Irish-American Books

I read this book the first time when I was in Jr. high school. I know I have reread it at least ten times. I have 2 copies one falling apart and one to lend to friends. As you can surely see I love this book.

Yes! I have read a few books that I wanted to read again. However, "Mrs. Mike" by Benedict and Nancy Freedman found me wanting to re-read chapters the first time through.
This treasure will be stored in a special place to be read again and again when I want to go back in time, feel feelings and thank God for talented authors.
I wish I had found it as a teenager, or a young mother. Guess this retiree should just be grateful that I was given this warm gift in my latter years.

Mrs Mike is an old friend. I first read and enjoyed this book more than 35 years ago. This story chronicals the life of mountie Sgt Mike and Mrs. Mike. It honestly chronicals these lives and shows that it is in the sharing of the small things that make life joyful. I'm so happy to be able to now be able to now share this book with my neice

I just got this book again since I lost/loaned my first copy. Although some have critisized the writing style, and the facts, I really enjoyed this book. I think it's one to keep on your shelf and pull out from time to time to reread.

I found this book in the school library when I was in 7th grade. I read it every year I was in school there. It was a wonderful story about a young girl who falls in love with a good man and talks about their life together. It made me laugh, cry, and cry some more. I would recommend it to anyone who likes a good story. It is a great book.

I was thumbing through some books at my local library, when I came across the book Ceremony Of The Innocent by Taylor Caldwell, and I could remember reading that this was Stevie Nicks favorite book, so I decided to give it a try, and I am glad I did, because it turned me on to a wonderful author named Taylor Caldwell. Captain and The Kings is my second book of Taylors to read, and I also enjoyed it as well. I am now on the look out for other Taylor Caldwell books.

I have not received this book at this time. I hope someone will contact me about this. I have e-mailed back I have not received it. Thank you.
Bobby Thompson

Enjoyed this book and bought a copy to send to my mother an avid reader.

One of many wonderful books Taylor Caldwell wrote. This one makes you wonder who's really in charge of things.

If I could recommend only one book, it would be Taylor Caldwell's "Captains and the Kings." Here are three reasons.

Caldwell's fascinating tale is filled with ironic, powerful, and unique insight into human nature and behavior. She will entice you into turning page after page without rest, until you reach the end of her story. Then you'll sit wondering if you really read all that, tempted to go back to read it again. Craftsmanship and story-weaving earns "Captains and the Kings" a place among the world's ten best books.

Caldwell writes historical fiction with intimate knowledge and perception. Her readers often wonder if she actually lived through the times she depicts with her pen. It's been said that she believed that herself; many of her other books tend to encourage this idea. "Captains and the Kings" offers a vivid and unsettling view of an earlier and much different America, in a time that was more free and open than our modern age, but also more dangerous and a great deal more heartless. If you've always wondered what the term "nitty gritty" means, read this novel! So saying, I boost the book into my top-five list!

Finally, this book has defined my experience with personal computers, the Internet, and Reality (tm) itself! After purchasing an Amiga 1000 almost twenty years ago, I found my way onto a BBS that feaured FidoNet forums. I began reading and posting on the "Issues" board. One poster commented cryptically that "Taylor Caldwell's 'Captains and the Kings' exposes how the Council on Foreign Relations rules the world." I was driven (as if by an invisible hand) to the public library, seeking out Taylor Caldwell's book. I found a captivating, often dark story that gripped my interest in sinuous coils as its weaving, bobbing head rose up to mess with my memes. With her right hand, Caldwell uses her suburb writer's skill to dazzle and entertain, but the whole time, her Left hand is busy imparting knowledge and understanding of how things really work in this world. She administers her synergistic potion in just the right strength, proportion, and rhythm to assure that most of us who might never otherwise read about a "Conspiracy" lap this up like mother's milk. During the ensuing decades, I used the 'Net to verify what I'd read; and I learned a whole lot more.

In retrospect, speaking as someone who has "earned a Ph.D. in Conspiracy Theory," it's necessary to add a small disclaimer: Caldwell does not tell all. There are things she could not or would not divulge. But don't fret! If you've had your eyes on the news the past few years - and especially the last few weeks - you'll certainly discern the missing part. The late Sufi, Idries Shah, claimed there are times when long-hidden knowledge suddenly becomes available to one and all. We are living through such a time!

Summarizing, Captains and the Kings is a remarkably well-written and captivating piece of historical fiction that will carry you back to an earlier and intriguing America at the same time it fuels you with subtle insight and knowledge and kick starts your thinking machine, proving once and for all that willful ignorance is the only real sin.

I visited Amazon this evening to buy a used copy of this book for a workplace friend. So I dedicate this review of Taylor Caldwell's "Captains and the Kings" to Ernestine.

