United Kingdom Books

C.S. Lewis's "English Literature in the Sixteenth Century (Excluding Drama)," first published in 1954, was part of a multi-volume series, The Oxford History of English Literature, and perhaps its most distinguished contribution (but see below). It also doubled as an installment in the Clark Lectures series (for 1944), which contributes an additional subtitle in some listings.

For reasons not immediately apparent, Oxford University Press has reissued this book in a "New Version" as "Poetry and Prose in the Sixteenth Century." As the same fate has overtaken E. K. Chambers on "English Literature at the Close of the Middle Ages," probably the other outstanding book in the series, which is now called "Malory and Fifteenth-Century Drama, Lyrics, and Ballads," there seems to have been a policy of titular refurbishing of at least some of the volumes in the series (once known, in an unfortunate acronym, as the O.H.E.L.).

The current titles are accurate enough, although "Poetry and Prose" should have included a warning that Elizabethan drama was covered in a different volume. (Due to the facts of human biology, Lewis' book not unexpectedly covers a slightly longer period than either title indicates.) Still, the changes can cause confusion for anyone not aware of them; given the current prices, this may be more than a little annoying to some people. If you have one version, you probably don't need the other!

Lewis on the "Sixteenth Century" was the product of enormous labor, including actually reading a huge body of writing generally ignored in literary histories, or customarily treated without much firsthand knowledge. Acquaintances -- not all of them friends, or even especially sympathetic -- described Lewis spending his days doggedly reading sermons and polemics, minor poets and bad poets, over the course of years. (He came to refer to the effort by the "infernal" acronym for the series noted above.) The result is a treasury of first-hand information, and with it Lewis' often-witty summations. It is engaging reading, even for those who disagree with Lewis -- and he seemingly set out to overturn most critical orthodoxies established between about 1900 and 1950, as well as a few older ones.

For example, he treats Elizabethan literature as an extension of medieval culture. Humanism, in its period sense of concern for a classicizing Latin style, and the disparaging of the immediate past, is treated as an often-harmful interruption. This reverses a judgment that actually goes back to the period -- but a judgment originally made by self-styled Humanists themselves, of course. And he includes the literature of Lowland Scotland, often ignored, or treated as something apart.

"English Literature in the Sixteenth Century" also appeared as an Oxford paperback under the original title (1973), unfortunately without the bibliographic supplement in which Lewis discussed textual histories and modern editions, if any, of both the well-known and the more obscure English and Scots literature of the late fifteenth through early seventeenth centuries. This portion is, of course, half a century out of date, but Lewis' observations are still of value. Even without this section, the paperback is worthwhile, and may be a good, reasonably-priced, alternative, but anyone familiar with the original form may be disappointed.

Those interested in Lewis as a Christian apologist will find here his considered reflections on many of his predecessors, not all of them flattering, but his comments on doctrine are pretty strictly limited to explaining the issues debated. It may seem odd to see the Reformation through the lense of literary history, but Lewis avoids open advocacy, unlike his "Preface to 'Paradise Lost,'" in which (it seems to me) his concern that readers take Milton seriously tends to blend with a concern that they take seriously their own salvation.

Lewis was also a poet, novelist, and occasional short-story writer. Here he occasionally briefly retells a story, with his usual skill, but, except for some overlapping topics, connections to his own fiction are less obvious than in some of his writings on the Middle Ages. There is a section on the Scots poet Sir David Lyndsay (d. 1555), who provided the epigraph to Lewis' novel "That Hideous Strength" (1946). And, somewhere it includes, as others have noted also, a quotation with the words "Stygian puddle glum." They undoubtedly lurks somewhere behind both the Marshwiggle named Puddleglum and the visit to the Narnian Underlands in "The Silver Chair" (1953, written 1950), although Dante, Virgil (of course), and a host of others, are under contribution there as well.

I was under the impression, from my first reading of the book decades ago, that it was given as a quotation from Gavin Douglas' Scots translation of "The Aeneid" (1513; Lewis describes it with enthusiasm); but I have never been able to locate it in the appropriate section. A recent search of my old copy of the shorter paperback has revealed that it was indeed quoted from a translation, but as an example of bad one, and English, not Scots; of the dramas of Seneca, not Virgil. On page 256 (where I had marked it thirty years ago), "Tacitae Stygis" in "Hippolytus" (line 625), rather weakly rendered by the utterly obscure John Studley ("which cannot now be read without a smile").

Perhaps establishing just how much Lewis read, and with what close attention, no matter how dreary.

(Reposted from my "anonymous" review of September 10, 2003)

Whether you rate this a 10 or a 2 depends on your reading tastes. No doubt many people would find the topic uninteresting, and if the topic or the author are not subjects you enjoy, then don't bother to buy it. Not being a lit. buff myself, my attraction for the book was the author's commentary, with the goldmine of quotable material found therein. This is an impressive volume of literary history, and I doubt that anyone else could have done such a thorough job and still made the topic come to life with such vigorous exposition. Opinionated? You bet. That's part of what makes it enjoyable to read. If you are interested in obtaining a copy of the book, you may want to contact Oxford University Press directly. As one of the twelve volumes constituting the "Oxford History of English Literature" series, they have continued to print it over the years.

Tolkien, in a letter to George Sayer as recorded in his biography JACK: A LIFE OF C. S. LEWIS, says that this is "a great book, the only one of his [Lewis's] that gives me unalloyed pleasure." Coming from Tolkien, this is very high praise indeed. Originally published as ENGLISH LITERATURE IN THE SIXTEENTH CENTURY EXCLUDING DRAMA and for some inexplicable reason recently renamed, this book, Lewis's longest work, will not be found in the libraries of the causal C. S. Lewis fan for the simple fact that it is a textbook and is aimed not at the general reader but instead the academic world (even in those days there was that damned phenomena of `publish or perish!'). For those who are studying this material, however, will find the book a very remarkable one at that. As a previous reviewer noted, Lewis began referring to this text as "O Hell!" as the writing process became very tedious to him. This book was ten years in the writing, and by the time it was ended Lewis wanted to concentrate more on theology and Narnia than this "critical nonsense." The end sections of the book do not shore this weariness, however, so have no fear.

Although books of this sort always, by necessity, impose artificial time lines on literature which, in the long run, do not have a lot to do with the true literary history. To study literature in the sixteenth century, one should not confine oneself to going behind or in front of the time line to get a fuller understanding of the significance of the text. However, this is not really a fault of Lewis and it is a very difficult error to correct for literary historians. However, Lewis pulls off this artificial time limit very well by clearly illustrating the many strenghts and the many weaknesses of this century's literature.

