that introduced the word robot to the world. His novel War With the Newts remains today one of the great pieces of dystopian fiction. His life and work during this period was inextricably linked with a strong belief in the newly born Czechoslovakian Republic. Capek's devout faith in democracy and his aversion to both fascism and communism was well known. His intimate socio-political relationship with Czech President Tomas Masaryk served as an inspiration to Vaclav Havel the artist who became president after the Velvet Revolution.

The 48 stories in Tales From Two Pockets first appeared in print in 1928 in a Prague newspaper. They were known as pocket tales because presumably the newspaper could be folded and placed in ones coat pocket after getting off the tram. Immensely popular the first 24 stories were published in book form as Tales from One Pocket. The remaining 24 stories were originally published as Tales From the Other Pocket. This edition, published by Catbird Press (which has done a marvelous job of publishing English editions of Czech masterpieces) and excellently translated by Norma Comrada, contain all 48 tales.

To call the first 24 stories detective stories would not do them justice. They do tend to involve a murder or a crime of some sort but Capek stands the genre on its head. They involve more than the solution of a crime. Capek tends to work around the crime to look and spin small stories that tell us a little bit more about human nature than about the crime business. Each story contains a snippet; they are too short to be an exegesis on humanity. But each snippet is worth reading and after you read one or two you can put them in your pocket and start all over again.

The second 24 stories each flow from one into another. Think of a group of people sitting around a table in a bar. One tells a story about a crime or some other foul deed. After one story is finished someone pipes in and announces, "I can top that". They stories flow seamlessly one to another. Again, no single story packs a huge `message' but cumulatively they are thought provoking and provocative. It should also be mentioned that the stories are also just fun to read. Capek was one of the first Czech authors to write in colloquial Czech. His writing style was not formalistic and stilted. He wrote the way people talked and his stories are all warmly told and engaging.

So, put these tales in your pocket and pull them out whenever you'd like to lose yourself for a little while in the world of little mysteries created by Karel Capek.

"Tales from Two Pockets" should have a special place in the minds of its readers. That's the place reserved for works which are entertaining without being trivial, consistently amusing and delightful upon re-reading, and which appear to have been written effortlessly and on the spur of the moment (this latter characterization is probably an illusion, since even a rapidly written piece by the right writer incorporates a lifetime of craftsmanship and professional skill). The stories in this collection, which combines two different but related sets of stories ("from one pocket, then the other"), were written for Capek's newspaper columns during 1928-1929. Czech readers responded enthusiastically to these stories, which started out clearly enough as detective or crime stories but soon overflowed the boundaries of that category to become something very different: reflections on the human mind and character under duress and meditations on the nature of crime, punishment, and, most especially, justice. The difficulty of judgment which is fair to both the victim and the perpetrator is a theme returned to several times, leaving the question an open one, even in the most gruesome cases, e.g., "The Ballad of Jura Cup", in which the motive is highly personal and bizarre, or "An Ordinary Murder" in which the motive is routine but the results are unsettling. Also related to this idea is the story (from the first set of 24) entitled "The last Judgment", which seems to be the prototype of the stories in a completely different collection,"Apocryphal Tales", stories that veer off in the direction of "alternate reality" parables (this may be the story which Capek himself thought of as "the turning point" within the whole collection of 48 stories).

The second set of 24 stories is a continuous round-table conversation, organized along the lines of the Decameron. One story ends, and a thematically-related one begins (or a story is based on a stray remark or characterization in the immediately preceding story), something like a baton that is passed from one relay racer to the next. Often there is a smaller story within the larger one, recruiting another member at the table as a second narrator. From the formal point of view the most interesting of these is "The Confession", in which a priest, a lawyer, and a doctor are all told the same story by the same man over several decades - he has done something terrible (his deed is never specified) and must talk about it or implode, though he feels neither contrition nor guilt nor remorse, while he has a specific desire to avoid retribution (which is why he picks men professionally and ethically bound to keep his confession a secret). It's a large and eclectic collection of narrators that Capek creates - including policemen, businessmen of various stripes, a doctor, a priest, a "jailbird", a journalist, civil servants, and men of unidentified callings. Based on their names and their vocations they are meant to be a representative sample of inter-war Czechoslovakia's polyglot mixture of ethnicities, nationalities, religions, and social strata. This is the "social undercurrent" of these stories, an idealized picture of a hybrid, pluralistic society created by an admirer and strong advocate of T. G. Masaryk and the political system of the First Republic.