I've grown interested in this time period following some research into the Columbian Exposition of 1893, early immigration of single women from Ireland, and hearing friends' family stories of the era. I really enjoyed this first chapter of Joan Naper's book, which painted some very vivid pictures for me of her characters. I could almost smell the Christmas dinner, feel the warmth of the kitchen, and sense the atmosphere. The excerpt fits very nicely with what I would have imagined in an Irish immigrant home of the time, with so much work left to single woman Kitty and her mother. I could see the interaction between her father and brothers and their roles in the family. Kitty's resentment and fear of her future suggested where this book may be going. The book fits in well with the historical rseearch I've read of the era and I can't wait to read the rest of it!

The most formidable task in historical fiction is convincing the modern reader he's gone back in time. This is the triumph of Beautiful Dreamer. The first chapter is redolent with the scents of a Christmas meal, then the din of a big family, and the author builds toward a conflict that is both distinct to the period and still affecting in the 21st Century. As ever, it is a thrill to travel through time, but especially so when exotic characters from a vanished place still ring true. It's the mark of having captured genuine human experience. If the author connected this powerfully in the first chapter, it stands to reason that she can fill the following chapters with this same invigorating quality.

Excellent depection of an Irish family dynamic as I imagine it would have been during that time in Chicago. I love a story with a fiesty female who has the courage, despite opposition, to stand up for herself. We don't know nearly enough about the women of this time and their struggles. One more great story would be a tribute to this time and the women who struggled through it.

Joan has a wonderful talent for storytelling.

Being with Kitty and her family for Christmas dinner was fun. I was reminded of when I was younger and living at home with my parents and brothers. I was drawn immediately into the story, and,in fact, I was disappointed when the excerpt ended! I look forward to reading the rest of the book. I'm rooting for Kitty to find true love and escape the shenanigans of her siblings!

A fan of Laura Ingalls Wilder and L.M. Montgomery, this is the kind of book I would have loved when I was younger. As a Native Chicagoan, I also appreciated the glimpse of my beloved city at the turn of the last century.

Kitty is a likeable protagonist, a strong, and sassy heroine, one who's easy to identify with. The dialogue is strong and realistic. When we are in a scene, the author does a good job of making it real and the voices usually ring true.

Naper has a fine eye for detail, and she combines the concrete and the sensory to set a scene and evoke a mood. However the story is a little heavy on authorial interpretation, which has the effect of distancing the reader and taking us out of the immediacy of the story. The list of descriptions of the brothers, for example, is simply that, a list. As a reader, I would rather learn the bulk of this information through action and dialogue, with descriptions mixed in.

The author needs to wrangle in a few overzealous adverbs and adjectives, allowing the action and dialog to reveal these things. A few descriptive words peppering the prose is ok, but she shouldn't rely too heavily on them: looked stern, worried look, said proudly, affectionate kiss, patting his big red hand contentedly. Trust the readers to be able to figure out the characters a little, the actions speak for themselves.

This is a lovely story with interesting dialogue and nice details. If Naper pulls back her authorial voice a little and allows the characters to shine with the life she's given them, it will be a compelling read indeed!

Playwright Peter Shaffer is an exceptional dramatist. His characters are unforgettable, and each one is dealing with a psychological struggle. In "Amadeus," Shaffer examines seventeenth century Vienna and the life of Wolfgang Amadeus Mozart and his rival, court composer Antonio Salieri. This play shatters the view of Mozart as an innocent child prodigy, and instead paints a picture of a childish, scatologically minded, yet ultimately tormented musical genius. Trapped by the financial demands that are placed upon him, and the demands of a domineering father, Mozart strives to make his music and to be excepted.
The main focus of the play is upon Salieri, whom the audience sees as a sweetmeat loving, conniving schemer who is appalled by Mozart's new ideas and manner. However, Salieri is not one demensional. He is a sympathetic character, who wrestles with his conscience. Feeling betrayed by a god who shows favoritism, he recounts his desire to make music that will provide him with unsurpassable fame. However, his music is ordinary when compared with Mozart's genius, and Salieri is fully aware of this whereas ordinary citizens of Vienna are not. Vowing revenge, Salieri decides to lash out at Mozart: "God's Flute," therefore providing an opportunity for a terrifying confrontation in which Mozart is driven into madness and early death. Everyone can relate to the character of Salieri because we have all felt betrayed when our own specific talents were regarded as inferior to someone else's.
Shaffer introduces us to two tortured individuals who are nevertheless sympathetic and unforgettable. Please give this play a chance.

When I was younger, I almost never reread anything. My hunger was so voracious that I gobbled up a book and then rapaciously moved on to the next. But as I've aged, I read less frantically, returning again and again to a few works that especially move me. At the top of the list of such works are the plays of Peter Shaffer. And at the top of that list is his masterpiece "Amadeus."

