Irish Books

this is an excellent book written by an ordinary man about ordinary people - profound, spiritual and challenging.

I never met Mr. Crane personally but I have had dealings with him on somewhat of a political and personal nature. I found Mr.Crane very helpful on both an informational and a personal level. I have had many problems and he always gave me inspiration to drive forward. He told me he was writing a book, and the first thing I thought was that everyone in the world is writing a book nowadays. Since Mr. Crane was so kind as to give me guidance in times I needed it, I first felt like I owed it to him to give his book a read, after all, the only thing I seem to read nowadays is legislative briefs that are filled with legal mumbo-jumbo that would put any normal person to sleep. I started his book late one evening, and I can honestly say, for the first time in my life, I read a book front to back without stopping. I have tried to read other books, but soon got board with the endless fluff some writers use just to fill pages. This is not the case with Mr. Crane's book. It is totally fascinating because it was such an easy read, that I did not even realize that I read the whole book before I put it down. I highly urge everyone to pick up a copy, and I can rest assured that anyone that does read Green Is The Valley, Blue Are The Hills, will probably have the same impression that I did. It is a hidden treat that I hope many others will enjoy. What I read was out of a since that I owed him that much, but after I did read it, I was glad I did. You will feel like you are walking side by side with him on his journey. It took my mind off the many problems I have.

Thomas Crane initially commenced upon a genealogical search of his family. This search eventually resulted in an emotional journey to his forefathers' roots in Ireland.

As many who have ventured on a genealogical search will testify, a genealogical search is no small task. The task is especially hard for a family of modest background, as was his.

Mr. Crane's meticulous research and persevering endeavors for answers to his questions are tributes to his dedication as a family historian and genealogist. In creating his journal, he has written an emotional and personal story of his search for his family origins. Additionally, his poems lend a poignant emphasis to elements of his story.

I recommend this book very highly to everyone who has even a remote interest in genealogy. I would also recommend this book to anyone who has an interest in the social history of America's 19th and early 20th centuries.

Wonderful book full of feeling and emotion, as the writer Thomas Crane, takes you with him on his journey, in his quest to find his family roots.

Tom Crane has written a heart-warming tale of his search for his ancestors. This book is not only a wonderful, personal, journal of his search for his family history, but a great guide for anyone interested in doing the same. His poems are poignant, the personal photos bring a connection to the characters within the pages. This book is a must have for everyone, casual reader or family historian!

My name is Christian Panaite and I'm from Romania.I was in the team who worked at the production of History of the devil in Princeton High School, NJ.Till then I hadn't heard about Clive Barker but reading "Incarnations" I discovered a new world full with horror and mistery- it was a very interesting experience.Acting in his play was a great event for me -I was Milo Milo and I was very proud that I had the smallest part from the play.There are so many things to say about his books -I think that his style is unique, he is unique ,his world is unique.

In the realm of books filled with a play (or plays) this one is a real delight. Barker always satisfies in drawing the reader into highly imaginative realms of mythology, psychology and suspense - with wonderful surprises along the way.

If you are in the mood for a handful of soul stirring plays, I recommend this one along with The Walls Came Tumbling Down by Wilson.

My only complaint is that Barker's usually intriguing forwards sometimes give too much away, akin to a reviewer who provides just a tad too much insight. However, one could save the forward for after the plays.

Barker is a literary genius who spins the most amazing stories. To visualize them as theatrical releases on the stage is very intriguing.

Great work.

This book of plays was one of the best I have ever read. My fav of the three was Frankenstein in Love. The monolouges by Maria were superb and amasing. Her monolouges made me want to put the play on myself. Colossus was a little harder to get into but it was well worth it. In The History of The Devil speaks for itself. In all three plays the wrighting is some of Clive's best. It's well worth the effort to find this out of print book and keep it for a life time.

Arguably the best play of this collection is The History of the Devil. Where the other two plays are a nice potent dip into the macabre, the Devil is a mind-blowing experience that gets you where it hurts the most: your conscience. What is evil? What is good? Can we judge anything? It isn't surprising that even Dante has a cameo role in this play.

I would love to see this play in production somewhere near me. Although it would not be as visually appealing as the other two plays in Incarnations, since it lacks scenes of cannibalism and dismemberment for instance, it surely must be a wonderful experience to see the actual Devil on stage.

Nice to know is that the actor that gave live to the Devil in the World Premiere of The History of the Devil as presented by the Dog Company at The York and Albany Theatre, London, in 1979 was none other than Doug Bradley, the guy that plays Pinhead in the famous Hellraiser movies.

As a conclusion I can reveal that the end of the play as a very nice twist to it. This collection shows Clive barker at his best. A must read for all fans of the macabre.

A few years ago, I picked up a copy of PANDEMONIUM, a softcover overview of Clive Barker's works. While I found most of the material interesting, what blew me away was the first ever printing of Barker's THE HISTORY OF THE DEVIL. Quite simply, it is one of the best plays I have ever read. It is demanding, thought-provoking, funny, obscene, and brilliant.

HISTORY is centred around the trial of the Devil. It is not so much a criminal proceeding, than it is an evaluation of his works on Earth. If he wins, he may re-enter Heaven. And as his history is re-enacted on stage, lawyers both for and against his case struggle to find a legal way to keep him where he belongs.

As in most of Barker's works, a simple description doesn't do it justice. HISTORY is an amazingly theatrical experience, all rooted in one of the most intriguing views of the Devil that I have read. While not being familiar with the more classical works of Dante and Milton, I can say that Barker's Devil is a far more satisfying and frightening figure than the demon presented in Anne Rice's MEMNOCH THE DEVIL. The play also presents one of the most original and shocking endings I have ever read, in a play or a novel.

