Authors Books

LIVING ON THE RAGGED EDGE is a commentary on the Old Testament book of Ecclesiastes. This was a life-changing book for me in 1986. My whole life had literally collapsed right in front of my eyes. And I also had a nervous breakdown all in the pursuit of success and graduate school. This book seems to advocate living the "Simple Life", knowing God, having a wife and kids, not overdoing work or success. I have received alot of abuse the past 20 years about why I don't go back to graduate school; and the wisdom of this book is part of the reason. I had written to Radio Havana Cuba once and had said that this is a religious book that even Fidel Castro could appreciate! I hear that since then he invited to Pope to come to Cuba to visit.
We do live in an insane money-hungry society that has no values, no philosophy, no religion but the pursuit of the "Almight Dollar"! This ia a major reaqon for why we see American society disintegrating right before out eyes!
It is not deliberate, but I think I see myself as living in the 60's because of circumstances beyone my control. People in authority try to make my life as miserble as they can so as to pressure me into going back to college-this is called persecution.
The amazing thing about our secular achievements is that when we die, we do not get any reward in Heaven for them. Both Solomon in Ecclesiastes and Jesus Christ in the New Testament say that we get no reward in the next life for being a successful doctor, lawyer or businessman. Jesus said to lay up treasure in heaven-good works like charity towards the poor.
Also I noticed that it is God who gives man the ability to enjoy life. And contrary to religious tradition in puritalical America, I have found on my electronic Bible the advice to "eat, drink and be merry"{within moderation, of course.) the phrase occured five times in Ecclesiatstes. God gives the common man and the man who pleases him the ability to enjoy life. The life of the success driven rich man is so full of stress that he may have a fancy meal, yet he cannot taste the food he is eating! You can only live in one house at a time. You can only drive one car at a time. You can only spend so much money in this life because when you die, you won't have it any longer. You can have a house full of adult toys and possessions; yet you are unable to enjoy any of them. I would focus on having a couple of things and being able to use them to the full.
Solomon spoke from experience. He was the richest man in ancient Israel as he was the king. He had all the education a man could want. He had sexual pleasure-a harem of 500 wives like the Sultan of Brunei. He had more horses that he could ride. He had more achievement than he knew what to do with. Yet he couldn't find satisfaction. His advice was to fear God, obey his commandments and enjoy the simple pleasure of life. He found out that sometimes more is less.
In an exotic fashion, I had found out about INSIGHT FOR LIVING while monitoring Trans World Radio broadcasting from the island Monaco to England in 1986. They sent me a magazine promoting the book. I bought it and the study guilde and used them both. I have read LIVING ON THE RAGGED EDGE three times since them. This is obviously a message that God wants me to get into my spirit. And this is actually good advice for all of materialistic, worldly America!
Another afterthought is this. I don't think that joining the Army is the place to go to find God. But I had managed to get away from my home, family, church and social influences in Toledo. I read the Bible independantly and did not often attend church. I had found Ecclesiastes in the Old Testament; yet the message seemed to offend and irritate me at age 17. I think that you may have to go through a few things in life, have a few misfortunes and find a need to look to God for answers in the Bible to really appreciate this book and Ecclesiastes! Ecclesiastes is a book of godly philosphy! Philosophy=the study of wisdom!
This book's teaching is completely compatable with the New Testament and Christianity. St. Paul himelf had once written "Godliness with contentment is great gain"

It seems as if there exists no shortage of people that struggle through life believing that they alone have recognized the futility of life. Some wander though life seeking to quell the unquenchable thirst of lasting contentment through any and every means available while others concede to a life of unhappiness or death itself. It might amaze these same tired souls that it has been almost three thousand years since one of the few individuals that actually possessed the resources to explore the possibility of contentment through almost every means imaginable attempted the task and came to the conclusion that temporal existence is indeed futile. This journal documenting the futility of a merely temporal existence is known today as Ecclesiastes, and it presents the only source of lasting contentment. Those that feel alone in their grief and anguish at the reality of a meaningless existence should be comforted by the fact that they are not alone in this realization and that the answer to this dilemma existed prior to the beginning of time itself.

Living on the Ragged Edge presents the book of Ecclesiastes through a lens which might allow modern readers to fully appreciate its message. Swindoll also applies his own life's worth of understanding and knowledge to drawing out what might otherwise remain unnoticed points critical to the essence of Solomon's work. The book of Ecclesiastes is the catalyst of many conversions and Swindoll's contribution might very well add to its potency. The only difficulty that some may have with this work may reside in the thought that it seems to become mildly repetitive as it attempts to tackle Ecclesiastes in its entirety without combining reoccurring themes. This is a great book to pass on to anyone that might feel bogged down by the fast paced, pressure laden world in which we live, as well as to those who have a hard time seeing the point of life at all.

I read this book about 10 years ago - when I was younger, single, and worked like crazy. It made me reconsider my life and realize that life without God and His purpose is pointless. Even if you choose to deny there is a God and choose to believe in nothing- you can not deny the truths about the purposeless of life and the "race of the rats". No peace or satisfaction at the end of the day. It is funny at times and even may seem depressive and dark too. But there's a lot of light at the end of the tunnel -as you read on.
I loved this book so much that I want to give a copy of it to both of my children (ages 1 and 2) as wisdom or advice for when they come of age. I hope it can impact them as much as it impacted me and will have some insight as to the "race of the rats".

Quick. Name the author who wrote the famous lines, "Vanity, vanity! All is vanity!"

If you said Solomon, the ancient king of Israel, you'd be right. It's the opening refrain from Ecclesiastes, uttered after Solomon goes on the ultimate road trip, searching the world for meaning and happiness. He goes on to describe his journeys and offers observations including, "A human being is no better off than an animal because life has no meaning for either. They are both going to the same place --- the dust." And, "In this world you find wickedness where justice and right ought to be ... If you love money you will never be satisfied; if you long to be rich, you will never get all you want. The richer you are, the more mouths you have to feed." For the most part, the book is a downer.

It would be tempting to skip over Ecclesiastes. To not delve into its hopelessness and wrestle with why it's part of Scripture. But as renowned bible teacher Charles Swindoll points out in his book, LIVING ON THE RAGGED EDGE, Ecclesiastes is as true and relevant and important today as it was thousands of years ago.

"Ecclesiastes has today's world woven through the fabric of every page. Whether or not we are willing to admit it, deep within most of us there is this restless, irresponsible, adventuresome itch. Deadlines and responsibilities grate at us. We find ourselves ready to run --- to escape into the back road of our memories, to travel down the blue highways of life under the sun. 'Surely, there I will find what it takes to fill the void.' Before we are able to crank up the car Solomon's advice brings us back to reality: 'Don't bother, it's a pipe dream, empty as a puff of smoke, lacking in substance. It may look like it's worth the effort, but don't bother, life without God under the sun is despair personified.'''