The translation by Norma Comrada is excellent, colloquial and fluent. As is her Introduction, which gives the background of the stories' creation and of Capek's familiarity with the detective-story genre in the literatures of France, England and America. On a light note, the musings of the lifelong bachelor, Police Captain Bartosek, on a kidnapped child (which I think of as "Bartosek on Babies") should be required reading for new mothers and new policemen as well. And it is in his portrayal of policemen that we see the breach that separates Capek's time and place from the grimmer post-World-War-II world of Czechoslovakia. We meet Captain Havalka who sympathizes with the inner turmoil of Jura Cup, and, more than once, we see at work the squirrel-toothed Inspector Pistora, whose unprepossessing exterior houses a first-class deductive brain that rivals that of Sherlock Holmes. Then there is Detective Holub, who, when recovering the funds that the confidence-man Plichta has defrauded from widows and lonely women, allows Plichta to deduct his "operational expenses" from the restitution he makes and admires his strict system of accounting (it is Holub who says,"We like ordinary criminals, not mysteries"). You can't imagine such empathetic portraits of policemen after 1945, though P. Kohout has tried his best to endow even State-Security policemen with admirable streaks in their characters.

The stories were written during the "calm years" of the First Republic, after the difficulties of setting up a new state had been dealt with, and before the Depression and the encroaching threats of international power-politics had arrived. This allowed Capek a respite to write as he pleased without an eye looking over his own shoulder at the political excitements of the years before and the years to follow. As Comrada points out, it would be incorrect to call these works "detective stories" or even "crime stories" (in many of them there are neither crimes nor solutions). However the reader characterizes them, it should be obvious that Capek displayed a relaxed freedom of spirit as he wrote them and took a great deal of pleasure in doing so, both of which are strongly communicated to the reader.

great stories to read a few at a time, not necessarily in order. they are like a whimsical sherlock holmes with a definite eastern european bent. i had never read any Capek before and I think this has been a great start.

It is a nice book for the teachers and therapists on the professional side. A little bit dry, so it doesn't seem to be a book for parents.

This book is a practical guide for teaching the most essential skills in life: social skills. The book provides an extensive listing of 'tips' that one can use in applying these concepts to a social skills program or at home. One example: the authors recommend cutting out pictures from magazines that demonstrate specific emotions. In this way, the children can practice looking for these expressions and have the pictures as a reference throughout the program. Thank you for all of the great suggestions.

We have a very active 6 year old, and we feel he is active alert, his biggest issue is social interaction, since he has been around mostly adults his life. This book has common sense ideas to help a sometimes painful problem. Our son has done better in first grade. The summer using this book has helped alot! ... I am so glad I found this book!

After purchasing a number of books that promised to deliver, this is the first one that I have found that actually does. As the parent of a six year-old little-man, I have to say that I really needed this book and I honestly believe that the material inside its pages, when applied consistently, will serve to seriously improve my son's life in due course. I am truly impressed with the level of insight brought to bear by these three authors; I applaud them on a fantastic work!

(...)

I have a now 6 year old son whom is very active. (I started with the book, The Active Alert Child by Linda Budd.) This book has wonderfully simple and overlooked ideas to a uneasy problem. I had much advancement with my son over the summer. It can be done. Ist grade is going great so far! I feel this was a key to his bettering in his social world. My son has been around adults most of his life and has a hard time relating to other children. This book made a difference.

A book which was at the heart of architectural theory for over 1500 years can't be entirely outdated. Many of the issues and ideas which Vitruvius brings up are still relevant to modern architecture and, at the very least, give us an idea of the theory behind much architecture, both before and after Vitruvius' life. Of course, it can't be relied upon as a comprehensive guide to architecture and there are some points which are innacurate in terms of history or theory, but you take this book with a pinch of salt, and accept that this is where architectural theory started, and you have to respect it for that!

Vitruvius's 10 books (or chapters) on architecture lets you view life through the lens of the 1st century BC builder. While Vitruvius does explain the principals of how to build various buildings and rules for the construction and use of columns, perhaps the most amusing part of the book is his description of life and the things that govern it. Throughout the book he describes certain materials that should be selected for building and their composition of the four basic elements: earth, air, fire, and water. In some sections he spends an excessive amount of time making a point, and some points are glossed over. Many of the things he describes we are still doing to this day. A fascinating read all in all.

however, it is an ancient book... I used the dimensions and architectural scales to build my model of a greek temple. Very informative when it comes to that, cause not many books have to-scale drawings of the building.