The other two plays presented in INCANTATIONS are a mixed bag. FRANKENSTEIN IN LOVE is the more satisfying of the two. In a re-imagining of Mary Shelley's work, FRANKENSTEIN occurs in third world dictatorship, full of chaos and mystery. If I am not as enthusiastic as I am about HISTORY, it is that Barker's ideas in FRANKENSTEIN don't wholly combine. It has humour, horror, an astonishing amount of gore (I don't know HOW this would ever be staged), but by the end, the horror has taken over the story. It leaves you wishing for more of a coherent ending. Still, some scenes do remain in the mind, especially the scenes involving the dead, but still animated narrator.

Barker's third play, COLOSSUS, is the least of the three. Ostensibly, it surrounds the Spanish painter Goya, as he stumbles around after a tremendous bombing has destroyed a large portion of an estate. As I don't know anything of Goya, I can't speak as to the effectiveness of the sets in bringing out the mood of his paintings, as Barker suggests. But the play doesn't hold water. It is a amalgamation of confusing characters and odd dialogue. It has an unfinished feel to it. As this was one of Barker's earlier works, perhaps he can be forgiven it biting off more than he can figuratively chew. But as a published work, it functions as a curiosity, not a fully-formed play.

Still, Barker is one of the more interesting writers around. He's always willing to try and push the envelope, instead of resting on his laurels (anyone read Dean Koontz lately?). Read FRANKENSTEIN IN LOVE and COLOSSUS for the ideas. Read THE HISTORY OF THE DEVIL for the experience. It really is that good.

Grateful for quick shipping.

I throughly enjoyed this book - most likely because I spent the majority of my life in Northern Ireland. Unfortunately a good unbiased viewpoint is very hard to come by, so I relished the opportunity to fill in a few gaps in my understanding. The flip side of this is that it appears that the authors let a few characters off lightly, on both sides.

The issue I believe is that the situation is very fluid in that part of the world, and events often come to light that change perceptions of various characters. The famous 'They haven't gone away' remark from Mr Adams isn't mentioned for example, and this casts him in a rather different light than is presented in the book.

I do applaud the authors however for not glossing over the lowpoints of Northern Ireland's recent history. Whilst sometimes painful to read, it does help dispel the fairytale fancy of those who have been led to regard murderers as 'freedom fighters'. I just wish that the authors hadn't given their apologists such a light hand.

All in all, if you are new to the area I'd highly recommend this one. This book is a great startpoint but shouldn't be your last read on the matter.

I found this book to be a little bit dry at times, though on the other hand, the descriptions of the violence at the hands of both the IRA and other republican groups and by the Unionist/loyalist groups were quite graphic. Still, it was quite easy to keep up with who was who and who was on which side, something that can sometimes be a problem in a history book. The authors gave a pretty balanced perspective--I do think they were a little more on the Catholic side, but overall, it was balanced. I do wish they had gone more into the background. Why did the British send the Protestants to Catholic Ireland in the first place, and how did the two sides get along before the 20th century? This is glossed over, though I guess what information is given is sufficient. It does whet my appetite to know more, however.

David McKittrick and David McVea present a thoughtful, excellent overview of sectarian strife in Northern Ireland since the 1960's, giving a balanced look at both the Protestant and Catholic communities. They begin with a superb brief historical sketch on the origins and early history of Northern Ireland, chronicling its major events from its inception in 1921 through the 1960's. They offer many fascinating portraits of prominent British, Irish and Northern Irish politicians and terrorists, ranging from the likes of diehard Protestant minister Ian Paisley to former IRA member Gerry Adams. This is quite simply one of the best books I've read on recent Northern Irish history and may be the best historical overview on the origins and current state of "The Troubles".

I read this before a trip to Northern Ireland this summer, where I met with politicians, community leaders and artists. After reading the book, I felt very comfortable with the main themes and events of the Troubles, and several people commented that I seemed particularly well-versed in the history of the conflict (I knew next to nothing even a year before my trip). The book is well-written and balanced, and gives a thorough introduction to the troubles. I recommend reading it after a brief overview of general Irish history (such as "Modern Ireland: A Very Short Introduction") and, of course, as much Joyce as time allows.

Trollope was a master of the domestic situation. There is a scarcity of dialogue in Orley Farm, but the detailed explanations of the emotions, surroundings, and background of each character offers so much more than dialogue ever could. Anthony Trollope's Orley Farm is by far the best fictionalized trial drama that I have ever read. One would be hard-pressed to find another like it.

I would offer the warning to those who dislike long, tedious readings that this work would not be for them. It is nearly 850 pages with very little action/dialogue. It more a study into the human psyche as it relates to guilt, pity, law, and the moral implications of all these things.

Orley is simply timeless. Just as in the Palliser series, the characters are the people all around you, in the office, in the news, and on the tube. Trollope's ability to understand the subtle differences that shape the mind of men and women is simply uncanny. If you are a truth seeker, this is a book for you. Anyone with exposure to a legal system with its basis in the English common law will understand the perceptive analysis it is subjected to in Orley Farm. The distinction between evil deeds and the often sympathetic humans that are their authors is one that modern American culture often forgets to make. Orley Farm is here to remind us. As a trusts and estates lawyer, I can not believe that I practiced for fifteen years before someone told me about this gem.

One of the great novels of 19th Century fiction, with characters you will learn to appreciate and understand; not the kind of sensationalist fiction of Collins or Dickens, but a real probing into morality, responsibility and compassion. Set aside your summer, or perhaps your winter in front of the fireplace...do not pass this up.

with Trollope, but this one is particularly overweight. A great deal is made - by Trollope and others - about the lack of suspense, which is said to make the novel 'realistic' (versus 'sensationalist'). Why? Anyway, we know from the beginning that the heroine forged the will, or rather the codicil (always a worry, the codicil). This means she spends 800 pages wallowing in terror and guilt. Others around her gradually find out; she wallows deeper and deeper with never a change of tone. This woman is TIRESOME. So is the bee in Trollope's bonnet about the adversarial legal system. As ever when nearing a political issue, Trollope uses it to bring in characters and set up oppositions, but he has no idea what to do with an idea, that is with an issue to be thoughtfully discussed. Given that this book slowly reaches a criminal trial, and that there is really no other serious plot, it becomes annoying to be told repeatedly that lawyers defend clients they don't believe in, and witnesses are badgered. The alternative hinted at - that the law should try to reach the truth - is awe-inspiringly feeble. Once the heroine is found 'not guilty', another non-surprise, and her son gives back the property fraudulently acquired, she is dropped with no gallantry into a fuzzy future in which she may, perhaps, the author hints, have one or two pleasant days. Though the book is treated by critics as a work about guilt and redemption, nobody seems redeemed, or changed in the least. How could they be, given the rigid Trollope rules of conduct.