What I find remarkable about Shaffer's "Amadeus" isn't so much the title character, Mozart, as the character who becomes Mozart's nemesis, Antonio Salieri. Salieri is one of the great tragic figures in literature. He's an individual who appears to genuinely love musical beauty, and who genuinely wants to dedicate his life to it. (In an early scene, for example, he makes a deal with God. "Signore," he begs, "let me be your flute, your mouthpiece. Let me produce absolute beauty. In return, I'll be your slave.") But Salieri is also a hopeless mediocrity. He knows good music when he hears it, but he's simply unable to create it himself. His compositions are acceptable, and sometimes even pleasing to the ear. But when compared with the music of Mozart, they reveal themselves for what they are: technically proficient, but utterly uninspired. The awareness of his own mediocrity, coupled with his absolute yearning for beauty and his life-destroying jealousy of/admiration for Mozart, is the heart of the play. (Milos Forman's 1984 cinematic production of the play unfortunately rewrites the script to put Mozart rather than Salieri centerstage, thereby missing the whole point.)

When one thinks about it--and I believe that this is what makes Shaffer's play so poignant and profound--Salieri is everyperson. Let's face it: most of us are mediocre. We fall somewhere in that great middle zone of "average." We'll never be able to create artworks that express the yearning for beauty that even the dimmest of us occasionally feel.

As if that's not bad enough, the world, as Shaffer demonstrates in his play, is unforgiving of mediocrity when it comes to art. One can work like a demon, as Salieri does, but it's genius that the world wants, genius that the world demands, and genius that the world rewards. Moreover, the creative genius is allowed anything by the admiring world--in fact, the world expects its geniuses to walk to the beat of a countercultural drummer. The mediocre artist, however, is allowed no latitude whatsoever in personal lifestyle.

The paradox of this situation, as well as the horrible burden of mediocrity felt by artists like Salieri (and the rest of us), is the tragic message of "Amadeus." When Salieri at play's end tells us, in his decrepitude and madness, that we can pray to him when we feel the sting of our own shortcomings and he will bless us, most of us ought to shiver. For, after all, we don't want our mediocrity blessed, do we? And yet the tragedy of the human condition is that, blessed or not, it's what we are. And so Shaffer leaves us with this question: how do we overcome our Salieri-like resentment and frustration at not being able to create beauty long enough simply to appreciate beauty when we encounter it?

The best part of the book is the introduction, which tells of the changes made to the script over the years, based on on-going research by the author. I saw the movie and the play, then bought the script in order to compare the different renderings of this amazing story.

Peter Shaffer's award-winning and highly popular play AMADEUS is in many ways a morality play but seen through the eyes of a complicated postmodern villain. The play is called AMADEUS but the chief character of the story is Antonio Salieri. Salieri is the Court Composer for Emperor Joseph II of Austria during the end of the 18th Century. He is held in esteem not only by the Emperor and Court, but by the masses as well. Then Amadeus Mozart makes his way to the Austrian Court at Salzburg and Salieri recognizes in the young man a musical genius superior to anything musical he has ever heard. He becomes enraged with bitter jealousy. Feeling that God has abandoned him and given the talent that he has trained to develop and possess his entire life, Salieri declares a war against God that he will fight on the battleground that is Amadeus Mozart.

AMADEUS is a fantastic play. Author Peter Shaffer has revised the play several times since its first performance in 1979 and this version of the show (written twenty years later in 1999) is in my opinion the best because it is the one that portrays Salieri more than just an evil man, but as a human being that the audience and readers can relate to and actually understand somewhat. A must see play that anyone who enjoys theatre should be familiar with.

Like a newspaper article, theatre has to convey its story with an economy of words.

In this way, great playwriting is a rare skill much like land the penny toss at the carnival and Shaffer is that rare playwriter who accomplishes his task so seemingly effortlessly.

Deftly, Shaffer tosses his Amadeus and Saliere together and in so doing plays each against their type rendering his Amadeus into the simple squeezebox which provides the background for the languid single note of Saliere's mournful jealousy.

What's so amazing is that in telling us the story of Amadeus' art, Shaffer shares important insights about his own. Don't have too many or too few notes but just the right number. Don't be so flashy in being good that people concentrate on the flashiness instead of the point.

And don't become so engrossed in your art that you lose sight of the ultimate ends it was meant to service in the first place.

Whether we are each more Amadeus or more Saliere we can connect with this play.

A friend of mine from the Bronx told me about this book, and I'm glad she did. This if a beautifully written story that gets at the truth of both the time and the heart. The Bronx is a place that seems mythic and all too real to me and this writer keeps both of those images alive.

