Irish Books

I read this book the first time when I checked it out of the public library. I loved it so much that I had to have my own copy. It is a fascinating account of how the nouvo riche in the U.S. basically bought acceptance to high society for their daughters. You can just pick it up and read sections - it's not necessary to start at the beginning and work through. Not a summer goes by that I don't pick it up!

Every time I read this book it becomes more and more interesting. Meticulously researched, with great little anecdotes and etiquette tips.
This book is a lot of fun! I especially liked the many photographs of the designer gowns (most by Worth, if you please!) that are liberally scattered throughout.
If you're ananglophile you'll want to get this one!

Those few of us who have wondered why in the world a comfortable, cosseted American girl would want to marry an Englishman and live in a cold climate in an even colder stone castle will find answers here, even if the answers aren't satisfactory to the modern ear.

Think of it: wealthy American society girls, products of generations of men and women who gave lives and fortunes to escape a Royalist society, thought it a worthy investment of their lives, loves and wealth to buy an English title in the form of a husband. It's understandable that men who have no money and are saddled with huge estates and titles with no way to support themselves "in the manner to which they have become accustomed" would search out these women. It's another matter to understand the women, especially if they were bright and energetic (like the fabled Jenny Jerome).

Of course the first women to get involved in this weird method of social climbing didn't realize what was involved. (Though why American society decided that an English title was important in the United States, especially if it could be bought with money, still escapes me.) The problems included loveless husbands who paid little attention to their wives and carried on affairs; cold and drafty castles into which Papa sank tons of money to no avail as far as comfort was concerned; families who refused to accept them in spite (or because) of the fact that they provided the money to keep the lifestyle intact; servants who often were sulky and rebellious ("but we've ALWAYS done it that way"); children they handed over to nannies. The first brides must have kept the hardships and loneliness from the succeeding generation, for the rage for English titles prevailed from the mid-19th century almost through the mid-20th century.

TO MARRY AN ENGLISH LORD is a fascinating and complete look at these women and the lives they led. Illustrations showing the homes and households of the times and how they operated, fashions, maps, photographs of the women and their friends, families and husbands all combine to present the core of that particular section of society in that particular age.

The book is meticulously researched and includes a bibliography, a register of American heiresses, a suggested walking tour of the women's London and a very handy index. It's built around the stories of these women and the men who wooed and won them. Who they were, what they did and what the consequences were -- all adds up to an intriguing and fascinating read.

As the other reviewers have noted, this is a great romp through a part of American history you don't learn about in school. I read it through once and then re-read it just to savor all the little bits and pieces the authors have so generously loaded it with. If you ever wondered about all those Vanderbilts and all those Whitneys, here is your chance (from an American point of view!)to find out just how and why these ladies ended up in the postions they did- all for the love of Edward VII. I wish there were more reader-friendly books like this that make history so entertaining.

Who says that history is boring and stuffy? This well-researched book is chock full of anecdotes, pictures, and facts to make the period and the subject come to life.

This book discusses the phenomenon of the "dollar princesses": American hieresses who married into titles abroad, particularly England. Amongst them were Winston Churchill's mother; a woman who was the second-highest ranking woman in the British empire (after only the queen); and maybe the most famous of all: Consuelo Vanderbuilt, who begrudgingly became the Duchess of Marlborough in a marriage aranged by her social-climbing mother.

Written informally, with lots of pictures, this might be a great book to buy a teenager who is just transitioning into "grown-up" non-fiction, but finds most of it dry and uninteresting. It is also a must-read for anyone who plans on traveling to country-houses in England, as it gives a more accurate view of what it was like to actually have to live in one of those monstrosities! Anyone who is interested in the history of class in America, or of the British Aristocracy, would also be interested.

I must say this book was extremely well written and was an uncomplicated read. The reader feels the emotions of the characters. I felt sadness at all the difficult situations presented to Kate and relief when she was blessed with good fortune and luck. I hated to finish the book. I learned a lot about the early settlers in Australia and the harsh elements endured during and after the cruel ocean crossings. I always enjoy learning history with a fictional cast of characters. I look forward to reading the sequel.

This book was very good. I enjoyed reading it very much. Kate is only 15 years old when she is sentenced and convicted because her employers son raped her. So she is sent to Botany Bay. Which almost assurdly means death. The long journey on the ship is horrible. It takes almost a year many die on there way there. Once getting there she finds herself the mistress of Jeremy Kendrick and when he drinks he beats her. Kate does make good friends but her many years are filled sad and dark days. Does she ever find true love and a good life for herself? This book was well written and I found myself liking this brave young woman Kate and wanting only the best for her. I would recommend it."

I couldn't put this book down, and finished it in less than 2 days. Sanchona has a captivating writing style that pulls you in as the characters grow and develop. There are plenty of reviews that sum up the story for you, so I will suffice it to say that I eagerly await the next book in this series. And the next... and the next.