This is a wonderful look at the world and its building materials through the eyes of Roman. Great insights into Roman perceptions about how the world worked.

I really enjoyed reading this fascinating book. However, when I compared it to another translation (a two volume edition, translated by Granger) it seemed that it was missing some bits of information.

It was easier to read though, so if you are interested in a casual read, this is the book for you. For a research project, you should probably stick to Granger's books.

Three Tall Women is Edward Albee's third play to win the Pulitzer Prize for drama. It may be the best play that Albee has written. It balances his trademark ambiguity (dialogue and scenes that seem almost realistic but veer slightly off kilter, into a reality that has sharp and painful edges) with a heartbreaking poetry composed 99% of the ordinary language we all use every day. Three women sit in a bedsitting room: a well-off elderly woman, 90, 91, or 92 depending on who's counting, drifts in and out of reality, falls back on the past in repetitive coda, is never very nice and is occasionally outright nasty in the way she treats her companions; a fiftyish caregiver, her sympathy for her charge worn down by the old woman's complaints and pettiness; a twentyish lawyer, sent to persuade the old lady to cash her checks and pay her bills, and repulsed by her constant tirades and close-minded bigotry. The old woman dominates their conversation. It falls back again and again into monologue, the old lady reliving her past. Watching her behavior, seeing her drift in and out dementia is a wrenching experience, especially for a viewer like me who's already several steps along life's path. I won't tell you what happens later in the play but the second act completely transforms the revelations made in the first act and brings the play to a sad but richly lyrical close.

A very remarkable life experience shared through the self. I love Albee. Such a fluid writer. Willing to expose s--t and anguish and self-loathing and nostaglia and laugh about it. This play is very direct, interesting, full of mortal longing presented though an amazingly simple concept. The three tall women, A, B and C are one woman. But at three different times in their own life. What comes is a moving sweep of life, as thought through in the future by C, the past and future by B and the past by A. What would you ask yourself if you met you twenty-five or sixty years from now? What would you say to yourself knowing what you know now to you thirty years ago? Etc., etc. There is no denying, the concept and idea of such a dialogue is ancient, and here Albee contemparizes it in the bittersweet way that life is. Read this if you love Albee, if your into philosophy, time travel, theoretical physics, feminism....There is no denying.

Personally, I don't understand it when people say that Albee's writing is cold. "Three Tall Women" is a very emotional play, heartfelt and autobiographical. The writing is luminous. The characters are rich and dynamic. There is humor, and wit, and pain, and pathos. Perhaps Albee is just too smart for the average theatre goer. However, I love that he doesn't pander. I love that he writes smart. I love that he challenges the audience to think. "Three Tall Women" keeps you thinking long after reading it. Thank you, Mr. Albee.

It's unusual for a playwright to produce his or her best work in late-career, but that's what Albee has done in *Three Tall Women.* The essence of Albee's genius has long been his ability to get language to do what he wants, rather than being constrained by what language wants to do. But in *Three Tall Women*, unlike in *Who's Afraid of Virginia Woolf*, there's something urgent and concrete at stake: what, exactly, was the meaning of a dying woman's ninety-two year life? It's this question that fuels the gripping conflict between the play's three characters, "A", "B", and "C", who represent a single woman at ages 26, 52, and 92.

There is so much in *Three Tall Woman* for brilliant actresses to exploit that the play seems virtually certain to be a hot ticket for as long as live theater exists. It's the kind of play that, if properly cast, could sell out the National Theater of Mars, or a similarly remote venue.

I have been studying the plays of Edward Albee, for three months. This play and the Zoo Story have me think about life and self, more then anything I have read in years. Albee is able to portray in an unsual way his true feelings about his background as well as his atitude towards the characters that he portrays. I want his plays to go on and on! The characters are very real, and for the most part very sad.Life goes on in the real world even with people that he portrays being a part of it.

W.P. Kinsella writes fiction that is a reflection of his true love of baseball. His devotion to his topic is evident to his readers in each of his works of fiction that often seem too realistic to be fiction. Particularly in this collection of stories, the line between fact and fiction is blurry.

"The Last Pennant Before Armageddon" is the highlight of the set as other reviewers have noted. As one might guess based on the title, the plot involves the Cubs winning the pennant. Though some countries, playoff alignments, and even teams from the story no longer exist, the end of the world would seem to be the logical conclusion to a Cubs pennant victory. The swerve at the end of the story may or may not surprise some readers.

