Roberts Books

I really enjoyed this book. It is a must read for the ones interested in his life as well as in his writings.

This book of letters tells the story of Steinbeck's life. As his third- wife the book's co- editor Elaine Steinbeck makes clear in her introduction Steinbeck was a life- long letter-writer. Steinbeck usually started his day writing letters to his friends, and business- associates. They were the warm-up for his real writing.
Steinbeck speaks frequently in these letters of his love of writing. He writes with a refreshing frankness and directness. The book tells in no doubt an incomplete way the story of his struggle for literary success, of his three marriages, of his relation to his parents, children and a number of friends.
Steinbeck seems in these letters a fundamentally decent, loyal , hardworking person. However one of the interesting elements in the letters is seeing how his relation to certain people, most notably his wives, changes in time. His first wife Carole in the early years is described and written about almost exclusively in superlatives. After his divorce from her he speaks about those years as ones in which each was angry at the other much of the time. His second wife, the mother of his children left him after five years, and his initial enthusiasm for her naturally cooled. Though he vowed not to marry again when he met Elaine SCott, who was then the wife of the actor Zachary Scott he found apparently the great love of his life. In one especially moving letter he will thank her for their life together and for her especially good relation to his two sons. Another exceptionally good letter is written to Elaine's daughter who is about to marry. His advice to her again shows him to be caring and non- conventionally wise.
One especially notable set of letters are those he wrote to his lifelong friend Carlton A. Sheffeld( Duke). Another are those to his publisher Pascal (Pat)Covici.
I have never been a special fan of Steinbeck, but reading these letters I have a sense I somehow did not fully appreciate his work. So these letters will probably move me to reading more of his work.

Steinbeck left an autobiography of sorts when he died, a collection of personal letters to his friends. His widow and his friend worked together to gather the letters from everyone they could. They edited them for clarity and published them in chronological order.

The result is the personal story of a very creative, complex writer who worked every day with his hands. When he wasn't writing novels using pencils and a legal pad, he was mending the fence or fixing the roof. He loved people as much as he loved solitude, so he began each day by reaching out with these letters to his friends around the world. He talked about his surroundings and his thoughts and his ongoing projects.

All of this would be enough to make a wonderful book, but there's the added benefit of Steinbeck's writing style. Steinbeck used as few words as possible, always trying for a poetic effect without pretension. He wanted to be honest and accurate, but he knew the value of capturing an image or feeling with a colorful use of words. As a result, this massive book is a pleasure to read, from start to finish. Steinbeck's writing style keeps you interested but never overwhelmed.

I highly recommend this book to anyone who has enjoyed a few Steinbeck novels. Aspiring writers should read it, as well. When you're done, read the Steinbeck chapter in 'Alcohol and the Writer' and Jackson Benson's books on Steinbeck. You'll be glad you did.

If you appreciate the art of letter writing, you'll be delighted with this collection of letters from John Steinbeck.

Wow! can this man, write. But perhaps "write" is the wrong term - "think" is better. Wow! can this man think. And then he is able to express those thoughts in a clear, eloquent and, most of all, honest way that is a treat to read.

The book begins with a letter from the young, penniless author to a friend. At the time, Steinbeck was in isolation when he took a job as the winter caretaker of a lodge in Lake Tahoe. From there, he takes us along on a life journey through three marriages, financial success that always made him uncomfortable, fame that he often detested, Pulitzer and Nobel prizes, adventure in settings from the Sea of Cortez to Saigon.

The insights are astounding. His lack of pretension in the midst of his success amazes.

Here was a sensitive, often gruff but completely honest man who was not afraid to reveal himself in total to the friends he cherished.

Can't put it down in any sense. This collection goes right through Steinbeck's life, from his twenties into old age, and contains many letters to key people in his life interspersed with helpful commentaries by his wife to give the reader a sense of what Steinbeck was facing when he wrote. Highly recommended, and very moving in many places, whether humorous, joyful, or passionately angry.

"I learn that all of my manuscripts have been rejected three or four times since I last heard. It is a nice thing to know that so many people are reading my books. That is one way of getting an audience." -- JS

"One very funny thing. Hotel clerks here [Monterey] are being instructed to tell guests that there is no Tortilla Flat. The Chamber of Commerce does not like my poor efforts, I guess. But there is one all right, and they know it." -- JS in the years before the Chamber of Commerce boosted Cannery Row as a tourist shrine

"I'm trying to write history while it is happening and I don't want to be wrong." -- JS before penning the Grapes of Wrath

Robert W. Murray drew a very touching picture of what is hidden behind the term JUSTICE in the United States.
It shows you instantly that this could have happened to anybody!
He lets witness us his childhood and the story how it happened that he and his brother Roger were wrongly convicted for a terrible murder.
America is not interested in finding the real killers. Why? read the book! Trials are sport shows in the USA - lawyers and attorneys go to court to win a game and not to find justice.
He shows us that even enclosed in a cave without daylight, he never gave up. Help him and his brother! Buy this book!

I thought this book was great. The subject of the book is sad, but it is thought provoking and should be read by anyone and everyone interested in the death penalty issues in our country today. Robert is a wonderful writer, and while reading this book, you are able to picture what he is talking about and feel what he is feeling, you can feel his heartbreak as he talks about how his brother is living right there and yet he has'nt been able to talk to, see or touch him in many years. People don't often think about our inmates in this country and how they feel, but they do feel and this book illustrates this very well. Anyone interested in the issues this book raises, anyone who is not sure about the death penalty, and for those who think they know all about it, and have made up their minds, you should read this. Insightful and interesting read, grabs you from the first page and keeps you reading.

The author of this book is an inmate on Death Row in Arizona. He writes articulately and thoughtfully on the entire process of capital punishment: arrest, trial, conviction, incarceration, appeal, and the ultimate execution. He demonstrates that it is very difficult to get off of this road once a person is forced onto it. Along the way, he discusses details of life on Death Row. He addresses philosophical questions such as how one survives emotionally from day-to-day, as well as the boredom, interactions with guards, interactions with the legal system, interactions with the prison system, interactions with the medical system, and interactions with the rest of the world via visitors, letters, and television. This reviewer was drawn into the book and came to identify with the author and to even ask how he himself would cope with the prison circumstances. This book should be read by anyone interested in our execution system.