So why did I read it? Because of the richly populated, vividly conjured Trollope world - and also of course for the exciting hunting scenes. Which in some sense is the whole book. But if the heroine is the fox - and to support this, there is a thrown off line about foxes tails resembling womens' tails (you'd have to be a Victorian male to know what THIS means) - she spends an awful long time in the woods.

I love Anthony Trollope. His writing style is very readable compared to Dickens or Tolstoy. His subject matter is oriented towards subjects which are still relevant today -- politics, money and power, women's rights, relationships. His character development and imagery makes it feel like you are there. His books aren't "pretentious" but just plain good stories that you an relate to -- even though they take place in the 1800s.

One of the reasons I like them is it reinforces that many of the personal, moral, and emotional struggles you think about in your day-to-day life are exactly those that individuals have been pondering since the beginning of time. I think that we like to think that the problems we face are unique to our generation, our country (the US), our times, our families. When you read something like Orley Farm or the other Trollope books, you realize they are not and that there is still a lot to be learned from these "old guys".

In addition, if you are looking for a good "escape" and a window into how the "other half lives", Trollope novels also give you that vehicle. You can imagine yourself as part of the British Aristocracy living in a life of influence and power -- which can be a lot more interesting than being part of middle class suburbia working every day just to make enough money to pay Uncle Sam, get health insurance and hopefully have enough paid time off to afford a 1-week beach trip every year.

Be sure to read the first book, Whiskey Island, before this one. I started reading Emilie Richards with her Shenedoah Series because of the quilt block titles. She only gets better with each book. This series was exceptional. Good solid reading from start to finish.

I read this book unaware it must be the sequel to "Whiskey Island". Not a problem. The author pulls you in with each character and the storyline going from past to present, then back again was done smoothly. I'm looking for other books by this author!!

I am a devoted Emilie Richards fan ~~ I have read almost all of her books and I totally loved Whiskey Island ~~ it's in my home state and I love books that is set in Ohio since I know the general area. I just love Richards' books since she delves into her characters' lives and she brings her readers along with her into a journey that travels back and forth in time between two different generations of people, especially women. This book is no exception. In fact, it's better than Whiskey Island in some ways ~~ the sisters are more mature and dealing with more mature issues than being single and wondering if they'll ever fall in love.

Each of the sisters are set on their paths that they have chosen in life. Casey, who is not written about very much in this novel, is pregnant and happily married to Jon, her friend from high school. The novel centers mostly on Megan and Peggy. Megan and Niccolo are married but dealing with a shattered saloon that a tornado has torn apart, the growing lack of communication between the two of them and with Megan's restlessness as she is temporarily out of work. Peggy takes her son, Kieran, to Ireland after putting medical school on hold since he has autism and Peggy decided to devote time to helping Kieran learn the basic skills. She also went to be her cousin's companion. Irene, a lovely Irish spinster, is seeking answers to her father's death eighty years before. The sisters all help with the research and along the way, found answers to their own questions and problems as well as discovering the great secret that Irene's father has been holding all those years.

This is a great escape-novel. If you're overwhelmed with life and life's demands, this is the perfect book to sink yourself into for a few days. It's not a demanding reading but it's a fun reading ~~ and Richards keeps you guessing as you turn the pages. Once again, she writes about star-crossed lovers, relationships between husband and wife, between sisters and friends and lovers. It's a wonderful novel. She has the charm to keep you coming back for more.

7-23-04

A multi-layered, multi-generational saga of an Irish family. Spanning the Atlantic ocean and richly populated with a diverse set of characters, Emilie Richards weaves stories together in a flashback style that works, tied together with humor, love, and tragedy. Beginning with a series of disasters during Megan Donaghue's wedding, the reader is then transported to Ireland with sister Peggy and her autistic young son Kieran to the home of a dying distant cousin. Misunderstandings, pubs and saloons, alcoholism, schizophrenia, debilitating grief, miracles, and autism, as well as the requisite red-headed Irish tempers give the story realism, and the setting is casually comfortable. A wonderfully hopeful glimpse into the lives and loves of the Donaghue Sisters.

Occasionally life will hand us a situation and we don't know if we are strong enough to handle.

This is the case for Peggy Donaghue when she learns that her young son is autistic. So she puts her medical career on hold while she struggles to understand the condition that has her son locked in a world of his own. When she receives an offer to spend a year in Ireland with a distant relative, she grabs the opportunity to spend one-on-one time with her son and learn about her family's past in return.

Emilie Richards returns to the story of the Donaghue sisters in her novel, "The Parting Glass," a sequel to her bestselling book, "Whiskey Island," which began the chronicles of the lives of the Donaghue clan, the family who has been apart of Cleveland's large Irish community since days of the first immigrant's arrival.

Richards picks up her story of the feisty Donaghue sisters, focusing on little sister Peggy's story. Her decision to move to Ireland to live with elderly distant cousin Irene Tierney proves to be a move that will affect not only her life, but the lives of her entire family. As Peggy helps Irene unravel the mystery of their connected lineage, they discover family secrets that will soon come clearly important to the American side of the family. Experiencing love in the form of handsome but tragic Dr. Finn O'Malley will prove to be an added adventure that Peg hadn't planned on.

