Books and Authors Books

Always difficult to pick up anything else after reading Selby. These shorts aren't quite as disturbing as LETB or The Demon, but they're still enough to put the thousand-yard stare on my face. Especially enjoyed "Puberty" and "Penny for Your Thoughts".

This is the first book of Hubert Selby Jr.'s that I have read and I must say, it definately will not be the last. Stories like "Of Whales and Dreams" are beyond captivating--riddled with intricate details and powerful messages. Put quite simply, this book is a must read for anyone who finds value in innovative and experimental forms of writing.

This is the first book of Hubert Selby Jr.'s that I have read and I must say, it definately will not be the last. Stories like "Of Whales and Dreams" are beyond captivating--riddled with intricate details and powerful messages. Put quite simply, this book is a must read for anyone who finds value in innovative and experimental forms of writing.

Some of the stories will make you laugh, some will make you want to cry. All main characters are called Harry. All have different lives, different stories, but something underneath is the same. What is the common thread of the different Harrys? Read the book.
This is 13 short stories as aposed to his other novels, granted,but is also the easiest book of Selby jr to read. A great place to start with this wonderful and truely original American author.

I've read a couple of Selby's full length novels, and his writing always leaves me heavily affected for days afterward(for better or worse). This book, a collection of short stories, was at times funny and sad, bitter and naive, and essentially is a portrayal of the most mundane and ordinary things imaginable in an extremely beautiful and grandiose way. If I didn't know better(and I guess I don't, I'd swear Selby was a psychic, the way he knows people's minds' inner workings so well). The story 'Of Whales and Dreams' tore my heart out. Amazing. Selby will burn you alive with your own emotions.

Mark Doty in his latest collection of poems, continues to delight and entertain us with his brilliant style of writing that is elegant, compassionate, and unabashedly, and proudly gay. These poems are of a universal language, speaking to all sexual orientations, for they are not all gay themed verses. Doty's poems are always a real pleasure to read for they speak from the heart on subjects that are important and of interest to many of us who share his same ideals, thoughts, and feelings. I have always been a fan of his poems for that reason. As he describes the degradation of Walt Whitman's vision of a democratic America in "Letter to Walt Whitman", or of the joy and entertainment that "Little Kaiser" brings to so many people in "Private Life", I can not help but smile at the joy he sees and experiences in trying to get close to Whitman, and in exploring the inner thoughts of "Little Kaiser". I have to admit I am a little prejudiced toward these two lovely poems, for each has references to companion parrots. I loved the poem, "Letter to Walt Whitman" that Doty wrote after touring Whitman's home in Camden. He was trying to find something there that would make Whitman seem more real and still alive. He did when he discovered Whitman's parrot preserved by the taxidermist's wax, and wrote, "Then one thing made you seem alive: your parrot." And in "Private Life" we learn all about "Little Kaiser" the African Grey parrot, who has been a fixture for many years at the local headshop on Commercial Street in Provincetown. Doty has a way of describing all life beings with the beauty they so rightly deserve.

This sixth book of verse by Mark Doty is one I will be returning to many, many times. The poems in this collection cover a wide variety of subjects, and this creates an opportunity for everyone to find one of interest to them that will definitely become a favorite. The several poems he writes about Provincetown, a town I have come to care about and call a second home over the past quarter century, are my favorites. Doty seems to have the same feelings for this special place that I have. It is the beauty of his words that keep me looking forward to and eagerly awaiting his next collection of poems. A Real Pleasure!!

Joe Hanssen

I typically don't raise issue with others' reviews. After all, most have been taught that a poem can have many interpretations. Yet to think of "Private Life" as a compassionate description of a beautiful caged creature is missing the point entirely, I think. In the first stanza, the speaker describes Little Kaiser (a caged parrot in a popular tourist destination) as being "confronted" by the noisy hecklers and insensitive tourists who pass him every day, acknowledging, "He doesn't seem to mind," the operative word there being "seem." Two stanzas later, we learn that his cage carries the warning, "I bite." [Obviously, he does mind.]

Then the speaker passively suggests, "He couldn't be said to be/lonely; all day the world comes to him." How could anyone who gets so much attention be lonely? When the speaker then describes the pedestrians as an "endless procession of faces, only a few of them known," the parrot takes on a much more human quality, and that's where the parrot turns into a metaphorical vehicle to describe the human condition in general, but a gay man's condition quite specifically. This metaphor gathers momentum in the last 5 or 6 stanzas, describing his tail as "stunning red,/a frank indulgence of the private life." [wink, nudge]

When the speaker shifts focus from the subject to the speaker ("What does Kaiser dream?"), (s)he develops a more philosophical posture rather than the one of the passive journalist from the beginning of the poem. First we are asked to imagine what Kaiser's not dreaming ("Probably no original paradise;/this little trooper was born in a shop."), invoking of course the story of the heterosexual, biblical Creation, of which we gay men obviously don't have an equivalent. Rather, we have been asked to acquire a gay culture that we're repeatedly relegated to and blindly accept.

The speaker then asks, "should he prefer a single,/perfect other?"...pointing to the cultural stereotype (accepted by gays and straights alike) of the idea that gay men are promiscuous and not easily tied down: "one human form/after another bent over him/in momentary delight, while he takes//their measure, and mouths a limited vocabulary, all greeting and praise." But that's enough communication for our parrot/gay man, the speaker's last description giving it to us most plainly just in case we missed it already: "promiscuous singer, whose tongue/lifts and curls out to the world, performing/all night in his blanketed cage."

Doty has dealt with similar subjects before, lamenting over such gay conundrums as the "austere code of tricks" or that "we are all on display in this town, sweet machines, powerless, consumed." But with "Private Life," [even the title suggests you look beyond the parrot, as Doty's title has] he's turned the sensitive, curious descriptions of a gay man at odds with his own "culture" in addition to the world itself into a more honest, indeed, unflinching, look at the way we move and process and feel...or (unfortunately) do none of these things.