I loved this book. It gave a shape to Pearson's life and let me understand that there is a shape to all of our lives. It's just up to us to find the meaning that is there for us notice.

For me Dreaming of Columbus read more like a novel than a memoir. I mean that as a compliment to the writer. The story had the feel of fiction to it, as if you could see inside the characters lives and enter the story for a while. I loved it.

Michael Pearson has the right idea, but the ideas that are gathered into the book are a little disjointed and fractured. If he could smooth out the stories so that blend one into the other, the entire book would read better.
On the positive note, Dreaming of Columbus would definitely stir memories of the neighborhood for those growing up in that part of New York. He does have some descriptive stories of people, places and landmarks in the book that are entertainingly delightful.
If you are a Bronx native, I would recommend this book so you can remember things you may never see again.

Despite the images of sea voyages inspired by its title, Dreaming of Columbus is not the story of a young man spending his salad days in exotic, foreign settings. Instead, Michael Pearson takes the road less traveled and keeps his story closer to home. The reader looking for journeys will not be disappointed, however, in the imaginative way the Pearson uses literature to break away from the confines of the Bronx and the unpredictable, bourbon induced, violent outbursts produce by his father's rage to live. Although Pearson engages in excessive epigraph dropping, the means by which literature provides an avenue for escape adds a universal element to his narrative from which we call all learn something about the art of bridge building.

...in preparation for my long overdue personal visit to Ireland a number of books including `Last of the Donkey Pilgrims' by Kevin O'Hara (www.kevin-ohara.com) were purchased online through Amazon.com for shipment to the parched distant locale of Doha...another Qatar `Transient', he being a native of Ireland, last 31 August had kindly written an Itinerary of Travel setting off westward from Dublin to Galway, proposing then a sweep about the coastal extremes of Eire on a circuitous route in return to Dublin a fortnight later...

New Zealand born with Great Grandfather Irish ancestry (Co. Tyrone), some years since I had the privilege of living on a long established property in Hawkes Bay, New Zealand, created by it's owner `in the manner of England', and on which co-resided an elderly Donkey of much spirited antic, mannerism and personality - an endearing memory remains of that acquaintance in those bygone days, and influenced the choice that the Donkey odyssey would be my final read...my reward was to discover an absorbing chronicle of Kevin's 1979 1800 mile trek around the peripheral coast of Ireland, walking alongside his donkey Missie `Long-Ears' Mickdermott yoked to her cart, and written in 2004, 25 years after the doing...

...an inspired achievement to be applauded, and for me a delight to share the journey by way of an intimately personable published recall of such a grand meander through a land and people of a then traditional lifestyle which soon would substantially fade away into history...Ireland 2008 surpassed my any and every expectation - time and change may have advanced apace since the Nation in attaining EU membership emerged from being a `third world' Country, bringing financial advantage in some quarters and also significantly transforming the landscape and makeup of the populace, but the welcome and essence of the Irish people as acutely portrayed by the innumerable encounters and acquaintances along Kevin O'Hara's wandering way, we found to be very much the same...

...the book and infectious spirit of Missie accompanied us throughout as by car we drove, blessed I must add with only fine weather, our brief excursion along some of the highways and byways that shared partial commonality with the much earlier passage the Donkeyman and his travelling companion together had traipsed many years prior...there were particular moments which brought upon me a quiet smile with vivid memory of what I had read; hearing the call of the Cuckoo at Inishmore and Doolin - boarding the Killimer to Tarbert ferry, then later that same day driving through Abhainn an Ghleanna (running at but a shallow flow) on the road to Slea Head, Missie's obstinant reluctance to go on in chancing upon those two same `obstacles' came to mind...we sought out and had the pleasure of meeting Robert Shannon, mentioned in the book who happily recounted the long ago arrival of Missie in lovely Doolin - affection for Kevin and his roving partner lingers...

...having partaken of the ready welcome, spirit, beauty and abundant joys of Ireland, a return is inevitable - likely to be sooner rather than later I would venture...similarly I am driven to pick up and once more read `Last of the Donkey Pilgrims' - my immense pleasure and appreciation of the Tale at first take will assuredly be all the greater at a second reading, enhanced further by familiarity and insight gained from our recent visit...

Lindsay McLean
Doha, State of Qatar
16 June, 2008

I bought this book on my way out the door on a trip to Ireland, as a friend had recommended it. I read it on the airplane and during quiet moments, and finished it on the way home.
Not only is this book entertaining and well-written, I was amazed by how much I learned about Irish culture and history as I was reading.
It is especially recommended to those traveling to Ireland, but has wide appeal for its insight into human nature, and warm humor.