Back in the States, Megan, the eldest sister, has married her true love, Niccolo Andreani, an ex-priest who works with the trouble youth of their close-knit neighborhood. However, on the night of their wedding, a tornado strikes, all but leveling the historic Whiskey Island saloon, revealing a mysterious marking that will change the lives of everyone who comes into view of it. As they work to restore the saloon, Megan and Nick found out that married life is not exactly all wine and roses. As the couple work through communication problems early on, each wonders if they have made a mistake abandoning their former lives.

Only the middle sister, Casey, is living in relative harmony, having married her high school sweetheart, Jon Kovats and now is expecting their first child. But if one Donaghue ain't happy, none of them are happy, and the two older sister travel to Ireland to try to sort out their myriad of problems together, family style.

Intermixed with the Donaghue sisters' story is the story of Irene's family during the early days of Prohibition, and how their family became intertwined with the Donaghues in the beginning. The love story of Glenn Donaghue and Clare McNulty is heartbreaking and poignant.

Emilie Richards wraps up her Whiskey Island saga successfully, tying up loose ends and treating her fans to bits of Irish humor, angst, and whimsy in her writing. She ties her story together with glimpses into the past via letters written between the parish priest and his Irish sister. This gives wonderful background information, as well as bringing the story together for a magnificent and satisfying conclusion.

Great book if you're planning a trip to Ireland or if you just want to enjoy a pint in your own living room!

When I'm in Ireland -- which isn't nearly enough -- I try to avoid the trendy new pubs and stick to the joints where the local people go, where you're still likely to find a session in the corner, where the food is simple but hearty, and where the Guinness is pulled with pride.

Eric Roth, a Boston-based photographer, pays tribute to the "real" Irish pubs of Ireland in "The Parting Glass." Of course, there are thousands upon thousands of pubs to choose from, and the book had limited space, so after exhaustive research (read: going to lots of pubs) he picked 43 representative establishments to capture on film. Eileen McNamara, a Pulitzer Prize-winning Boston Globe columnist, went along for the trip and provided the text to support Roth's images.

Of course, I have my own favorite spots in Ireland, and sadly, they're not included here. And yet, of the 43 pictured, I've been to only a handful, and they ALL look a delight!

The book includes numerous large, colorful photos of pub facades and pub interiors. Too, you'll find distinctive pub signs and unique pub decor. Better yet, you'll see people manning taps and hoisting pints, people who make up Ireland's traditional pub scene as much as the Guinness-stained tables, peat fires, live music and pleasant conversation.

There are city pubs and country pubs, ornate pubs and plain, crowded and empty. Roth's photos are gorgeous, rich in color, detail and personality. McNamara's narrative is equally colorful, informative and evocative of the pub experience. Combined, they create a desire to dive through the pages, take a seat and order a pint.

Great photography. Great for Irish conversation. Makes a great gift.

This book is for those who want to be swept away on a marvelous journey through a land of incredible scenery interrupted by warm and friendly people invigorated by mouth watering blends of spirits served in the most welcoming places short of heaven.

This book made a wonderful gift for my husband this Christmas. He and I went to Ireland a few years ago to see a U2 concert at Slane castle. To this day, it remains one of my favorite vacations of all times, and this book rekindled those wonderful memories. So much so, that after browsing through the pages together, my husband and I are planning a return trip "across the pond" as a gift to each other! We're even planning some of our itenerary around these cool cities and pubs.

The photos are just beautiful and so are the stories of the owners, the bartenders, the patrons and pub histories. Neat facts are tucked in between the pages, making it more than a photo essay -- I learned that a special place called a "Snug" exists in the older pubs, where the women used to share a pint or two without the company
of men.

If you are looking for an unusual and thoughtful gift, I recommend this book. It would make a wonderful father's day gift, (or mother's day gift!), it would be great as a birthday present, a graduation present, a coffee table book for a new homeowner, or for any other occassion where you want to raise a pint in celebration. Cheers!

This is an excellent account of the long and troubled road for Scotland under the rule of Great Britain. Beginning with the Union of 1707, which Scotland pretty much got railroaded into, Devine charts the meandering path toward Home Rule in 1999. Along the way he touches on the cornerstone events which shaped modern day Scotland such as the Crofters' War, the Highland Clearances, the Scottish Enlightenment and Industrial Revolution. It is amazing to read just how vital the Scots were in the expansion of the British empire, yet Scotland remained subordinate to England throughout this period.

Devine focuses primarily on the social and economic history of Scotland, noting how the failure of the Scots to construct a link between the Caribbean Sea and the Pacific Ocean at the isthmus of Darien led to a financial crisis which England was able to exploit, thereby forcing Scotland to submit to its will in 1707. However, England still had a difficult time suppressing the Jacobeans in Scotland, which continued to mount resistance movements throughout the 18th century.

Probably the most notorious period was in the 19th century, when English landowners with the help of Scottish landowners forced the Highlanders off their grazing lands and made them to settle along the coastline. What began as a method of suppressing the remaining Gaelic culture, became a major relocation project that destroyed what remained of clanship in Scotland. It lived on in name only.

Devine notes how Queen Victoria, a Jacobean at heart, revived Highland pride during her reign by establishing an estate at Balmoral. This along with the historical novels by Sir Walter Scott helped rekindle an interest in ancient Scotland and led to a cultural renaissance.

With the industrial revolution, Glasgow usurped Edinburgh as the leading city in Scotland, irrovocably altering the way of life for most Scots. Devine charts the rise of the political movements in Scotland, which began to push for greater home rule, feeling that Scotland was still be overlooking by the Parliament. The rise of the Labour Party was instrumental in the drive for Home Rule. Devine also notes the troubled relationship between Scots and Irishmen, particularly in Northern Ireland. A once similar culture now found itself at opposite ends of the spectrum.

Devine takes in a big sweep of Scottish history, referencing early aspects of history, but focuses on the 300 years of Union with Great Britain. It is rich in reference notes, pointing the way to further reading on the subject. This is the culmination of his work on Scottish history, which he began with his book, Clanship to the Crofters War.

Well, this review might be crap compared to the others, but I do have a few useful things to say about this book.