And that's the catch; life without God is worthless.

Still, Swindoll doesn't blithely skip to that part, spouting platitudes about God's goodness along the way. He doesn't pull any punches in describing the world we live in and his take on life is refreshingly honest as he describes the dissatisfaction, discouragement, and despair so many people feel. We are all living on the ragged edge, as he puts it, and ignoring that fact doesn't make us better Christians.

This book, however, does have insight that can make the Christian life more vibrant and authentic.

"The good life --- the one that truly satisfies --- exists only when we stop wanting a better one. It is the condition of savoring what is, rather than longing for what might be. The itch for things, the lust for more --- so brilliantly injected by those who peddle them --- is a virus draining our souls of happy contentment. Have you noticed? A man never earns enough. A woman is never beautiful enough. Clothes are never fashionable enough. Food is never fancy enough. Relationships are never romantic enough. Life is never full enough.

"Satisfaction comes when we step off the escalator of desire and say, 'This is enough. What I have will do. What I make of it is up to me and my vital union with the Lord.'"

Swindoll is an excellent teacher from the pulpit, in front of a classroom, on the radio, and through his many books (this is one of his best). LIVING ON THE RAGGED EDGE has the potential to be an important wake-up call and reminder for all of us, urging us to seek God's wisdom rather than the wisdom of the world and to embrace the mystery and messiness of life on the raged edge. The edge can be uncomfortable, but the view is amazing.

--- Reviewed by Lisa Ann Cockrel

While many Christian books encourage thoughts about God's love and kindness, it's also good to see life as it really is in this world. Swindoll pulls no punches as he describes the emptiness of living to please self instead of God.

Among the many excellent points Swindoll covers are:

1. People focus on the external appearances while God focuses on the heart.
2. God can work through you in mighty ways if you let Him.
3. Wise counsel for those under pressure.
4. The world's movers and shakers are also often the most lonely people on earth.
5. Different world-views and their weaknesses.
6. How to handle the mysteries of life.
7. Excellent counsel on how to get the most out of life.
8. What keeps us from pursuing happiness.

An excellent and highly recommended book, be encouraged and challenged to seek God's wisdom instead of the wisdom of the world!

Most of the poems here are beautiful. Some convey the feeling of love gained and others tell the story of love lost or the perils of love.

I really like the poem "Thyrsis and Amaranta" by Jean De La Fontaine hilariously true!! It tells the story of a young man who is in love with a girl who doesn't even know he longs for her. He hints and clues his feelings to her and in the end-- well, if you've ever fallen in love and found out someone has already beaten you to the person you want to be with, you'll instantly get this poem.

There are other poems here that have haunting truths like "They That Have Power" by William Shakespeare. A must read for anyone who knows someone who uses their looks for the disadvantage of others.

This book is a must have for anyone who is interested in poetry. Anyone who is interested in love. And anyone who wants to laugh here and there at a general truth of people who are in love. A real good buy.

This is both an excellent and beautiful collection of
love poetry collected from many different poets, male
and female, and from many different eras, and from
many different lands...but the focus is Love...and the
responses to Love...
The poems are grouped in sections. The titles of
the sections are: Definitions and Persuasions; Love
and Poetry; Praising the Loved One; Pleasures and
Pains; Fidelity and Inconstancy; Absence, Estrangement,
and Parting; Love Past.
The "selecter" and editor, Peter Washington, says
the best words about the nature, scope, and purpose
of this book in his "Foreword": "My selection of poems
for the anthology which follows has been guided by
simple principles. Each piece had to be first-rate
in its own way, and each had to contribute something
distinctive to our understanding of love. Where there
is similarity of mood, there is difference of emphasis;
where there is repetition of an idea, there is variety
in music. The juxtaposition of apparently comparable
lyrics brings out their differences, and although the
poems are arranged in broad categories which follow
an obvious sequence, it is the echoes they set up in
one another which enrich them all."
-- Peter Washington.
There are so many fine poems that it is very difficult
to pick a sample--but this is very fine indeed:
* * * * * * * * *
In the moonlit chamber, always she thinks of him
Soft wisps of silken willows, languor in the air
of spring.
Verdant were the grasses beyond the gates;
At their parting, she heard the horses neigh.

Draperies patterned of gold kingfishers;
Within, fragrant candle melts in tears.
Falling petals, the morning plaint of the cuckoo,
Green-gauze windows -- fragments of an illusive
dream.

-- Wen T'ing-Yun (?813-870)
[Trans. William R. Schultz]

Though this book was filled with a grand assortment of poems, it did not strike my fancy as I thought it would. When I first ran across the book, I was enthusiastic about reading it for the very reason that love poems are appealing to me, as I am a high school girl.

Before I began to scroll through the pages of poems, I had high expectations for this book. I envisioned myself basking in the sun in a hammock, reading endless love poems, all of which were appealing to my romantic nature. However, I found that the majority of these poems were dull and repetitive. They did not remind me of the romantic fantasy that can be found in fairy tales, or the type of romantic poem that lovers write to one another.

This book consisted of a variety of different authors as well, many who were either from a different origin or not well known. Not only were many of their poems repetitive, but also difficult to understand and envision in one's own mind.

While the majority of this book was not appealing to me, there were some poems in this book that I found I enjoyed. An example is, "When You Are Old," by WB Yeats. I enjoyed this poem because I was able to envision myself, years down the road, with the love of my life. I connected with this poem because I consistently imagine myself growing old with someone and loving him unconditionally, just as the poem insinuated.

But true Love is a durable fire
In the mind ever burning;
Never sick, never old, never dead,
From itself never turning. ~Walter Ralegh

I am naturally drawn to tiny books and this book was no exception. I saw it and instantly fell in love with the red library binding and gold embossing on the fabric cover. This is one of those books you want to carry around with you in your pocket to read on a sunny day while sitting on a park bench.

While most of the poems were new to me, I did find lines to make any poet drown in the pure beauty of words. "In My Sky at Twilight" is a paraphrase of the 30th poem in Raindranath Tagore's The Gardener. The images are lush and mingle emotion with nature. "In Former Days" by Bhartrhari (5th Century) is witty and beautiful in its simplicity. Two lovers are so in love they forget their separateness and then drift back to being "you" and "me." The poem is a mere four lines and yet it provides a intimate look at how lovers feel when in love and when they drift apart. I loved a few lines in "The Palanquin" where a butterfly lands on delicate skin and transfers colors onto the lover's skin.