Because it is for the student of literature, much of the more radical elements of this text will be lost without a general knowledge of the preconceptions the academic world has in regard to the literature in question. The opening chapter ("New Learning and New Ignorance") stands as one of Lewis's most famous academic writing because of the sheer implications and challenges set forth in the chapter. He debunks many of the fashionable scholarly trends, focusing on how much of what the scholars say is off base. Lewis argues that the during the sixteenth century much of the literature proved extremely dull, saying the authors wrote like "elderly men". Toward the close of the century, however, something radical began to take place. There was a renewal and an elevation in quality from drab to gold, as Lewis puts it. Most literary scholars and historians think the Renaissance is responsible for this, but Lewis says this theory has no truth, because the humanists who were responsible for the Renaissance were terrible scholars and brought death to the literature they presented, presenting the classics' virtues as ills and instead focused on the way the classics said what they said. The humanists focused on the language and left the literature itself alone. Everything else about the literature they hated. Lewis continually attacks the humanists, stating that "the new learning [that of the humanists] created the new ignorance." His belief that the Renaissance never occurred in England, and if it did it was of no literary importance, is as radical a literary belief as accepting the Book of Mormon to the Bible would be to a Christian.

The rest of the book reads as a survey of the literature of the period. All major and quite a large number of minor authors are represented in this. As a textbook, this stands as fascinating reading, for Lewis constantly illuminates the strengths and weaknesses of whoever he is dealing with, and his numerous quotations from the texts dealt with show the true skill of selection to prove a point. All of the quotations give a further understanding in context of Lewis's prose. If all textbooks were written with such skill and wit, there would not be the incredible resentment (myself included) of the price tag on most college text books.

Lewis's 1938 on Donne, published in SEVENTEENTH CENTURY STUDIES PUBLISHED IN SIR HERBERT GRIERSON has made him the heretic and central enemy of all Donne scholars and fans. Here he does not attack him but helps readers deal with Donne's metre. However, Lewis only gives five pages to Donne, and he was fond of saying that "Donne's place is that of a minor poet."

The reception of this book was fair, although the most resentment came from the academic circle. People accused Lewis of, as Sayer says in his biography, grossly oversimplifying by presenting only two classifications: drab and gold. Yvor Winters goes to the extreme when she says that "Mr. Lewis has simply not discovered what poetry is."

Of all the volumes in the series this still sells the most. Sayer notes in the aforementioned biography that "many Oxford tutors still warn their students that it is `unsound but brilliantly written.' Nevertheless, or perhaps partly because of this warning, it outsells all the other volumes in this series." While it does not enjoy the monumental place in criticism of THE ALLEGORY OF LOVE, which many would argue is Lewis's most significant piece of criticism, partly because of the radical ideas mentioned above, this work stands as one of the most brilliant and enjoyable survey books every written.

Commissioned as a volume in "The Oxford History of English Literature", "English Literature in the Sixteenth Century Excluding Drama", as it was originally titled, proved such tedium to write that Lewis took to referring to it by the acronym "OHEL". The sixteenth century ends as one of the great ages - arguably the greatest - of English literary genius, but it began dismally. Except in Scotland, where a vigorous Medieval tradition lived on, "authors seem to have forgotten the lessons which had been mastered in the Middle Ages and learned little in their stead. Their prose is clumsy, monotonous, garrulous; their verse either astonishingly tame and cold or, if it attempts to rise, the coarsest fustian. . . . Nothing is light, or tender, or fresh. All the authors write like elderly men."

This period of "bludgeon-work" gave way to something almost worse, "the Drab Age" - "earnest, heavy-handed, commonplace", a time when England did not shine and the peripheral light of Scotland guttered out.

The story would scarcely be worth telling, save for the happy ending, a true eucatastrophe: "Then, in the last quarter of the century, the unpredictable happens. With startling suddenness, we ascend. Fantasy, conceit, paradox, color, incantation return. Youth returns. The fine frenzies of ideal love and ideal war are readmitted. Sidney, Spenser, Shakespeare, Hooker . . . display what is almost a new culture: that culture which was to last through most of the seventeenth century and enrich the very meanings of the words England and Aristocracy. Nothing in the earlier history of our period would have enabled the sharpest observer to foresee this transformation."

Had the scope of his labors not been set by his commission, Lewis would doubtless have preferred to skip the clumsy and drab, to delve into the riches of the Age of Gold. Still, despite his preferences, he was an apt choice to mine the less precious veins. Unlike many of his academic colleagues, who then as now regarded literature as merely a "job", Lewis read avidly in the most obscure corners. Little though he admired the early and drab writers, he was familiar with their work and could tease out virtues as well as point to flaws.

Three points about this history stand out as unexpected or significant. First is the fine opening chapter, "New Learning and New Ignorance", which contests the commonplace view that the medieval period was a vale of ignorance from which mankind was happily rescued by the Renaissance. That opinion is no longer prevalent in scholarly circles (where Lewis is now sometimes derided for expounding the conventional wisdom - much like accusing Shakespeare of writing in cliches!), but most general readers take it for granted. Lewis' presentation is one-sided, but it is a side that needs to be heard.

Second, Lewis devotes considerable space to Scotland, a territory absent from most of our literature classes. Though the Scots dialect is not easy to parse, Douglas and Dunbar and Lyndsay and their ilk are worthy of acquaintance.

Third - a slighter point than the preceding but interesting in its own right - there is Lewis' treatment of John Donne. As a young man, Lewis wrote a notorious essay on Donne, dispraising the quality of his love poetry and hinting that his vogue was due more to fashion than merit. For these heresies he became the stock villain of every introduction to Donne's work.

The "OHEL" volume takes a different tack. Lewis' appreciation of the "Songs and Sonnets" is warm and perceptive, with a useful disquisition on how to catch the rhythm of Donne's eccentric versification. It was not only, apparently, in matters of faith that Lewis was capable of casting off his youthful skepticism.

Within its genre - the comprehensive academic history - Lewis' effort is as good as a single mind and hand can produce. Similar tomes are nowadays parceled out chapter by chapter, gaining no doubt in narrow expertise but losing personality and perspective. Both are present in plenitude here.

One of the primary pleasures of reading literary criticism is to hear someone intelligent talk about books you both have read. This book, then, couldn't be better. Erudite, controversial, innovative--whether you approve of Lewis's opinions or not, they're always good reading. If you're like me, and haven't read many of the sixteenth-century works Lewis discusses, then this literary critical history will give you the related pleasure of hearing someone intelligent talk about . . . anything. Lewis could blow your mind and change your life if he wrote an essay on tying shoes; thankfully, he wrote instead on ideas underpinning the Western world.