Doty's sixth book of poetry shows his elegant and strong style while exploring both public and private life. These poems luxuriate on the tongue and in the mind, and boldly paint vivid images in the readers' minds. Winner of a Lambda Literary Award for poetry, "Source" is a delightful example of Doty's works.

I don't mean to sound cranky, but I'm tired of hearing the words "beautiful" and "moving" in relationship to the work of Mark Doty. Of course his poems are these things, but they're much, much more. They're rigorous in their thinking; they're relentless in their questions about perception and mortality, and revolutionary in their evocation of a social and metaphysical vision. This is a poetry of ideas. It's a poetry that rolls up its sleeves and takes its reader gently--but FIRMLY--down "into the source of spring."

Mark Doty's, one of America's premiere poets, has done it again with his newest collection of literary gems, "Source".

Doty's poems cover a range of topics, from dead wildlife to working out, all exude a personal flair that enlightens and illuminates our existance while sharing his. His poetry both confounds and inspires; you read and question the meaning, and then, find a diamond mine of a line you cannot let go, and mentally ponder the treasure. Some poets aggreviate by not allowing access into their lives or meaning with their work; Doty opens the door, doesn't shy away from honesty or complex thought, and allows us to wander through his charming maze of words.

As a reader of his work, it's nice to see him returning to old familiar themes, especially those that mention Wally, a heart's love who perished due to AIDS. While we may write and write about those songs that inspire us, perhaps there can be never enough said about some things, and Doty casts a beautiful literary light on those topics with each passing year.

Source is an excellent add to your poetry collection.

Incredible chronicle of Ginsberg's own evolution and that of the writers and friends close to him. Ginsberg's words are always expertly chosen, his insights both revolutionary and compassionate. Introductions and footnotes are helpful and interesting and overall the reader can tell the familiarity, knowledge and care taken to select and compile these interviews on the part of the editor. A life changing read.

Here is where Ginsberg's brilliance is perhaps best shown. In conversation, he revealed his passion and sharpness for all topics. His "poems" should probably not be called poems, but instead exercises in poetic freedom, which is ultimately a futile task, especially when approached for the mere sake of asserting more freedom. One is baffled at the mere badness of his poems, which are not in the Whitmanian vane at all, but in the vane of bloated mounds of words. Nonetheless, Ginsberg, the "excitable visionary Jewish Budhist," is beautifully and swiftly rendered in these interviews.

"Spontaneous mind," a collection of interviews, is an uncensored perspective of Allen Ginsberg's life, work and the events of his time. The poet felt the interview was an art form, an opportunity to discuss and teach about writing, music, spirituality and whatever topic may surface. Although some celebrities may shun the interview, Ginsberg clearly held a passion for the medium which is quite palpable throughout this collection. In fact, Ginsberg does not flinch at any of the questions, but instead attacks them with fervor and honesty.

The editor, David Carter, includes several vigorous and worthy spars. A conservative William Buckley begets a heated discussion about America in 1968 concerning drugs, censorship and the Vietnam War. A stoic Christian confronts the Buddhist devotee with God's Word. Ginsberg patiently reaches for truth and understanding with compassion in every interview. He is generous with his thoughts but at times the interviews are long-winded. This is the inherent danger of being spontaneous, the cliche of beatniks being free-spirits who spout non-sequiturs off the top of their heads seems eerily true at times. However, the text is a lucid portal for the reader to glimpse the beatnik world through the eyes of one of its gods. Ginsberg's history is an indelible part of beatnik culture. William Blake, Walt Whitman, Jack Kerouac and numerous other notable influences are also discussed.

Bohdan Kot

Brilliant, transformative and mind expanding like Allen himself. The freedom he sought and found and shared is here. A most generous heart. I also recommend Beat Writers at Work, especially for the chapter on a semester in one of Ginsberg's classes.

This book is loaded with information and after almost 600 pages later; here I am with an overview. Most of the books I read tend to be around 200 to 300 pages, so this book is like two or three books put together, consisting of different interviews from the 1950's to the 1990's and a very mixed bag, packed with intriguing thoughts of poetry, prosody, prose, Ginsberg and the Beatific scene that emerged from the late 1940's that subsequently influenced the psychedelic generation of the 60's.

There is some real insightful information on poetry here, very educational and foundational to the beatnik poetic movement, and poetry in general. Ginsberg relates his influential poets that inspired him, molding his thought processes and way of life. From Ezra Pounds, Walt Whitman, the painter Cézanne, William Carlos Williams, Gertrude Stein, Rimbaud and from 1948 a mystical experience with the words of William Blake, whose voice appeared to him after masturbating and subsequently experiencing some other mystical visions and awareness. Blake, although not a living person from our time era, became Ginsberg's guru upon the advise of an Indian teacher. In some cases of poetry and linguistic teaching of stanzas and crescendos, I was reminded of Peter Eckermann's, Conversations of Goethe and their discussions.

There are great explanations of the spontaneous style of poetry, the Buddhist flashes of thoughts that come from the spaces between thoughts, that spring up in the perception of the moment, the present flash to be written down in that precise way, the style of momentary thought speech converted into writing and there you have Kerouac and Ginsberg and Burroughs, except with Burroughs it is with flashes of mental pictures converted into words. This is not the conventional style of sitting down and organizing formal structures, nor a laid out novel or rhyming poetry, no, it is spontaneous and attempts to capture the sudden flash of idea - "first thought, best thought" as Ginsberg's later teacher the Tibetan Buddhist Lama, Chogyam Trungpa shared with him, or visa versa, and it was Trungpa's school that also endorsed the Kerouac School for Disembodied Poets. Even Shakespeare was the spontaneous poet, "every third thought will be my grave," unlike the mechanical, arid, conformity of what was taught in the Universities when Ginsberg attended in the 40's. So I say to this, hey, I guess Kerouac wasn't a babbling, rambling madman, but instead he was actual, solid, writing real bits of consciousness, at least according to Ginsberg. His words were like the jazz, the bebop of bits of everyday sudden speech, spontaneous.