Wow! I keep shaking my head, in fits and starts. Here is the clearest, most erudite document that I've yet read (and there have been many) regarding existence on one of America's death row facilities and the catastrophe of our judicial system. I have a bias here because I am currently watching a close friend undergo the exact same calamity that author/inmate Robert Murray so eloquently captures in this fine, eye-opening book. From drunken lawyers (if you can't operate a vehicle legally under the influence, should you be allowed to defend a man's life while inebriated?), counsel afraid of their clients, juries only selected with a prejudice for a death sentence, political posturing, the list goes on ad infinitum.... I have been searching for a work that explains my utter amazement and horror at what I've witnessed to give to friends and family to help them understand my change of heart regarding capital punishment. This is the finest example to date that I have come across embodying the naked truth of our tax dollars being spent to perpetuate state sanctioned murder (this is the listed cause of death on the death certificate). The only error I found in the entire text is concerning the application of death via the "more humane" procedure of lethal injection. In actuality, it is the norm that when the killing agent is introduced into the bloodstream that a violent convulsing reaction occurs comparable to extinguishment by gas or electricity. But, as Mr. Murray so aptly points out, he wouldn't be privy to such information because nobody ever returns from the death house to tell him about it. As the saying goes, capital punishment means them without the capital get the punishment.

Robert Murray will prpbably spend the rest of his life on death row in Arizona. In his book, hee tells about the days in prison and his feelings and the daily routine.
For a free man it gives a small impression how life is on death row.
That book is very important for anyone who likes to know how men live behind prison walls.
Strongly recommended!

Robert Lowell's poetry is praised for its technical brilliance, metrical complexity, and verbal ambiguity. In an earlier review of Lowell's Lord Weary's Castle (awarded Pulitzer Prize of Poetry in 1947) I compared reading his poetry to studying mathematics, too advanced mathematics.

Furthermore, I am often uncomfortable with Lowell's disaffection, mistrust, and anger (one critic calls it apocalyptic rage) evident both in his criticism of contemporary society, and in his confessional topics such as marital difficulties, drinking problems, and mental illness. And yet I keep coming back to Lowell's work to savor his remarkable command of language.

Life Studies, a blend of prose and poetry, is more explicitly personal than his earlier work. The prose section, titled 91 Revere Street, is quite exceptional, not simply for its dispassionate candor, but for its literary excellence. Lowell is almost brutal in his depiction of himself as a boy, offering no excuses for his insensitivity toward others. He is no less severe with his parents. Lowell's portraits of his grandparents, aunts, and uncles were equally candid, but more sympathetic.

Lowell reserves his later difficulties, including struggles with mental illness, for his poetry. Waking in the Blue, a haunting picture of fellow patients in a mental hospital, is immediately followed by an unsettling description of Lowell's return to his family, Home After Three Months Away. Soft Wood, dedicated to Harriet Winslow, who "was more to me than my mother", is deeply moving. Other family poems - like Dunbarton, Grandparents, and Sailing Home from Rapallo - have a poignant beauty. I also liked Beyond the Alps, the first poem in Life Studies, which reappears with an additional stanza as one of the last poems in For the Union Dead.

For the Union Dead has a broader span, addressing social issues and historical subjects, as well as confessional topics, and is thus more similar to Lord Weary's Castle. Hawthorne, Jonathan Edwards in Western Massachusetts, Water, The Old Flame, and the title poem, For the Union Dead offer a good sampling of this work.

The quality of a writer for us , it seems to me, is often defined by how much of ourselves we are willing to put into knowing their work. I read the poems in this collection, but am not tempted to reread them. They make sense and tell of Lowell's childhood, his relation to his father, his meditation on the way he first met his first wife and the way they have grown distant through the years, his sense of his grandfather's grandness as he takes him with him on a local tour, his friendships with other writers. I can read the poems and feel their meaning and sense quite clearly. This to my mind raises them above much poetic language which in many modern poetry writers does not have a context or a sense. Lowell does often tell a small story in his poem.
But there is for me , anyway, a certain absence of music , a certain lack of those kind of memorable lines I find in my beloved poets.
Reading other reviews of Lowell's poetry I see others see more in his work, feel it deeper than I do. They are the truer readers.

Robert Lowell is a giant in American poetry. He is pretty much unanimously considered one of the best of his generation. This book combines two of his volumes of poetry. One of those volumes is his masterpiece Life Studies--the reason why he is a giant in American poetry. This is his seminal work. No matter how you look at it, this is an important book of poetry. And an excellent book of poetry. Most of the poems are good and there are several phenomenal poems within. Life Studies alone belongs on any serious poetry connoisseur's shelf. Also in this book is arguably Lowell's second best collection (only Lord Weary's Castle might be better) For the Union Dead, which contains another masterpiece, "For the Union Dead" (and a favorite of mine "Hawthorne"). This is a book that poetry lovers of all kinds should have.

Lowell is of the vanguard of American twentieth century poets, a man who created many brilliant works other than the two joined in this volume. In such poems in Life Studies as Beyond the Alps and A Mad Negro Soldier Confined in Munich, as well as his portraits of various friends and family, we discover a man capable of both acid humor and outright sadness. However, in Life Studies, these excellent poems are overshadowed by the towering biographical essay 91 Revere Street. In this touching memoir, Lowell describes distant, illustrious relatives, Amy Lowell being a famous but ostracized example, friendships wrecked in childhood, disquietude over a girlfriend who soils herself in class (in his embarrassment, Lowell sits in it), his formative years on the periphery of polite, conservative Bostonian society, and his fathers coarse, difficult superiors and buddies that cropped up in the father's job with the Navy. Though his poems here are outstanding, an uncomfortable question arises when one considers this essay: Would Lowell have been better off to employ his time as a prose stylist, not a poet?

For the Union Dead validates Lowell's decision to declare poetry his mode of expression. Poems such as the dolorous My Last Evening with Uncle Devereaux Winslow and Terminal Days at Beverly Farm expose a man groping for hope after the deaths of close relatives; Waking in the Blue and Myopia: A night explore, respectively, Lowell's mental illness and attendant three month hospitalization, and a night of insomnia that becomes a maelstrom of tortured reflections and half-hewn thoughts; The Drinker explores alcoholism as a product of foiled love, with a question as to whether pathology or sheer carelessness and love of idleness is the underlying shibboleth. Water, the poem that stoked my love for Lowell, uses a maritime theme to express sorrow over a lost love. Beyond the Alps, from Life Studies, is reprised here with an elided stanza reinserted at the behest of coeval John Berryman.