I picked it up knowing next to nothing about Scottish history during the years of topic. If you said Jacobite I might have known what you were talking about, but I certainly couldn't have explained the risings of the eighteenth century to you.
Now, I can.

I found this book not only easy to read, but comprehensive, and best of all.....INTERESTING. That's quite a big compliment considering that the eighteenth and nineteenth centuries are not desirable at all to me, even as a student of history.
Yes, very easy to read, but not simplistic. And best of all, it is free of the sarcasm and haughtiness I've found in works like the Penguin classics book on Scottish history, and in essays by well known and respectable historians!!

T.M. Devine's account of Scotland from 1700-2000 is the most up-to-date review of Scottish history over the past three centuries. Mr. Devine covers every aspect of the development of Scotland and Scottish life over that time period. On many topics such as religion, immigration/emigration, government, cultural traditions, economics, and much more, Mr. Devine presents a thorough analysis. I was hoping for more details on Adam Smith, David Hume and other figures of the Scottish Enlightenment, but Mr. Devine chooses to stick with the story of Scotland as a whole for this work. This is a slow read at times, but for those genuinely interested in knowing more about the modern history of Scotland, this book has to be as good as one will find.

although i have to admit that i'm a bit biased towards any book that paints scotland in a flattering light, this is a great read. i found it especially helpful when i was writing a thesis about the ebbs and flows of scottish power within the united kingdom. since this book covers everything from the act of union to the recent establishment of the scottish parliament, it was extremely helpful. it's one of the few books of its kind. if you are curious to know how exactly the UK works (ie how can england, wales, northern ireland, and scotland be seperate countries and the same country) this is a good place to start, and it's a compelling read!

In 1999, Scotland experienced a momentous event, when after several centuries, a Scottish Parliament was convened in Edinburgh. Scotland is thus in a unique position at the beginning of the twenty-first century to enter a new era of self-determination and national pride such as has not been seen since 1707 (the year of the last Scottish Parliament) or since the times of the Stuart reign.

T.M. Devine, professor of Irish and Scottish Studies at the University of Aberdeen, has put together the first comprehensive and authoritative history of the Scottish nation during this 'non-parliamentary' (and, thus perhaps one might consider, non-sovereign) period in a generation. Scotland, as Devine explains in 'The Scottish Nation: A History 1700-2000', has almost always been misunderstood by the outside world. Thought of Scotland today (by those outside) conjure up visions of green sweeping Highland views, quaint tartan-patterned objects, kilts, bagpipes, Scotch whisky, and a wild rusticity that is quite at odds with the modern, urbanised character that is more typical of Scottish life today. As any good Scotsman will tell you, Scotland had seven universities when England had only two; even in the nineteenth century as London reigned supreme on the world stage politically and, in many ways, economically, Scotland was an industrial pioneer, providing much of the backbone for British success.

'For historians of Scotland the last three decades have been an exciting time. Research has boomed, established views are vigourously challenged and entirely new fields of investigation opened up which were uncharted in the older historiography.'

Devine commends the modern trend toward further investigation and research in Scottish and other non-England nations of the British Isles, but worries that most of this research is being shared and read only with professional peers rather than the general public. His book, The Scottish Nation is intended to be (and, in my opinion, succeeds at being) an accessible resource for the casual reader while being authoritative and thorough enough for the scholar to find it valuable.

Devine breaks the history of Scotland into four broad ranges: 1700-1760; 1760-1830; 1830-1939; 1939-2000. These periods roughly correspond to the eras of consolidation of political domination by England, the growing urbanisation of Scotland and attendant decline of Clanship, the period of immigration and Highland clearances , and finally the resurgence of Scottish nationalism in the wake of Irish independence and the aftermath of the second world war.

Devine examines the breakdown of traditional Scottish government in the aftermath of the ouster of a hereditary Stuart king in favour of William and Mary; Devine examines both English efforts to consolidate political and economic hegemony over Scotland (which included a movement in 1705 to declare all Scots aliens, thus subject to import duties and taxes that would be ruinous to the Scottish economy) as well as the Scottish problems of maintaining their own institutions in the face of English power. This is a different perspective than most will be used to, as history (traditionally written by the victors) has usually been stated 'authoritatively' from Oxford or Cambridge, not from Aberdeen or Edinburgh.

Following issues that are economic, military, social and political, Devine traces the various strands of Scottish history through to the present Parliament, detailing the London Parliament's intriguing struggle to deal with the issue of devolution and maintenance of the union through the post-war period. Devine devotes attention to aspects of family life, the role of women at various points in Scottish history, the development of educational systems, church/state relationships, and the status of the royals in Scotland -- again, any good Scotsman will tell you, it is inappropriate to say the present reigning monarch is Elizabeth II in Scotland, because Elizabeth I was never queen there.

This is a rather hefty book for light reading, but is quite enlightening for those of us with Scottish background (my family background includes many strands).

Thy merit hath my duty strongly knit,
To thee I send this written embassage,
To witness duty, not to show my wit.
(Sonnet 26.)

How to do justice to the legacy of literary history's greatest mind -- moreover in such a limited review? Forget Goethe's "universal genius" and his rebel contemporary Schiller; forget the 19th century masters; forget contemporary literature: with the possible (!) exception of three Greek gentlemen named Aischylos, Sophocles and Euripides, a certain Frenchman called Poquelin (a/k/a Moliere), and that infamous Irishman Oscar Wilde, there's more wit in a single line of Shakespeare's than in an entire page of most other, even great, authors' works. And I'm not saying this in ignorance of, or in order to slight any other writer: it's precisely my admiration of the world's literary giants, past and present, that makes me appreciate Shakespeare even more -- and that although I'm aware that he repeatedly borrowed from pre-existing material and that even the (sole) authorship of the works published under his name isn't established beyond doubt. For ultimately, the only thing that matters to me is the brilliance of those works themselves; and quite honestly, the mysteries continuing to enshroud his person, to me, only enhance his larger-than-life stature.