The poems are divided into 7 sections:

Definitions and Persuasions
Love and Poetry
Praising the Loved One
Pleasures and Pains
Fidelity and Inconstancy
Absence, Estrangement and Parting
Love Past

You may recognize poems by Lord Byron, Edgar Allan Poe, William Shakespeare, Walt Whitman and Dorothy Parker. I was pleasantly surprised by poems by Leconte De Lisle, Pablo Neruda and Dioskorides.

You will find a wide range of love poems. This book contains selections from ancient China to modern America. These poems present the universal experience of the human heart.

~The Rebecca Review

I love this little book. It's chock full of poetic gems, yet each one is so different. The differences in variety are surprising...there are different moods, cadences, emphases.

The poems are arranged in broad categories and follow a rather natural progression from the joys of meeting to the pleasures and pains of being "in love," to an absence of one's beloved and past loves.

Some poets are represented more extensively than are others. These include John Donne, Boris Pasternak, Anna Akhmatova and Christina Rossetti, among others. I don't think anyone who loves good poetry will complain about his disproportionate representation, however. The poets named above are so good, and their ideas so universal, that not repeating them would have been the mistake.

Although all of these poems concentrate on a universally recognized aspect of love, the perspectives vary sharply. There are poems from ancient India, classical Greece, medieval Japan, renaissance England, 19th century France and modern-day America.

The one quality all of these poems share is first-rate writing. You will no doubt find some poems you prefer over others, but you won't find poems that are "better" than others. They are all of the highest quality.

Another thing I like about this series of books is their size. They're small enough to carry in a purse or even a laptop case. I read mine on the train, on the bus, while waiting for the bus, anywhere, really. I couldn't think of a way to improve them.

Christine Conrad's intimate novel told in letters of a young man who moves to rural France to be an artist and the much older woman he finds as his soulmate and life's love is simply exquisite. Not only is it a beautiful portrait of France, but a radiant and deep portrait of an unpredictable and rich love. This will find a growing audience by word-of-mouth alone. Sometimes I had to put the book down because tears filled my eyes. Beautifully done! I am already recommending it to friends.

In her novel, "Mademoiselle Benoir," woman's health issues author, Christine Conrad arranges with the deftness of a Japanese floral artiste, a seemingly simplistic tableau of colors and textures that when assembled creates a rich and introspective insight into the realm of the human heart.

Written as a series of letters spanning a two year period, the plot focuses on thirty-eight year old Tim Reinhart, a former professor of mathematics who decides, on a studied impulse to sacrifice his solid academic life in New York to realize his dream to oil paint in the South of France. At first, Tim's letters reflect the typical American fascination with the cultural differences between the older French civilization and that of the socially fledgling United States/ As in other novels and travelogues, Conrad showcases not only the French love of food but presents an amusing portrait interplaying the idiosyncrasies of pastoral life with caricatures of centuries old French "types." She moves into more philosophical ground when she abandons the usual tedious albeit exuberant descriptions of chateau, farmyard and countryside and approaches the bigger more nebulous question of what ultimately delivers happiness in the realm of human existence.

When Tim meets Catherine, a woman over twenty years his senior, the tone of his letters waxes contemplative. With great proficiency, Conrad enlightens the reader to Tim's growing affection for this regally beautiful woman prior to his realization that what he feels for her is more than just respect and admiration. In fact, this illustrates but one example of Conrad's forte as a writer; her ability to depict nuanced personality traits through the medium of letters allows her audience to understand each character's perspective without a third person description of physicality or motivation.

Complimenting the pleasant cadence and development of her plotline, Conrad successfully weaves in meaningful quotations, ideas and appropriate French factoids without allowing these to become contrived or unnecessary eye-rolling displays of too thorough research asides or "isn't that interesting" minutiae that shows off the writer's knowledge of subject matter yet detracts from the overall presentation. Indeed, this women's health advocate truly understands the importance of proper balance in life---hormonal or otherwise. Her sublime working of her own personal philosophy through the mouthpieces of her characters speaks well of her transition from youth to wisdom.

To this reader's great pleasure, Conrad reworks the usual American living abroad scenario to address larger issues that face all of us as we mature and realize that "stuff" and its accoutrements belong to a material world and have little to do with the unconscious drive for further development, both artistic and spiritual, that ultimately facilitates a human life worth living.

As the fox in Saint-Exupéry's Petit Prince dictates, one can only truly see with the heart. Conrad's "Mademoiselle Benoir" bypasses both the material and the physical world and operates solely in an ideal world where essentials count as the true pot of gold at the end of the rainbow.

Bottom Line? "Mademoiselle Benoir" surpasses my expectations, covering more ground than I thought possible in it's prettily packaged 230 pages. Each of the players through a thoughtful revelation and analysis of fact reveal themselves as fully fleshed our individuals. The events that link their lives together form a cohesive story to which the reader connects automatically, alternately through smiles and tears. If she fails she does so only in attempting to facilitate the scenery as an additional character. Her strong portrayals circumvent this need and perpetuate in the mind of the reader Balzacian models for human vice and virtue.

Hopefully Conrad will not ruin this effort by revisiting the characters in a sequel. In this instance, Conrad has written a near perfect story which needs no reprisal. Recommended highly.
Diana Faillace Von Behren
"reneofc"

When Tim Reinhart leaves the stress and complications of his life in New York for the rural countryside of France's Lot Valley, his family is mystified but ultimately supportive. This new-found simplicity is exactly what appeals to him, an unfolding landscape, "bend by bend, layer by layer, field by field, gorge by gorge", early inhabited by Goths, Vikings, Romans and Celts, an inspirational boon to the artist, whose sketches fill the letters he sends home to parents and sister. The story told through these missives, Tim describes his tiny, one-room farmhouse, surrounded by trees, his eccentric neighbors, the French love of food and discourse over meals and the budding romantic relationship with a young woman in the neighborhood who is at times effusive, then taciturn, certainly unpredictable, her changing circumstances an added pressure on the couple. Tim is ambivalent, drawn to her, but protective of his expanding interior life, learning by attrition the French obsession with marriage and family.