Lowell is one of those poets so gifted, so erudite, so steeped in classical literature, it's hard to grasp that, as he explains it, he was "less rather than more bookish than most children." Much of the isolation evinced in Lowell's poetry, as well as the restlessness of his life, both as youth and adult, are radiantly eviscerated in these two collections.

I read this poem again on Martin Luther King Day, a fitting day for this poem, a tribute to the Union dead of the Civil War and a particular remembrance of the black soldiers who wore the uniform of the Union-- particularly of the Massachusetts 54th Regiment (made famous to non-Civil War students by the movie Glory several years ago).

The 54th Massachusetts was the first black regiment to march from the North to fight the Confederacy. These men were quite brave knowing that in battle they would likely get little or no quarter, and if captured they would most assuredly be sent south back to slavery. These men had much to prove, what with years of racism from North and South to be broken and defeated by their bravery and sacrifices-- not to mention the Confederate army that they would later face on the battlefield. They would win ever-lasting fame for their courage during their doomed assault on Fort Wagner at Charleston Harbor, South Carolina, July, 1863. The attack would be a night assault on this heavily guarded fort. The fighting would be intense and the 54th would not be successful. Their white colonel, Robert Gould Shaw would be killed, and almost half the regiment would be lost. The first Medal of Honor for a black man would be earned there.

They marched down Beacon Street, with the Massachusetts State House on one side and Boston Common on the other - off to war, off to death and glory on a twin mission; to fight for the Union and show the world that they were equal in ability to whites. Directly across the street from the Massachusetts State House on Beacon Street there now stands the brilliant monument by Augustus St. Gaudens, forever commemorating the 54th, the first black regiment and their white commander Colonel Robert Gould Shaw.

This monument on Beacon Hill is one of the finest monuments of any kind in the United States. As a tribute to Shaw and the 54th it is unparalleled in the physical world; but in the emotional world, the world of poetry, Robert Lowell comes quite close. Lowell brilliantly describes the monument to the 54th and works it into the life of Boston that foremost of abolition cities of the North. Standing before the 54th monument on Beacon Hill, as the crowds walk swiftly by and the traffic speeds along past the State House, one can almost hear the men breath as they are forever frozen in bronze on their march south to battle. There are few monuments in bronze as lifelike as this one: it is an incredible tribute to the 54th and their commander and adorns the city of Boston as fittingly as the obelisk at Bunker Hill or the colonial historical sites of Adams, Revere, Hancock, and several miles to the west, Lexington and Concord.

Lowell's "For the Union Dead" is a successful poem on so many levels and succeeds completely where Tate's "Ode to the Confederate Dead" so totally fails. It unifies time and place, and brings context and permanence where everything seems to be shifting and changing. As a tribute to the 54th and the Union dead of the Civil War its elements run as deep as the waters off the coast of Boston seen from the top of Beacon Hill so long ago when the skyscrapers didn't block the view.

Having started his education at Harvard, Lowell transfered to Kenyon College to study under John Crowe Ransom another of Vanderbilt's Fugitives, like Allen Tate and Donald Davidson. It is an astounding thing that the two greatest Civil War poems of modern times ("Lee in the Mountains" and "For the Union Dead") and the worst ("Ode to the Confederate Dead") should be written by poets with Nashville connections. Lowell went on to graduate school to study under Robert Penn Warren, another Vanderbilt "Fugitive".

St. Gaudens placed a Latin inscription on the monument, the motto of the Society of the Cincinnati (a society of Revolutionary War officers started by George Washington and Henry Knox): "Relinquit Omnia Servare Rem Publicam". The translation is: "He left behind everything to save the Republic". Lowell opened his poem with this Latin phrase but changed the singular "he" to "they" in the Latin so that his poem would refer to all the men of the 54th not just its white commander, Robert Gould Shaw, to read: "Relinquunt Omnia Servare Rem Publicam".

"For the Union Dead" was published in 1964 during the height of the Civil Rights movement. Active in Civil Rights efforts, it is perfectly understandable that Lowell should have written this poem of unity and appreciation with concern, too, that the past should be remembered and its lessons learned. The battlefield of Fort Wagner had been by then reclaimed by the sea at Charleston Harbor and the monument to the 54th had fallen into disrepair. In fact, it was during this time that the St. Gaudens monument had been removed and stored in a crate to prevent damage from "shaking" from the construction of the underground Boston Commons parking garage. So, the battleground is gone, and Shaw's monunument is gone (but only temporarily), and history fades while "progress" continues speedily obliterating the memory of those that have come before.

"The stone statues of the abstract Union Soldier
grow slimmer and younger each year-
wasp-waisted, they doze over muskets
and muse through their sideburns . . ."

Lowell's brilliant poem is his way of retaining the past and ensuring that important historical memory is not lost forever. The men of the 54th Massachusetts, black and white, were leaders in bringing an end to slavery and establishing equality under the law for blacks in America. The story of their bravery and sacrifice is important to understanding American history and the Civil War. These men demonstrated with their actions and their blood that they were equals and merited equal positions in American society. As Americans North and South we ought to continue to embrace their memory and appreciate the many challenges that they overcame and the lessons that they taught us with their sacrifices at Fort Wagner and elsewhere.

We can look back to the 54th Massachusetts as a standard bearer in the struggle for Civil Rights in America. In the 1980s, my husband was privileged to be part of an effort to restore the St. Gaudens monument to its original beauty and power. Lowell's poem is a tribute to this beautiful work of art, and the men of the 54th Massachusetts who so inspired it. It is our duty a to remember our past, appreciate and commemorate our war dead, and learn those lessons that they underscored for later generations with their lives.

"Two months after marching through Boston,
half the regiment was dead;
at the dedication,
William James could almost hear the bronze Negroes breathe."

This is one of the finest poems of the 20th century and stands with "Lee in the Mountains" as one of the two great modern poems of the Civil War.

I have this book and it actually has some really good recipes and a lot of different kinds of dishes to pick from many which are quick and easy to make

I also found this cookbook years ago at the library and was extremely impressed with the selection of recipes. I can still remember how delicious the Roasted Veggie Soup with Garlic was. I too mourned the fact that it was no longer available to purchase. Then I happened to try to locate it on line. Amazon.com came through again. I just ordered a copy through a bookseller and can't wait to make that soup and many other recipes again!