In this volume, his work on poetry is especially good. Highlights include the stylistic acrobatics Lewis put himself through to avoid saying 100 times of Drab Age poetry: "I don't like it; you won't either; read something else." Cranky? Yes, but insightfully, entertainingly cranky. Then, when he actually turns proselytiser and suggests you read something--well, I'll admit this volume practically by itself has gotten me interested in early Scottish poetry and the great Elizabethans, not to mention equipped me (almost as an afterthought) with more prosodical knowledge than I received in any of my creative writing classes.

This book is good enough to read all by itself. If you have knowledge of the period, so much the better. Lewis has spoiled me as a literature grad student, permanently I hope; no other critic measures up to his combination of insight and memorable prose.

Have you ever asked your grandmother or your great-grandmother what things were like in the good old days, and then she told you stories that filled your mind with images of a world far removed from your own ... a world where children became excited by getting an apple and an orange at Christmas, a world where ladies never went without a hat, a world where it seemed that Every Day Was Summer. This is the world that Oliver Wynne Hughes brings alive and captures in his book.

Based on the memories of his mother, Laura, and her two sisters, Elsie and Beatrice, the reader is transported back to a place and time filled with happy memories and presented through a picture of the Welsh town of Harlech, prior to World War One. Every Day Was Summer is steeped in history and nostalgia, making the reader yearn for a bygone time. The book takes the reader on a journey through Harlech: we visit the townspeople through various good humoured anecdotes - and for a town with a population of just over 1000 people, it certainly had its fair share of famous people visiting or choosing to live in the picturesque seaside town. The Queen visited and was said to be mesmerised by the view; another visitor was Denys Finch Hatton, an adventurer made famous by the book `Out of Africa', who also spent many a summer in the town. Everything from shops and schooldays to childhood games and chapel are all lovingly remembered and explored throughout the pages of this book.

Although Hughes conjures up wonderful images of Harlech in the reader's mind, he does not shy away from the tragedy that sadly touched the town. Hughes peppers his book with the hardships that the townspeople of Harlech faced, from families touched by poverty to the tragedy that hit many families with the start of the World War One. That said, at no time does the book become morose or bitter; it keeps its whimsical style throughout and is an absolute pleasure to read.

I think every family should have an Oliver Wynne Hughes to capture its history through photograph, poem and anecdote so we do not let our children forget the places and people who have touched our hearts and our memories.

A very enjoyable a snap shot of life in a Welsh Town before the First World War. An interesting commentary on the interpersonal relationships between the social classes and different cultures.

A Nostalgic look at a much loved Welsh Town through the eyes of three sisters who lived and worked in Harlech at the turn of the 19th Century. A very enjoyable read, particularly for those with an interest in Social History.

What a charming book! Laughter, love, tragedy and humanity. It is all here and itis a true story. I would love to travel back in time and be a part of those girls lives, it is so what we all crave in our fast lives of today. My wife LENT me her copy - we have promised ourselves a visit to Harlech, Wales to find the places and see if there is anyone still there.

This is a delightful book, very evocative of that wonderful era before the first world war. Full of wonderful personal stories, based on the memories of 3 young girls who grew up in Harlech , a small coastal town in North Wales. Both humorous and sad it is a thoroughly good read and provides amazing insight into a generation that suffered huge hardships, yet seemded to live happy fulfilling lives.

This book will appeal to all ages and to anyone interested in the Great War, family history, the English Aristocracy and Wales. A great present.

Some might say nothing can equal Middlemarch as Eliot's greatest work but I think that even if Felix Holt doesn't rank alongside it in literature, it should be given at least an equal status.

The novel deals with provincial politics in nineteenth century England through the mouthpiece of one of the best male protagonists ever drwan in literature by a female writer. As in all her books, Eliot is sharp in her details, the satire is poignant and she doesn't miss out on humor. Feminism takes a different turn here, with telling criticisms on the way females were brought up at that time and in many third world countries, still are brought up.

Eliot is never bitter, never hopeless, yet always realistic and idealistic with this difference: she doesn't let it get out of control. Fear not: mawkish is the last thing this book is. Some details might seem to be superfluous but it adds up to showing the literary prowess of this great woman, and is very helpful in letting you understand the real stuff going on at that time. A good, very well-written socio-political novel, that depicts the atmosphere of its time with more accuracy than many other books I've read.

Eliot does have the most amazing ability to get into her characters' minds. although this book is an all rounder in the sense that it comments on most social issues, the two main intimate themes of the books are personal to the central character, Felix, the most "alive" hero of nineteenth century literature: his politics and his love interest, in herself a very compelling and subtly drwan character.

Worth reading for all Eliot, Dickens, and Hardy fans. Will definitely give you two or three new opinions: even if the time period is different, much of the philosophy of the book is still very relevant.

This is my 4th novel by George Eliot (after "Adam Bede", "Middlemarch" and "The Mill on the Floss") and it has become my favourite along with "Middlemarch". "Felix Holt" is so marvelously written and gave me many hours of reading pleasure - I can't understand why it's not as highly acclaimed or well-known as Eliot's other novels.

If you're a fan of Victorian literature, then you mustn't miss this brilliant work. The story's set in the 1830s and is 1/3 focused on politics (i.e. a fascinating insight into the electioneering process and the fight for a Parliamentary seat between the Torys and the Radicals), 1/3 on family and sensational issues (e.g. illegitimacy, dispute over who has the legitimate claim on the wealthy estates of the Transome family and plenty of blackmail, manipulation and betrayals) and 1/3 devoted to a love triangle.

George Eliot wrote so eloquently and beautifully that many times I find myself re-reading a particular phrase in order to saviour its beautiful words. Each chapter also starts with either a beautiful poem or some well-chosen lines from Shakespeare/the Classics. Here's a favourite of mine from Chapter 45 (a poem by Eliot):

"We may not make this world a paradise
By walking it together with clasped hands
And eyes that meeting feed a double strength.
We must be only joined by pains divine,
Of spirits blent in mutual memories".

I confess that above all, it is the suspense over the touching love story that kept me turning the pages very quickly. The hero is Felix Holt, a passionate, idealistic young man who studies medicine but chooses to quit midway and forgo a comfortable future as a doctor in favour of leading the more righteous life (in his opinion) of an ordinary, poor workingman because of his scorn for wealth and its corrupting powers. Felix is described as honest, brusque, generous and highly intelligent. He's got "wild hair", dresses simple and to his own liking e.g. not wearing a cravat "like all the other gentlemen", and sometimes looks like a "barbarian". He patronizes no one and is rather unpopular in the town of Treby Magna where the story takes place. His political views are Radical (i.e. more severe than the Liberals) but his main concerns are for the well-being of the working class and especially the future of their children. (Read the excellent "Address to Working Men by Felix Holt" which comes after the Epilogue). Felix's good intentions land him in great trouble with the law later on when a massive riot breaks out among the drunk working class directly after the election and Felix is wrongly accused of being the leader of the mob.