I enjoy reading about Ireland, and thought this book would be like Bill Bryson's A Walk in the Woods. The donkey book was much more serious. I liked reading about the different people he encountered, but at times, felt that it was a glossary of names of potential buyers. I did enjoy his time with the travelers. He exemplified the attitudes of the 70's, and I think the book would have been more effective if he had written it 25 years ago. Still, it was a good story.

This is a fun story of a Yank's trip around Ireland with a donkey cart. His trip fulfills his longing to know the land of his forebears, and he wonderfully captures the language and attitudes of the people just before modernity finally arrived full force. Highly recommended!

Kevin's writing draws you into his journey - a remarkable romp around Ireland with a donkey that seems human. I loved it. You could nearly smell the air and see the characters. A magical look at an island that has changed so much in the 25 years since his journey took place. I wanted to be there by his side as he runs into character after character. His book is the next best thing to being there.

I didn't want his journey to end. Alas, time moves on and progress can't be stopped. If only there could be a sequel.

Anyway, it is written in very short, easy to read chapters. Perfect nighttime reading. If you like adventures, humor, self reflection, and interesting characters - read this book. If you have ever been to Ireland and fallen in love with it, this book is a must read. If you live in Ireland now and want a look back at the country as it existed 25 years ago, this book is required reading.

They enter the new world naked,
cold, uncertain of all
save that they enter. All about them
the cold, familiar wind--

--from William Carlos Williams's
Spring and All (1923)

Looking at Sandro Botticelli (1444-1510)'s Birth Of Venus (ca. 1482), one can actually feel the fresh and fragrant breeze, the golden light, the bounty; the Italian painter is approaching 40 when he paints this. Reading Wallace Stevens (1879-1955)'s "The Paltry Nude Starts On A Spring Voyage" from Harmonium (1923), one senses a mind utterly quirky, brisk, assured; the American poet is in his early 40's.

This collection lacks 22 poems which appeared in "The Palm at the End of the Mind", Holly Stevens carefully edited selection highly approved of by Harold Bloom. Missing are "Of Mere Being", "A Child Asleep in Its Own Life" and "For an Old Woman in a Wig" to name but three. It leaves out the added lines of "The Man Whose Pharynx Was Bad". It lacks an index of first lines. If you're going to buy a book of Stevens' poems spend the extra $10 and get the magnificent Library of America "Collected Poetry and Prose" which contains EVERYTHING, is a huge bargain and will keep you occupied for the rest of your life. Or possibly get Holly Stevens "The Palm at the End of the Mind" which eliminates a lot of lesser poems which could confuse a newcomer to Stevens. The Vintage people have thrown this together without much thought. It's better than nothing, but the other two books I have named are the one's to get.

"Her terrace was the sand/And the palms and the twilight" -- and those are only the first two lines. Dipping into surrealism and imbued with spirituality, his poetry is compiled into "The Collected Poems of Wallace Stevens," which includes seven compilations of his work.

Over his lifetime, Stevens wrote several books of poetry, but his exquisite poems are best taken by themselves: the lush grandeur of "Sunday Morning," the hymnlike "Le Monocle De Mon Oncle," and the humid grittiness of "O Florida, Venereal Soil." He takes multiple looks at "Thirteen Ways of Looking At A Blackbird," and the lush "Six Significant Landscapes."

In other poems, Stevens dips into outright surrealism, like in the delicate "Tattoo" ("There are filaments of your eyes/On the surface of the water/And in the edges of the snow"), and also adds a meditative bent into "The Snow Man" ("For the listener, who listens in the snow,/And, nothing himself, beholds/Nothing that is not there and the nothing that is").

If nothing else, Stevens' poetry can be read just because it is exquisitely beautiful. He lavished details all over almost every poem he wrote, and gave many of them the quality of a dream. His descriptions are simply written, but brilliantly laid out: "When my dream was near the moon,/The white folds of its gown/Filled with yellow light."

His style tends to be a bit on the ornate side -- Stevens freely uses the more exotic terms -- such as "opalescence," "pendentives" and "muleteers" -- wrapped up in complex verse, sometimes with a rhyme scheme and sometimes free-form. And lush detail is added to many of his poems, with descriptions of the moon, sun, plants and lighting, along with dazzling descriptions of the colors.

But his writing is more than beautiful. Stevens' work often poses questions about death, life, religion, and art, taking the conventional and turning it on its head. His belief in the importance of his art is reflected in poems like "Not Ideas About The Thing But The Thing Itself," which ends with the portentous lines: "Surrounded by its choral rings,/Still far away. It was like/A new knowledge of reality."

Wallace Stevens is one of the most unique poets of the 20th century, and the sprawling "Collected Poems of Wallace Stevens" is a wonderful read.