I met Sanchona on MySpace and read a bit about "A Family of Strangers" there. After I checked out the reviews on Amazon and found that a number of people had enjoyed the book, I decided to purchase a copy. I wasn't disappointed.

Kate's story is the story of Australia. It brought to life all the things I'd learned in history about how Australia was populated by convicts. Kate's story allowed Sanchona to make real the way people lived, worked, and spoke, the hardships they encountered, and their hopes, fears, and heartbreaks. The action moved along so nicely, that I kept thinking that someone should base a movie on 'A Family of Strangers". So if you're a movie-maker, pay attention!

I highly recommend this book. :)

I found Sanchona's first book "A Family Of Strangers" to be an engrossing and enthralling read...I found myself caring deeply about the characters and their travails to the point that I wondered still about those characters who left the story. Kate is but a teenager when she is falsely accused by a British Nobleman who has her shipped off to a penal colony in Austrailia...how she wends her way and carves a life for herself and those for whom she cares proved to be a story that left me hoping that Sanchona will quickly supply us with another fine tale and another, and another....

A dear friend of mine had this book and I was intrigued. Although he had an edition that was dated back in the 50's, it was very worn out with its brown loose pages. Depsite that, I read some of the greatest poems that you can imagine and some familiar ones that I knew but not in its entirety. They were some of the most beautiful words written on paper. I decided to get my own copy and got a new edition for my friend and was thrilled with emotion. I knew I gave my friend a renewed treasure that he can now read without worrying about the pages falling out of its binding. I truly recommend this book of poems to anyone who really wants to feel well written words in verses that are truly beautiful and memorable. Get this book!

As with all anthologies, there will be a number of reviewers sniffing in an offended manner at the dearth (or glut) of Cummings, Yeats, Aiken, or Pope, but any 600 page anthology, by it's very nature, must be incomplete. I purchased this compilation three years ago for long flights and such and it has yet to disappoint. For the size and price of this work, one would be hard-pressed to do better.

As for content, all the major poets are more or less liberally represented. Cummings gets short shrift, and several of Yeats' most memorable pieces "An Irish Airman Forsees His Death", for one) are excluded. Yet I am certain novice and old hand alike will find this work passes the time admirably.

Having been with me through several housheold moves, military action, and cramped backpacks no self-respecting piece of literature should have to endure, my copy is now fairly falling apart. Yet when it expires, I will buy another copy. No other anthology, especially in terms of price, convenience, and memories, could ever compare.

As other readers have said this anthology contains selections from the great poets of the English language from Beowulf to the middle of the twentieth century. It is the kind of book which can be read and reread for years upon years. I would however take exception to the claim that it is the best anthology of its kind. It does not have explanatory material provides no introduction to the poets, no interpretation of their work. There are other anthologies ( Among them ' The Concise Treasury of Great Poems' by Louis Untermeyer) which do so. Nonetheless the bottom line is that this Anthology contains very much of the greatest poetry in the English language.

I too love this anthology. A passionate love of poetry has been part of my upbringing. Let me say that both my mother, Gene Derwood, and Oscar Williams, my biological father, contributed to the selection of the greatest of the great poetry of the English language. Thus we have the contribution of a husband and wife team. Reviewers have mentioned updating this volume, but what has happened is that modern poetry writing no longer follows a firm tradition. Modern poetry is a shotgun blast. There are no recognizable standards for universal selection. Plath is recognized because you cannot divorce her from her suicide. Ginsberg you cannot divorce from his beard and little clanging bells, a media invention. Bob Dylan you cannot divorce from his being a song writer and media invention. If you are not a media invention and only a poet, what chance do you have? So Immortal Poems represents classic taste before media took over the American mind. The media is immortal these days, not poetry. Selecting from contemporary poets not using traditional standards would be difficult to do. I would still love to do it. For those interested in Oscar Williams there is information now available on the web. Just search it with oscarwilliams and see what their world was like in the twentieth century.

I have several books of poetry at home, but this one is my favorite. It is a good collection of poetry from the time of Middle English to almost to the present. There are a few modern poets I would like to see included that haven't been yet. Maybe someday someone will update this wonderful volume.

It starts with Middle English poet extraordinaire Geoffrey Chaucer, with excerpts from the Canterbury Tales and other writing. I would like to have seen Beowulf and some Old English poetry included. There are excerpts from anonymous poets of Middle English leading into the "Shakespearean" times where English is becoming more modern.

Shakespeare of course is well represented, with passages from plays as well as poems and sonnets. This is true for some others like Marlowe, too.

By the time after the Elizabethean period, English poets were not confined to England. There are Celtic poets like Robert Burns of Scotland, Dylan Thomas of Wales, and several Irish poets and American poets well represented in the later part of the book.

The poets are arranged chronologically in the book, but there is are indexs of titles and poets alphabetically at the end of the book for cross referencing. This book has over 600 pages, but it is still a small paperback and will fit in a coat pocket, which is where my copy often lives, dog eared and highlighted all over the place!