This is a good cookbook. I hope that it is reprinted as I really enjoyed the recipes and they came out well plus were healthy as a bonus.

He took this cookbook with him when he moved out...It was the only one I truly loved cooking from. The instructions were easy to follow, didn't demand any obscure ingedients, were flavorful *AND* healthy... Maybe if they see these letters, they'll reprint this wonderful cookbook.

I bought this book through the mail and it is awesome! My friends keep borrowing it and it's always somewhere else. Some of my friends would BUY this book if it were available. AND I would give this cookbook for a gift IF it were available. The Live Longer cookbook has great pictures and easy to follow recipes and every one that I have used has been delicious. I sure do hope that it is reprinted sometime soon.

If someone mentioned the name of Robert Hardy to you, you mind would probably bring to mind a picture of an English actor with a plummy-voice and tweed suit, who has appeared in countless television and theatre dramas and you would be correct. Many people do not know Robert Hardy's alter ego, the author and man who is interested in medieval weaponry in general and the English longbow in particular. Robert Hardy also has a long association with the Royal Armouries, so it soon becomes apparent that his love and knowledge of weaponry has been gleaned over a long period of time. With these qualifications it is only right and proper that people interested in the subject are more than ready to read what the author has to say on the subject.

I found the book both fascinating and informative. I did however feel that some of the photographs could have been slightly better, but this is a minor criticism and I suppose there are only so many ways that you can photograph a bow before the photographs begin to look repetitive. The book covers every conceivable question anyone could possibly ask on the subject of the longbow the medieval equivalent of the automatic rifle.

The book takes us from when the longbow was first used, possibly 8,000 years ago, right through until the present day. It gives detailed information on how to make a longbow from scratch, showing the tools and material needed. It covers all the major battles where either the outcome was decided by this fearsome weapon, or it featured heavily in the battle and even shows photographs of bows that were raised with the Mary Rose, Henry VIII's ship of war.

I found it fascinating to read about a weapon that virtually every Englishman had to practice using at some point during his life, much like the football practice that many young men religiously attend today. Although in the case of the longbow, depending on the period in history, we are talking about it was compulsory.

Robert Hardy's 'Longbow: A Social and Military History' is elegant, beautifully written. It permits old folks like me to re-live the glory days of youth, when we used to make our own bows and arrows and set out to see to it that good triumphs over evil, whilst enjoying the illusion of scholarly maturity. My wife and I read passages of Hardy's wonderful prose out loud to one another, and time stops - a good thing, at our age.

I read this book for a graduate course in medieval history.
Robert Hardy's book Longbow A Social and Military History. This is the third edition printed in 1993. It is enlarged to include information on the archery equipment found on the archaeological dive from the ship, "The Mary Rose;" a warship from the Reign of the English King, Henry VIII. Besides being a famous British actor, Mr. Hardy is an acknowledged expert on the longbow, including how it is manufactured. He is a longtime member of the Royal Toxophilite Society, which is the society for archery enthusiasts. In his book, Hardy has meticulously researched the history of the longbow, from ancient history through its greatest impact in warfare during the Hundred Years' War; specifically, the battles of Crecy, Poitiers, and Agincourt. Hardy even has chapters devoted to the longbow's use in hunting and as a modern day sporting weapon. In addition, his book includes a very scientific and technical appendix on all manners pertaining to the physics and ballistics of the bow and arrow, including their material and design, as well as the ballistic effects of arrows on armor.

Bows fall into two classifications-composite and wooden. Composite bows are made of wood and other organic components, such as horn or sinew. Since composite bows are short, the other organic materials used to construct them increase the bow's power. Composite bows were used primarily in Africa and Asia, and were most likely manufactured in reaction to the scarcity of wood in these areas. The longbow, as defined by the British Longbow Society, is no less then five feet long, for arrows of up to twenty-six inches in length, and no less then five foot six inches in length for arrows of over twenty-six inches long. It is a D sectioned wooden spring and not flat, and the limbs are to be made of wood and the bow is to be convex. The very best bows are made from Yew wood. This describes the sixteenth century bows found on the Mary Rose and from all historical indications, those that were in use during the Hundred Years' War.

Hardy opens his book with an informative history of the bow and arrow. In researching the early history of the bow, archaeologists have found arrowheads in Northern Africa from 50,000 years ago. They have also discovered cave paintings depicting men using several different shapes of bows while engaged in hunting. The Romans used short composite bows with their cavalry forces, since longbows were too cumbersome to use on horseback. Most of the Roman army's mounted bowmen where from Eastern Europe and Asia Minor. The Germanic tribes that the Romans found themselves fighting so often, used longbows against them to a devastating effect, which was reminiscent of the battle of Crecy from the Hundred Years' War. In 354 C. E., the Germanic shower of arrows prevented the Romans from crossing the Rhine River and thus, halted their expansion on the European continent. The oldest bow found in Britain is from Somerset. Radiocarbon dating shows it to be from 2,690 B.C.E. The bow was made of Yew wood and was over six feet long.

Hardy next turns his attention to the more detailed study of the longbow's genesis and development in Britain. It is definitively impossible to know when the longbow first came into existence in Britain. However, history does record several historical periods when we know that the longbow, or a weapon similar to it, was used and introduced by invaders of the British Isles. There is evidence that shows that the Germanic longbow made its way into Britain with the invasion of the Saxons in the fifth century. Viking law, from mid-tenth century, required that while aboard ship, fighting men must be equipped with bows and arrows as an addition to their other usual weapons that they employed in their raiding parties. One can still read Viking Sagas of the era extolling the use of bows and arrows as weapons. In 1055, Welsh bowmen while firing from hidden positions on mountain ridges, cut down the Earl of Hereford's Saxon cavalry with devastating effect. This action would be a great lesson lost on King Harold eleven years later, in his defeat at the battle of Hastings. King Harold did have some longbow men in the battle, if one takes the Bayeux Tapestry to be a true pictorial history of the Norman Conquest. Unfortunately, for the Anglo-Saxon army of King Harold, he had to travel very quickly over 250 miles south to engage the invading Normans, which prevented him from taking many archers on foot. In fact, the Bayeux Tapestry is famous for its depiction of King Harold being fatally shot in the eye by a Norman arrow, and thus, changing the course of British history forever.