Wallace Stevens is my favorite poet. This collection was prepared late in his life and is in a sense definitive, though the excellent Library of America collection is to be preferred as including a number of additional poems (including the controversial long poem "Owl's Clover"), as well as alternate versions of some poems, juvenilia, and also Stevens's essays.

Stevens is known, it seems to me, in two separate ways. In the popular sense, he is known for a series of remarkable early poems, in most cases not terribly long, notable for striking images and quite beautiful prosody. Of these poems the most famous is surely "Sunday Morning" -- other examples are "Thirteen Ways of Looking at a Blackbird", "Peter Quince at the Clavier", "Sea Surface Full of Clouds", "Tea at the Palaz of Hoon", "The Emperor of Ice Cream", "The Idea of Order at Key West", "Of Modern Poetry". The great bulk of these come from his first collection, Harmonium, and indeed from the
first edition of Harmonium, published in 1923. These were certainly my favorite among his poems on first reading. And they remain favorites.

But his critical reputation rests strikingly on a completely different set of poems, all later than those mentioned above. (Though it must be acknowledged that at least "Sunday Morning" and "The Idea of Order at Key West" as well as two early long poems, "The Comedian as the Letter C" and "The Monocle de Mon Oncle", are in general highly regarded critically. And that most of his early work is certainly treated with respect.)

I think it's fair to say that "late Stevens" begins with "Notes Toward a Supreme Fiction", perhaps his most highly regarded work. Of course the terms "late" and "early" are odd
applied to Stevens. His first successful poems appeared in 1915
(including "Sunday Morning"), when he was 36. He was 44 when the first edition of Harmonium came out. That's pretty late for "early"! And by the 1942 publication of "Notes Toward a Supreme Fiction" he was 63. Indeed, his production from 1942 through his death in 1955 was remarkable: two major collections each with several long poems as well as at least another full collection worth of late poems, some included in this _Collected Poems_ but quite a few more not collected until after his death.

What to say about late Stevens? The most obvious adjective is
"austere". But that doesn't always apply -- he could also be quite playful. However, there is never the lushness of a "Sunday Morning" or "Sea Surface Full of Clouds" in the late works. The sentences tend to extraordinary length, but the internal rhythms are involving. The poems are all quite philosophical, much concerned with the importance of poetry, the nature of reality versus perceptions of reality, and, perhaps more simply, with growing old. (A Stevens theme, to be sure, that can be traced at least back to "The Monocle de Mon Oncle".)

So: Stevens is an impossibly wonderful, remarkable, poet, either early or late. His lush and imagist early work remains a delight, and his philosophically involving late work rewards rereading and concentration. He is a poet to whom you can return again and again, and he will always be new.

Stevens is for me the great American poet of the twentieth century.
His music is the supreme music of poetry . Not since Keats is there anyone as rich in the most elaborate kind of longworded poetry.
His metaphysical meanderings may confuse but somehow find themselves justified by the memorableness of the great lines- and again the music.
No one comes close to him in the kind of deep and complicated beauty he presents- and again the music.
The meanings he makes are musical meanings, and the sounds of his lines sing in us ever more strongly , the more we read and reread.
Stevens is the kind of poet we want to memorize and always have with us inside, so wherever we go , we can stop and to ourselves recite lines of beauty in joy.
I may be wrong but I simply hear his poetry as the greatest America has had in the twentieth century - though lesser than Whitman and Dickinson.

The Love Song of J. Alfred Prufrock is T.S. Eliot at his best. He depicts an entire generation by painting a beautiful and tragic image of the one main character. Eliot's words are both flowing and concise, which is no small feat, and his metaphors and allusions are well chosen and relevant. This poem is absolutely worth reading several times over.


T.S. Eliot's The Wasteland is like the fourth season of Family Guy. It's more of the same from a source that has produced quality work in the past, but falls short this time. Family Guy and T.S. Eliot are each known for their strange connections; T.S. Eliot once compared a skyline to a patient etherized on a table, and Family Guy once compared Ronald Reagan to a toaster. However, in both the newest season of Family Guy and The Wasteland, the randomness gets confusing and just not worth it. Here is how to write a poem like The Wasteland. Copy and paste an introduction and a conclusion from an alternative religion book, come up with some outside the box metaphors, and fill the rest in with pirated foreign literature.

--Ian M.

While I am only an amateur when it comes to poetry, I believe this collection will satisfy any reader looking for a stimulating and engaging experience. I was introduced to T.S. Eliot in my high school English class and read only two of his poems from this collection: one, The Love Song of J. Alfred Prufrock and two, The Wasteland. If I had more time to spend with these poems and really analyze them, I would get even more out of them.

TS Eliot portrays an intriguing setting in The Wasteland. He alludes to various religions and gods. In particular, Eliot portrayed a modern European society lacking a sense of unity and control. He makes eccentric references to anything from religious structures, blooming flowers, praised figures, historical events, and influential European cities. After reading this poem, I highly recommend reading the novel The Road, by Cormac McCarthy. This piece by McCarthy was strongly influenced by this particular poem.