Early on in the novel, Felix is introduced to the heroine, Esther Lyon (the beautiful daughter of a poor chapel minister) whose vanity and high-bred manner he scorns. He rebukes and lectures her constantly in that straight-forward and honest manner of his because he cares to improve her views on what are truly the important things in life. Esther dislikes him utterly at first... she cannot understand why Felix doesn't admire her beauty and graceful manners like other young men do. Esther is vain and proud (at least, initially) and has always dreamed of leading a better life, with fineries and beautiful clothes and servants to do her bidding. And Felix Holt is definitely not her idea of a lover! But Esther is not unkind or ungenerous - she loves her father dearly and treats everyone well. Gradually, she begins to see the true nature of Felix's character and noble aims, and holds him in great esteem, despite his outward looks and manners. But Felix has declared never to marry and if he were ever to fall in love, he would just "bear it and not marry" (preferring to "wed poverty"). Later in the novel, Esther is courted by the rich and handsome Harold Transome whose initial reason for wooing her is to save his family estates. But he doesn't count on falling in love with her subsequently.

Who does Esther ends up with finally: Felix or Harold? But take it from me that the romantic scenes between Felix and Esther are the most passionate and heart-wrenching I've ever come across in a classic literature - with many kisses and hugs amidst pure longing and despair, and scenes filled with beautifully spoken words of affection which brought tears to my eyes.

For many, many reasons, "Felix Holt" makes for a most brilliant read. I urge you not to miss it.

George Eliot is an acquired taste. If one were to pick up only one of her books it would probably be "The Mill on the Floss", "Silas Marner" or "Middlemarch" and with any one of those might come frustration with Eliot's myriad of plots (not to mention her tendency for being a bit wordy). But I found "Felix Holt", for all its political twists and turns, to be the most accessible of Eliot's books. This accessibility can be attributed to two of the finest characters ever created: Mrs. Transome and Ester Lyon. I would say that the character of Mrs. Transome ranks up there with Emma Bovary in terms of literary creation and chapters 42 and 49 (I don't want to give away the story) are absolutely cinematic. I truly love this book.

George Eliot (Mary Ann Evans) was a great English novelist of
the Victorian period. Her list of classics is impressive:
"Scenes from Clerical Life'; "Adam Bede"; "The Mill on the Floss"
Middlemarch" and "Daniel Deronda" are among the greatest novels
ever written in the English Language.
Felix Holt tells the story of a radical candidate for Parliament. He has become a watchmaker; cares for his mother
and courts Esther Lyon the sophisticated daughter of a poor
minister. Esther is also courted by Harold Transome who like
Holt is also a Radical candidate for Parliament. Harold is rich, 35, a widower with a young son. Holt is young, fiery and idealistic.
The most interesting character in the novel is Mrs. Transome who has secrets to keep. She is well drawn by Eliot.
In addition to the love story is the tale of an inheritance.
This tangled delve into old documents is complex and may lose
some readers.
The tale climaxes with a working man's revolt and other suprises for the interested reader. The book is not as long as
some of her novels but does hold one's interest.
This is not Eliot's best novel but it is worth reading.

Felix Holt occupies a middle-tier in the critical estimation of Eliot's novels. It is often disparaged as the "political novel," or alternatively "the one where the legal subplot is way too complicated."

At first, this seems unfair. The early introduction of Mrs. Transome is a showstopper, heroine Esther Lyon fascinates, and the detailed evocation of 19th century rural politics is through Eliot's narrative magic made riveting.

But things do go awry in the second half. A big problem is Felix himself: an idealization of a political view rather than a detailed character, the reader loves him rather less than Eliot seems to intend. The legal schenanigans are intriguing, but the tortuous plot machinations through which Felix comes to be imprisoned are near ridiculous. And finally, Esther experiences her moral conversion rather too quickly and tidily, coming to seem just a sketch for Gwendolyn Harleth in the later Daniel Deronda. Indeed, by book's end the most compelling plot thread standing is that of the unfortunate Mrs. Transome.

But to say a book isn't as good as Daniel Deronda isn't much of a criticism. For all its faults, Felix Holt is filled with excellent characters, a strong story, and unparalled insight into both 19th century England and the more universal collisions of morality and politics.

Major McCudden died in an accident prior to the original publication of this book in 1918. Three days prior to his death, he dropped to the first manuscript off to the editor. Out of respect for McCudden, the editor refused to make the customary editorial changes and rewrites. The books stand in the raw, as provided by the author, which makes it all the more incredible that the book is so well written and captivating.

The book is written like a personal account or diary, shortly after the events. The story is vivid, and full of personal anecdotes and funny or amazing stories that keep the readers interest up. The editor did explain in the forward the names and abbreviations used by the author (for wartime security) to describe places and people.

McCudden transferred into the Royal Flying Corps (RFC) as a mechanic prior World War I. During the war, he was given the opportunity to become a pilot, and went on to be one of the leading British aces during the last two years of the war.
His account of his flight training (solo after only 2 hours! - flight instructor after only 8 hours solo!!) is nothing short of scary for pilots who trained under the current regimented and regulated schools.

The author makes several comments about his respect for his adversaries ("the Hun"), their bravery and flying ability. He even frequently remarks he expects some criticism from readers for speaking so highly of the Germans, but he explains his admiration for their skill is separate from his political opinion.

There is no question of his patriotism, his willingness to fight for "King and country," or his belief of the justness of the `cause.' This is especially clear when he describes his feelings on learning of his brother's death in combat. This is in stark contrast to Cecil Lewis' account, and they served in the same squadron, at the same time.

The book is an excellent read for pilots, aviation buffs, and those interested in World War I. First hand accounts always give the best portrayal of life and feel `real' - this one is no exception.

As with Sagittarius Rising, the reader will definitely want a World War I aircraft reference (Jane's Fighting Aircraft of World War I is good), but don't be surprised - the author frequently describes the machines differently, with a common (but unofficial name), or just by the manufacturer (e.g. a Pfalz scout).

One update, I have since acquired a hardcover edition from the late 1960's under the series name "Air Combat Classics" that includes many excellent pictures. If you can find that edition, try to get it.

I thoroughly enjoyed reading this book. Considering his humble origins in an England heavily rooted in class, and his rise from a bugler in the Royal Engineers to a mechanic in the Royal Flying Corps to one of the finest fighter pilots of the First World War, James McCudden shows that anyone can aspire for greatness, provided one is willing to work and sacrifice.