Other highlights in the set include "The Night Manny Mota Tied the Record", "The Battery", and "The Thrill of the Grass". In a plot that preceded anything written by Mitch Albom, "The Night Manny Mota Tied the Record" explores the feelings after the death of Yankee catcher Thurmon Munson. Would a hardcore (non-Yankee) baseball fan give his life to save Munson's? "The Battery" takes readers to Santo Domingo where a wizard created in the vein of author Terry Pratchett sees the birth of baseball playing twins. While at least one twin excells in baseball, the wizard is the star of this story. "The Thrill of the Grass" is set during the 1981 players' strike, though the same scenario woud apply to 1994. The narrator breaks into an empty stadium as the story begins. Though he dislikes the lack of activity, he is most appalled by the artificial turf.

Though not all of the stories were gems, baseball fans are certain to enjoy this collection just as much as Kinsella's other works.

W.P. Kinsella is an excellent writer of short fiction. Many will know him as author of Shoeless Joe which became the movie Field of Dreams (Widescreen Two-Disc Anniversary Edition).

Kinsella also has written a number of short stories, relying on baseball as the theme, but with themes that are universal. This isn't the "get the big hit to win the game" story, but rather baseball as a metaphor.

With any collection, the question of best and worst short stories come up. Particulary strong is the opener "The Last Pennant Before Armageddon" which deals with a prophecy that the next pennant that the Cubs win will be the last pennant that any team ever wins -- a prediction that still hasn't been tested since this piece was penned in 1984.

The collection also closes strong with "The Thrill of the Grass" dealing with the baseball strike and a populist secret revolt against artificial turf -- a methphorical return to purity.

Excellent work. Kinsella is truly a master writer.

My brother told me about W.P. Kinsella in 1984 and I've been a huge fan ever since. I've read everything I can find by him, starting with "Shoeless Joe" and this might be my favorite book of his. He has written at least three collections of baseball short stories and this is easily the best.

Most of the stories are not so much about baseball, it's more a case of using baseball as a background and common thread to tie the stories all together.

These are the kind of stories you can read over and over again. One of my favorites was the story about the fans who decided to turn the latest player's strike into a chance to replace astroturf with real grass. With the stadium shut down for the strike, they came in and returned the field to a natural state. I've always thought that when the players strike they should strike to get rid of astroturf; a cause many fans could get behind.

I don't know of any baseball fan who would not enjoy these stories.

A collection of baseball stories - or rather, stories involving baseball and baseball players in some way. Kinsella is at hist best when he stays close to earth - hopeful bush leaguers, women trouble - but tends to go way over the top when he tries to involve more "magic" (in his own words) to the game and the story. The Iowa Baseball Confederacy suffered from this problem, and so do a few of the stories in this collection. But when his "stories aren't about events, they're about the people they happen to", he has a wonderful touch. Some of my favourites in this collection are "Drive me to the moon", about a Rookie leaguer and his affair in a one-horse town in Canada, "Barefoot and pregnant in Des Moines", about a big league star and his marriage. Some of these stories are true gems and fully warrant the five-star rating; others are filler, but then even the most classic games have their straightforward 6-3 groundouts.

W. P. Kinsella writes with poignance and wit, capturing both the humor and the occasional tragedy of the game. This collection displays some of his best work.

My alltime favorite among this collection is "The Last Pennant Before Armageddon." In the wake of the Cubs' collapse this fall, a work like this has real prescience and is somehow reassuring that there was a higher purpose behind it all.

Still, there are other strong stories in the mix. In one, the narrator is offered the chance to trade places with the recently-killed Yankees catcher Thurman Munson. Another, more whimsical story takes you inside the clubhouse of the 1951 Giants, as a surprisingly literate team debates whether The Greaty Gatsby is an allegory.

For me, "The Last Pennant Before Armageddon" is reason enough to buy this book. In the wake of the 2003 NLCS, I feel a dire need to read it . . . repeatedly.

It's a great book. Can't wait to use its information in my new psychological thriller for young adults. Recommend it highly to anyone who's interested increating codes or a new secret language.

We got a number of code books from the library for my 10-year-old son; this one was so well-done that he wanted to buy his own copy. He has been studying this book and using it to develop his own code system.

Although this book seems to be recommended for middle schoolers, I bought it for my just-turned 6-year-old son as a birthday gift. We had initially checked it out from our library and he absolutely loved it. Expect to find page upon page of engaging codes and ciphers. Parents are forewarned! Arm yourself with the patience to solve the numerous scribbled codes your kids are going to bring you. Fabulous book. I'm so glad we got our own copy. Another book I'd recommend is Martin Gardner's Codes, Ciphers and Secret Writing.