Chapters three through six of Hardy's book cover Britain's celebrated history of the longbow, and are the chapters most germane to our course of study. It is during the fourteenth century in Britain that the longbow gains its reputation as a force multiplier in battle. In military terminology, a force multiplier denotes a factor, in this case, the longbow providing a technological factor, dramatically increasing the combat capability of a military force. In keeping with the theme of our course in comparing fourteenth century events to modern times, one can easily equate the importance of the longbow to fourteenth century warfare in the same way that one can compare the importance that the machine gun had on early twentieth century warfare-specifically during World War I. The longbow provided the English armies of Edward I, through the end of the Hundred Years' War, a distinct and singular advantage over the French armies and their cavalry forces.

Despite all of the early history of the longbow in Britain, it is Edward I who is the real progenitor of the longbow, as used in battle. Edward I keenly learned the tactics and logistics that were necessary to employ with great success the longbow on the battlefields of Wales and Scotland. He realized that the longbow was less expensive and awkward to use in battle then the crossbow, and with a moderate amount of practice, his Welsh bowmen could shoot more arrows in a given time then cross bowmen could. He worked hard at building a national army. In 1298, at the battle of Falkirk, most of his longbow men were Welsh. By 1346, most longbow men were English. They were well trained, well paid, and could be counted by the thousands. Longbow men where deemed so important to the army that they were given pardons for all types of offenses, including murder, in order to go off to France to fight. Their pay was comparable to that of master craftsmen. During the reign of Edward II, English military prowess was in decline. Although Edward II continued many of the recruiting and logistical policies of his father, his tactical decisions, and those of his commanders, were sorely lacking. He suffered an embarrassing defeat at the battle of Bannockburn at the hands of Robert the Bruce of Scotland. However, the lessons his son, Edward III, learned from that defeat put the British army in good stead for fighting in the Hundred Years' War. Those lessons, learned and used in such future battles as Crécy, Poitiers, and Agincourt, were insuring good organization before battle and good discipline of soldiers during the fight. In addition, cavalry without longbow support was useless against enemy spearmen. Conversely, longbow men who were isolated on the battlefield without support, would easily fall prey to enemy cavalry attack.

Crécy is emblematic of the successes that the British enjoyed at the battles of Poitiers and Agincourt. It was the sight of the first major battle of The Hundred Years' War and was a rousing success for the invading British army of Edward III and his sixteen-year-old son, Edward, also known as the Black Prince. Edward III had 12,000 men arrayed against a French force of between 30,000 to 40,000 combatants. Although heavily outnumbered, Edward's longbow men were the force multiplier that garnered a stunning victory for the British over the French. The record shows that the English longbow men were capable of firing ten arrows in a minute. Most estimates of the longbow tactics used in the battle, state that the over one-half million arrows fired by the British, easily cut down the French armored cavalry. The longbow, and the brilliant way in which it was employed, were responsible for the lopsided casualty figures of the battle. Although casualty figures are somewhat unreliable, most sources put the French losses at one-third of the French nobility-about 12,000 men in all, against the British losses of 150 to 1,000 total. In the battle, longbow men comprised anywhere from between five to one, upwards to three to one, of the English invading force. Hardy states in his book, and I quote, "They were some of the finest, most highly trained and militarily efficient troops that any nation ever put into the field of battle." So, why did the French when seeing the efficient destructive power of the longbow, not learn from the advantage it could afford them and emulate the English? Hardy postulates a few reasons, such as, the French culture of class snobbery made it difficult for the nobles to accept peasants as equals on the battlefield. In addition, cavalry and chivalry were too hard for French nobles to give up. Another reason was that the French King did not have the power to field a national army in the same way that his English counterparts did. French kings had to rely on their nobles and Italian mercenaries to prosecute their wars during this time; thus, they could not enforce regular training regimens, nor standardized battlefield logistics and tactics. In fact, the longbow reigned supreme on the battlefield until the mid-sixteenth century. By this time, other technologies such as better-tempered armor, cannon, and musketry, overtook the effectiveness of the longbow.

In conclusion, I highly recommend Hardy's book to any serious student of medieval history. Longbow A Social and Military History, is an excellent introductory work for understanding the significance that the weapon had during the thirteenth and fourteenth centuries. It is well written and appointed with plenty of illustrations. The book is a very enjoyable read for anyone with even a casual interest in the longbow or the Hundred Years' War.

Recommended reading for those interested in medieval history, and military history.

Robert Hardy is most well known for his role as Siegfried Farnon on the long running BBC series "All Creatures Great and Small."
However most people are not aware he is an experienced in the sport of archery. Due to the love of the sport and the longbow Hardy has written "Longbow: A Social and Military History." The book takes you through the complete history of the longbow which is fascinating for those who love medevial history. Hardy also includes a section on how to craft your own longbow.
This book is a must read for everyone who loves the sport of archery.

LONGBOW: A SOCIAL AND MILITARY HISTORY follows the evolution of the longbow: a 6-foot weapon with a long-reaching history from ancient to more modern times in Britain. It became the most important weapon in the English military arsenal and won many battles: black and white illustrations throughout chart its progress and evolution.

Diane C. Donovan
California Bookwatch

The work of Dr Robert D. Ballard knows no bounds and is truly inspirational to those of us who read of his exploits and seek to emulate his standards with much lesser shipwrecks.

Once again, just as soon as I took delivery of "The Lost Ships of Guadalcanal" I knew I had a 5 Star Book in my hands and, once again, I found nothing within it's 220 pages to make me take away any of those stars.

This book will stand the test of time as a literary work and outstanding account of one of the major naval battle zones of the Pacific in WW2. There are modern photographs including a number taken from the air, historic photographs (American, Australian, Japanese and local) of the places, the personalities, the ships, aircraft and soldiers, some incredible paintings of the night actions that took place, pictures of Ballard's crew as they go about their work and his advanced equipment being deployed and used. There is also a picture of a very young John F. Kennedy in his PT-109.

The first underwater pictures are enough to make the heart stop for just a moment as you realise this man Ballard has done it again - not once, but in this case several times. Commencing with the 9,850 ton Heavy Cruiser HMAS Canberra (the "A" stands for Australian) we no sooner see the first underwater photographs of this once magnificent ship - which went down fight in the opening minutes of the Battle of Savo Island, then we turn the page to find a 3-page open-out spread of Ken Marschall's painting of the entire wreck.