For anyone with a curiosity about what air warfare in the First World War was really like, READ THIS BOOK. I highly recommend it.

Mud, gas, soldiers getting machine gunned by the tens of thousands, there was little about the ground war in World War One to be excited about. But in the sky new technology and new heroes were being born. James McCudden was one of these heroes. Many books were written during the war and just after the war by WWI aces as a type of propaganda. McCudden's book certainly bears some of these marks but there is more here. Look beyond the sometimes overstated "up and at 'em" spirit that occasionally comes out and this is a fine look at the war in the air during World War One. Several things stand out.

McCudden was in the war from the beginning. This means we are able to see the air war from the start. The air is filled with Bleriots, Farmans and even a Taube or two. We get insight into those early days. Airplanes were only good for reconnaissance right? Wrong. Almost immediately bombs are being fitted to Bleriots and observers begin toting rifles aloft to blast away at offending enemy airplanes. In McCudden's war there doesn't seem to ever be a time when enemy pilots wave to each other as they pass. From day one they are shooting.

We also gain a look at this new type of warfare. We feel McCudden's frustration as he learns just how hard it is to shoot down an airplane. We learn that those machine guns jammed with a maddening frequency, almost every flight it sometimes seems. We also learn the anguish felt when even an enemy burns. It is not until McCudden shoots one down in flames that he feels a pang of conscience over his role in the war. There is admiration for a noble foe and yet it is not shared by all. Arthur Rhys-David's attempted toast to VonRichtofen is a telling incident. Perhaps the greatest trajedy of the McCudden story doesn't actually appear in the book, at least not by McCudden's hand. Just days after completing the book James McCudden was dead, the victim not of a German aeroplane's guns but a faulty engine and the earth that was just a bit too close.

All of this make the propaganda aspect of the book fairly easy to shrug off. Originally called simply "Five Years in the Royal Flying Corps" editors saw fit to call the book "Flying Fury" when it was reprinted in the 1930s. I wish they'd left it alone. McCudden's title is better for this is truly what this book is. I recommend Flying Fury as a good look at the world's first air war.

This biographical account of the one of Britain's leading aces from World War I is one of the best flying tales ever written of any era. At the age of fifteen, McCudden started out as a bugler in the Royal Engineers before becoming a mechanic in the Pre-WWI Flying Corps when aeroplane technology was still very immature. He witnessed, indeed participated, in the trials and tribulations of the nascent Flying Corps and, as war arrived, saw the fragile craft used in experiments with armed combat against troops on the ground and against enmey flying machines. His interest in flying led to passenger rides in a variety of aircraft and eventually to his performing aerial observer and gunner roles in combat where he was decorated. That was just another step in his aeronautical adventure as he was subsequently selected to train as a pilot and thrown into combat in the same sector as some of the leading German aces such as Voss and Richtofen where he not only survived, but eventually become a leading ace himself. His description of his five years in the Royal Flying Corps was written while the war was still ongoing and literally days before his posting as a squadron commander and tragic death in a flying accident en route to his new squadron. His writing style is fresh and immediate capturing the day today life and passions of WWI aviators. His impressions of his foe and the relative performance of the various flying machines are unique and better than any other author from that conflict. The publishers deserve credit for recognizing the value of this slice of history and making sure it remains available to the public. The rating system only allows 5 stars...this book deserves special status beyond that. Indeed, it has such on my shelve.

James McCudden's book is one of the finest written about aviation of the first world war. It is basically written by a man who was a hero who was very modest, It takes the form of a diary and gives more or less a day to day event of what it was really like to fly planes made of canvas against an enemy who McCudden had great respect for. For anyone who has a passion for first world war history this is a book not to be missed,(maybe i'm biast) Please remember when reading this book that the man had very little schooling and wrote the book in a matter of weeks and the last entry is only a few days before he was killed. A GREAT BOOK.

GIleskirk and Greyfriars in the title are the names of two houses of worship in Scotland's capital. They refer to the Cathedral Church of Edinburgh and to a suburban pre-Reformation Franciscan church. Gileskirk's pulpit is associated with the 16th Century leader of the Reformation, John Knox. At Greyfriars in 1638 the National Covenant was signed, a landmark in asserting church independence of royal control.

This second volume begins with the birth, life and execution of Queen Mary Stuart. It moves through the reigns of her son James and grandson Charles and their increasingly autorcratic misrule of Scotland, England and Ireland. The volume ends in 1658 with all powerful Lord Protector Oliver Cromwell, about to die. His brief rule did much violence to both Scotland and Ireland and trampled on old traditions. It abolished monarchy itself, bishops, the House of Lords and brought back the Jews after several hundred years and gave England its first and only written constitution.

Scott's TALES OF A GRANDFATHER should be read in parallel with his many historical novels and narrative poems. They bring Scotland and England to life as do few other books. -OOO-

Walter Scott's History of Scotland written for his young grandson, with better editing and presentation, should be the perfect companion piece to many of Sir Walter's poems and novels. This Cumberland House 4-volume edition has large enough print and contains a helpful list of the Kings of Scotland and a good index. Lacking are much needed maps. Nonetheless, this is a truly great but simple introduction to the long history of Scotland in the "great man" genre of historical writing.

Fans of Mel Gibson's movie BRAVEHEART will be enchanted by the treatment of England's King Edward I, Longshanks -- corrupter of Robert the Bruce and conqueror in the end of Sir William Wallace. These and other great men and women as well as the Stuart Kings all strut across Walter Scott's well-lighted stage.

This first in a four volume edition covers the years 1033 - 1542. We see Scotland as a nation never conquered by Normans and intent on national independence but increasingly coveted and invaded by the Normanized English. We begin with MacBeth. We conclude with the struggle between England's Henry VIII and Scotland's James V, closing the Roman Catholic centuries of Scotland with the death of James just after the birth of his unhappy daughter Mary, "the Queen of Scots."

Let Chapter XVII, "Robert III" (1390 - 1406) serve as one of several examples of how determined readers of Walter Scott can easily and pleasantly flesh out the fiction of "the Wizard of the North." Readers of Scott's novel THE FAIR MAID OF PERTH will find here a brief but memorable description of events behind that bloody novel.

All in all, FROM BANNOCKBURN TO FLODDEN is a book well worth the time of anyone just beginning to read into the history of Scotland

This this the third of four volumes written by Sir Walter Scott as a history of Scotland for children, very intelligent children be it said! It covers the years 1658 (death of Oliver Cromwell) to 1714 (death year of the last de facto Stuart Monarch, Queen Anne).