While sorting through his romantic conundrum, Tim meets a dynamic and opinionated artist, Pauline LeDuc, part owner of the 15th century Chateau de la Rive, who encourages him to meet with her sister, also an artist, thinking them kindred spirits. Indeed, they are, the twenty-years older Catherine Benoir immediately enchanted with her new young friend, offering cogent advice on his relationship dilemma. Tim basks in the hospitality of the Benoir clan, the three sisters, Pauline's children and grandchildren and their decaying family chateau with its inherent problems, stimulated by this inside view of French life at its most dynamic. As much as Tim appreciates his creative discussions with Catherine, his girlfriend is adamant that a commitment to her means the release of the older woman, a fact that both saddens and confuses Tim, for Mme. Benoir has been more than gracious to both of them.

After a four-week vacation with a college friend from New York, Tim returns a changed man, the charms of his old life receding, replaced with the stimulation of a renewed artistic career. Both Tim and Catherine are appalled to realize that their evolving friendship has turned to love, what Catherine terms "a love without tyranny". Tim breaks the news to his parents, working through their natural objections. More shocking is the Benoir's reaction to the proposed marriage, orchestrated by a vitriolic Pauline, who spares no opportunity to block the religious ceremony that is critical to local society's acceptance of the couple's union: "Even a little happiness attracts a great number of enemies." Although the opposition is hurtful and prolonged, Catherine and Tim rise above the fray, withstanding the ill intentions of others, reinforced by adversity. In this most unusual novel, two people step beyond the conventional in a union born of mutual respect and an unflinching commitment to become man and wife. With the strength of character to forge their own happiness, the couple proves that, "in the end, life requires continued acts of bravery." Luan Gaines/ 2006.

Neither fawning priests, ossified traditions of la vielle France, nor a sister's corrosive anger can shake the love that unfolds between Mlle. Benoir, a woman of a certain age, and Tim, a young American artist. A lovely story, one that takes you away with rich descriptions of the people, the landscape and, of course, the food, in little-known region of France. A wonderful story to read and to give as a gift.

This is a novel written entirely in the form of letters -- and it's a romance. "Mademoiselle Benoir" by Christine Conrad is at once an old-fashioned love story and a completely modern one. At the age of 33, Tim Reinhart buys an old farmhouse in France. Once an assistant professor, he has removed himself from the "American treadmill of success" to concentrate on his drawing. But mom and dad back in New York City aren't happy that their son has moved to France. So they write, he writes, everybody writes. As Reinhart explains, "Sometimes it is easier to pull up the deeper layers of what's going on in one's mind in a letter," so we get to see intimate details of his life.

When he falls in love, he has to deal with disapproving relatives, French laws and the Catholic church. Through the epistolary format, we witness the same event from different people and, as we see more than one side of the characters, they become very real. Reinhart describes the lively, quirky personalities in the neighborhood and the clash of cultures. He shares his love for the French countryside, "the way it spreads itself out before you in great waves, so you can appreciate every turn in the road."

The book makes the reader think about relationships, how everything changes when one's needs and priorities change. It's an enchanting story packaged in a lovely little book.

Along with "Love is always Right" this book presents ethics for people, not just intellectuals. I would actually rate this book slightly higher than "Love..." because it deals with the "boxes" we all try to put conflicts into so we don't have to think about ethics. A very balanced yet Christian approach...

As a layperson, I found this book to be well thought out and easy to follow.

Quite an interesting read.

This is another of Peter Kreeft's typically illuminative books, on the largely-neglected topic of moral reasoning.

Kreeft spends the first part of the book simply establishing the basic truths that once upon a time were obvious, but not in the present day - that moral laws exist and are knowable by human reason; that they are "built into" the universe, and thus true whether we know them or not; that moral relativism is self-refuting; and that morality ultimately derives from God (in Dostoevsky's words, "If there is no God, then everything is permissible").

His discussion of the Greatest Good is also very sharp, especially in its discussion of ends and means.

Part Four, in which he engages topics of Sex, Abortion, and Truth in greater detail, is really the meat of the book, and where Kreeft most directly engages modern culture. His discussion of sex in terms of sacredness is wonderfully clear - understanding sex as sacred simultaneously avoids both errors of hedonism on the one hand, and repression on the other. "Christian morality is based on human nature, on the kind of thing we are, and the kind of thing sex is. It is not the changeable rules of a game we designed, but the unchangeable rules of the operating manual written by the Designer of our human nature."

Kreeft's bit on our society's confusion between sex and money is utterly incisive - we use sex as a mere means of exchange (of pleasure), but we erect all manner of legal protections around money, treating it as virtually sacred, even expecting it to reproduce and grow. Priceless.

Kreeft's aim here is not ethereal or theoretical - this is not pie-in-the-sky, "out there" moral philosophy. He means to give real people real tools for living real lives in the real world, and in this, he succeeds admirably

Peter Kreeft has written a great little book for all those who are tired of hearing 'it's not so black and white'. Kreeft does an excellent job of explaining, simply and clearly, that right and wrong are objective - regardless of whether or not it is easy or makes someone happy. Kreeft also clears up some moral misconceptions like 'if it doesn't hurt anyone else, then it's ok' and 'the end justifies the means'. Also included in this book is an excellent discussion, scientifically based, on why abortion is objectively wrong (such as the fact that science has always defined a fetus as another human life, science has never been able to come up with a concrete time limit on so-called viability, and that a fetus has a distinct human genetic code that is separate from it's mother's).

While in reading this book Kreeft does spend some time talking about God and his Christian faith, his arguments are philosophically and scientifically sound across the religious spectrum. Regardless of a reader's religion/athiesm, Kreeft's logic applies. While Kreeft argues that morality comes from God, he also demonstrates that one need not know that or believe in God to understand and use objective morals.

This book is highly recommended for all readers who need help with a good strategy for making choices. It would also make an excellent gift for the person in your life who constantly argues that their morality is relative.

Peter Kreeft is my favorite author. His books are always intelligent and thought provoking. This book discusses many issues some of them are; moral absolutes, religion & morality, values, and how to know Gods will .I like the way he sums up his thoughts, and offers helpful ideas, in one chapter he has 12 boxes that morality won't fit in, in another he writes of the most critical issues of our time, he also talks of simplicity and the loss of the sacred in our culture. The 7 principles for knowing Gods will and the 7 power aids of the Holy Spirit were very useful. This is a book I would recommend to anyone wanting to understand how to think more clearly in these times of moral relativism.

Well We are all aware how subjective poetry is, that is, how subjective our thoughts about poetry are.

However if your reading this little ditty I'm sure, your unsure, about your possible purchase.

Let me allay your fears dear reader and recommend you buy this little book. If you new to poetry you'll enjoy it's modern take. As I did. If your old to poetry you will delight in it's subject matter and prose. As I did.

Am I new or old to poetry? Well I'll tell you when you show me that dividing line.

Yours in Future reviews.