Also are some great stories of the crew: Ginsberg, Burroughs, Kerouac, Cassidy, Snyder, and Orlovsky. Some of this gets rather explicit. Ginsberg was gay and I don't think that should be censored from this amazon review. In this book he is explicit in describing the love acts of himself and Kerouac, Orlovsky, Cassidy and others, including his acknowledgment of Walt Whitman homosexuality. Interestingly, in one interview, Ginsberg relates the highest love as a nonsexual male relationship - this sounds like Socrates at the Symposium.

There are also interviews relating to the Chicago Seven and it's political opposition to the conformity of the masculine police state mentality. Great thoughts on censorship, sacredness, hippie flower power, LSD, Yage, peyote, prosody, Bob Dylan, the Teton Mountains, Buddhist conceptions, the Cabala's ultimate science of ZimZum, detachment, karma, Ezra Pound, Dionysian orgies, the Berkley Renaissance, explicit sex (censorship), belly breathing, anger control, Visions of Cody, Hinduism and Woodsworth.

Of course there's a lot said of Ginsberg's poems such as Howl, Kaddish, Wichita Vortex Sutra, Fall of America and their influences and styles. There are also scores of book references that would take years to read, but nevertheless, great leads to book buying and increasing comprehension and insight into poetry, Ginsberg, Kerouac, Snyder, McClure, Corso, Ferlinghetti, Snyder, Burroughs, and the beatnik frame of no-mind.

This book teaches a lot and I am impressed at the amount of insight Ginsberg had, intellectually, emotionally, and poetically and if I can use the word "spiritually."

If you love poetry, this book will energize you, and if you are a writer, it will also humble you. Inspiring, funny, visual, thought-provoking -- an absolutely wonderful book!

I'm not sure how I stumbled across this book, but it's one of my favorite finds. I can't recommend it enough.

McGrath's poetry combines the lyricism and lines of Whitman with 500 channels of cable television. Even though I hate the word "postmodern," that's probably the best adjective for this book. It is truly a stunning statement to the author's knowledge and grasp of American culture.

It's refreshing to see a poet who displays almost no allegiance to formal styles and is stunning in his originality.

I must confess two of my opinions concerning Mc Grath's "Spring Comes to Chicago": 1) it is an often confusing collection of lyrical thoughts and flashy originality, and: 2) it is truly one of the most gorgeous experiments in contemporary poetical forms.

I agree with one of the previous reviewers that Mc Grath immediately reminds one of Whitman and Ginsberg, especially in his use of the catalogue-length lines and his often satirical commentary on American life and living. However, he seems to lean more towards Ginsberg than Whitman, for the American Bard has not Mc Grath's and Ginsberg's sense of humor and irony. The title poem (or should I say section?) "Spring Comes to Chicago" is the closest to Ginsberg as this collection gets...the opening lines are especially familar in cadence to the famous lines from Ginsberg's polemic, "Howl."

Nevertheless, while Mc Grath's lines often remind readers of other poets (did everyone catch Williams in there too?), Mc Grath's collage of prose pieces are used in an awe-inspring and masterful way. They are not, as someone noted in a review on his "Road Atlas," simply journal sketches or a rough blue-print for the spirit of this poem. Instead, they are isolated moments where philosphical, scientific, or literary speculation bring us back to the matters the poem discusses.

My favorite device of the entire volume is the what I term "the Squirrel stitch." Mc grath playfully and sensitively writes his meditations on the habits of these creatures, sewing a few lines here, then there--- almost as if too unite the thought patterns of the poem with a common element of praise and bewilderment.

Anyway, enough of my banter. Read this collection for yourself. You will see how clearly it stands out from the muck being written and sold today. Mc Grath should stick to his guns! If he remains true to the voices recorded in the lines of "Spring Comes to Chicago" he is sure to do something more important and amazing in a future collection.

Two years ago, I sat down with this thin book and a bottle of expensive bourbon. I remember becoming aware of my breathing as I read "The Golden Angel Pancake House" and soon, without having touched any liquor yet, my head started to spin. I had forgotten that words could have such power and irresistible momentum. Only Whitman had ever done that for me.

The following day, I read "The Bob Hope Poem" in one sitting, pulled along by the language at great speed. The thing is a glorious beast of a poem, a swooping roller coaster that raises your spirits to nose-bleed heights, sends you careening downhill under 5 g's of sadness, and then redeems you with pure happiness. Never mind "I laughed, I cried" - you will gain a new understanding of emotion.

That someone can write like this is inspiring and renewing; it reminds us why poetry matters.

I also own "Strange Travelers," a previous short story collection, and I thought it was very inconsistent. One story would be fascinating, the next would be ho-hum. I'm pleased to report that Starwater Strains is extremely consistent, and almost every story in this thick volume was a joy to read. The topics covered are all nominally "science fiction," but within this grouping Wolfe manages to cover a wide range of topics, and the tone of his stories run the gambit, from more classic-style hard, cold space science fiction, to dreamlike tales that could be set almost anywhere, at any point in history, the future, or the present. As is usually true with Wolfe, there are also tinges of horror throughout - not Steven King style gore, but subtle, horrifying little twists that will burrow into your mind and stay there, rising to the surface every so often, long after you're finished reading.

Many of his stories concern a speculative near future, and I was pleasantly surprised to find that several of these had a strong social or political message about our modern lives, always elegantly included so that without the message the story is still interesting if you don't agree with his stance or don't care for politics in your fiction.