I have of number of books like this. I know that it was more for kids, but I thought it was a fun read and it did have some interesting thoughts I did not find in other books. Overall, I like it very much.

Last summer my son decided he wanted to have spy club, so we looked through every book we could searching for information on how to be a spy. This book had the most thorough treatment of codes, ciphers and the like. It had plenty of activities that I felt like I could set up for the kids and that they could work on their own. This summer we bought the book because we want to reference it so much. Even Mom and Dad like this book.

A Genie in the House of Saud: Zubis Rises (A Genie in the House of Saud)

A bit arachaic in language and cultural approach, but the narrative pictures Doughty draws are fascinating; submersion into a little known cultural and time. Great for anthropological studies.

I must, grudgingly, give this monumental classic work of travel and adventure five stars, despite the fact that I don't really like the author. Doughty was probably not a very nice, friendly person; his life and opinions seem centered around a strict, almost fanatical and unforgiving, religiosity (he was a very fervent christian). Nevertheless, what he set out to do, he did with ample success and eficiency; and what he set out to do is not so simple as it seems at first sight,in my opinion, except for one of his main, but most superficial goals: to redeem the English language from the poverty and oversimplicity it had fallen into (Doughty believed the English language had fallen from grace since Spencer: I wonder, what would he think of it now?).

"Travels..." is an account of Doughty's two years of wandering through the Desert, in the 2nd half of the 19th century, with Hejaz and Nejd nomads. Unlike many other travellers before him (such as Sir Richard Burton), he never even tried to pretend he was a muslim, but admited to the nomads he travelled with that he was christian....and then went on, once and again for two years, to argue christianity's superiority over Islam and to explain how the fact that they were muslims excited his pity at seeing them fooled by their fraudulent Islamic beliefs. We know that traveleng in Arabia in those times was quite risky and dangerous, so it is a wonder that he was not killed by the nomads he was travelling with after they had to hear, for the hundredth time, how their faith was a fraud!!! This pious propensity, or even thirst for martyrdom (some times the provocations seem to point at that), is also quite trying for the reader.

However, if you can stomach the religious dissertations in his very special saintly style, the reading is rewarding indeed. Doughty had the (undeserved, I think with envy)luck to find the remains of the Nabataean town of Hegra, which he describes in some depth, with sketches of the tombs and copies of the inscriptions he found there. Who doesn't dream of finding the abandoned, lost, ancient town, built by a mysterious half-forgotten people? His descriptions of life with a Nomadic tribe of those times, with its unbelievable hardships, due to the famine-level subsistence usual among nomads, are an etnographic work of first rank. His report of the abuse, threats and indignities he had to suffer at the hands of the nomads because of his refusal to deny his christianity are unintentionally funny, in spite of himself.

But it is when we see that Doughty constantly compares the nomads of the desert with the Patriarchs of the Bible, and we know he can imagine himself in the company of Abraham's or Ishmael's tribes, when we learn the extent of the religious significance that this journey had for him. The ignorance and fanaticism that he finds in these nomads, he imagines in the Patriarchs of the Bible. For him Christianity, his own faith, was the light and salvation that took people out of the pitiful and primitive state these nomads live in. In fact, his journey is actually a pilgrimage to invest his religion with a significance that maybe he had been in the process of losing from sight.

And it is this, the fact that this author had set out for a journey with the intention of profoundly despising the people he was going to live with, what makes me despise him as a person, even though I see the importance of his work. Although Doughty repeats, now and then, the common, admiring expressions that were usual and fashionable to speak about the nomadic Arabs of those times -all the usal "noble savage" stuff-, we can read between lines (and later on, directly) that he thinks they are repulsive, inferior creatures. He goes to Arabia thinking he will be a superior among primitives, and he leaves Arabia, two years later, convinced that this has, indeed, been the case. In my opinion, the one who comes out the worst from the experience, is himself, although I have to thank him for recording his experiences and so, giving me the oportunity of reading between lines and learning from that.

I would like to add that this is not a complete edition of Doughty's work, which I read in the Dover two-volume edition, with an introduction by T.E.Lawrence and translations (of the Nabatean inscriptions) by Ernest Renan, and with some beautifully drawn maps.

There are few travel books that can stand up to the depredations of time - indeed, travel literature by its nature tends to be ephemeral. We may peruse the Victorian travelers, but mainly to get a sense of the exotic, from a time when it still was that way.