What sense is the obscure volume title, "FROM GLENCOE TO STIRLING" meant to evoke? No problem with GLENCOE: at that starkly beautiful MacDonalds' site in the western highlands, 38 men, women and children were massacred by Scottish troops in the dead of winter 1792. 150 more men, along with women and children succeeded in fleeing through the snow to shelter 12 miles away. The treacherous order to slaughter every man, woman and child below 70 years old was approved by King William III. Scotland to this day has not forgiven that otherwise enlightened monarch. Why Stirling appears in the title I am not sure.

Volume three of TALES OF A SCOTTISH GRANDFATHER is close to indispensable companion reading for six Walter Scott novels set in the years 1658 - 1714: WOODSTOCK, THE TALE OF OLD MORTALITY, PEVERIL OF THE PEAK, THE PIRATE, THE BRIDE OF LAMMERMOOR and THE BLACK DWARF. Some of these romances are more political than others, but the dynastic struggles form the backdrop for all.

The most biting part of Scott's narrative describes the formation of the United Kingdom in 1707. At a time when two actions of King William III (the massacre at Glencoe and his opposition to Scottish colonization of the Isthmus of Panama) had inflamed Scotland against England, English commercial interests were forced to decide between resumption of unending centuries of war with Scotland or assuring permanent peace by absorbing their smaller northern neighbor, more or less willingly. Which alternative would cost England less money? At a time when probably 95% of Scots were passionately against the Union, it was nonetheless negotiated in late 1706 and finally agreed to by the Scottish parliament. The United Kingdom opened shop in May 1707 -- on very unequal terms for Scotland. Bribes and payoffs to the Scottish negotiators and members of Parliament produced the needed votes.

According to Walter Scott, the very unfair terms of the treaty of union, combined with popular detestation of all those bribed to sell Scotland's ancient national independence, gave Scotland sixty more years of avoidable turmoil and humiliation. Then at last, with the coming of King George III, the Union began to give Scotland those commercial benefits that had been promised.

Meanwhile there was the Old Pretender's rising of 1707-08 and the political uncertainty who would succeed Queen Anne as she approached death in 1714. -OOO-

Sir Scott really knew how to bring history back alive!! The writing is very visual and very heartfelt. Thank you Sir Walter Scot !!

Although I am a Spanish speaking reader, I found this book most lovely and interesting from the first page. It is written in a clear style that makes it easy to understand and attractive to read. Writing History is a hard task, not suitable for everybody. Sir Walter Scott is certainly one of the greatest British poets and here he combines all his virtues in this matter with a great skill to narrate past events which almost turns this book into a "Romantic History" . It is wonderfuly adecquate for kids as it was originally intended even to those learning English as a second language.

really intersting read with lots of interesting facts, not for the faint hearted, makes you think and relise alot of different things

Extremely fascinating text! It is no surprise Oxford University Press chose to publish this work. Whether the reader is a scholar specializing in the folklore of the British Isles, a student enrolled in a Viking seminar, or an individual with an interest in the topic, this work is informative and captivating. The text not only aids the reader in his or her study of British Isle folklore, but allows the reader to draw connections between Scandinavian culture on the mainland and other isles. I have read a fair amount of works concerning this topic, but none have kept me as interested as "Gods, Heroes, & Kings." A definite buy!

Gods, Heroes, and Kings: The Battle for Mythic Britain

Gods, Heroes, and Kings, written by Christopher R. Fee and David A. Leeming and published in 2001 by Oxford University Press is a fine overall introduction to the mythologies of the pre-Christian inhabitants of the British Isles, who can be divided into two groups, each of which, in turn, has two subdivisions. First came the Celts, both Goidelic (Ireland, Scotland and the Isle of Man) and Brythonic (Wales, Cornwall and the French region of Brittany).
Most of the mythology of the Celts was written down long after the coming of Christianity to Ireland and Wales. Many Deities appear in both literatures, but the precise relationship between the religions of the two main branches of the Celts is not completely clear.
Long afterward came the arrival of the Anglo-Saxons, a loose assemblage of Germanic tribes who became the English and transformed most of the island of Great Britain into England (Angle-Land). These newcomers wrote down little of their mythology, but a fair amount of it can be reconstructed by comparing off-hand references in works such as Beowulf with the much more extant mythology of Scandinavia, many of whose inhabitants raided and later settled in the British Isles during the Viking Era.
While closely related, certainly more so than the religions of the Goidelic and Brythonic Celts, the precise relationship between the Troth of the Heathen Anglo-Saxons and that of the Viking-Age Scandinavians, as well as the relationship between both of them and the pre-Christian beliefs of the Continental Germanic peoples (German, Dutch, and Frisian speakers) will probably always remain a bone of scholarly contention.
Despite being a work of more recent scholarship, Gods, Heroes, and Kings reflects in many ways the scholarship of the 1970's and 1980's, with considerable influence from the work of the late Joseph Campbell, author of the book The Hero with a Thousand Faces and the Masks of God series. The prominent influence of this scholar rather surprised me, as his ideas seem to be at the present time somewhat out of favor. However, just as in mythology and in clothing fashions, the popularity of ideas and theories in Academia can also have a cyclical element.
The writing style is very readable, and the combination of a section retelling a myth with a section commenting on it is both effective and enjoyable to read. The main idea of this book is that the battle for mythic Britain was not "a struggle between factions of ancient gods and heroes, but rather a war of attrition, a continual reformulation and assertion of age-old archetypes in the garb most appropriate for the audience who heard their stories" (p. 192). Many of the mythic themes survived Christianization amazingly intact, and contributed to the uniqueness of the Christianity of the British Isles.
Much attention is given to heroic themes, and the authors hold that the mythic Hero is actually Everyman (and Everywoman), and the Gods, including by implication Yahweh, are "competing masks of the same ancient beings," and that the masks are just the surface of what they represent (p. 220). Obviously, this is not a theological idea which most Heathens, nor for that matter most Christians would embrace wholeheartedly, but nevertheless it does open the door for fertile theorizing on such topics as the nature and essence of Divinity and the relationship between the Pantheons and Deities of different religions.
The persistence of these mythical themes, both mythological and heroic, is due to the fact that "certain universal concerns remain constant: proper planting, fertile soil, a timely and sufficient harvest (p. 220) and so "the battle for mythic Britain represents the ongoing attempt by humans everywhere to make sense of their present reality by drawing on those aspects of past traditions that fit the most appropriate mask" (p. 221).
The chapter headings of this work provide a good idea of what it contains: The Pantheons, already alluded to in this review, Deity Types, Sacred Objects and Places, Heroes and Heroines, Creation and Apocalypse, and The Sagas (in the broader sense of the term, not just the Icelandic ones). The conclusion of the book is "Five Reflections on the Face of the Hero in the Medieval English Romance - Trials, Tribulations, and Transformative Quests."
As I read Gods, Heroes, and Kings, I found that my overall impression of the book kept going up and down. The lack of footnotes is at least mildly disturbing in a scholarly work. However, the inclusion of fine a "further reading" section together with an impressive bibliography partly makes up for this serious flaw. I am left with the impression that it is trying to be both a scholarly and popular work, with mixed success.
For the Heathen reader, this book is a fine introduction to some of the major extant Celtic myths, and a good overview of our own lore. It is also a good beginning to the important and fascinating Heathen scholarly task of comparing and contrasting Germanic lore with that of the Celts, whose languages are related to the our own tongues, and in terms of geography, history and culture are even more closely our kin. This is a question which most serious Heathen scholars will sooner or later find themselves looking at. The book also provides much material for unraveling how ancient mythological themes continue to influence the core ideas of our culture, and shows one way in which our Gods and Goddesses managed to remain active among us during the centuries in which their worship, where it continued at all, was the furtive undertaking of a very few people.
All in all, I do recommend that you read Gods, Heroes, and Kings. It can be read and enjoyed on a number of different levels, and the fact that Oxford University Press chose to publish it says much. In addition, it is nice for a change to review a book that is in print and readily available at a reasonable price!
Patrick "Jordsvin" Buck
http://home.earthlink.net/~jordsvin