I had heard of most of the poets in this collection before I got the volume, but there are some I hadn't heard of and am glad to know. This is an excellent beginning collection, easy to carry and easy to read. Being a mass market paperback, the printing is not the best, but the poetry certainly is.

The very first romance novel I ever read was Kathleen Woodiweiss's The Wolf and the Dove. If you all remember the 1st romance you ever read, the one that hooked you to the genre, then you remember the feeling the story and the characters gave you. You never wanted the book to end, you thought of the characters long after you had finished the book. Not since the Wolf and the Dove have I had that wonderful feeling of discovery -- not until The Irish Princess. This is the book that will make you fall in love with the historical romance genre all over again!

This romance was actually romantic. I have read quite a few supposed romances and they are mostly just lust. This book took you through Gaelan and Siobhan's relationship properly. You didn't feel as though their love just came from sex. They actually shared their feelings and communicated very well. That is pretty rare in most romances. The only thing I didn't like about their relationship was that they were kissing within the first few pages of the book. Pretty annoying and not very believable. The book was a little too long. A little editing was needed to shorten the length of the book.

This book was very average - not horrible, not great. Good parts: the hero has an intelligent, somewhat gentle side. Although Gaelen IS an alpha hero, he cares for the heroine and her people and treats them fairly. Also, the language is pretty true to time period, with not too many anachronisms.

Now for the bad: The "Big Secret" that Rhiannon had - it seemed senseless when it was finally revealed. Why didn't she just tell what she knew earlier on? Also, Rhiannon is a rather flat, cardboard character. We don't really get to know or care about her. In addition, some incidents don't ring true - Connal hates Gaelen, goes out of his way to show it, then does a complete about face and happily accepts Gaelen and asks him to be his father. However, the worst thing by far was the editing, or lack of it. It got to the point of almost insulting - for example, toward the beginning of the book a character named "Shamus" is mentioned. The correct Irish spelling of that name would be "Seamus", which makes it feel like the author or editor is dumbing down the writing. Yet, at the same time they give the same "dumb" readers a heroine with a name like "Siobban"??? What gives? But what really takes away from the book are all of the grammatical errors and typos. Several times a character's stomach is "rolling" instead of "roiling", but then later the correct word is used. The hero's horse is referred to as his "stead" then in the same paragraph correctly as "steed". Where are the editors and proofreaders? What are you getting paid for? Nothing ruins a book more than this kind of sloppy editing - authors, take note!

Can you give more than 5 stars? I felt Gaelan's pain for a sense of belonging and joy when Siobhan accepted him. The depth of character development in the major storyline and the substorylines are insightful. The complicated history of Ireland and England politically is well represented by the emotional relationship of Gaelan and Siobhan. Ms. Fetzer always taps new levels of emotions in each book I have read. Her research and love for the characters blends into moving, beautifully crafted stories. I look forward to each new book and find treasures in her previously published books.

This is great book! All the characters (besides the hero/heroine)all are wonderful in their own right. Amy did an excellent job telling this story , it was great to get a feel of Siobhan and Gaelen's love. I bought this book at a signing Amy was doing and she talked me into it. It definitely was worth it. Thanks for the autograph Amy and I look forward to the sequels!

This is not to say a thing against either of the two TV two versions of this play, which I saw and loved, but to say that when I first heard the play it was on a recording with the voices of John Gielgud, Penelope Browne, and Richard Burton.

I thought I had never heard words spoken by human voices that was so alluring they were close to opera. Hearing them was like getting drunk on words. I can't find that audio tape now that I used to copy the library recording, and I wonder if there is any way of tracing that performance and getting another copy? I remember Gielgud's way of expressing tedium of the party that was to mark the last night of his life and Jennet's. "Tedi-UM, Tedi-UM, Tedi-Um, on a falling scale, or naming the party "ice bath of pleasure." Yet he was in love and bordering on desperate when he told Jennet that when she had rejected him after a brief pause: "I'll chalk that hesitation all over the walls of Hell."
And about the future, which they didn't think they had: "I can give you generations of roses, here, in this wrinkled belly," He murmured, putting a rose hip in her palm. Wonderful, indeed.

Centering around the notion that two antithetical people are nonetheless in the same kind of predicament makes an interesting subject for a story, comedy, or otherwise. What makes this play such an entertaining read, play, and piece of literature, is also what keeps it from being an enduring classic. Language can be a beautiful but it can also be ruined by needless toying and that's exactly what the lead character, Thomas, does for large portions of this play. The two leads are so conceited about their lives and goals and proving things to others. I guess that's the reason the play is both laughable and exhausting. The characters in the play concede to truths and judgment not by reason, they can just ignore it no longer. Everyone in this play, with the exception of Richard, is unsensible and their actions are unpredictable in tradional terms, but the one thing you can count on is that they won't do what someone else wants them to do, they will always do the opposite unless it's already what they set out to do. This is classic comic folly, however, it doesn't come out that way because of Fry's language taking center stage.