On the opposite side of that 3 page spread is another equally outstanding painting of USS Quincy followed by her own set of underwater photographs. As the story of Guadalcanal continues, so we find more details of US and Japanese successes and losses and the trials and tribulations endured by the forces of both sides as the author carefully draws us towards that part in the overall series of battles that will bring us to his next discovery and Ken Marschall's next incredible painting - the USS Monssen.

With more underwater photographs of yet more of the "Lost Ships of Guadalcanal," and yet more paintings by Ken Marschall, the author skilfully brings the reader both to the end of the series of battles and to the end of his own journey of discovery. Whilst not one of the greatest works of art within the book, one of my favourite paintings is found on p.200. This is an aerial picture of the entire area called "Iron Bottom Sound" - painted as though the water had been removed and showing the location of no fewer than 13 warships, one aircraft and two beached freighters. As part of the caption states ".... that makes this one of the greatest submarine battlefields." Yes it is, and in this book it was all brought back to life by Dr Robert D. Ballard.

An excellent book by any standards.

NM

I will say that like most of Ballard's books this is nicely laid out; good sized and with excellent photographs & drawings.

Most of the book is taken up by short histories of the various battles that make up the 'Guadalcanal Campaign.' This didn't leave much room for the exploration of the wrecks themselves which gives you a rather rushed feeling despite the good background history.

Perhaps this would have been even better as an expanded two volume set.

The title above is what my great-uncle inscribed on the inside cover of this book. He is the Tommy Morris whose story is told in the pages of this book. Like many more famous sailors and soldiers, Uncle Tommy (who died only two weeks ago after a long decline, for those readers who might be interested)used to tell me and my grandfather (Tommy's brother) that it was impossible for him to think of people as "civilized" having seen how we turn our new discoveries and technology so easily to the unhappy task of killing each other. He also said to me once that his role in the Quincy sinking was that of a "damsel in distress".. which description was follwed by that sort of masculing deep-seated chuckle which only come forth from heroic men who have seen hell on earth.

I am biased, but I wer I not, I would still think this an excellent book!

Gary Morris

Dr. Bob Ballard discovered the Titanic in the mid 1980's using cutting-edge underwater technology. For this book, he turned that skill and knowledge to lead an expedition to examine the wrecks of one of the bloodiest naval battles of World War II, one so full of death and destruction that veterans of the battle gave the waters of Gualdalcanal the nickname of "Iron Bottom Sound" because of the number of ships and aircraft that lay underwater. Guadalcanal was the linchpin of American and Japanese military strategy for control of the south Pacific islands. The Americans controlled the airfield, but the Japanese controlled the island and the waters around it. The Japanese couldn't resupply its army because of attacks to its freighters by Allied aircraft and the Americans couldn't resupply its airfield because of attacks to its fleet of ships. In one single battle in the pitch-black darkness of night, the mighty Japanese fleet engaged a weaker American destroyer group where American guns were aimed by radar and Japanese guns were aimed by looking for the flashes from the American weapons. The American fleet was destroyed but it was a Pyhric victory because the Japanese supply ships failed to reach the starving Japanese troops on the island. Dr. Ballard does a remarkable job of capturing both the essence of the battle and the essence of underwater archeology to create a wonderful book filled with full-color pictures of the wrecks and period black-and-white pictures of the war. He also includes the fantastic paintings and maps in the style that has adorned his other books to show how the wrecks would look if there was absolute clarity underwater and with a "God's Eye". This book is one of the better ones I've found that deal with the ships of Guadalcanal and underwater archeology. I've noticed copies adorning the workbenches of many model-ship builders (including mine). Its a great gift idea and sure to please anyone interested in great battles, maritime history, WW2, underwater exploration, or tales of bravery (by those who fought and those who study the ocean).

Between August 1942 and February 1943, a land-sea and air battle was waged for an island in the south pacific called Guadalcanal. The six-month long battle for the island would be one of the definitive battles of the war. It was also one of the costliest. Thousands of Allied and Japanese soldiers died. And a channel north of the island had so many ships go down there that it was renamed Iron Bottom Sound.

It is possible that more men died in the waters off Guadalcanal then on the island itself. But for many years, most of the ships were out of reach to divers and eventually were all but forgotten. Then, in 1992, Oceanographer Robert Ballard, who had found the Titanic and the Bismarck, decided to explore the area using the latest in technology. It is quite an experience to see a past battlefield on land like Normandy, Pearl Harbor, Gettysburg or Guadalcanal itself. But the battlefields were obviously cleaned up afterward and don't look the way they did when the battle concluded. But time knows no boundaries in Iron Bottom Sound. The paintings by Ken Marshall and the photographs show many of the ships still upright on the ocean floor; Their guns and torpedo tubes still trained outward as if firing at a long gone enemy. But some of the ships are not so beautifully preserved. The Battleship Krishima, for example, lies upside down in two pieces on the ocean floor. And the Destroyer Barton is broken in half and lying on its side from two torpedoes. Nevertheless, most of the ships appear ready to rise up and continue fighting.

Lavishly illustrated and with a detailed text, The Lost Ships of Guadalcanal will make a welcome addition to the collection of any War, Naval or Shipwreck enthusiast (If you can find a copy that is).

I loved this book as a child. I read it over and over. The pictures were great. Sort of scary but that was half the fun.

This is an amazing piece of literature, Ms Bishop breaks the mold with an innovative invention for the enjoyment of all! The book has some very interesting underlying messages that seem to place children on a pedestal of supreme wisdom and simple inginuity. I as an adult feel quite similar to the poor man who lost his head almost every day. If you also find yourself wondering where your head has gotten off to read this classic story with perfect illustrations by McCloskey!

I am 8 years old and I love this book. My mother received this book for Christmas from my uncle. She used to have it when she was a little girl. I think the story is very funny and imaginative. I especially like the drawings of the pumpkinhead and parsniphead. I recommend this book to anyone with a sense of humor.

I read this book when I was 9 years old. It was my favorite book when I was a kid, and I read it again and again. When I was 20, I wrote a song inspired by this book. A few years ago I managed to find a copy for sale (the one I had as a kid is long gone) and, of course, I bought it. The copy I bought was from a 1969 edition, the same edition I had as a kid. Almost hard to believe this book was originally published in 1942.