O

I was sickened by the honesty of this book. It's life under the microscope, naked. Brutal in it's judgement, unrelenting in it's depiction of the human condition.

Truthful, gritty & chilling. It's a book I couldn't put down especially since I pictured Bukowski reading from this book.

I have recently read this book and found it to be fascinating. The imagery portrayed are the feelings that most of us share, yet feel the need to conceal. I found the words to be a real life look into the minds of the drones we have all become in our society. I find this book to be interesting, yet somewhat perverse. I had a friend visiting and she picked up the book from my coffee table. She read a few passages and informed me that the book was frightening and obviously written from the point of view of a truly disturbed author. She went on to say it was overwhelming in a "I can't put it down, must continue to look at the car accident" kind of way. I highly recommend reading this book.

A Messterpiece of alcohol, poetry and violence? Indeed. Bring me Old Crow, bring me Schlitz, bring me Pabst, bring me Wyborowa. A must read for anybody loyal to such products and hell on earth.

This is a fast moving novel about a struggling but talented New York-oriented black male writer whose life struggles have become a roller coaster ride through American, European and global racism. The axis of the novel revolves around how America deals with the race issue, and in particular how it deals with the issue of black male on white female sexual encounters.

The story is told through the eyes of a character called Max Reddick, a slightly hip, emerging intellectual, who wants to write like Charley Parker plays the Sax, but yet he is still a very much struggling black writer. Max seems to have as his number one goal in life that of decoding the game being played against blacks by the white man. Or maybe (and the novel leaves this up to the reader) this goal is just a normal by-product of being a black man in a white man's world. Very quickly Max realizes that "politics white boy-style" is just another way white people try to lead black people back to their proper "place" in society: in effect telling them through indirection how to think, feel, and when and how to act, and even how to suffer.

Max travels to Europe where he ends up in a select intellectual circle, that very much respects his manuscript, and where he eventually marries and later divorces a Danish woman who remained his friend even long after the marriage has ended, and who takes care of him at the end of the novel as he dies of cancer.

At the meta-psychological level, the novel proves Ishmael Reed's postulate: that writing, "is fighting and struggling by other more respectable means," as Williams gets to use his pen as his last, and most profound act of rebellion. The book thus is as Walter Mosley has described it as "a shout from deep within some existential void" that resonates on the same frequency of all struggling blacks: suspended invisible in a world that rejects blackness without the need for a cause or a reason, where "Black people have been hollering out in pain for centuries, fighting for freedom, dying in slavery, belittled by little [white] men, and denied by kings and history. Sometimes these black folk have just laid down and died. But mostly they have survived with deformed psyches and distorted notions of the world. Sometimes evil has begotten evil and the one-time slave has slaughtered and even cannibalized his oppressor."

As his personal life spins out of control and he contracts cancer, Max puts down on paper in a scatological way, what everyone else in everyday American society is thinking but cannot say aloud, and in this respect, William's novel is not only a shout from the void, but also a supremely iconoclastic and urgent psychological analysis not unlike Dostoyevsky.

While its organization is structurally very scattered, it still gets its message across. Clearly the novel has a deep existentialist basis and draws on existential themes and metaphors. However, at its core is the notion that at the end of the day, when everything is said and done, the only thing "real" in American society is white racism. Everything else its humanity, its values, its ideals, are subordinate and are carefully calibrated and measured in terms of how they affect the sensitively regulated "white supremacist status quo." According to Max's way of thinking, equality, freedom, and democracy are merely the chips used to move the pieces around the white supremacist chessboard. America and all of its "so-called" ideals are just byproducts of the hard core white supremacist ideology, which lies deep in the nation's bosom. Toward the end of the novel, Max leaves no doubt that "the man" will go to great lengths to protect his white male hero system--including the complete annihilation of the black race if necessary. Max thinks blacks are up to the task, able to match whites, evil for evil to the bitter end. [I, for one, think he is wrong in this regard.]

The book is sprinkled with deeply troubling characters and scenes that reflect Max's deteriorating state of mind, such as the following passage about Moses Boatwright, a Black cannibal and Rhodes scholar, who, after being run mad by racism, killed a white man and ate him. In a mock interview, Boatwright tells Max (acting as a reporter) that: "This world is an illusion, Mr. Reddick, but it can be real. I went prowling on the jungle side of the road where few people ever go because there are things there, crawling, slimy, terrible things that always remind us that down deep we are rotten, stinking beasts. Now, because of what I did, someone will work a little harder to improve the species." (page 53).

The book is filled with images such as this one that have both over and under tones that are frightening in their symbolic implications. This is deep, modern, intense writing. Fifty stars.

This book I happen to stumble on while looking for another book here on Amazon. Wow what a great read! Absoloutley well written and eloquent. A must read for all.

There is this book and Invisible Man by Ralph Ellison that have proven to be one of the best examples of African American writing during the turbulent Civil Rights Era which really hasn't ended. This novel is frequently compared to Invisible Man as the main character Max Riddick goes through a journey, an evolution and recalls his life in flashbacks, goes through a expatriate American phase going to Europe in hopes of finding a better audience for his writing only to find that the same kind of racism he encountered in the States only less blatant. His motivation goes from trying to best his rival Harry Ames, to phsyical survival, to trying to find a resolution to his own issues with a society that objectives him and his experience being a black man in America.

I first read this book in 1968, as Cleveland burned and after a copy boy on my paper had asked me about a U.S. plan to imprison blacks in concentration camps. I told the kid he was nuts.
After reading the book, however, I realized that Williams was fictionalizing the McCarran Act, which set up the very scheme the kid was worrying about.
That law is still on the books.

A neglected classic by a writer who some consider equal to Ralph Ellison in importance. One fascinating aspect is its fictionalized treatment of some of the century's famous black literary figures. It's a portrait of the post-WWII-through-mid-sixties period as seen through the eyes of a black writer as he establishes a career as a novelist, journalist, and Presidential speechwriter in New York, Paris, Washington, D.C., and Lagos, Nigeria. The main character, Max Reddick, is shaped by anger, at the crux of which is indignation at the hypocrisy and hostility that black people and writers faced during this period. It's a historical novel which provides some insight into the social and political ferment of the sixties, and has an Afrocentric perspective that's somewhat reminiscent of Walter Mosley's work. It includes an intruiging fictionalized version of a mythic encounter between Richard Wright and James Baldwin ("Marion Dawes") in a Paris café, and according to James Sallis's biography of Chester Himes, it describes the essence of Wright's expatriate experience and his relationship with Himes. Ishmael Reed has said that the cartoonist Ollie Harrington is depicted, and although I didn't recognize him, Malcolm X is unmistakable and I suspect that "Time" Curry is modelled after jazz drummer Kenny Clarke, who was living in Paris at the time. According to the author's biography of Richard Pryor, Motown explored the possibility of buying the film rights to the novel as a vehicle for its star, Marvin Gaye, until the idea was abandoned in favor of Lady Sings the Blues.