As a previous reviewer put it "not everyone will enjoy reading "the lady's not for burning" I'll take it a step further and say that not everyone will find it essential, because I don't. Although I enjoy it and am thankful I read it, I think it's a disposable play, that depends on virtuosic acting and an uncanny knowledge of the English language.

I had the pleasure of seeing John Gielgud and Pamela Brown in "The Lady's Not For Burning" when I was teen-ager. It has been a pleasure to relive the joys of this delightful play once again.

It's 14th Century England and Thomas Mendip is tired of the world. He just wants someone to hang him so he can leave this life for good. He keeps telling people that he's the devil himself and the only way to send him back to Hell is to kill him. But the village leaders have bigger problems to worry about. The daughter of a local deceased alchemist, Jennet Jourdemayne, is certifiably insane and the townfolk think she might be a resident witch. It doesn't help that on the day that Thomas begs to be hanged, the beautiful Alizon Elliot is arriving to greet the son of the mayor to whom she is engaged. Thomas and Jennet are forgotten while the preparations for Alizon's arrival take place and that night during a ball for Alizon, Thomas and Jennet meet. The fates collide and they fall in love. But Jennet's supposed to be hung. What is a devil to do?

THE LADY'S NOT FOR BURNING is hilarious, but the comedy takes a backseat to the witty wordplay. The characters are secondary performers and the real star of the show is the language. One would probably assume that THE LADY'S NOT FOR BURNING was a product of the English Renaissance, perhaps even a missing play written by Shakespeare himself. But it's just good ole Christopher Fry's twentieth-century version of a Shakespearean-type comedy written in grand form.

Not everyone will enjoy reading THE LADY'S NOT FOR BURNING as the delightful language might be too much for some to understand. However, if you like Shakespearean comedy or just have a love for the English language, then THE LADY'S NOT FOR BURNING might be something worth your reading.

Charles Williams once yelled something to Christopher Fry from the top of a London bus. I forget what he yelled but I'm surprised they couldn't communicate psychically, for Williams and Fry were soulmates in more ways than one. Critics find both obscure and obtuse, overly given to purple prose and awkward phrasing. Readers who want to be banged over the head don't like either author, but those who enjoy sublety and coaxing a text to give up its secrets often enjoy their whimsical wordplay, even if they find their works overly freighted with ideas.

Both writers are given to many-layered interpretations. One writer found in Fry's play A Phoenix Too Frequent an almost allegory of St. Paul's contrast between the "law" and "grace" in the book of Romans (in a full allegory everything corresponds to something else, which is not the case here). Charles Williams' plays are works in progress that are worked out dramatically on the stage. His most famous novel, Descent into Hell, develops the story around the attempt to put on a play.

Charles Williams would find nothing odd in these resonances between himself and Fry, both members of what he called the confraternity of poets, or between author and reader, whom he would say were linked in the web of souls. This language yearns to be spoken, almost as an incantation, and this potential energy longs to turn to kinetic action on the stage. Our age, given unto despair, finds both writers alternately too somber and too flippant. But for readers who, like Fry and Williams, find themselves out of step with modern (or post-modern) sensibilities, these plays may be just the thing. Maybe that's what Charles Williams was shouting from the London bus.

This comprehensive work consists of bits of information derived from everything that ever had anything to do with Tolkien, his manuscripts, letters, and works, and it is astounding. Every annotation is explained in depth and with accuracy.

I just got the book but am thoroughly impressed with this work. Each book is broken down pretty much by paragraph and the relevant information and background, and history is given. I look forward to exploring more with this book, and would definitely recommend this to any fan of LOTR.

I will not belabored this point, I have read all the previous reviews and I can say with total certainty that they are pretty much on the mark. This book will definitely give you a greater understanding of Lord of the Rings and the author's intentions. I would have to say that its just about mandatory supplemental reading material in truly understanding Tolkien's work. It will amazed any reader how much, how far and from within, Tolkien gathered his materials to write his masterpiece. It will also surprised any reader how Lord of the Rings had been altered bit here and bit there over the various publications. So please read many of the reviews written before me, some of them are quite insightful and informative. Then if you are truly interested in Lord of the Rings as a literature, buy this book.
(This book probably could be read side by side while reading Lord of the Rings but reading the book as a whole could be bit difficult. After all, there are hundreds upon hundreds of pages, nit-picking and explaining Tolkien's words, phases and all that. Nice place might be your bathroom if you take my meaning.)

As the authors point out in their own introduction, publishing an annotated edition of The Lord of the Rings, complete with the text, was a practical impossibility. Thus was this "Reader's Companion" brought into being. Perhaps not so intuitive and casual to use (as is, say, Douglas Anderson's "Annotated Hobbit") with a separate copy of LOTR, but at nearly 1200 pages, and with this Companion running over 900 pages, you can easily see why Hammond and Scull and their publishers chose to go this route. As a single volume such a thing might be used to stun a Warg!