Fewer travel books still can claim to have had a conscious impact beyond their own genre. One thinks of Stendahl's travels in the South of France, Radishchev's journey from Petersburg to Moscow, or Stephens and Catherwood in the Yucatan. But Doughty is in a class by himself.

This remarkably eccentric man with the remarkably eccentric writing style set off into one of the last fringes of society, to a world where the art of the word was cultivated and where a man's worth was set by his speech. He is not an easy read. Yet his writing reflects the sense of a major intellect from one culture confronted by a tradition which is very old, very venerable and yet totally alien from that in which he was raised. That he sought to explain it by creating a new way of writing is perhaps not remarkable.

Many writers of the last century have been quite vocal about the debt that they owe him; one sometimes wonders if this is honored more in the breach than we would like to believe. But try him on for size, but be prepared to be patient. You will find that his style will win you over if you are.

Doughty had reflected his belief throughout his journey and I am not surprised. He decreased the Bedw traditions and tried to link it completely to the teaching of Islam. He knew from the beginning that the Bedw tradition especially in the northern part of the Arabian Peninsula has nothing to do with the teaching of Islam. It was basically their culture. He did used the Bedw to serve his purpose since he wrote this book only to the western readers at that time to capture their imagination of the Arabian desert and to lay down the first step toward the colonization period that took place 30 years later.
Doughty in his book has described the Bedew life with many details that have shocked me. Since he lived with my great grandfather (Tollog) during his stay on al Harra, I was able to tell how close he was to reflect the real life of my tribe.
If we ignore his belief's reflection in his writing, we can conclude that his book is truly a masterpiece in detailing the life of one of the most isolated part of the world in 1800 century.

After reading this work detailing the 1870s [mis]adventures of the legendary Charles M. Doughty, one comes to understand much better why T.E.Lawrence so admired the Bedu and mistrusted the Arab city dweller. Doughty's "travels" really amounted to being "driven" through hostile lands occupied by "fanatics," continuously handed off from one group of outlaws and thieves to another. "I found in them an implacable fanaticism," wrote Doughty. "All their life is passed in fraud and deceipt." Sacred oaths, swearing in the name of God out of mere habit, traditional mores of protecting the fellow-traveller in one's charge honored mostly in the breach. One friendly Arab acquaintance along the tortured path tells Doughty, "I hope that your life may be preserved: but they will not suffer you to dwell amongst them! You will be driven from place to place. As many among them as have travelled, are liberal; but the rest, no." Abdullah el-Kenneyny advised Doughty, "I am even now in amazement! that in such a country, you openly avow yourself to be an Englishman; but how may you pass even one day in safety. You have lived hitherto with the Bedu; but it is otherwise in the townships."

Early on, the strange language seemed humorous and distracting, but it soon grows on you. "Give me a hand" becomes "Lend me a grip of thy five." Robbed, stripped, insulted, the intrepid Doughty gives the evil-doers the back of his hand as often as he dared, many times with his hand on a revolver hidden under his robes. One bluff carried off successfully against fellow travellers, who were sworn, of course, to defend him -- "By the life of Him who created us, in what instant you show me a gun's mouth, I will lay dead your carcasses upon this earth."

Occasionally some paragraph seems to be the obvious inspiration for a like passage in Lawrence's "Seven Pillars of Wisdom," an exquisitely detailed description of how a camel comes to a halt and lies down being one of the most obvious examples.

A major feature of this work is the great care taken by the author to use and then explain the Arabic vocabulary for places and things unique to the Arab culture. Each and every page is peppered with these terms. There is a fine glossary, praise God, the Merciful One!

The first half of this collection of selected passages from the massive original work will give readers warm feelings for the Bedouin and sweet dreams of wandering amongst them at peace with God and nature. The second half will likely wipe out any such urge. Civilizations still clash, 130 years later. Extremists rear their ugly heads on both sides of a vast chasm. Will the next 130 years bring much fundamental change?