The precise dating of Shakespeare's sonnets -- like other poets', a response to the 1591 publication of Sir Philip Sidney's "Astrophil and Stella" -- is an even greater guessing game than that of his plays: although #138 and #144 (slightly modified) appeared in 1599's "Passionate Pilgrim," most were probably circulated privately, and written years before their first -- unauthorized, though still authoritative -- 1609 publication; possibly beginning in 1592-1593.

Format-wise, they adopt the Elizabethan fourteen-line-structure of three quatrains of iambic pentameters expressing a series of increasingly intense ideas, resolved in a closing couplet; with an abab-cdcd-efef-gg rhyme form. (Sole exceptions: #99 -- first quatrain amplified by one line -- #126 -- six couplets & only twelve lines total -- #145 -- written in tetrameter -- and #146 -- omission of the second line's beginning; the subject of a lasting debate.) Their order is thematic rather than chronological, although beyond the fact that the first 126 are addressed to a young man -- maybe the Earl of Pembroke or Southampton, maybe Sir Robert Dudley, the natural son of Queen Elizabeth's "Sweet Robin," the Earl of Leicester -- (the first seventeen, possibly commissioned by the addressee's family, pressing his marriage and production of an heir), and ##127-152 (or 127-133 and 147-152) to an exotic woman of questionable virtues only known as "The Dark Lady," even in that respect much remains unclear; including the nature of Shakespeare's relationship with the two main addressees, regarding which the sonnets' often ambiguous metaphors invoke much speculation. #145 is probably addressed to Shakespeare's wife; the closing couplet plays on her maiden name ("['I hate' from] hate away she threw And saved my life, [saying 'not you']:" "Hathaway -- Anne saved my life"), several others contain puns on the name Will and its double meaning(s) (exactly fourteen in the naughty #135: "Whoever hath her wish, thou hast thy Will;" and seven in the similarly mischievous #136), and the last two draw on the then-popular Cupid theme. Sometimes, placement seems linked to contents, e.g., in #8 (music: an octave has eight notes), #12 and #60 (time: twelve hours to both day and night; sixty minutes to an hour); and in the famous #55, which praises poetry's everlasting power and as whose never-expressly-named subject Shakespeare himself emerges in a comparison with Horace's Ode 3.30 -- in turn written in first person singular and thus, denoting its own author as the builder of its "monument more lasting than bronze" ("Exegi monumentum aere perennius") -- as well as through the number "5"'s optical similarity to the letter "S," making the sonnet's number a shorthand reference for "5hake5peare" or "5hakespeare's 5onnets," echoed by numerous words containing an "S" in the text.

Of indescribable linguistic beauty, elegance and complexity, Shakespeare's sonnets owe their timeless appeal to their supreme compositional values, the universality of their themes, and their keen insights into the human heart and soul; as much as their transcendence of the era's poetic conventions which, following Petrarch, heavily idealized the addressee's qualities: a form new and exciting twohundred years earlier, but encrusted in cliche in the late 1500s. Indeed, Shakespeare's "Dark Lady" Sonnet #130 owes its particular fame to its clever puns on that very style, which went overboard with references to its golden-haired, starry- (beamy-, sparkling, sunny-) eyed, cherry- (strawberry-, vermilion-, coral-) lipped, rosy- (crimson-, purple-, dawn-) cheeked, ivory- (lily-, carnation-, crystal-, silver-, snowy-, swan-white) skinned, pearl-teethed, honey- (nectar-, music-) tongued, goddess-like objects. "My mistress' eyes are nothing like the sun;" the Bard countered, proceeded to describe her breasts as "dun," her hair as "black wires," and her breath as "reek[ing]," and denied her any divine or angelic attributes. "And yet," he concluded: "by heaven, I think my love as rare As any she belied with false compare."

Arguably, Shakespeare's very choice of addressees (a young man -- also the subject of the famously romantic #18: "Shall I compare thee to a summer's day;" the first of several sonnets promising his immortalization in poetry -- as well as the "Dark Lady," in turn introduced under the notion "black is beautiful" in #127) itself suggests a break with tradition; and compared to his contemporaries' poetry, even the equally-famous #116's on its face rather conventional praise of love's constancy ("Let me not to the marriage of true minds admit impediments"), echoed in the poet's vow to vanquish time in #123, sounds fairly restrained. But ultimately, Shakespeare's sonnets -- like his entire work -- simply defy categorization. They are, as rival Ben Jonson acknowledged, written "for all time," just as the Bard himself immodestly claimed:

'Gainst death and all oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
(Sonnet 55.)

Also recommended:
The Oxford Shakespeare: The Complete Works 2nd Edition
Shakespeare: For All Time (Oxford Shakespeare)
Much Ado About Nothing
Love's Labour's Lost
William Shakespeare's Hamlet (Two-Disc Special Edition)
BBC Shakespeare Comedies DVD Giftbox
BBC Shakespeare Tragedies DVD Giftbox
Olivier's Shakespeare - Criterion Collection (Hamlet / Henry V / Richard III)
William Shakespeare's The Merchant of Venice
Twelfth Night

Katherine Duncan-Jones in the Arden Shakespeare's Sonnets is closer to Stephen Booth's linguistic approach from Helen Vendler,s artistic analysis of the Sonnets. I think she made a mature choice because Old Will in his love lyrics is ambigous and misleading.His words are loaded with meanings and accordingly are open to more than one interpretation.Publishing the detailed notes and commentry on the same page looks more practical and helpful, not only for the students but also for the general reader.Nevertheless, Hank Wittemore's version of Edward de Vere, Earl of Oxford, recently published for the first time , emphasizes that the dedicatee of Shakespeare,s Sonnets is Henry Wriothesley, Third Earl of Southampton and not William Herbert, Earl of Pembroke as the Arden,s editor of the Sonnets suggests in her introduction. Since 400 years the dedicatee,s identity had been masked. A.L. Rowse in 1964 published his version of the Sonnets and held that Shakespeare dedicated his poems to his close friend and patron Earl of Southampton. Now Wriothesley proved what Rowse had cocluded in his literary and historical researching half a century ago.
In the next edition of the Arden,s Sonnets I hope Katherine Duncan-Jones sheds more illuminating light on this issue which puzzled many Shakespearians for a very long time.