As a guide, index, and explicatory text, LOTR: A Reader's Companion excels and exceeds expectations. It is very nearly exhaustive, without being exhausting (as such a book might easily have been). Rigorous and of real use to the serious scholar and academic, but readiy accessible and fun to read for the general Tolkien reader who takes pleasure in going deeper into the story, the backstory, and the life of Tolkien and his greatest tale.

LOTR: A Reader's Companion is as well a clear and well organized accesory volume. Much easier to use than most supplemental guides, it is keyed chapter-by-chapter, and page-by-page to the main text (I have 7 editions of LOTR, paper and hardcover, single-volume and sets, and finding the passage referred to in this Reader's Companion is quick and easy in most cases, as is finding appropriate entries in the RC while reading LOTR and coming across an item you want to know more about). I strongly recommend this book to any reader who has or will read LOTR more than once. It is addictive and fun to read all by itself, and deeply informing when read side-by-side with its source.

The book itself is a sturdy, handsome, well put together piece of publishing. A nicely utilitarian, simple, but still elegant cloth binding, with bright foil stamped spine, and a jacket with a plasticized lining, which will make it stand many more hours and years of handing and reading than most paper backed jackets. The paper is excellent stock, of moderate weight in a very pale cream tone. The print is crisp, dark, and thoroughly consistent throughout (which is becoming something rare even in quality hardcovers recently), and the type is a pleasing traditional serif face of good size, and easy to read. Not certainly a self-consciously "fine" or "collector's" edition, but as definately a book that will last and put up with use, and nonetheless has been designed with care and concern for the craft of book-making.

I own it, and I recommend this "Companion" to all interested readers and their libraries, small and large. With Foster's "Complete Guide to Middle-earth" and Christopher Tolkien's "History of Middle-earth", Wayne Hammond and Christina Scull shall have an equal position (to say: even somewhat superior as regards LOTR in particular, where the other two authors' work is more widely focused on the entire legendarium and body of JRRT's work). My only cavil, and I think it slight, is the absence of photos, drawings, publishing ephemera, and other graphicals, which were so prominent and vital in Anderson's "Annotated Hobbit". But: Buy it! Read it! You'll delight in it! It will enlarge your understanding and pleasure each time you read LOTR, whole or part.

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"...has left the path of wisdom." -- Gandalf

If you'd like to ruin Tolkien's beautiful and exciting story for yourself, I can't think of a better way than this excessive scholarship.

Lest "ruin" seem an extreme term, it means, in this context: remove the LotR from the realm of great story-telling, and enter it needlessly into the superfluous arena of pedantic academia.

I admit that I only got through a few pages before disposing of it, and that I fail utterly to understand what's meant to be gained from turning a tale that's merely meant to be enjoyed (for reference to this, I highly recommend The Letters of J.R.R. Tolkien) into "study."

The only reason I'm writing a review in the first place -- I can't be bothered to add one for every volume of the baffling collection of rough drafts called the History of Middle-Earth -- is to counter, for curious minds, the other reviews that call this book "indispensable." It is not. By all means, dispense with it, and retain your sense of wonder for the story itself.

Those who would argue in favor of literary critics (and the like) accepting the LotR as worthy of "merit" because of publications like this should ask themselves: "Who cares? Do I enjoy Tolkien's stories or not? What does the approval of my tastes by others matter?" Seems a rather superficial aim to me.

I offer four stars nonetheless, because anything less strikes me as needlessly rude, in light of the sheer effort. The labor must have been massive.

But Tolkien would have been horrified.

I work a lot with Welsh Gods and I have to remind everyone, this is THE source of what we know about Welsh mythology. I am not sure if persons not interested in deciphering the stories would enjoy them, but if you want the mystery and challenge, buy this book. Too many people claim to worship Rhiannon or know all about Ceridwen, and have never read the original sources of what we know about them which drives me nuts.

I received this book the evening before departing on a trip. After settling in on the plane the woman who was seated next to me asked, "What are you reading?" I showed her and was greeted with an immediate "Oooooh.... ugghh." I must admit that I understood her reaction. Although I have steadfastly slogged my way through them, many translations of ancient works have left me wishing for the touch of a modern bard. This one, however, did not (or perhaps it had, indeed, benefitted from such a touch!). Ford was my companion on both the flight out and the return trip. He was informative, entertaining, insightful, and (I am told by others who would know), quite accurate. I recommend this book highly.

Patrick Ford's translation is the best that I've read. It appears to be the most accurate translation and the easiest to read and understand. Anyone who is interested in Welsh mythology or mythology in general should read this book. The tales themselves are interesting and entertaining. They give us a great glimpse into the world of the ancient Welsh people.

How does the handsomely bound new rendering by Sioned Davies, Chair in Welsh at Cardiff, compare with the standard version often used and widely praised, Harvard professor Ford's? I consulted my 1977 copy as Ford's new printing has not yet been published. Will his "30th Anniversary" U of California paperback reissued edition find itself in a dead heat with Davies? The race may prove a photo finish!