There are two books in English based on translations of Zen Master Bankei teachings, both pusblished in 1984. "Bankei Zen" is the title of the book written by Peter Haskel who behaved both as translator and editor under the supervision of his teacher Yoshito Hakeda. Haskel assisted the reader organizing the text and adding headings here and there to paragraphs, dialogues, anecdotes, poems. Also he added technical notes highlighting biographical and historical circumstances. These headings focus the attention of readers in their efforts to find their way throughout Bankei teachings. "The unborn" is the title of the book written by Norman Waddell, just a translator. His book becomes the forest of words. One Dharma Talk after the other and, here and there, also some highly interesting biographical and historical notes. However, Waddell produced a revised version in 2000 and included only minor changes to translations to very specific paragraphs. However no mention is made to Haskel's book on the same subject and author, similar texts. Under section III, other works in the bibliography section this reference to Hakei's book is conspicuously absent. Within the community of scholars the standard is mentioning books written by other authors on the same subject and basic source. This is not the case of Prof. Waddell at Otani University in Kyoto. His approach is below standards; competitors in the field must be mentioned after what is acceptable and recommended within the scientific and academic community. Haskel's translation has been tailored to readers making their best to find out their way around a genial and easygoing Japanese Zen Master of the 17th century. Bankei is the antidote for those suffering an overdose of Dogen and Hakuin teachings and comments.

I had the good fortune to attend a number of Alan Watts' live talks in the Monterey-Big Sur area during the sixties. Some 35 years later his body of work continues to stimulate my growth and understanding. While Watts never proclaimed any one person as his teacher or guru, the 17th century Zen master Bankei (1622-1693) appears to have been a major influence.

As early as 1950 Watts specifically identifies Bankei as a resource in an article he wrote for the journal of the Buddhist Lodge in England. He quotes Bankei even more profusely in his 1957 opus The Way of Zen. Finally, in his autobiography In My Own Way, published a year before his death in 1973, Watts reveals having spent many hours studying Bankei and elevates him to a representative of "Zen at its best." He said that he referred people to Bankei's observations whenever they accused him of misinterpreting Zen.

I am delighted to find that the teachings of this Zen iconoclast par excellence are available once again in the revised edition of The Unborn: The Life and Teachings of Zen Master Bankei, translated by Norman Waddell. Highly recommended with one caveat: if your feet are firmly planted in orthodoxy, anticipate the appearance of major cracks in your foundation. A retrofit will not necessarily be an option.

A great gem of a book for any seeker. Master Bankei's teachings revolved around the principal that we are all a part of the Unborn-here and now and that once we abide in that no other knowledge or practice is really necessary. His teachings mainly point this out from many angles based on peoples questions and issues at the time. After many years of his own struggle as a seeker he came to the realization that since everything arises from the Unborn we are all Buddhas once we really abide in the Unborn, which is possible NOW without any other knowledge. He felt that seekers distanced themselves from this very direct teaching by doing too many things like working on koans or spending a lot of time reading religious Buddhist texts, all the while missing the Unborn Buddha Mind right now that is always present. It seems hard to believe but Master Bankei very profoundly and intelligently makes a great case for this teaching in this wonderful book. I strongly recommend it. It is along the lines of the teachings of Papaji,Ramana Maharshi, Nisargadatta Maharaj and more recently Eckhart Tolle (The Power of Now & Stillness Speaks).

Of all the ancient masters-Bankei seems to speak the loudest to us in modern times. The Unborn makes this clear due mostly to the wonderfully natural translation Norman Waddell has given us. Bankei had an interesting background in Chinese thought, as most youth of his day, he started out early on reading the Confucian texts. But to Bankei Yotaku, Confucianism wasn't adding up, and so he turned to Zen Buddhism. While his style is primarily that of the Rinzai, he also incorporated Soto ideology as well into his teachings.

Sadly, at Bankei's time, being a Zen priest all too often became a "rank one wears" in society, more for the aristocratic society than for the common layperson. He was a bright beacon and a simple master who spoke to the people, not just the "upper class." This book is essentially a compilation of Dharma talks between Buddhist monks and priests, and himself. People from all over China would come to hear him speak of the Unborn Buddha-mind, which he instructs is always there yet while many don't know of it. It to me speaks of cutting your roots, of realizing though you were bore by your mother, there is also a part of you that remains unborn. Every moment, from moment to moment-you are being born as the Buddha. Zen master Thich Man Giac of modern times held a ceremony in which he handed out flowers to participants. He asked them to place a red flower on their lapel if their mother is still alive, and a white one on if she is dead. Jakusho Kwong -roshi recalls Thich wore a red flower. This he found funny, because Man Giac at this time was very old. So he asked him later how is mother is still alive, and Man Giac answered, "My mother is Kannon Bosatsu." That is essence, is the unborn Buddha-mind.

I hope you enjoy this book!:)

The Unborn: The Life And Teachings Of Zen Master Bankei, 1622-1693 is here presented in a significantly revised and expanded edition containing many talks and dialogues with monks and priests not included when it was first published in 1984. Ably translated for an English speaking readership by Norman Waddell, this superbly presented compendium of illuminative Buddhist wisdom is highly recommended for personal, temple, academic, and community library Buddhist studies collections and reading lists.