The story begins near the end as Max, who's dying of cancer, sits at an outdoor café in Amsterdam where he's come to investigate the mystery of the death of his friend, Harry Ames, "the father of black writers," a few days earlier in Paris. What he eventually discovers is mind-blowing.

Throughout the novel, Max opines on a multitude of subjects like: Marxism, African independence and African attitudes towards Americans, sexuality and interracial relationships (he works past some of his homophobia too), the different styles of reporters from 5 major NYC newspapers, the theory of the rich president and other political theories, the "lie" of Christmas ("the rich man's chance to dissipate the image of Scrooge"), American cars (with their "long, buttock-smooth lines"), existentialism, and Alban Berg's atonal opera, "Wozzeck" (whose climax, a child's scream, punctuates Max's argument with his woman). Max interprets bebop's message as, "we can not be contained," and modern jazz becomes the avatar of his literary aesthetic: "He wanted to do with the novel what Charlie Parker was doing to music -- tearing it up and remaking it; basing it on nasty, nasty blues and overlaying it with the deep overriding tragedy not of Dostoevsky, but an American who knew of consequences to come: Herman Melville, a super Confidence Man, a Benito Cereno saddened beyond death."

After hearing about this book on a blog, I ordered it, and when I got around to reading it, I was shocked and pleasantly surprised about how good it was, because I had never heard a thing about it before.

A deep, moving novel about the life of a political activist, a man who rises along with his friend in the world of politics.

An absolute must read for political junkies.

John Callahan, professor of humanities at Lewis and Clark College, Portland, Oregon, and former running mate of Senator Eugene McCarthy in his presidential campaign in Oregon, has used his wit, his educational background and his political experiences to write a thoroughly engrossing novel. Besides the political angle, he creates believably likeable characters that value friendship, family, love and integrity.

Gabe Bontempo first meets Mick Whelan at the civil rights march on Washington in 1963. From there, they continue to run into each other as political operatives--Bontempo working for the 1968 presidential campaign of Bobby Kennedy and Whelen working for the campaign of Eugene McCarthy. Neither campaign went the way the characters hoped, but they grew to be friends when Whelen decides to run for Congress from Oregon and asks Bontempo to manage his campaign. Together, they learn the real ropes in Washington, D.C.

They work on legislation that invokes both anti-war and environmentalist stands--forging political connections and making political enemies as well as networks of supporters. Yet, as they are doing this, they are also loving their wives and raising young families. They have to deal with death, divorce and heartache as well as the adulation and press notoriety that comes with increasing fame.

Whelen is the mover and shaker within the book, but Bontempo is the man behind the "man you could love." While Whelen is a Congressman and later a Senator and even a Presidential candidate, his friend Gabe is the one he confides in and the one who smoothes the way for his many appearances. It is hard to say if Gabe Bontempo really has a life of his own, but as the narrator of the story, he knows all the angles.

The book is fiction, but as in all good historical or political fiction, it is sometimes hard to tell where the truth leaves off and the story begins. According to Callahan, everyone in the book is fictitious, but they sound and feel like the real thing.

I thoroughly enjoyed this novel and highly recommend it.

Armchair Interviews says: Fact or fiction? Regardless, it is a 5-star read.

Read it! A terrific Story! In this first novel John Callahan has deftly crafed a story of friendship amist the American politics of last 40 years. His wonderful ear for the tone and dialect of spoken American gives added density to his clear concise writting style; and rich texture to the main characters and supporting cast as well. The descriptions of the Pacifc Northwest, Washington DC, and the campaign stops along the way underscore the unique American Experience, but the themes of Love, Friendship, Committment, Loyalty and Faith are universal.

My only regret is that I do not have another John Callahan novel to read yet. I only hope that I won't have to wait until the Juneteenth of some far off year for the next one. Bravo!

John Callahan, literary executor for Ralph Ellison, and the man who completed Ellison's second novel, Junteenth, is a brilliant scholar and wonderful storyteller. In his first novel, Callahan's wisdom, wit and deep understanding of the values and politics that have shaped our country all come through. This is an author who must have many stories to tell, so let's hope that A Man You Could Love receives the attention and reviews it deserves. Bravo!

John Callahan, professor of humanities at Lewis and Clark College, Portland, Oregon, and former running mate of Senator Eugene McCarthy in his presidential campaign in Oregon, has used his wit, his educational background and his political experiences to write a thoroughly engrossing novel. Besides the political angle, he creates believably likeable characters that value friendship, family, love and integrity.

Gabe Bontempo first meets Mick Whelan at the civil rights march on Washington in 1963. From there, they continue to run into each other as political operatives--Bontempo working for the 1968 presidential campaign of Bobby Kennedy and Whelen working for the campaign of Eugene McCarthy. Neither campaign went the way the characters hoped, but they grew to be friends when Whelen decides to run for Congress from Oregon and asks Bontempo to manage his campaign. Together, they learn the real ropes in Washington, D.C.

They work on legislation that invokes both anti-war and environmentalist stands--forging political connections and making political enemies as well as networks of supporters. Yet, as they are doing this, they are also loving their wives and raising young families. They have to deal with death, divorce and heartache as well as the adulation and press notoriety that comes with increasing fame.

Whelen is the mover and shaker within the book, but Bontempo is the man behind the "man you could love." While Whelen is a Congressman and later a Senator and even a Presidential candidate, his friend Gabe is the one he confides in and the one who smoothes the way for his many appearances. It is hard to say if Gabe Bontempo really has a life of his own, but as the narrator of the story, he knows all the angles.

The book is fiction, but as in all good historical or political fiction, it is sometimes hard to tell where the truth leaves off and the story begins. According to Callahan, everyone in the book is fictitious, but they sound and feel like the real thing.

I thoroughly enjoyed this novel and highly recommend it.

Armchair Interviews says: Fact or fiction? Regardless, it is a 5-star read.

this book has changed me inside out. I wished I had read this in my teenage years.

I hope the authors know how many people they have helped with this book. Perhaps they can update it for the latest stresses that the accelerated information age and the post-September 11th world have brought.

As others have said, I wish I had read this book in my teenage years.