I compared their translations of a favorite passage of mine early on in the First Branch, Pwyll's tale. Arawn's just been reunited with his queen after the year's test by unwitting yet steadfast doppelganger Pwyll. She wonders, post-coitally after a long year's lapse, why it's been so long since her husband made love with her.

Here's Ford (1977 ed., p. 41) first at the starting line.

"Shame on me," she said, "if from the time we went between the sheets there was even pleasure or talk between us or even your facing me-- much less anything more than that-- for the past year!"

And he thought, "Dear Lord God, it was a unique man, with strong and unwavering friendship that I got for a companion." And then he said to his wife, "Lady," he said, "don't blame me. I swear to God," he said, "I haven't slept with you since a year from last night nor have I lain with you."

And he told her the entire adventure.

"I confess to God," she said, "as far as fighting temptations of the flesh and keeping true to you goes, you had a solid hold on a fellow."

"Lady," he said, "that's just what I was thinking while I was silent with you."

"That was only natural," she answered.

--You can feel the hesitant insertion of the teller's dramatic pauses implied with the "saids." These intensify rhythms of the poet's strong, confident prose. A few contractions and the well-placed dashes quicken the dialogue's pace. The language avoids the flowery exactitude and chivalric diction that marked Gwyn and Thomas Jones' 1949 Everyman edition. But, neither does Ford choose an entirely modern register. He keeps a slightly elevated style while emphasizing verve and a gently sophisticated voice for the couple.

--Compare and contrast Davies (2008 ed., p. 7). As in other pages I spot-checked, the two professors run neck and neck and overlap considerably-- a sign of how both scholars channel what Ford calls the "restraint" in this passage as well as its humor and tension.

"Shame on me," she said, "if there has been between us for the past year, from the time we were wrapped up in the bedclothes, either pleasure or conversation, or have you turned your face to me, let alone anything more than that!"

And then he thought, "Dear Lord God," he said, "I had a friend whose loyalty was steadfast and secure." And then he said to his wife, "Lady," he said, "do not blame me. Between me and God," he said, "I have neither slept nor lain down with you for the past year."

And then he told her the whole story.

"I confess to God," she said, "you struck a firm bargain for your friend to have fought off the temptations of the flesh and kept his word to you."

"Lady," he said, "those were my very thoughts while I was silent just now."

"No wonder!" she said.

--Davies in her preface emphasizes the "performative" qualities in her edition. In this passage, she appears to let the lines go longer rather than reining them in to English syntax. They drift away slightly before coming back to us. Perhaps this echo demonstrates Davies' own scholarship in the medieval Welsh interplay between orality and literacy. The author of two books on the Mabinogi, she stresses the "interactive" nature of the manuscript to be read aloud for the "acoustic dimension" embedded in the Welsh texts and through alliteration, tone, and beat, she tries to give us a feel for this tempo, albeit imperfectly conveyed perforce into our clunkier English.

--Both Davies and Ford include the four branches: Pwyll, Branwen, Manawydan, and Math. Both include Lludd & Llueyls. But, reflecting textual differences in the original manuscript anthologies, they also differ. Ford's tales attributed to Gwion Bach & Taliesin, Culhwch & Olwen, and his appendix on Cad Goddeu do not appear in Davies. She provides Peredur, The Dream of the Emperor Maxen, The Lady of the Well, Geraint, and Rhonawby's Dream.

--Both editors explain their textual choices and open with prefaces. They both add glossaries, pronunciation guides, and bibliographies. Ford situates the tales in Indo-European contexts and Davies delves into their delivery as recited stories. Ford begins each tale with a short introduction; Davies adds explanatory notes in a detailed appendix, keyed to asterisks in the body of the text. Davies keys her "Index of Personal Names" to pages in the text while Ford does not. For study and teaching, it looks like the competition may result in a dignified and spirited draw. Most serious readers doubtless will want to consult, as I have, both fine efforts side-by-side.

(This review's, fittingly, also at the Davies listing on Amazon US. May both translations flourish.)

An excellent and accessible translation of most of the stories normally included in the Mabinogion (minus the three Arthurian tales, Macsen Wledig, and Rhonabwy), plus "The Tale of Gwion Bach/The Tale of Taliesin" and the hard-to-find "Cad Goddeu". Includes introductions, a glossary of proper names, and an index.

"Silver Pennies" was my elementary school poetry book filled with whimsical and delightful imagery of fairies and natural surroundngs. Compiled in two sections, Part I for first through fourth graders and Part II for fifth and sixth graders, many of the poems can be memorized. Others are wonderful for bedtime reading by a grown-up. The poems have charm and sensitivity to the world of children's imagination and speaks of a simpler time when we stopped to hear the fairies.