I'll finish by saying that after I received this book for Christmas, I had several mornings at work where I could barely stay awake because I'd been up until 4am the night before, reading "just one more story" over and over again. It's a fine collection.

I am always eager for a collection of Wolfe's short stories even if I have read some of them in other places. I particularly loved the cover of this book...it's so clever/humorous. Thanks for putting this book together!

Calling Gene Wolfe a great science fiction writer is a mere literary understatement, since he ranks, along with Ray Bradbury, not only as one of the premier elder statesmen of American science fiction, but more importantly, as one of the finest literary stylists in American fiction of any genre. "Starwater Strains", his new short story collection, merely reaffirms his splendid literary gifts for writing brilliant, evocative prose and marvellous storytelling. Most of these stories in this collection were written in the past decade, ranging emotionally from horrific to suspenseful to tranquil, covering themes as vast as contemporary fantasy to space opera harkening back to his "The Book of The New Son" series of novels. My own personal favorite is "In Glory like Their Star", which is an absolutely refreshing, polished literary gem of a tale about the religious connotations of First Contact by space travelers visiting a primitive planet inhabited by pastoral, devout believers. But it is not the lone gem, which I think also includes such diverse tales as "Of Soil and Climate", "The Fat Magician", "The Boy Who Hooked the Sun", and "The Seraph from its Sepulcher". The ones I've omitted citing are, in their own way, almost as riveting as those cited above. "Starwater Strains" will certainly delight those unfamiliar with Wolfe's impressive body of work, as well as his long-time fans and admirers.

to have a writer like Wolfe *consistently* writing great stories. If you like thinking for fun, if you enjoy inventive storytelling, if you enjoy the feeling of being in hopelessly over your head, but in the hands of a chuckling, mostly benign master of his art, then by all means read Wolfe.

This collection contains:
Viewpoint
Rattler
In Glory Like Their Star
Calamity Warps
Greylord Man's Last Words
Shields of Mars
From the Cradle
Black Shoes
Has Anybody Seen Junie Moon?
Of Soil and Climate
The Dog of the Drops
Mute
Petting Zoo
Castaway
The Fat Magician
Hunter Lake
The Boy Who Hooked the Sun
Try and Kill It
Game in the Pope's Head
Empires of Foliage and Flower
The Arimaspian Legacy
The Seraph from Its Sepulcher
Lord of the Land
Golden City Far

Some notes:
Wolfe has some typically intriguing and all-too-brief comments on each story. Each! Story! which excited me.
"The Arimaspian Legacy" is linked to, and evidently happens *before* the short story "Slow Children at Play from Wolfe's _Innocents Aboard_. Hint: Wolfe likes Herodotus.
"Lord of the Land," as Wolfe notes, is Wolfe doing a Lovecraft story; it was first published in _Cthulu 2000_ and also appeared in a Tor anthology, _Lovecraft's Legacy_ (1990).

I always enjoy his short story collections. Even the stories I rated 2 out of 5 are worth the read. There are some I did not enjoy at all, but that may be simply my taste.
Of Soil and Climate
The Dog of the Drops
From The Cradle
Empire of Foliage and Flower
Lord of the Land
The Boy Who Hooked the Sun
being my least favorites.

The stars of this collection (for me) are
In Glory Like Their Star
Calamity Warps
Graylord Man's Last Words
Hunter Lake
Pulp Cover
The Seraph from the Sepulcher

Well worth your time. I've enjoyed ever Wolfe collection I've read and I believe I'm up to date on all of them.

Don't miss
The Island of Doctor Death and Other Stories and Other Stories
Stories From the Old Hotel

After my best friend got diagnosed with kidney failure, I searched for a book on dialysis and kidney transplants from the patient's point of view and was disappointed to find almost nothing. Somebody told me about this book and the poem "Obituary" by Hortensia Anderson. It and the other poems and stories had a very humbling effect on me. A lot of the book deals with cancer and although the writing is great, I have a lot of books on that (from my father's lung cancer)and want to find more on dialysis especially. I enjoyed reading the whole book and recommend it to anybody.

I didn't want to read this book, but it was assigned for a class so I had to and I am so glad that I did have to because it made me think AND it made me laugh. Stories has both prose and poetry and I was excited to find one of my favorite internet poets Hortensia Anderson (who I found on the internet)who did an obituary to her transplant. The editing is wonderful and has many wonderful offerings. Don't miss John Penn's stories about his chemotherapy either. You won't believe it but you will laugh.

A book that reminds me of the Sufi saying, "If I can get through this life without dying, I'll be amazed." Editor Carol Wierzbicki tells her own tale of the relationship triangulation between lover-caregiver, medical-caregiver, and fatally ill patient. One interesting poem by Hortensia Anderson mourns the loss of a transplanted kidney. I only wish there had been more.

We will all have to deal with sickness and death in all of our lives. I have often found myself trying without success to imagine Kristan Ryan and her dealings with ms, John Penn fighting 2 battles at once - cancer and AIDs, Hortensia Anderson and a life on a dialysis machine. All because of a book I bought on the suggestion of a friend with fibromyalgia. There are many lessons to be learned from STORIES - I have had the privilege of a life not yet touched with sickness. But all of the poets and writers in STORIES by disclosing theirs, humbles me. STORIES is not at all preachy - the purpose seems simply to wake us up and make us aware. This, it does without technical jargon nor self-pity. STORIES is a heart-wrenching and truly elegant book.

Virginia Woolf predicted that some day the world of illness would become one of the major topics of literature. In "Stories from the Infirmary" that time has arrived. These stories and poems are literature at its best; real, interesting and enlightening. The contributors to this collection are not a bunch of sick people feeling sorry for themselves. They are people fighting for their lives, their loves, their dignity and sanity. The issues at stake here are those at stake in each of our lives, ill or well. Will a partner continue to love inspite of disability? Can joy be found even if one has to receive blood transfusions? How do you share a parent's or a child's disintegration? Courageous is the word I would use to desecribe these people. These works are full of wonder as much as they are honest about pain. This book is extremely well written and powerful.