Who is Prufrock? In Eliot's, The Love Song of J. Alfred Prufrock, he depicts a modern middle-aged man who is very self-conscious; he does not dare speak of love to a woman, which is ironic to the poem's title. The poem epitomizes the frustration and self-consciousness in any human being, which makes it easy to relate to the character. What reader does not enjoy finding familiar satire between the lines of a love poem?

Eliot also references Shakespeare's Hamlet in The Love Song, alluding to his personal insecurity and mental weaknesses, as well as his incapability to handle love appropriately.

Though this is only a small window into T.S. Eliot's assorted collection, I hope I can give you an apposite perspective on his engaging work. I recommend reviewing this collection and strongly encourage spending time with these particular pieces.

Faber and Faber has recently announced they will print "The Complete Prose of T.S. Eliot" in a gargantuan seven-volume set!

Also announced the much anticipated, eagerly awaited second volume of Letters of T.S. Eliot: 1898-1922 edited by Mrs. Valerie Eliot, as well as a completely revised edition of the first volume which will include nearly 200 letters that has surfaced since the initial printing!

Both the seven-volume set and the second edition letters are due out late 2008.

To the all the Eliot nuts out there, this is good news. To those who have not read Eliot's Selected Essays, they are as affecting as his poetry, as important as Johnson, Arnold, and Coleridge in their times.

His language is effortless in its flow and it is conducive to deep meditation in its style. After reading 'Prufrock', and the 'Hollow Men' I got the sense that this is something truly withstanding and classic - one of our bards of the 20th century.
Only a handfull of modern poets stick in my mind - Elliot, Cummings, Rilke, and Yeats are among them!

I'm not at all rating this book five stars; that's my rating for T.S. Eliot's plays. This book was the typical library edition and has everything wrong with it: the cover of an old, wise Eliot (why not a young maverick one?), "Complete" in the title when it's not at all complete, big, heavy, hardback and way too literary looking for the passing reader to crack the cover.

But look how much T.S. Eliot you already know. The Wasteland may be a maddingly obscure poem sequence built around a book by Jessie Weston, but Pete Townshend used the idea in a song: "Teenage Wasteland." You know from another song that T.S. Eliot, in "The Love Song of J. Alfred Prufrock" said that life was measured out in coffee spoons. We all know that Old Possum's Book of Practical...plays out dramatically in a musical titled for the last word of that book...Cats. You could have tackled (or rather relaxed with) his most famous poem sequence, Four Quartets and the accompanying readers' guide by Thomas Howard.

But for all those bits of poetic imagery, you still might not stumble on the plays. I've never seen one of Eliot's plays put on, but they make wonderful reading. As an astute reviewer suggested, don't get this volume, which leaves out two of the five plays (or six if you include "Choruses from the Rock," which is not among the best). That reviewer also provided the helpful advice to track down the Faber edition which really does have all the plays. Some of them, notably Murder in the Cathedral, are available in single editions. But don't miss The Confidential Clerk, The Cocktail Party and The Elder Statesman for a great reading experience.

The only other play I know that reads this well is J. M. Barrie's original play of Peter Pan. Murder in the Cathedral is notable because it falls in the Church of England (Anglican) tradition of putting on plays at the Canterbury Festival. Charles Williams also wrote plays related to this event (Thomas Cranmer of Canterbury), as did Dorothy L. Sayers (The Zeal of Thy House, The Devil to Pay). All of which is to say that there is a lot of great dramatic writing to be rediscovered as reading as well as performance (see also my review of Christopher Fry's plays A Phoenix Too Frequent and The Lady's Not for Burning). Many Sayers readers are also aware that she wrote the first radio play for the BBC on the life of Jesus (and updated it to common language), as well as essays on her experience dealing with the Gospel accounts in dramatic form. The best known of these is "The Dogma is the Drama," available in various collections.

Superb. Simply. Great literature. The character of John, the main character's friend was the best and most gratifying of all. Please obtain and let your eyes go to work. To think the author died short of fifty. Man, we get burned sometimes.

I am thilled to see this book being available in hardcover and paperback as well. I read this book about ten years ago and I read it regularly every couple of years. The story is very compelling and the scene of the protagonist walking home through a run-down community is a classic of American literature.

What this book and O'Connor's other novel, The Last Hurrah, apart is the writing. In an era where writers seem to challenge one another to be more like Faukner and less comprehensible to the average man, O'Connor wrote very well and his language is beautiful. From this fine prose arises really deep characters which are flawed and so easily identifiable to us all.