What is there to say? The guy is funny. He cannot write a bad sentance or a bad book. This is a favorite of mine dealing with Uncle Fred. Let the car note be a little shy this month and enjoy a true master at his art.

I loved the Jeeves & Wooster books so I was sad when I read the last one. Then I decided to move on to other Wodehouse books and have read a few since. I have to say this is one of my favorites! It definitely compares to the hilarity of the Jeeves/Wooster books. Uncle Fred or the Fifth Earl of Ickenham is one of my favorite Wodehouse characters. He always seems to be dragging his nephew Pongo Twistleton (occasionally mentioned as a fellow Drones club member in the Wooster books) into trouble but always seems to get through it as is typical in the Wodehouse books. Anyway, it is a great read, a good laugh, and a lot of fun. On a side note, if you like Wodehouse, the dvd series of Jeeves and Wooster (starring Hugh Laurie from the tv show House) is also very funny. You will see many of your favorite Jeeves story lines in them and they are very true to Wodehouse.

Professors of literature are fond of writing that the three greatest novelists of the twentieth century are Marcel Proust, Thomas Mann, and James Joyce. In this, they could hardly be more in error. The only contender for the title of the greatest novelist of the twentieth or any other century is P.G. Wodehouse, farceur supreme, or, in plain English, an extraordinarily funny writer.

Wodehouse wrote novels and stories that can be easily classified into several series: there are the Bertie and Jeeves novels and stories, the Blandings Castle novels and stories, the Mr. Mulliner stories, the Uncle Fred novels, etc. The characters from one series rarely appear in another. This novel is an exception. Uncle Fred appears at Blandings Castle, where he poses as Sir Roderick Glossop, normally seen in the Bertie and Jeeves novels (and one story); indeed, he encounters Sir Roderick while traveling to Blandings Castle. Uncle Fred, properly, Frederick Altamont Cornwallis Twistleton, fifth Earl of Ickenham, is a man who "together with a juvenile waistline, . . . still retained the bright enthusiasms and the fresh, unspoiled outlook of a slightly inebriated undergraduate" at the age of sixty or so. It is he who sets in motion the events that enable young lovers to marry and his nephew Pongo to settle his gambling debts. In general, his role is that normally played by Lord Emsworth's younger brother Galahad.

Of course, any reader of Wodehouse novels knows at the start that things will turn out all right for any sundered hearts or frustrated lovers, as he knows that, any time the efficient Baxter appears, he will be discredited despite being thoroughly correct. The fun is in discovering just how it happens.

And what fun it is. Wodehouse's mastery of the English language is unrivaled. He succeeds in producing prose that not only is enjoyable in its own right but also moves events ahead at a pace that is nigh exhausting. In the Bertie and Jeeves novels and stories, it is Bertie's narration that does this. In this novel, it is the dialogue as much as the narration that moves events ahead, establishes the characters, and gives the reader immense pleasure.

This is my very favorite book, and I have been reading it about once a year for the past 15 years or so. I still laugh out loud at every reading. The very complex plot deals with Pongo Twistleton and his Uncle Fred, who visit Blandings Castle as imposters (Sir Roderick Glossip and his secretary, to be exact) in an effort to prevent the Duke of Dunstable from stealing the Empress of Blandings, Lord Emsworth's prize pig, and to keep him from smashing the drawing room furniture with the fireplace poker. Polly Pott (daughter of private investigator Mustard Pott) is also in attendance, pretending to be Sir Roderick's daughter. The story also involves the Duke's two nephews and their romantic problems: It seems Horace Davenport has hired a private investigator (none other than Mustard Pott) to tail his fiancee Valerie (Pongo's sister) and she has called off the engagement as a result, and Ricky's jealousy of his fiancee's attention to cousin Horace has landed him in the onion soup. Money won and lost at Persian Monarchs, the slipping of mickey's into people's drinks, and a Duke who throws eggs at people who whistle The Bonny Bonny Banks of Lock Lomand outside his window add to the hilarity. Of course, Mr. Wodehouse's unique turn-of-phrase doesn't disappoint in this delightful novel. I recommend this book to anyone who seeks diversion from reality. A must-read.

A complete Wodehouse fanatic, I would have trouble giving less that five stars to anything I have read so far. Uncle Fred is a particularly good one to add to the guest room bookshelf----incredibly funny and nice light reading for a few days away from home.