In this anthology about "women and fatness," fat women eat, exercise, laugh, cry, love, give birth, and are abused and exploited. In fact, they experience the joys and tribulations of women everywhere, but what defines them, or sets them apart, is their body size.

The American interest in fitness seems to have begun in the late 1800s, when urban sophisticate May Welland of Edith Wharton's The Age of Innocence was compared to the hunt goddess Diana and noted for her slimness and athleticism. By the 1920s, thinness was firmly established as the fashion, with characters such as F. Scott Fitzgerald's Jordan Baker (The Great Gatsby) representing the slender, athletic, almost boyish ideal. In Koppelman's collection, Octavia Thanet's "The Stout Miss Hopkins's Bicycle" (1897) is an early example of how women suffered socially for their weight and how they began trying to manage it through exercise--an unthinkable notion for ladies of previous generations. One hundred years later, 1997's "The Strange History of Suzanne LaFleshe" (Hollis Seamon) also pairs two woman who to the world appear to have eating disorders--Suzanne Brown, who prefers the fullness of flesh, and Theresa, a teenager with apparent anorexia.

Some stories, like "Fat" (Grace Sartwell Mason) play purposely to the popular stereotype. Mrs. Payton Tierney substitutes a constant supply of rich foods for the love that no longer exists between her and her husband. Food is the problem and the solution as "The prison of her flesh received her" and the story ends in a surprisingly predictable way.

Stories like "Good-Bye, Old Laura" (Lucile Vaughan Payne) and "Skanks" (Rennie Sparks) capture the respective times and experiences of their teenage protagonists. Laura and Janine are complex characters whose peers influence their feelings about themselves and their bodies, with disturbing results for both. "The Hershey Bar Queen" (Elena Diaz Bjorkquist) is a teenage revenge fantasy, although the protagonist's food obsession and child-like simplicity and gullibility make the supernatural ending disappointingly ineffective.

If Mrs. Tierney, with her bonbons and distaste for exertion, is the stereotypical fat woman, the husbands in "The Feeder" (Maria Bruno) are alpha males whose wives fight back by taking control of their food, their bodies, and their weights--the thin wife consciously, the fat one less so. This story stands out for the disturbing image of a trapped, dying bird, wings broken, that is not worth saving to the insensitive husband.

"Perfectly Normal" (Lesléa Newman) is about the fat hatred and other prejudices of an anorexic wife. After making her promise not to get fat like her active, happy, lesbian sister, her husband sends her to a sanitarium before she wastes away even more. The combination of the wife's first-person perspective and the extremities of her opinions ("The least she [sister] could do was rip out the labels [of her clothing] so she would not have to be embarrassed" [about her size]) puts this story at the border of two-dimensional for the sake of making a point.

That is part of the problem with any focused collection like this; the focus on food, fat, and fat attitudes casts a blinding glare on the issues rather than truly illuminating them. It's interesting to see attitudes over the past 100 or so years, but questions arise, such as: How do those attitudes compare to those toward fat men, or to those who are different physically in other ways? If, as is claimed, only 10 percent prefer a fat partner to a normal-sized one, can the bias against fat be so definitively said to be social and cultural? Are those influences that widespread and strong? If the claim is true, are fat women really powerful erotic symbols to any but a few? It's mentioned that Lillian Russell, at more than 200 pounds, was a sex symbol of her time--but is that because she was fat or despite the fact she became fat with age?

In her defensiveness about fat, Koppelman writes, "There is nothing in women's fiction to affirm the calamitous claims of health risks made by the bariatricians, the exercise gurus, and the weight reduction mavens." Koppelman cannot be so single-minded as to confuse what appears in fiction with what happens in reality. Obesity, like other extremes, not only comes with serious health risks (for example, diabetes and all its complications), but also can limit the fat person's activities in ways that have nothing to do with societal bias (for example, I am too heavy for horseback riding, which I would love to be able to do). Koppelman's logic seems to be that, until a woman writes fiction about obesity-induced illnesses, they are not an issue for women.

The big question here is, "What does fat mean?" To the 5'7" patient in "Perfectly Normal," it means weighing more than 100-115 pounds. "The Hershey Bar Queen" weighs more than 400 pounds, as must the sideshow attractions in "Noblesse" (Mary E. Wilkins Freeman) and "Even as You and I" (Fannie Hurst). Suzanne LaFleshe weighs a little over 200. It's an important question because an active, confident, 200-pound woman, while fat by medical and social standards, may fall within the realm of normal deviation, while a girl like "The Hershey Bar Queen," enormous and obsessed with food, is a clear case of pathology. People fear pathology, whether it's morbid obesity, autism, or obsessive-compulsive disorder.

The Strange History of Suzanne LaFleshe {and Other Stories of Women and Fatness} is hampered by the restrictions and biases of its focus. A few stories stand out, but many are slices of life that lack depth, context, and subtlety. Another issue is that the book copy was not proofread; there are numerous typographical errors throughout, sometimes several on a page, so that the trustworthiness of the texts is in doubt--an unfortunate problem in a work produced by an academic professional like Koppelman. Still, it's worth reading for the handful of gems.

I suppose we all have days when it seems hopeless--days when the so-called "War on Obesity" is so overwhelming, so pervasive, and so apparently effective that it seems impossible that we will ever get our point of view across. I was having one of those days when Susan Koppelman's book of short stories arrived.