When Silver Pennies by Blanche Jennings Thompson was first published by The MacMillan Company in 1926, this beautiful collection of poetry for children was bound in cloth imprinted with the silhouette of a small child reaching up to the heavens towards a cascade of silver stars. The current publisher who claims a 1976 copyright is aptly named Buccaneer Books, for they have pillaged much of the charm of this book. The library cover is the dullest imaginable! For the price of this reprint, surely they could have reproduced the cover which so captured my imagination and that of so many other children in years past. I would have given this book all the stars in the world, had they kept those stars on the cover!

Silver Pennies has made terrific bedtime and quiet-time reading for our 3yo. The poems are short enough and entertaining enough to keep a little person's attention, and ours has already found some favorites.

After all the cutesy-wootsy, sanitized, dumbed-down kids' books I've read through, this is a delight.

Although the new cover looks more like a Book Of Shadows than a book of children's poems, the actual writing still has the charm of the original. Beautiful, optimistic, sentimental...a lovely trip back to what was good in my childhood.

A dear old friend gave this book (1952 ed) to me ten years ago. I was only 22 years old then and much to busy for poetry. She died a few years later. For ten years, I didn't pay it much mind. Then I had my first child and began to search among my books for poems that would be good to read at bedtime. To my delight, I rediscovered Silver Pennies. What a find! My husband and I read from it every night and our little 2 year old loves it. It's become almost a ritual at our house. I know my son doesn't understand all words, but the poems have a beauty all their own and he must appreciate it. I've read my favorites such as The Faithless Flowers, Rain in the Night, and Water Noises so many times that they're now committed to memory. I probably know at least a dozen of the poems by heart, which has been a real delight to my son when we are traveling or camping out and don't have books to read or light to read by. I just recite them to him in the dark -- he loves it and drifts off to sleep every time. My husband and I will always treasure this little book.

Every girl remembers her first real love, whatever age she was, and this is all about Cara's first love, first time and possibly first heartbreak - Tony sounds like he'll be trouble. Cara's charm is in her wide-eyed innocence, and I hope to have the chance to find out just what is going to happen to them. The dialogue is charming and the characters are believable, with a breezy writing style, which shows genuine potential.

Aside from an awkward sentence in the very first paragraph, I found this excerpt to be utterly charming. There's not a female among us who has not done some absurd things in order to be close to the object of our affections. Standing in the freezing cold in a muddy soccer field in the hopes that the guy will notice you is a perfect example. I would have liked it if Cara would have explained in a sentence or two, why she was still a virgin at her age, since in today's world that would be considered 'quaint'. Also, why was Tony so content to give her lots of time. That said, I thought all the characters were interesting and well drawn, and the setting well described. I loved the American roommate who was disappointed in all the American stuff on TV. I've been to Dublin, but I missed that, so I'm hoping that as we get further in to the story, there is more description of the area, and more of the simple contrasts between the two cultures in matters of every day life. I would definitely read more; I suspect Tony is going to turn out to be not the Prince Charming Cara had hoped for.

This short story says exactly what girls, who aren't quite sure what they're missing and know that they want something more, are feeling. While you have an idea of what is going to happen, you know that there is more than meets the eye... which is exactly why you want to know more to see if it's true... can a woman find her soul mate by hanging out on the soccer field, or is there a little bit more that must be done to find true love??

Tony's Wee Girl begins strongly, with Cara's overpowering feelings for soccer star Tony. Ms. Eblen describes Cara's flustered state so well, I found myself feeling it, too. This story took me back through the years.

I really enjoy the way Ms. Eblen reveals Tony's flaws in a matter-of-fact way, without having Cara--who's clearly older and wiser at the time she tells the tale--second-guess herself or try to explain away her past behavior. The feel here is a hundred-percent genuine.

I'm hoping about halfway through, Cara will meet someone else--someone who'll appreciate her as Tony seems incapable of doing.

There are girls like Cara and guys like Tony all over the world, it seems, and I applaud Ms. Eblen's ability to convey this type of relationship with insight and honesty.

Real characters and smart dialog made this a brilliant story. The reader can see Cara's mistakes but so cleverly written that we understand why she herself cannot. Cara quickly becomes real to you, your friend, that you want to pull her aside and give her sage advice before it's too late. Wonderful story. I would love to see more from this author.

Anne Perry, the enormously popular writer of historical fiction, just recommended this ballad by G. K. Chesterton as one of five must read tales of historical fiction. (See the Wall Street Journal's online Opinion Page for April 21, 2007 in an article entitled "Past Tense.") Here's part of what she said:

"This is the story of the English King Alfred's desperate stand against invading Danes in 878. England is conquered, and Alfred is a fugitive when he sees a vision of the Virgin Mary that bids him call together the remnants of his people for a final battle. "The Ballad of the White Horse" is an epic poem of courage, passion and unsurpassable beauty."