This book is a great read. It's obviously well-researched, and filled with intriguing facts. Furthermore, Fee has a writing style that draws the reader in and keeps him/her interested throughout. Highly recommended!

Drs. Christopher Fee and David Leeming have crafted an extraordinary work examining the marriage of Celtic, Germanic, and Norse cultures and religious beliefs in Britain (particularly as they are seen via the literary traditions that chronicled them) in an effort to understand how the impact of pre-Christian peoples influenced the unique Christianity of Medieval Britain. While Dr. Leeming has provided extensive retellings of pagan myths, Dr. Fee has written insightful analyses of these myths and their import to the creation of a British religious ideology. Beginning with a scrutiny of the various pagan pantheons, the work then moves through detailed examinations of, among other things, types of deities, heroes and heroines, and the different sagas of the individual cultures. As an apocalypticist, I found the retellings and subsequent commentaries on Ragnarok and the Anglo-Saxon Fire of Judgment immensely informative and useful.
This is an extraordinarily accessible book. It is intended for the non-specialist and, as such, would be perfect for an undergraduate survey course, for an upper-level topical course on British mythology/religion, or for any scholar seeking an understanding of Britain's pre-Christian culture. I would also recommend it highly as a handbook for any medievalist who needs quick and informed accounts of any and all of these topics. Not only have Drs. Fee and Leeming eloquently opened up the field of pagan Britain to further inquiry and discussion, but they have done so in a work that is, above all, easy and enjoyable to read.

Is there something they put in the water over there in England? How do those Brits manage to be so funny? This Simpson guy has to be one of the funniest Brits to hit these shores. My boyfriend thought I'd lost it when I was reading this - he had to go into the other room. Really inspired stuff - some of it was a bit more stretching intellectually than I bargained for, but I sort of liked that too.

Just a total blast. I read the rave reviews before I bought it a bit sceptically and thought, `so, impress me.' And, boy, did he! I laughed out loud like a drain so many times and so noisily my roommate thought I was losing it. Then I leant him this book and pretty soon he was hysterical too. So many great moments it's difficult to pick out a favourite. So here's a few: A groom being buggered by lesbian strippers on his Stag night; a disastrous visit to a female prostitute in London's red light district; a surreal discussion about the cultural significance of foreskins with Monty Python worshipping US Marines in Tijuana; an exclusive interview with Oscar Wilde in which he `goes in'; and Simpson's own `George Michael' moment with a cute cop from the Beverly Hills PD.

The funniest, sharpest book I've read in years. I defy you not to laugh.

This is, simply put, the wittiest work of gay non-fiction ever published. Simpson may be the smartest gay essayist of our time. There's no question that he's the funniest.

You can't help but laugh...not at us but near us.

It really is as good as people are saying. But even better, you will see the world with a slightly twisted perspective afterwords...it really is a fun book.

'BAY WINDOWS' WROTE: "Simply put, IT'S QUEER WORLD is an acerbic delight from cover to cover.... Simpson excels at casting a cynical gaze over British and American pop culture with hilarious results. To his way of thinking, we're all in the same boat, and guess what - it's leaking! Bitchy yet pithy is a rare combination to pull off, but Mark Simpson has it in buckets."

I loved this book. He seemed genuine and really care the fate of the Hong Kong Chinese.

Regardless of the so-called hidden agenda behind the rush to the democracy before the handover, the truth was back then none of the patten's predecessors had the political reforms in agenda. They were all diplomats and they only really concerned to kowtowing Beijing. Patten was a politican and he tried to work and fight for the benefits on behalf of HIS constituents i.e. people of Hong Kong. He got unfairly smeared by Beijing in return just because the truth hurts.

The bottom line was Chris Patten did leave a legacy way better than Tung che-hwa, the chief executive of Hong Kong SAR (Special Administrative Region-not the disease) could ever dream of. What an irony it was when the white Anglo-Saxon master who make Hong Kong prosperous and better than the mainland Chinese themselves.

When the Union Jack lowered the last time on June 30, 1997, it symbolized not only the beginning of the fall of Hong Kong, but also spell the death of Hong Kong. Hong Kong-the beacon and the crown jewel of what a Chinese society ought to be back then ceased to exist.

I loved this book. I thought it was a great narrative on Chris Patten and his governorship and the hardships he endured. The book spares almost no detail, but I would have liked to see more of the Democrat's point of view. This book is absolutely necessary for people who wish to know in-depth about his governorship.

After reading the online review of Theroux's Kowloon Tong (a fictional account of the 1997 Handover of Hong Kong), I am surprised to find that only one customer have contributed a review to Dimbleby's marvelous work on the historical events. Dimbleby provided an excellent and comprehensive account of the political events that led to the signing of the 1984 Sino-British agreement, the arrival of Chris Patten, the introduction of legislative reform, and the eventual derailment of the democratic movement by the Communist Chinese Government. Dimbleby also tell the stories of several Hong Kong citizens and their views of the Handover. Being a native of Hong Kong who have spent my last 12 years in the States, Dimbleby's book brought me up-to-date on the big political stride taken by and the obstacles awaiting the people of Hong Kong.