I am not exaggerating when I say that this book lifted my spirits and gave me hope again. Koppelman asks in her introduction "What could women accomplish, how powerful might we become, if all the energy we turn toward our own bodies were released onto the world?" The introduction is a reaffirmation of the truth that the personal is the political, and a concise statement of the connection between feminism and fat liberation.

The book itself is arranged chronologically. "Juanita" and "The Stout Miss Hopkins's Bicycle" are both wonderful nineteenth-century stories. These women's voices from the past gave me historical perspective and made me feel a part of an inexorable tide, rather than a drop in the bucket. I especially enjoyed Lesla Newman's "Perfectly Normal," and the story by Hollis Seamon that gives the anthology its name, partly because they create memorable characters, but also because both of these stories deal with the strong connection between fat oppression, the dieting mentality, and eating disorders.

This is not Koppelman's first anthology of women's stories, each of which is grouped by theme. The scholar in me appreciated the extensive backmatter, explaining how each story fits into the history of weight obsession and women's self-empowerment. The activist in me loved the classic size acceptance quotes that accompany each story--many from books I have read, but not for a long time. We all need to hear those pithy statements over and over.

This book reminded me that the fight against fat oppression is part of the fight for women's liberation and self-empowerment. Of course the powers that be are arrayed against us. Of course it seems like an impossible battle at times. One of our most powerful weapons is surrounding ourselves with words that outrage, inspire, and uplift us--expressions of our beauty and worthiness. The stories in this anthology serve exactly that purpose.

This book of short stories is in the best tradition of the feminist movement. It raises consciousness. Few women manage to grow up in our culture oblivious to issues of weight. Most have struggled one way or another with it, some all their lives. Susan Koppelman's collection honors all these women and tells them they are okay. They are not lacking in willpower, or morally corrupt, or selfish, or greedy, or any of the other negative judgments society has visited upon them. They just are who they are and what they are. The net effect of the range of stories is to raise our awareness of the presence in our lives of women who are too often absent in our art and culture. But The Strange History of Suzanne LaFleshe isn't simply a political statement and it certainly isn't just for fat women! It's a wonderful collection that spans decades, giving us a cultural history cooked up in many different literary flavors to savor. And it stays with you. When you read it, you are both satisfied and hungry again -- for more anthologies edited by Susan Koppelman.

There were a few stories in this book that I didn't like. Many of the stories presented the heroines as not just *feeling* badly about themselves, but also as somehow *objectively* bad. In one, "The Hershey Bar Queen," I still remember that in the main character's worst, most rock-bottom moment, the description we get of her eating her candy bars is of shoving them into her "cavernous" mouth. Ugh. I would have preferred to see more stories in which we understand the struggles and difficulties one faces as a large person in the world, but one which didn't present those of us who are as being objectively revolting.

With that said, context is everything, and many of these stories require a little more history around them to properly understand just how subversive they really are. Susan Koppelman provides this context in the Afterward, which changed the way I saw several of the stories by providing the cultural context for the times in which several of them were written. "Juanita," for example, which was written in the late 19th century, struck me at first as being a story that simply reinforces the notion that fat women are drab and dowdy, and can only get the sorts of men that no one else would want. After reading the portion of the Afterward dedicated to providing context for "Juanita," however, I see it now as a deeply feminist story dedicated to the ideas of choice and freedom and independence.

There are also several stories in this collection which made me laugh out loud, such as "A Mammoth Undertaking," which is filled with moments of delicate and delightful humor, and relieve the often deadly seriousness of the subject of weight. "This Was Meant To Be," was hands-down my favorite story, in which the reader is witness to the fickle and capricious nature of society's aesthetic values. Our heroine need do nothing but be herself to be a smashing success, and all the world changes around her. I wanted to cheer when I finished it.

In stark contrast is "Goodbye, Old Laura," which is by far the most compelling piece in the collection. The writing is brilliant, and immediately I was drawn into the world and the achy inner landscape of Laura, the 200 pound teenage protagonist. Just how far I was drawn in made the ending that much more horrible. (I won't say why, to avoid spoiling it.) The worst part is that I can't tell whether the author approves of what her characters do at the end or not. Is she endorsing the gruesome ending or condemning it? I just don't know, and that is much of where the power in the story lies. I read it almost a week ago, and I am still thinking about it, and the choices we make as fat women to please those around us, and am still left wondering how many of those choices really make us happy.

There are still some stories that I don't think do justice to the fat woman's experience, and could have done without reading. However, those are more than outweighed by the rest. The very fact that so many women's voices were reclaimed from obscurity makes this book worth reading. Susan Koppelman is a brilliant author in her own right, and I strongly recommend reading the Introduction and Afterward (which I often skip). All in all, this is a book filled with excruciating pain, incredible wit, fantastic writing, and a depth and breadth of women's experiences that is both heartbreaking and wonderful.

Great choice of stories, never before gathered in one place. I used this for a women's lit class I teach, and it was the most popular book. Students related to it as a fascinating group of stories, not just as a textbook. I'll share just one of many student comments: from one who starts med school in August, "I know I'll be a better doctor because I read this book."

Nice book. But in this edition, there is no chapter title on each page, so it's a little difficult to track the chapters.

There is at least one author who may remind you of Stephen Leacock, namely Garrison Keillor of Lake Wobegon fame, but Leacock should be recognized as the ultimate master of quaint, bucolic humor. Leacock, who died in 1944, became arguably the most prominent Canadian humorist of his day (and probably of all time). What is ironic about that claim is that Leacock worked for most of his life as a professor of economics. We do not usually equate economics with humor, preferring to think of that profession as one of bow ties and supply and demand charts. Throw that presumption out the window and pick up a copy of "Sunshine Sketches of a Little Town," Leacock's best known work available through the New Canadian Library series.