It's unusual for me to read chapters of a book out of order. Had I read this book from front to back, I would have angrily tossed it out when I hit chapters 3 and 4. The authors have not had the pleasure of grasping the virtue of selfishness. Instead, they occasionally apologize and appease. In these early chapters they recommend "unconditional positive regard" stating that it's "not selfish, nor egoistic" to have this attitude towards ourselves. This chapter is a philosophical junkyard. They ask why we admire a Mother Teresa and answer that it's because she sacrifices herself for others. They ask "Would you admire her if she sacrificed herself for something worthless?" and omit the possibility that she is not admirable because she lived a life of sacrifice by choice and encourages others to do likewise. The authors also invent the contradictory concept of the "unselfish I."
So heaven help me! Why would I recommend such a book? I recommend it because it is chock full of simple good tips - e.g., good study skills, identifying and pursuing healthy goals to bring you pleasure, keeping friendships fair - with a lovely undercurrent of egoism despite occasional nosedives. For example, "Cultural attitudes, including religious ones, seem to make rewarding oneself seem bad..." (Were it my book, I would omit the "seem to") - or "Do not make a virtue out of being a martyr." The mix of good and bad ideas in this book makes me wonder if one author was philosophically healthier than the other one. This book offers valuable thinking skills. I recommend skipping chapters 1-3. This is a good book to keep in your reference library. If you are having difficulty with a particular issue in your life, read the chapter on that. Some skills that are helpful include:
- "swat" the NATs (negative automatic thoughts)
- distant elephants (do not commit yourself to unimportant activities no matter how far ahead they are)
- focus on important but non-urgent activities, rather than urgent non-important activities
- avoid "pressurizing" words: "should, must, have to, ought" which drain motivation
- avoid avoidance - actively solve your problems rather than run from them
- reduce the "inside" load of stress by changing attitudes
- learn how to unpackage your fears
- motivate yourself by focusing on the personal benefits of your success

a very clear and concise book. One of the best "self-help" books i have read. Intresting and fast, dosent preach like other books. No religious mumbo jumbo about god being your savior. If there is anyone who can help you, its you. They show you how.

Great educational read. Stimulating. Straight forward and easy to read chapters. This book helped me through one of the worse times in my life.

Excellent as with all of the Miss Marple stories by Christie. I was disappointed a little because I thought I was getting a collection of Marple stories I did'nt already own. In fact, the book begins with the Tuesday Club Murders (which is already on my bookshelf). This was an error on my part because I should have checked the book out in more detail before purchasing. Still, a good collection to buy if you don't already have the stories in separate books. Besides, we Christie fans never tire of rereading about the exploits of her most famous detectives.

This short story collection is wonderful! Twenty delightful stories featuring Miss Jane Marple solving difficult cases. Miss Marples sharp observations, her spunk, wit, and intelligence shine through in these tales, making clear why Agatha Christie has created one of the greatest female sleuths of all time. If you're a fan of Christie's or Marple's, you can't go wrong with this colleciton.

The words quoted above appeared in a short story by Agatha Christie called "The Four Suspects." They were not spoken by Miss Marple but by "that well-groomed man of the world, Sir Henry Clithering," retired now and residing in St Mary Mead or nearby, but "until lately Commissioner of Scotland Yard." The words were addressed to Sir Henry's new neighbour, a certain Miss Jane Marple. There is EVERY reason to assume that Miss Marple agreed.

An earlier reviewer quoted a short passage from "An Autobiography" by Christie. I shall quote a little more extensively from the same source: "Miss Marple," wrote Dame Agatha, "insinuated herself so quickly into my life that I hardly noticed her arrival. I wrote a series of six short stories for a magazine, and chose six people whom I thought might meet once a week in a small village and describe some unsolved crime. I started with Miss Jane Marple, the sort of old lady who would have been rather like some of my grandmother's Ealing cronies--old ladies whom I met in so many villages where I had gone to stay as a girl. Miss Marple was not in any way a picture of my grandmother; she was far more fussy and spinsterish than my grandmother ever was. But one thing she did have in common with her--though a cheerful person, she always expected the worst of everyone and everything, and was, with almost frightening accuracy, usually proved right...."

Later, she added, "Miss Marple was born a the age of sixty-five to seventy--which, as with Poirot, proved most unfortunate, because she was gong to have to last a long time in my life. If I had had any second sight, I would have provided myself with a precocious schoolboy as my first detective; then he would have grown old with me."

The first sextet of magazine stories were published in the late 1920s but did not achieve the dignity of book publication until 1932, two years after the publication of "Murder at the Vicarage," the first novel to feature Miss Marple.

The 1932 volume contained the first sextet of stories mentioned by Christie in her autobiography, plus a second sextet and one more story to provide a satisfactorily ominous title for the collection, "The Thirteen Problems." (In the US, the book appeared--less happily--as "The Tuesday Club Murders.") Christie wrote seven more short stories for Miss Marple. They all are included in this volume. The later stories are good enough, but Miss Marple had so grown in stature that her true milieu was the full-length mystery novel.

I suggest that special note be taken of the tenth story, "A Christmas Tragedy." This story represents a sea change in Miss Jane Marple. In all prior appearances she had been a mere device, a voice through which the author could resolve her little puzzles. With this story, the fully developed, elderly, tough as nails, knitting Nemesis of the novels emerges.

These twenty stories are competent, if not brilliant. No-one, least of all Agatha Christie, would call them literature. They are amusements, clever puzzles set to dialogue. As such, most of them are splendid. There are a couple of minor misfires, one in which the solution to a coded message is in English when by the logic of the story it should have been in German, another in which Christie chose to emulate the mechanically-oriented stories common in those days among the works of her less-talented contemporaries. A classic Christie work incorporates some deceptively simple example of what might be called mental sleight-of-hand. Stories that depend on gimmicked mechanical implements and the like seem somehow beneath Dame Agatha's dignity.

Reading these stories quickly demonstrates that Agatha Christie was born one of nature's great re-cyclers. Dame Aggie had a strong tendency to ... ahem, quote from herself when a good plot was involved. For those who would put a more positive spin on the simple facts, then it might be said that within these stories may be found seeds that later sprouted into full-length mystery classics such as "A Murder is Announced" and "Murder Under the Sun."

The collection, I was surprised to discover, was dedicated to Leonard and Katherine Woolley. Sir Leonard Woolley was a great archeologist who famously excavated the ancient city of Ur in Sumeria, a land that would one day come to be known as southern Iraq. He became a media superstar when he dug down through the artifact-laden soil of Ur to find a very thick layer almost entirely free of man-made remains, and beneath that yet another layer of artifacts. Woolley attributed the break in the artifact layers to an extensive flood--or as he suggested a bit prematurely and the newspapers shouted loudly to all the world, not a flood but The Flood. When the shouting was at its height, Christie was already a world-famous author and an enthusiastic traveler. She visited the dig at Ur and stayed on for some time to lend a hand. There she met and fell in love with archeologist Max Mallowan, whom she married in the same year that she published "Murder at the Vicarage."