This book tells the story of a terrible dream that a man had- -that he woke up one day and couldnýt find his head. In the story, the man wakes up without his head and remembers that he had visited the fair the day before to sell a pig. Perhaps he left his head at the fair. So he returns to the fair in search of his head. In order to avoid stares, he tries out a few prosthetic devices, including a carved jack-o-lantern and a carved parsnip before he settles on a wooden head. He has a great time during his return visit to the fair, but doesnýt find his head until a ragged little boy claims he might be able to help and gives him a heck of wallop in his wooden face that finally wakes him up.

Older children (especially boys, since all the characters are male) may enjoy the tale quite a bit, with its black-and-white cartoon-like illustrations that are full of detail. However, parts of the story may be much too scary for younger kids, from the premise of the story itself through playing with the hungry lion, and the final punch. The book, at about 1500 words, is rather long for reading aloud.

Learn everything you need to know about dominant and submissive relationships in one explicit volume. You'll even learn how to find your own slave.

Now that you have a slave, what do you do with him or her? I'll tell you right now that this book will not answer that question for you. And for what the introduction claims the book is, it could be a far better guide to how to write "a master manual." The problem is that I've read no other book like it, and am uncertain of where else to point the hopeful reader who doesn't have a leather or kink community available as a local resource. if one keeps the introduction in mind and questions oneself as to what is really, really important in their day-to-day life as is, one can get an idea of how to assign tasks, train and remind a slave or submissive in how to serve specific interests.

Regarding the seemingly endless section about the dinner parties: if you don't have dinner parties, mentally substitute something that you find too time consuming to do yourself, but that you'd love to have someone else take care of for you. Preparing for and attending an Society of Creative Anachronism event? Tending to your artistic space? Buying produce? Tending to your feet? Really, anything truly nitpicky that you want done a certain way -- that section shows you how to give step-by-step detail in writing that a slave or submissive can refer to as they're doing the task.

Other tasks have detail given their importance TO THE AUTHOR. If there are things that the dominant / owner / daddy/ master (hereby known as the grand poobah, because I'm getting sick of typing all that) wants to do themselves, then they either get to specify that those actions are off limits unless specifically mentioned, or don't list them at all. Cleaning? What can be touched, and what should be left alone? How often? Spring cleaning? Seasonal changes, visits, decorations, etc? Who drives? How is the opening of doors dealt with? Dietary preferences and restrictions? If taken with the required grain of salt mentioned in the introduction, this book could help a lot of new people go from having their submissives post about looking for ideas for their grand poobah to having details instructions and a schedule already prepared after the contract is signed and the (training / temporary) collar is locked on.

I wish that Rubel had taken the time to outline his manual as he was presenting his information, as I've read reviews and even talked to people within my community who took offense at his tone because he wasn't being clear on providing a roadmap rather than specific expectations of behavior for all slaves. Indeed, a section regarding the potentially rude behaviors of guests at the above mentioned dinner parties would have been much more clear had it been explained why detailing such rude behavior was necessary to include in the manual; I can make some intelligent guesses, but it seems as though the manual involves a lot of in-references between the author and his slave that should have either been explained or edited out completely. Sidebars, more asides in italics and so on could have gone a long way to keeping otherwise normally intelligent and perceptive people from reading what they were used to reading -- lists of expected behaviors -- rather than what was being presented -- an outline of how to generate the behaviors the dominant reading the book would want for their particular life.

If this book ever ends up going out of print, I hope that the author redesigns it in a second edition rather than simply allow another printing of the same format. When presented in the right way, this could end up being a very valuable workbook for a number of budding ... well, poobahs.

A decade of M/s knowledge in one book

Both books Master/slave Relations: Handbook of Theory and Practice and
Protocol Handbook for the Leather Slave: Theory and Practice by Robert J. Rubel, PhD
Cover the same subject with a slightly different focus.

It amazes me that knowledge that took me years to learn is now available in 7 easy steps. The book can accelerate your journey into BDSM by a decade.

I consider this an expansion in many ways of the Leather Protocols book by Rubel. Here he gives more explicit examples of his own protocols and asks the reader to really consider what they might include and should include in their own should they chose the very, very rare path of an owner-slave or master-slave relationship. Personally my own protocols (yes, I do live this life, too) are not nearly as formal but these are very much the same considerations I felt were necessary to address when I began and as I continue in this life. Take the questions seriously don't just copy Rubel's ideas. Also don't plan on just jumping quickly into these relationships -- success requires planning and continuous reflection.

Wow! An A to Z discussion of what goes into developing and maintaining a Leather Master/slave relationship. This guy clearly knows what he's talking about. Rubel begins by defining his terms, moves through self examination, touches on ways of finding a slave, describes how to begin such a relationship, moves through collars and contracts and ends up with a slightly irreverent section called: "How's it Going?" All in all, this book provides a comprehensive and fresh look at this form of relationship. You should also check out his companion book, Protocols for the Leather Slave. Judging from the covers, they are probably meant to be companion works.

The title explains it all. It's basically a history book of medicine written in a very modern, thought provoking way. I read it as part of a class, but it was very interesting. It's amazing to see how much knowledge the ancient peoples knew about medicine and how far we've come since then. It's funny how many medical advacements have had to be rediscovered because people's discoveries aren't accepted by society.

Medical Firsts: From Hippocrates To The Human Genome by psychologist and science journalist Robert E. Adler is the amazing story of the evolution of Western medicine as achieved through the lives and work of more than thirty of its greatest practitioners. Woven in storytelling prose for a grand reader's tour through history, Medical Firsts covers from how the Greek physician Hippocrates grounded the foundation of medicine in science and observation to the breakthrough advances and discoveries of modern medical technology. A superbly fantastic journey through knowledge and history alike.

I highly recommend this book, especially to those who practice or plan to practice in the field of medicine. Even for non-physicians, I think reading Dr. Adler's "Medical Firsts" will be a very enriching and worthwhile experience. The author has created an educational yet highly entertaining work in which he has chosen to write about specific physician/scientists throughout history who he feels were the most visionary and heroic in their contributions to the advancement of Western Medicine. In reading the book, I feel as if I have been taken on a unique journey through medical hisotry, which at times appears like a complex maze. Along the way, the author describes some tragic blind alleys where several of these physician/scientists who had come forth with potentially life saving discoveries were shunned and considered to be heretics because they dared to challenge the status quo with their scientific apoproach to medical research and practice.