For me, one of the funniest sections of the book was the introduction written by Leacock, where he gives you some background about himself and his profession. This short piece of writing quickly gives you an idea of the type of humor you will find in the actual sketches: a very sly, very quiet and clever type of humor that often takes a while to sink in. Leacock does not rely on rim shot jokes or manic posturing in his writings. Instead, he creates the fictional Canadian town of Mariposa and populates it with small town archetypes that are wonders to behold.

All of the characters are hilarious in their own way: Mr. Smith, the proprietor of the local hotel and bar, full of schemes to earn money while trying to get his liquor license back. Then there is Jefferson Thorpe, the barber involved in financial schemes that may put him on the level of the Morgans and the Rockefellers. The Reverend Mr. Drone presides over the local Church of England in Mariposa, a man who reads Greek as easy as can be but laments his lack of knowledge about logarithms and balancing the financial books of the church. Peter Pupkin, the teller at the local bank, has a secret he wants no one to know about, but which eventually comes out while he is courting the daughter of the town judge. All of these characters, and several others, interact throughout the sketches.

Leacock has the ability to turn a story, to make it take a crazy, unexpected twist even when you are looking for such a maneuver. That he accomplishes this in stories that rarely run longer than twenty pages is certainly a sign of great talent. By the time you reach the end of the book, you know these people as though you lived in the town yourself, and you know what makes them tick.

Despite all of the crazy antics in Mariposa, Leacock never lets the reader lose sight of the fact that these are basically good people living good lives. There seems to be a lot of feeling for the citizens of Mariposa on the part of Leacock, which comes to a head in the final sketch in the collection, "L'Envoi. The Train to Mariposa," where he recounts traveling back to the town after being away for years, with all of the attendant emotions that brings as recognizable landmarks come into view and the traveler realizes that his little town is the same as when he left it years before.

I suspect there is a historical importance to "Sunshine Sketches of a Little Town." These writings first appeared in 1912, a time when many people living in the bigger Canadian cities still remembered life in a small town. In addition to the humorous aspects of the book, the author includes many descriptive passages concerning the atmosphere and layout of Mariposa, something instantly recognizable to anyone who grew up in such a place. Nostalgia for the simpler life of the small town probably played a significant role in the book's success.

I look forward to reading more Stephen Leacock. While much of the humor in the book is not belly laugh funny, it does provide one with a deep satisfaction of reading clever humor from an author who knows how to tickle the funny bone. You do not need to be Canadian to enjoy this wonderful book.

no hype. i couldn't stop laughing as i was reading this. and i mean laughing out loud. in a cafe. with everyone staring at me. but i didn't care. and i couldn't help it if i did. it's just too hilarious.

Like the heading says, this is the funniest book I've ever read. Leacock was a comic genius and this is his best work. Buy it, read it, love it.

Perhaps the finest comment about Stephen Leacock in the last half century is that "he is a
Will Rogers for the 90's."

Rogers, of course, is one of the most beloved of American humorists -- he was killed in
1935 when his plane crashed near Point Barrow, Alaska. Leacock died on March 28, 1944.
Like Rogers, he had been Canada's favorite humorist for decades.

Sunshine Sketches is about Orillia, Ontario, Canada, where Leacock had his summer home
on Brewery Bay (he once wrote, "I have known that name, the old Brewery Bay, to make
people feel thirsty by correspondence as far away as Nevada.") His home is now maintained
as a historic site by the town of Orillia. I lived there for almost 30 years, and the people of Orillia are still much the same as Leacock portrayed them in 1912.

These stories about various personalities in town were printed in the local newspaper in the
1910 - 1912 era, before being compiled into this book which established Leacock's literary
fame. The people portrayed really lived, though some are composites; the events are of a
kindly humorist looking at the foibles of small town life. Once they came out in book form
and soared to national popularity, everyone in town figured the rest of the country was
laughing at them because of Leacock's book and he was royally hated in Orillia to the end
of his life.

Gradually, and this took decades, Orillians came to recognize that genius had walked
amongst them for several decades. (It's hard to recognize genius when your own ego is so
inflated.) Orillia now awards the annual "Leacock Medal for Humor" -- Canada's top literary
prize for the best book of humour for the preceding year.

Leacock died when I was six, but I did know his son, who still lived in town. I delivered
papers to the editor of the "Newspacket," Leacock's name for the Orillia Packet and Times
(where I worked) and the rival Newsletter. The Packet had the same editor in the 1940's as
when Leacock wrote about him in 1910.

But the book is more than Orillia; it is a wonderfully kind and humorous description of life in
many small towns. The American artist Norman Rockwell painted the same kinds of scenes;
it is the type of idyllic urban life so many of us keep longing to find again in our hectic
urban world.

Leacock realized the book was universal in its description of small towns, and in the preface
he wrote "Mariposa is not a real town. On the contrary, it is about seventy or eighty of
them. You may find them all the way from Lake Superior to the sea, with the same square
streets and the same maple trees and the same churches and hotels, and everywhere the
sunshine of the land of hope."

True enough, which gives this book continuing appeal nearly a century after it was written.
All great writing is about topics you know, and as a longtime resident Leacock knew Orillia
well. As for Leacock himself, he wrote, "I was born at Swanmoor, Hants., England, on Dec.
30, 1869. I am not aware that there was any particular conjunction of the planets at the
time, but should think it extremely likely."

He says of his education, "I survived until I took the degree of Doctor of Philosophy in
1903. The meaning of this degree is that the recipient of instruction is examined for the last
time in his life, and is pronounced completely full. After this, no new ideas can be imparted
to him."

In reviewing Charles Dickens' works in 1934, Leacock wrote what could well be his own
epitaph: "Transitory popularity is not proof of genius. But permanent popularity is." The fact
his writings are still current illustrates the nature of his writing.

In contrast to the sometimes sardonic humor of modern times, Sunshine Sketches reflects
Leacock's idea that "the essence of humor is human kindness." Or, in the same vein, "Humor
may be defined as the kindly contemplation of the incongruities of life, and the artistic
expression thereof."