Abdulsattar Jawad
Duke University

Ms. Duncan-Jones' Introduction is an extraordinary example of scholarship. To say that the Sonnets have been controversial throughout the time since their publication is a mild understatement. Ms. Duncan-Jones casts a brilliant and unwavering spotlight on these controversies and resolves them.

Any serious student of Shakespeare must read this Introduction.

If there is a failing in the book, it is in the actual footnotes to the Sonnets themselves. But in the context of Booth's footnotes, for example, this failing is insignificant. Anyone who wants a line-by-line exegesis of the Sonnets has many resources available.

Go get this book and read the Introduction!

I recently used the Arden edition of the Sonnets in a graduate level course on Renaissance literature. It's useful, too, to have Helen Vendler's "Art of the Sonnet," as well as the Penguin edition (fewer notes than the Arden). Quite simply, the Arden excels in the scholarly apparatus. Also, for a concise, readable supplement, include Greenblatt's "Will in the World" (the chapter on the sonnets). But for a close study of the sonnets, if you need a single edition, Arden is terrific.

The secondary source material found in the appendices, the fantastic footnotes, the capacioius introductions, the big clear typeface, the textual editing decisions, all make the Ardens the best single-volume Shakespeares by a long shot. The rest pale by comparison.

The only drawback, god forgive this y-chromosomed curmudgeon, that I can see in this particular Arden is that the editor, Katherine Duncan-Jones, often tends to lean a bit too far to the left, indulging into too much gender politic-ing.

Duncan-Jones also spends a quite a bit of time arguing in a rather extended manner for composition dates that are self-consciously 'provocative' and seem to be much too speculative for an introduction.

One could match this with Booth's version, which by comparison seems perhaps a touch more shallow and hidebound-- but more solid, and get a nice complimentary set of typefaces and editorial views that would balance out nicely, I would suspect.

Is there anything or anyone to compare to Shakespeare? You can never just read Shakespeare or even begin to feel the passion of his Sonnets until you get to know him. This is truly a wonderful edition of his work and a perfect gift for the lover of his writings. Poetry such as this Elizabethan prose is no longer written , the emotions,passions,tragedies are from yesteryear but as magnificent today as they were so long ago when such expression was a way of life. An excellent addition to any collection of prose or Shakespeare.

Thy merit hath my duty strongly knit,
To thee I send this written embassage,
To witness duty, not to show my wit.
(Sonnet 26.)

How to do justice to the legacy of literary history's greatest mind - moreover in such a limited review? Forget Goethe's "universal genius" and his rebel contemporary Schiller; forget the 19th century masters; forget contemporary literature: with the possible (!) exception of three Greek gentlemen named Aischylos, Sophocles and Euripides, a certain Frenchman called Poquelin (a/k/a Moliere), and that infamous Irishman Oscar Wilde, there's more wit in a single line of Shakespeare's than in an entire page of most other, even great, authors' works. And I'm not saying this in ignorance of, or in order to slight any other writer: it's precisely my admiration of the world's literary giants, past and present, that makes me appreciate Shakespeare even more - and that although I'm aware that he repeatedly borrowed from pre-existing material and that even the (sole) authorship of the works published under his name isn't established beyond doubt. For ultimately, the only thing that matters to me is the brilliance of those works themselves; and quite honestly, the mysteries continuing to enshroud his person, to me, only enhance his larger-than-life stature.

The precise dating of Shakespeare's sonnets - like other poets', a response to the 1591 publication of Sir Philip Sidney's "Astrophil and Stella" - is an even greater guessing game than that of his plays: although #138 and #144 (slightly modified) appeared in 1599's "Passionate Pilgrim," most were probably circulated privately, and written years before their first - unauthorized, though still authoritative - 1609 publication; possibly beginning in 1592-1593.

Format-wise, they adopt the Elizabethan fourteen-line-structure of three quatrains of iambic pentameters expressing a series of increasingly intense ideas, resolved in a closing couplet; with an abab-cdcd-efef-gg rhyme form. (Sole exceptions: #99 - first quatrain amplified by one line - #126 - six couplets & only twelve lines total - #145 - written in tetrameter - and #146 - omission of the second line's beginning; the subject of a lasting debate.) Their order is thematic rather than chronological, although beyond the fact that the first 126 are addressed to a young man - maybe the Earl of Pembroke or Southampton, maybe Sir Robert Dudley, the natural son of Queen Elizabeth's "Sweet Robin," the Earl of Leicester - (the first seventeen, possibly commissioned by the addressee's family, pressing his marriage and production of an heir), and ##127-152 (or 127-133 and 147-152) to an exotic woman of questionable virtues only known as "The Dark Lady," even in that respect much remains unclear; including the nature of Shakespeare's relationship with the two main addressees, regarding which the sonnets' often ambiguous metaphors invoke much speculation. #145 is probably addressed to Shakespeare's wife; the closing couplet plays on her maiden name ("['I hate' from] hate away she threw And saved my life, [saying 'not you']:" "Hathaway - Anne saved my life"), several others contain puns on the name Will and its double meaning(s) (exactly fourteen in the naughty #135: "Whoever hath her wish, thou hast thy Will;" and seven in the similarly mischievous #136), and the last two draw on the then-popular Cupid theme. Sometimes, placement seems linked to contents, e.g., in #8 (music: an octave has eight notes), #12 and #60 (time: twelve hours to both day and night; sixty minutes to an hour); and in the famous #55, which praises poetry's everlasting power and as whose never-expressly-named subject Shakespeare himself emerges in a comparison with Horace's Ode 3.30 - in turn written in first person singular and thus, denoting its own author as the builder of its "monument more lasting than bronze" ("Exegi monumentum aere perennius") - as well as through the number "5"'s optical similarity to the letter "S," making the sonnet's number a shorthand reference for "5hake5peare" or "5hakespeare's 5onnets," echoed by numerous words containing an "S" in the text.