In each concise and well-written chapter, the author's respect and admiration for the enlightened scientific method practiced by these venerable physician researchers comes through vividly. I found the author's message very inspiring: if we are able to trust and support an unbiased and scientific approach to the alleviation of suffering and disease, we may someday fulfill the great promise of these astounding medical advances to offer superior quality of life for all of humanity.

As a lay person, I cautiously picked up Medical Firsts thinking I wouldn't understand a word. Surprise, surprise. I not only understood, but was blown away by what I didn't know. Adler made the lives and works of medical pioneers who laid the ground work for what we all take for granted come alive for me. Since I've actively repelled anything remotely connected to science all my life, almost every page had a "wow" factor.

The short chapters made it a lot more readable for me as a science challenged reader. With so much new info, I was grateful to pause after each one to appreciate the enormity of the discovery. I developed a reverence and gratituide to those who overcame enormous social barriers and fought, amazingly, the same hurdles that impede progress today - fear of change, fear of the unknown.

Thanks to Adler, I just might tiptoe back into new bookstore aisles.

Medical Firsts is a well written, interesting, and informative account of preeminent medical achievements over the past 2500 years. It is well worth reading whether you are a medical professional or simply have a curious mind. Robert Adler's style of writing is easy to follow, entertaining, and intelligent. This book is organized into twenty-eight bite-sized chapters, each of which is thoroughly researched and very fascinating on its own. After reading Robert Adler's first great book, Science Firsts, I had very high expectations. I was certainly not disappointed and you won't be either. I highly recommend this book.

If you've been looking for a complete book on medieval castles, you have found the book for you. Although it touches lightly on such on such areas as medieval food, hygene, and battles, the bulk of this book is an in-depth study of castles. The writing is a bit dry, but very informative, covering fortresses from England, France, Itally, and even eastern Europe. I doubt there is much about castles unsaid in this book.

This book starts from the first few pages with an in depth study of the fortified positions of the middle ages - i.e. castles, keeps, etc. Despite a level of detail that may be too in depth for a beginner, the book itself provides a very readable style and is absolutely full of useful information (krunchy bits) for authors or others wishing to make an in depth study of medieval fortifications (ATTENTION GAMERS!). It has hundreds of high quality, albeit sometimes confusing, line art portraits that show each and every aspect of castle or its related cousins (where is #67 again - its sometimes like Where is Waldo finding the numbers referenced in the subtext). The book also has a great deal of information regarding siege techniques and the weapons used therein - and this information is fantastic in its level of detail and the included line art! The included photos are all in B&W, and some are rather grainy, but by far, they all serve the purpose they were intended to - they show the true grandeur of the castle as it was.

Within the text, the authors do have a habit of referencing other authors, which, if your looking for more on the subject, is good. However, by page 80, they have referenced at least 30 other authors and works (is that not what the bibliography is for).

Outside of this one complaint, the book is absolutely invaluable to anyone interested in the subject!

NOTE: This review references the soft-cover red front edition of the book, which I could not find the link for on Amazon (it may be an out of print edition or not, I am not sure - however, the TOC of the this edition appears identical to mine, so I am assuming that the contents have only been repackaged for the HB binding).

This is an excellent work. It would be perfect for a student
project with a focus on Middle Ages building designs. The author
provides detailed engineering specifications for castles, forts,
a motte and rising towers. The engineering statics implications
are explained in the detailed design process. The work covers
action implementalities; such as, the ram, siege and cannon.
The author spends a portion of the book explaining how
war objects were constructed during the Middle Age period.

In addition, he concludes that an increase in wall size
necessarily means weakening the overall superstructure.
Some time is spent explaining the model diet for the period
which consisted of wheat, barley, oats and fish. This work
will help readers understand the building requirements
for structures created during the Middle Ages. The book would
be valuable for historians, art buffs, architects, engineers
and a wide constituency of other readers.

It does not matter if you all ready are a "fort-geek" or some one, who just want a book on the topic: This book will for sure please you.

"The Medieval Fortress" is a nice big (app. 11" x 8.5" or 28,5 x 22 cm), 319p. book, which covers the development of fortified places through out Europe and North-Africa from the early to the late middle ages - when the forts had their glory.
The book is built up of five main chapters. The First deals with the elements of a fortification; the Second deals in general with the different kind of fortifications in different parts of Europe (Islamic, Byzantine, Frankish, British, Norse, Slavic and Magyar (Hungarian)); the Third does the same, but with emphasis on the emerging castle; the Fourth chapter introduces gunpowder and the decline of the high castle walls through the description of several sieges (Constantinople, Rhodes, and siege of fortifications during the Reconquista); Chapter Five goes in depth with some selected fortifications in Europe: Some of the more famous ones and some more obscure. The reader is guided through fortifications/castles in Great Britain, Ireland, France, Low Countries, Switzerland, Holy Roman Empire, Scandinavia, Central Europe (present day Slovakia, Czechia, Hungary, and Slovenia) Poland, Ukraine, Russia, Eastern Mediterranean, Italy, Spain&Portugal, and North Africa. The appendixes gives the names of some more important builders and architects and their titles in different languages (French, Portugese, Spanish, Duch, Sweedish, and Russian), a chronology of important sieges from 623 (Constantinople) to 1529 (Vienna), a history of medival artillery and a glossary.
There are endless amounts of B/W pictures alongside with even more B/W line drawings and plans of forts, just like on the front cover of the book.

This book is a very good buy!

(Review based on First DaCapo Edition, 2001)

On the whole, I found this book to quite informative with many detailed descriptions of medieval European castles and cities. On some specific castles the data can be fairly general. I found this to be most obvious on castles that I have been fortunate enough to visit in the past and purchase a guide brochure or booklet from which I naturally compared the data.
I found the section on eastern European fortifications and their developement over the centuries to be very interesting as this was a subject I previously knew very little about.
But I do have one major 'gripe' or dissatisfaction with the book. The detailed and extensive floor plans provided throughout the book all suffer from some serious 'under labelling'. For example, a specific castle floor plan might have 20 itemised (numbered) points or features of interest on it. But when one refers to the "legend' or 'key' to find out what a certain feature is, it becomes painfully obvious that not all 20 features are actually clarified or described in the key. This is a fault that is not isolated and is unfortunately prevalent on the vast majority of floor plans in the book.
I'm not sure whether this problem is peculiar to the published edition I purchased or is in fact inherent throughout the whole published run. In any case it appears to be a large oversite in the 'quality control' department of the book's publication process. Other than these faults, I thought this book to be a good 'read'.