Granted, this book is not what he recognized to have widespread appeal to modern readers.
In his own words, "There are only two subjects that appeal nowadays to the general public,
murder and sex; and, for people of culture, sex-murder." Yet, anyone reading this will
remember scenes from it for much longer than anything from a murder mystery.

In today's world, where newspapers almost daily track Prime Minister Tony Blair's dash to
the political right, Leacock wrote, "Socialism won't work except in Heaven where they don't
need it and in Hell where they already have it."

He described his own home as follows, "I have a large country house -- a sort of farm
which I carry on as a hobby . . . . Ten years ago the deficit on my farm was about a
hundred dollars; but by well-designed capital expenditure and by greater attention to
details, I have got it into the thousands." Sounds familiar to today's farm policies ?

It's what I mean by this being a timeless work.

Leacock himself noted, when talking about good literature, "Personally, I would sooner have
written 'Alice in Wonderland' than the whole of the 'Encyclopedia Britannica'." This is his
'Alice' and it well deserves to be favorably compared to Lewis Carroll's work.

By all measures, it is still the finest Canadian book ever written.

Like the rest of this series, this novel is full of action, and gives a clear answer to the problem of terrorism; hunt them down where they live, and execute them, and their entire families with extreme prejudice!
If we are ever to have peace in this world again, we must root out, and destroy terrorism, and those who support it, and not let politics get in the way of what is a military problem.
All known terrorists must be put on a bounty hit list, for millions of $$$$ and hunting them down, and killing them should be a highly profitable business!
There was no crime a hundred years ago, because criminals were put on a bount list, and hunted down, and killed, for a financial reward. Hunting down terrorists should be treated the same way! If they're on the run, they can't plan, or execute their next attack on our country, or our interests!

In the ultimate chapter of this short but magnificent four volume series by Mack Maloney, we see both the author and his characters achieve a near-rapturous level of comprehension and undersatndomg of what it takes to destroy evil.

After being loosed by the governemnt to punish Islamic fundamentalists in a way we - all right-thinking Americans, that is - would want to do, Bobby Murphy and his band of brothers finally realize and accept you cannot kill all your enemies. (If only those self-same Islamic fundementalists would learn that!)

Instead, the story closes - after a thrilling plot, in which external and internal bad guys are eliminated - with the team learning that change must come from within if it is to be lasting.

Maloney's writing continues to improve with every volume. While this book is - as are all his others - not politically correct, they are still marvelous entertainment in the John Wayne mold.

Let me start by saying that this author is the same author of the RAPTOR FORCE series. That series is a very good series. I had a very very big problem with the ending of that series and I wrote the author. He answered my post and told me to try this series. The only book of this series that I could get was this one.
This book is one of the best of this genre. The author in a very few pages and with quick strokes creates fully developed charaters that the reader imediately likes and then charges on with the plot and action. This is a simple revenge plot, however the reader is fully on the side of the good guys. The attack on the stronghold of the terrorists by a small handful of soldiers is great and one that stays with the reader.
HOWEVER, the ending resulted in me throwing the book across the room and cursing the author for doing it to me again. The author is very frustrating. He writes great series and then he ...... well let me say tha you have been warned!

from Mack. if you haven't started with "Alpha" and worked your way thru Delta, you need to start aat the beginning. he has a sense of continuance thru all his books, and personaly I can't wait till "Echo" comes out- hopefully there will be an Echo and more!

This book is more than just an exhilarating read for armchair warriors and teenage Rambos, it also contains the solution to international terrorism.

Alongside the highly-believable storyline, Maloney has cleverly constructed a blueprint for winning the war against insurgents/terrorists/guerrillas/rebels and all the other bad guys hell-bent on overthrowing the forces of law and order.

If only my ancestors had followed his sound military strategy of indiscriminate mass slaughter, the illegal insurgency led by that terrorist Washington would have been ruthlessly crushed by King George III, the rightful ruler of the American colonies.

I do like some of them but mostly I have trouble understanding exactly what he is saying. Reading his poetry is similar to looking at particularly difficult abstract art. I bought this book because I had heard one of his poems and was blown away by the subject matter and the wording.

I have read this aloud over the phone to friends thousands of miles away. I've read it aloud at dinner parties. I've purchased it for friends. This is a remarkable collection of poems, a treasure. I don't want to sound so precious about it, but I can't help it. I found Hoagland's writing when I was 20, and I'm sure I'll still be coming back to the same poems when I'm an old lady. Amazing!

for about a year i have been struggling with my good intentions to try and fall in love with poems. now, i may be turning the corner. this is the 2nd book of poetry in a row that i have really, really enjoyed. last week i finished al purdy's "rooms for rent in the outer planets," and now i just got done with tony hoagland's "sweet ruin." both fantastic. hoagland's book had me turning pages with joy, rather than with the sense of a chore being gotten through. i highly recomend this book.

One of the most important books of poetry to ever cross my path. I return to this constantly. Earnest, real, vivid -- none of these words suffice to how incredible this book is. Get on it.

From the beginning of poetry, from the beginnings of Greek and Roman poems, poetry has striven to be both dulce et utile---pleasant and useful. Tony Hoagland is a poet who captures both of those aspects of poetry, and effortlessly so. Not a single word goes to waste, as he describes situations familiar to almost any audience, while making them sound extraordinary and worth reading about. The wishes of mankind are encapsulated in this poetry: "I should walk up the stairs right now/ and make slow love to the woman I live with." These are poems which are provoking and well-thought out, to the point of being accessible: "It wasn't easy, inventing the wheel..."
Reading Hoagland's poetry, a sense of life is gained, while in his poetry, life moves on: observed, undisturbed, and intact for the next reader.