Doubtless, anyone who has slogged this far is wondering why I've wandered so far off-track with all this biographical blather. The reason is simply that I am astonished to see Katherine Woolley's name in the dedication. When Christie arrived, Lady Woolley was very much in residence at her husband's archeological site. She regarded herself as Queen of all she surveyed and she went out of her way to make sure that the upstart mystery novelist knew it. Christie got on with Leonard Woolley, but she simply could not abide his wife. In one of her novels, she made a perfectly obvious caricature of Lady Woolley into the murderess. When she transformed the book into a stage play, Christie slyly converted her novel's villainess into her play's comic relief.

This collection of the twenty Marple short stories are, as I've said, not literature themselves, nor even necessarily vintage Christie. Nevertheless, they are clever, entertaining and an invaluable memento of one of the great literary characters of the Twentieth Century.

Five stars for Agatha, for Jane and for St Mary Mead.

Quick response, book in good condition. there was a printing defect with the book, but it is still OK.

"Miss Marple insinuated herself so quickly into my life that I hardly noticed her arrival," Agatha Christie wrote in her posthumously-published autobiography (1977) about the elderly lady who, next to Belgian super-sleuth Hercule Poirot, quickly became one of her most beloved characters. Somewhat resembling Christie's own grandmother and her friends, although "far more fussy and spinsterish" and "not in any way a picture" of the author's granny, like her, she had a certain gift for prophecy and, "though a cheerful person, she always expected the worst of everyone and everything, and was, with almost frightening accuracy, usually proved right."

Although Christie herself considered Miss Marple her favorite creation - preferred even over the prim and proper Belgian with the many "little grey cells," of whose exploits she occasionally tired and whom she brought back again and again chiefly because of her audience's undying demand - there are only twelve Miss Marple novels and twenty short stories: while no small feat in any other author's body of work, just over one tenth of the lifetime output of the writer justifiedly dubbed The Queen of Crime.

This compilation unites the twenty short stories revolving around St. Mary Mead's elderly village sleuth, beginning with the canon of originally six and, after an expansion for republication in book form, later thirteen stories which, in addition to the novel "A Murder at the Vicarage" (1930) introduced Miss Marple to the world; a series of unsolved problems told by her guests one Tuesday night, to be followed by six further problems narrated during a similar gathering at the home of village squire Colonel Bantry and his wife Dolly, about a year later. In attendance on those two nights are a number of people who make recurring appearances next to Miss Marple; first and foremost her doting nephew - thriller novelist Raymond West - and retired Scotland Yard Commissioner Sir Henry Clithering, as well as village solicitor Petherick, and of course the Bantrys (who will move center stage, much to their embarrassment, in "A Body in the Library," 1942); furthermore Raymond's new flame, artist Joyce (later reincarnated as his wife Joan), a doctor, a clergyman, and a well-known actress. Later stories also feature appearances of Miss Marple's niece Diana "Bunch" Harmon, married to the vicar of Chipping Cleghorn, a village not unlike St. Mary Mead (see "A Murder Is Announced," 1950), St. Mary Mead's Dr. Haydock, several maids called Gladys, as well as Inspectors Slack and Craddock and Colonel Melchett of Melchester C.I.D. and village Constable Palk; and of course the usual cast of other unique characters, many of whom could just as well figure in one of the elderly lady's "village parallels," those seemingly unimportant events summing up her knowledge of life, on which she unfailingly draws in unmasking even the cleverest killer. Avid Christie readers will also recognize certain other character types, plot snippets, settings and other features here and there; for Dame Agatha was known to draw repeatedly on devices she found to have worked before, and she tended to use her short stories as mini-laboratories for elements later expanded on in novels. Caveat, lector, of premature conclusions, however, for Christie was equally known to throw in a little extra twist in such cases: what is a real clue in one instance may well be a red herring in another and vice versa, and one story's innocent bystander may easily be the next story's murderer.

"The Thirteen Problems" (1932, a/k/a "The Tuesday Club Murders"):

"The Tuesday Night Club:" Sir Henry Clithering opens the evening with the case of a woman's mysterious poisoning by arsenic.

"The Idol House of Astarte:" A man inexplicably dies after a costume party's nightly excursion to a pagan temple.

"Ingots of Gold:" Raymond West tells about a treasure hunt, sunken ships and murder on the Cornish coast.

"The Bloodstained Pavement:" Joyce and the case of a drowned wife in a Cornish watering place called Rathole.

"Motive vs. Opportunity:" Mr. Petherick's tale of a will that mysteriously vanishes from its sealed envelope.

"The Thumb Mark of St. Peter:" Miss Marple's story how she quashed rumors about the sudden death of her niece Mabel's husband.

"The Blue Geranium:" Opening the second round of mysteries, Colonel Bantry's narration about a prophecy involving death and three uncharacteristically blue flowers.

"The Companion:" Two English ladies go on a holiday in Tenerife, but only one returns home alive.

"The Four Suspects:" Sir Henry Clithering's account of the murder of a retired secret agent.

"A Christmas Tragedy:" Having failed to prevent a murder, Miss Marple is all the more eager to unmask the murderer.

"The Herb of Death:" Mrs. Bantry's gifts as a storyteller, a serving of sage and foxglove, and a charming young girl's unexpected death.

"The Affair at the Bungalow:" Double-dealings, charades and mischief on stage and off, just outside of London.

"Death by Drowning:" A village girl "in trouble" finds a desperate solution - or does she?

From "The Regatta Mystery and Other Stories" (1939):

"Miss Marple Tells a Story:" Miss Marple assists Mr. Petherick in the case of a client accused of having murdered his wife.*

From "Three Blind Mice and Other Stories" (1950):

"Strange Jest:" A rich iconoclast's final joke - at the expense of his heirs?*

"Tape-Measure Murder:" Miss Marple's knowledge of village life and human nature (once more) corrects the all-too straightforward path of Inspector Slack's investigation of an elderly lady's murder.*

"The Case of the Caretaker:" Dr. Haydock's story about a rural rascal, a poor little rich girl, an old estate and its grumpy caretaker.*

"The Case of the Perfect Maid:" Domestic service and burglary in a Victorian estate-turned-apartment building.*

From "The Adventure of the Christmas Pudding" (1960):