If you'd like to read other tales and poems by Chesterton, you might want to get "The Ballad of the White Horse" as part of a collection of his poetry that I edited for not much more money. It's called G. K. Chesterton's Early Poetry and has "The Ballad of the White Horse," along with two other books of Chesterton poetry under one cover. That means you'll also get his best humorous poetry, "Greybeards at Play." No less a writer than George Orwell ranked Chesterton as one of the three best writers of funny poetry in twentieth century England. The poems are a riot of the ridiculous and are accompanied with equally funny sketches he did.

And although Anne Perry and I have the same last name, as far as I know we're not related. Her's is a pen name. Mine is a real name. I guess I'm not creative enough to invent a name for myself.

G. K. Chesterton's Early Poetry: Greybeards At Play, The Wild Knight And Other Poems, The Ballad Of The White Horse

Mr. Chesterton has a masterful skill with the pen; _Orthodoxy_ and _The Napoleon of Notting Hill_ are wonderful books--but _The Ballad of the White Horse_ is heartbreaking in its power, beauty, and nobility. With a stunning use of alliteration, rhythm, and imagery, Mr. Chesterton teaches the reader about true hearts, true faith, and true sacrifice. I have bought a few copies of this book to give as gifts to friends, and I eagerly recommend it to anyone who will listen. This book is a must-have for any individual interested in expanding their knowledge of great poetry!

Out of the thousand or so books I have read in my life, if I were to put the Bible aside (since the Bible speaks with a special authority to believers and cannot really be compared to other books), I have read no more than five or six books that I would call truly great. That means there are only five or six books I would rate at five stars. This is one. Yes, it is that good.

I have never read any author who could make the English language sing the way Chesterton does in this poem -- for over a hundred pages. In contrast to contemporary "poets" whose "poems" consist of a bunch of strange words scattered apparently at random on a page, whose meaning, if there is one, is far beyond obscurity, Chesterton had apparently unlimited ability to create rhyme and alliteration, and then he bound it all tightly in the sing-song ballad style that carries it all swiftly along. The words of this poem are glorious to hear, and really, this book should be read aloud, so that one might hear the music of the words.

And few have ever been able to match the way Chesterton paints pictures with words. I will quote one passage, and hope it is not to long, to illustrate this. The scene here is Alfred's army making one final charge against the Danish camp:

Then bursting all and blasting
Came Christendom like death,
Kicked of such catapults of will,
The staves shiver, the barrels spill,
The waggons waver and crash and kill
The waggoners beneath.

Barriers go backward, banners rend,
Great shields groan like a gong,
Horses like horns of nightmare
Neigh horribly and long.

Horses ramp and rock and boil
And break their golden reins,
And slide on carnage clamorously,
Down where the bitter blood doth lie,
Where Ogier went on foot to die
In the old way of the Danes.

It would be hard to imagine anyone anyone describing such a violent scene in so few words any better than Chesterton does in that passage. And this passage is but one of dozens of glorious word-pictures that Chesterton's poetry paints in this book.

Beyond its magnificent use of the English language, this book also contains much philosophical insight -- insight that, although first published in 1911, is directly and clearly applicable today. Chesterton expresses very clearly the way that Christianity has formed the heart of Western culture over the ages, and the way that Christian faith -- which seems all about self-denial and thus sadness -- leads to unconquerable joy.

The book, of course, is not perfect; no work of literature can be. There are places where it gets a bit too preachy for my taste. But the book's flaws are few and minor, while its good points are many and glorious.

How good is this book? I have read it at least 50 times in my life, and I still enjoy reading it. In my opinion it is one of the truly greatest works written in the English language. It is one of the few books I have read that truly deserves five stars.

I had read some of Chesterton's fictional books, most of which contain poems which he has written, and I very much enjoyed his poems, so I decided to get a book of his poetry. This too I really enjoyed, so I decided to get another book of his poetry, this time it was The Ballad of the White Horse, and this book simply blew away all of the rest of Chesterton's poems. In fact, it simply blows away most poems by anyone. I have read Dante's Divine Comedy, Milton' Paradise Lost, Eliot's Wasteland, Chaucer's Canturbury Tales, etc., but I can honestly say that I enjoyed this epic far more than any of them. I am not saying that it is a better written poem or that it should be ranked above these classics, but I am saying that it is much more exciting to read than the others. Somehow Chesterton makes his poem involving: you are drawn into it and cannot put the book down until you have finished the chapter. He wrote it in such a way that the verses beg to be read quickly, and as I read I found myself reading faster and faster, until I was stumbling over the words and had to slow down again. Chesterton, like no other poet whom I know of, paints a picture of glory, honor, bravery, and captures the true spirit of an idealized Medieval War. The poem resounds with the drums of doom, the cries of angels, the hordes of invading barbarians and great deeds of heroes of old. If I were to recommend owning one epic poem, this would be the one.

Overall grade: A+

A stirring epic poem with a message important for the future of western civilization...to act on hope when there is no longer any hope... The outcome is always, finally, in God's Providence. "The Ballad of the White Horse" should have great appeal for young men who can dream impossibilities because they are firmly grounded in the eternal verities. The battles scenes will fire the blood!