Of indescribable linguistic beauty, elegance and complexity, Shakespeare's sonnets owe their timeless appeal to their supreme compositional values, the universality of their themes, and their keen insights into the human heart and soul; as much as their transcendence of the era's poetic conventions which, following Petrarch, heavily idealized the addressee's qualities: a form new and exciting twohundred years earlier, but encrusted in cliche in the late 1500s. Indeed, Shakespeare's "Dark Lady" Sonnet #130 owes its particular fame to its clever puns on that very style, which went overboard with references to its golden-haired, starry- (beamy-, sparkling, sunny-) eyed, cherry- (strawberry-, vermilion-, coral-) lipped, rosy- (crimson-, purple-, dawn-) cheeked, ivory- (lily-, carnation-, crystal-, silver-, snowy-, swan-white) skinned, pearl-teethed, honey- (nectar-, music-) tongued, goddess-like objects. "My mistress' eyes are nothing like the sun;" the Bard countered, proceeded to describe her breasts as "dun," her hair as "black wires," and her breath as "reek[ing]," and denied her any divine or angelic attributes. "And yet," he concluded: "by heaven, I think my love as rare As any she belied with false compare."

Arguably, Shakespeare's very choice of addressees (a young man - also the subject of the famously romantic #18: "Shall I compare thee to a summer's day;" the first of several sonnets promising his immortalization in poetry - as well as the "Dark Lady," in turn introduced under the notion "black is beautiful" in #127) itself suggests a break with tradition; and compared to his contemporaries' poetry, even the equally-famous #116's on its face rather conventional praise of love's constancy ("Let me not to the marriage of true minds admit impediments"), echoed in the poet's vow to vanquish time in #123, sounds fairly restrained. But ultimately, Shakespeare's sonnets - like his entire work - simply defy categorization. They are, as rival Ben Jonson acknowledged, written "for all time," just as the Bard himself immodestly claimed:

'Gainst death and all oblivious enmity
Shall you pace forth; your praise shall still find room
Even in the eyes of all posterity
That wear this world out to the ending doom.
(Sonnet 55.)

Also recommended:
The Oxford Shakespeare: The Complete Works 2nd Edition
Shakespeare: For All Time (Oxford Shakespeare)
Much Ado About Nothing
Love's Labour's Lost
William Shakespeare's Hamlet (Two-Disc Special Edition)
BBC Shakespeare Comedies DVD Giftbox
BBC Shakespeare Tragedies DVD Giftbox
Olivier's Shakespeare - Criterion Collection (Hamlet / Henry V / Richard III)
William Shakespeare's The Merchant of Venice
Richard III

This is an amazing book - excellent for the student of Shakespeare. Wonderful reference and resource book to keep on hand. More information than any other collection of sonnets I've seen.

I once had a philosophy professor who memorized a new sonnet every day, perhaps because he felt there is so much to learn from each one. Unpacking a sonnet, really making it your own, is a beautiful and intensely laborious process.

Booth helps. This edition gives the sonnets in a clean, contemporary, sensibly edited typeface, and on the facing page a facsimile of the 1609 edition of the sonnets, so you never have to choose between readability and historical rececption. You get both. Plus, Booth gives precise supporting material for each poem, crystallizing a few hundred years of thought and meditation into an easily referenced appendix. Best part: it's cheap and there are tons of used copies around.

Good stuff!

Who is to judge Shakespeare? Here all I can question is the medium. I purchased this book expecting normal sized print as it is a dimensionally larger than average sized paperback. Ironically however, the print in this edition is rather smallish, compressed, and often smudged throughout the book.

If want want a scholarly text this is a good one. However, if you wear reading glasses and simply want to read Shakespeare's Sonnets in a relaxed way without squinting, you may want to look elsewhere.

In my own opinion, Elizabeth Barrett Browning at her best and most seductive; lie there reading them in bed and let them ravish you! To read them, so intimately sweet as they seem, is almost to feel EBB herself there, her small form snuggling happily in your arms. Of course nobody would have known better than EBB herself what dulcet love songs these sonnets were, since she had never intended them for publication. They were secret, often quite confessional, love poems she wrote about her Robert while he was courting her, all unawares, and then for awhile after their marriage, in which they continued carrying on as two of recorded history's most passionate lovebirds.

It was only after Robert Browning somehow discovered and read them that he managed to convince EBB that they were really too good not to be published. He was right, of course. Even so, Elizabeth was sensitive enough about the matter to want to screen the work off under a somewhat misdirecting title. SONNETS FROM THE PORTUGESE might hope to create a casual impression that they were foreign translations of some mysterious sort ... which, of course, obviously they aren't, but who's philologically analysing; read and enjoy!

In fact, the name settled on was a mere lover's in-joke. Because of her somewhat exotic looks and olive-colored skin, Browning's pet name for EBB, other than the baby-talk "Ba," was "my Portugese;" hence the title. The collection was tremendously successful and deservedly so, and this edition of it, gorgeously illustrated, is very nice indeed.

Elizabeth Barrett Browning wrote these sonnets for her husband and fellow poet Robert Browning. She is capable to move and haunt without saccharine kitsch & schmalz. Her sincerity and intensity are an example to everyone who wants to write poetry or song lyrics. Two thumbs up!

This book of sonnets and poems is just wonderful. Elizabeth Barrett Browning's writing is able to get to the very heart of the reader with honesty and beauty. This collection really speaks to the romantic soul with passion and truth. I find her writings to be incredibly moving and this volume touched me deeply.

These sonnets ease my tension when I read them.

My ex girlfriend, Ashleigh, gave this to me years ago, before she was forced by her family to marry this guy. Long story but she sent this book to me and signed the inside.
Next to Shakespeare, this is the most bittersweet and poetic
poems of love that I have ever read.
It was said that a husband and wife team wrote these so one can only imagine how passionate their marriage was, huh?