I found this to be a wonderful novel and a great pleasure to read. I have been trying to find this for years and could not in any bookstore. While this could not translate to the movies as easily as Last Hurrah, I found this to be so much more interesting. A truly Catholic novel, it is a joy to find something that takes spiritual issues seriously and yet is hardly preachy. And if you are Irish, the dialogues of the "friends" of the family will make you laugh outloud while reading. This brought back the charms and frustrations of my childhood and my own family of Irish aunts and uncles. Long but worth the effort. A great find.

As I was reading THE EDGE OF SADNESS, I couldn't help but think that in 1961, when this Pulitzer Prize winning novel was published, it must have been rather controversial. It dealt with the humanity of priests, noting flaws but in a respectful manner. While some writers such as Georges Bernanos dealt with such issues in his DIARY OF A COUNTRY PRIEST, American audiences were still used to the Hollywood Big Screen concoctions of Spencer Tracy--Father Flanagan/Bing Crosby--Father O'Malley models of priesthood. While the priest in THE EDGE OF SADNESS may be worthy of the warmth and love given to his movie counterparts, he's hardly perfect.

The novel tells the story of an alcoholic priest named Hugh Kennedy beginning again in ministry in an older, run down parish. Readers get a sense he's not the priest he once was, and throughout the novel we learn of his early ministry, the ramifications of the death of his father, the struggle with alcohol, and the loneliness that is a real part of his life. The book is written in the first person, and we hear the story of his life as he tells of his rekindling of a friendship with the Carmody family: Charlie, the patriarch, his son John the priest, Dan, the ne'er do well, Helen, the outspoken sister married to a doctor and Mary, the daughter who remains at home to care for the aging but still independent and at times ruthless Charlie. We also meet a host of minor characters: Helen's husband Frank, their son and daughter-in-law Ted and Anne, Charlie's longtime friends P.J. and Bucky, Roy, the maintenance man who works at Fr. Kennedy's church, and Fr. Stanley Danowski, the endearing yet naïve and at time nerdy young curate at Fr. Kennedy's parish. As the events of the novel unfold, we see changes in Fr. Kennedy as he discovers his love for God and his vocation.

This is an older style novel in many ways. O'Connor is not short on words and he gives a number of details, yet the novel flows and is a fast read for a volume of nearly 650 pages. The issues of struggles in priesthood, vitality of parishes, older priest verses younger priest, unstated yet real competition between clergy people, and a hunger for God are all present in this book. In some ways if some historical details were changed in the book, it could be about modern day Catholic life. Perhaps this is the power of this book and why it can seem timeless. While it tells a story from an earlier day, it's not an invitation for nostalgia, at least for Catholic readers. Instead it will remind readers of what truly matters in life: the importance of faith, and the importance of having people who love us and people we love in return. While it may seem dated in some ways, readers will agree that the editors at Loyola Press were correct in reissuing this book as a classic.

This simple but beautiful bittersweet story of life among the Irish-American citizens of an unnamed eastern city is a joyful and beguiling tale. O'Connor's characterizations and dialogues are engaging and from my personal experience utterly authentic. I feel as though I have met all the main chacters and could give them names among family and acquaintances. The set piece of Father Kennedy' battle with alcoholism is tastefully done.

I too grew up on the north side of Chicago in the 1950s, in a half-Irish family. I enjoyed the story, which wasn't sensational but rang true. Most though I loved the rendering of 50's Chicago. Haven't thought about Goldblatt's in a long time, I confess. I wish the book was twice as long so I could revisit that Chicago of so long ago for a little while longer. Well done.

This is one of my favorite books, and I have passed it on to many. The story is both sad and funny (but mainly funny). I hated to see it end. Often we read books that are just okay, but this book is one of those "great book finds," something we hope to find in each book we take time for.

I loved this story. Not only were the escapades fun, but it's well-written as well. I was particularly interested because I grew up in a neighborhood not far from the one in the book. Many of the places mentioned were part of my youth.

I enjoyed this book. I grew up, a Roman Catholic in Chicago, IL. I also attended Catholic schools through all my education. I feel this novel is well written and captivating. It shares the daily struggles and joys of a family with its dark side and its nurturing side. I would recommend this book. I have a concern that for someone not raised in Chicago, it may not be as enjoyable.

Look at this list and see if any items bring back memories: Wieboldt's, "suntan lotion," Shedd Aquarium, forest preserves, "da boda ya," Belmont Avenue, trolley buses, Waveland Avenue, Wrigley Field, Ernie Banks, calling your mother "Ma," calling soda "pop." Well? If those make your past come blowing into your present, then this book is for you. Anyone who grew up in an ethnic working-class family around Chicago in the 50s and 60s will recognize these and the myriad other memory sparkers that appear in this book. The story is good too.