This book is one of the best books about the history and political development of HK. It not only gives a brief but interesting historical outline at the beginning of the book, it also traces the development of HK politics. What the governors before Chris Patten did and what have been changed since the arrival of Patten. It also outlines lots of power struggles between the governor and the ministers in Britain and how Patten dealt with them. For sure the relations between the governor and the Prime Minister John Major is a key factor contributing to the "success" of the governor. Of course one would have no doubt about that the close relationship between the governor and the writer, Jonathan Dimbleby, who followed Patten to come to HK and spent several years with him, which does enable him to access some crucial but secret matters that are not easily accessed by other journalists. Being a HK citizen, reading the book enables me not just to know the past better but it also enriches me about the situations of HK at that time. Reading it is just like passing through the history once again, with all those political arguments between China and both Patten and Britain reappearing in real life. Another interesting thing about the book is that it also touches lots of the everyday lives of the ordinary people living in HK, how did they feel about the political arguments and what did they plan to do after the handover of China. This makes the book more lively. This book is definitely a book that students of history/Political Science/HK Studies should read.

Jonathan Dimbleby's The Last Governor is a tour de force that gives the reader an insider's perspective into the tenure of Hong Kong's last colonial leader, Chris Patten. Dimbleby treats the reader to a narrative account of the trials and tribulations that Patten faced as he attempted to enact democratic reforms in Great Britain's last colonial jewel. Although one would undoubtedly expect the government of the People's Republic of China (PRC) to be vociferously opposed to any belated attempt by the British colonial authorities to bequeath a semblance of democracy on Hong Kong, Dimbleby makes the case that Patten's biggest enemies often came from within his own government. Dimbleby's revelations that selected British cabinet and Foreign Office officials shamelessly sought to downgrade the importance of Hong Kong and sacrifice Patten's proposed reforms on the alter of commercial relations with the PRC, resulted in Dimbleby being investigated by the Foreign Office for possible receipt of secret intelligence materials. Dimbleby was cleared of these allegations, but the vast array of insider information that Dimbleby amassed for this book strengthens the strident arguments that Dimbleby advances. Only a handful of participants in The Last Governor emerge with their reputations unscathed. Hong Kong's local and international business elite is portrayed as willing supplicants in the PRC's efforts to scale back personal and political liberties after Hong Kong's reversion to PRC sovereignty, a position easily enforced by PRC threats to their commercial interests. Martin Lee and Emily Lau, two of Hong Kong's leading democracy advocates, are portrayed as actually weakening Patten's push for democratic reforms through their uncompromising approach. The various representatives of the PRC are painted as unbending ideologues with little appreciation of Hong Kong's way of life. Dimbleby is most critical of the British officials, past and present, who acted to either inadvertently or deliberately sabotage Patten's governorship. Most prominent on this list is Sir Percy Cradock, Great Britain's lead negotiator in the 1984 Joint Declaration and former Ambassador to the PRC. Cradock comes off as a modern-day Neville Chamberlain, willing to cut a bad deal with an unsavory power for the sake of diplomatic expediency. Cradock compounded this error by working both privately and publically to weaken Patten's political position and policies. Dimbleby also argues that the Cradock mentality had infected the entire Foreign Office and selected members of John Major's cabinet, who worked to undercut Patten and sell-out Hong Kong in favor of better commercial relations with the PRC. The greatest strength of The Last Governor is also its greatest weakness. While such open access to Patten gives this book the necessary dramatic propulsion, it also strikes the reader as serving as Patten's mouthpiece. While Dimbleby does downgrade Patten for underestimating the challenges he was to face as Governor, Dimbleby's portrayal of Patten as the lonely David fighting against the multi-headed Goliath seems to diminish the numerous allies Patten needed to help him accomplish the limited reforms he was able to enact. Dimbleby could have also delved deeper into the political rationale behind the PRC's bargaining position and policies regarding Hong Kong. The Last Governor is highly recommended reading for anyone interested in Hong Kong, Chinese, or British affairs and to readers interested in how bureaucratic politics affects international diplomacy. Dimbleby's prose is brisk and should easily captivate and entrance the reader. Keep in mind that this is not an academic tome, so Dimbleby's point of view is repeatedly expressed without reservation or apology.

There are two reasons to read this book. First, a marvellous account of life at sea in the 18th century, written beautifully and yet spontaneously by a simple sailor. Second, a moving human microstory of genuine love, adventure and lost hope. The two intertwine magnificently and I could not help identifying with the writer's plight.

This is gripping history as seen by the average participant in it. It's not about Admirals or Generals or World Leaders, it's about everyman and every woman. I first learned about John Nicol from another excellent history book "The Floating Brothel: The Extraordinary True Story of an Eighteenth-Century Ship and its Cargo of Female Convicts" by Sian Rees. John Nicol was on that extraordinary voyage and his memoir done when he was in his 60's was the only first-hand account of those voyages. I decided to seek out his memoir. After reading either of these two books, the readers will probably no longer yern for a romatic voyage on an ancient sailing vessel. Life wasn't pleasant on those sea voyages for anybody on board. The story of how John Nicol's story was eventually dictated to John Howell, an Edinburgh book binder who found him wandering the streets is also amazing. Howell is another average guy who made a great contribution to history through small acts of charity and publishing.

This is the life of an ordinary seaman at the time of the beginning of scientific exploration. John Nicol a seaman on the voyages of discovery and later trade to Australia, the Americas and to Africa. He observed life of the captains, the ordinary men at sea and the people of the lands he visited. He went to sea at an early age was imprisoned, married and lived to 94 and died in England. The diarys are a remarkable work of an eyewitness to history. It is written and edited in an easly readable style and brings history to life.

I love nautical fiction set during the age of sail (O'Brian, Pope, Kent, etc.) and so I enjoyed this memoir of a real-life sailor from this period. There are two disappointing things about this book though; it's very short (only about 160 pages if you exclude the introduction) and Nicol doesn't spend very much time relating events from the voyages themselves or his day-to-day life in the Royal Navy. Nicol mostly describes the places he visited and the cultures of the people who lived in those places. He does do a wonderful job describing these people and places, and he does it without being long-winded. He also relates a few humorous stories and gives us some details of his personal life, such as his ill-fated romance with a convict during their journey to Australia. Animal rights advocates and environmentalists would be horrified by one of his voyages in which he claims that he and his crew clubbed about thirty thousand seals plus many sea-lions. The way I look at it though, it was just a very different, more primative age. In any case, I enjoyed this book, and only wish that it had been longer and more detailed.

This account was first published in 1822, and has been republished with a forward and added footnotes by the editor. Unlike most seamen in the Royal Navy, John Nicol enlisted for the adventure, first serving at the age of 21 as a ship's cooper during the American Revolution, mostly in Canada and the West Indies. For the next 25 years he served on a large number of Royal Navy and merchant shi