Irish Books

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.

This is the book, in this format, my mother read to me 50-plus years ago, and it is still as good. I recently purchased four copies. One each for two adult friends who are very ill. Both responded with uplifted spirits. One each for two young women who will be welcoming new "Young" ones soon.
Please note "Disbobedience" was set to music in the '60s by, I believe, the Chad Mitchell Trio, and James James Morrison Morrison Weatherby George Dupree is still warning his mother "not to go down to the end of town unless you go down with me ..."
"Vespers", at the very end, not only brings back memories of your own and your children's innocent childhoods, but also contains a very important message, "Oh, I quite forgot/God bless me."
And God bless you and those with whom you share this book.

One day, I found one of these poems running around in my head 40 years after I first began reading them to my boys when they were very young. As my older son took possession of that copy some time back, I had to order a new one for my 67-year old self just to get the lines absolutely right. It was worth it. My only regret is that I have no grandchildren to drum them into. Charming, literate and comforting.

This is one very good book and can be enjoyed by people from 2 to 92. I've read it to senior citizens as well as my grandchildren. The subjects are universal. The rhyme and rhythm are delightful.

My copy of this book is 51 years old and has my grandmother's autograph. Talk about a lasting gift! I love books as gifts, and this is my all-time favorite.

I had to read this for a little while before I got to a poem I really liked. The first 10 or so poems just seemed incomplete to me. "Independence" caught my eye first. In very few words it pretty much tells us adults that our kids are going to do what they want, despite all the things we say. It's followed by the wonderful poem "Nursery Chairs" where a child pretends the chairs in his house are different things. Then after "Nursery Chairs" is another strong poem, "Market Square" where we learn that there are things all around us in nature that we don't need to get from the market.

"Disobedience" is another interesting poem. It's kind of a role-reversal story about a kid whose mother disobeys his orders to stay away from the end of town, and she gets lost as the result of her disobedience.

"Spring Morning" emphasizes the beauty of nature to us, saying, "It's awful fun to be born at all." Next is "The Island" which has a wonderful closing message that screams, "God made it all - FOR US!" to me.

And there are so many other joyous poems in this quick read too. There's "Jonathan Jo," "Rice Pudding," "The Wrong House," "The Dormouse and the Doctor" (which has some terrific rhythm), a very touching "Little Bo-Peep and Little Boy Blue," "The Invaders," "If I Were King," etc., etc.

But perhaps my favorite poem in the collection is "Halfway Down" which is about nothing more than sitting on stairs. Man, if someone can take such a simple act and make it so astoundingly wondrous, then that person truly must be one of the greatest writers ever.

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!

I bought this book in Paris. It was the cheapest most interesting book in English, so I grabbed it for the flight. It's one of the best book buys I've ever had.
This stuff is genuinely spooky. There are images here
that will stick with you for a long time, and this guy puts in a lot of interesting historical details that make
the stories seem all the more plausible. Can't
recommend this book enough.

O whistle, an' I'll come to you, my lad;
O whistle, an' I'll come to you, my lad;
Tho' father and mither should baith gae mad,
O whistle, an' I'll come to you, my lad.
(Burns.)

Over the last Twenty years I've purchased many books and got rid of many (After reading them then donating them to charity shops), but this is the only one I've repurchased.
I could never get the scenarios and characters out of my head, the way M R James succinctly describes a scene or a, "terrifying agent of supernatural malice" have resided in my head as much as I would have liked them to leave.
If lots of Gore is your thing you may be disappointed by these stories, but for those of us who like a well written story told with panache and subtlety, then these are for us.
~~~~
For several years in the early 70's when the BBC made "A Ghost Story for Christmas" it was always the M R James stories that disturbed me the most. But even though I was disturbed by them I was always too fascinated to switch the TV off, and whilst the BBC interpretations were good they never quite captured the atmosphere of the written page.
Most of the "Heroes" (For want of a better word) of these stories are intellectuals from the dusty halls of some Academy or other, who are afflicted by intellectual pride or the even graver sin (In M R James stories)of curiosity! They investigate things that should be left well alone.
~~~~
My personal favourites are "The Mezzotint", and "Oh Whistle, and I'll Come to you, my Lad".
The endings of a few of these stories are not completely resolved, and it's because of that, they stay in the mind longer.
It has always amused me that some of the most creepy and ungodly stories ever written in the English language were written by this most devout Christian of men.
For maximum effect to be read late on a stormy night, and by candlelight!

I simply had to have this book. I have started on a creative writing career hoping to specialise in supernatural fiction. So who better to read than the acknowedged doyen of the genre? MR James was an absolute master of the craft. Many years ago the BBC dramatised one of his short stories every Christmas Eve and continued the practice for several years. Even as a mature adult these plays used to scare me witless! Michael Hordern's wonderful depiction of paralysis in sheer terror at the end of "Whistle and I'll come to you my lad", is indelibly engraved in my memory. But the television can only depict one man's interpretaion. Believe me, the imagination does so much more. So the stories are infinitely more enthralling. This volume contains all the greats: the nightmarish Count Magnus, Whistle.., Number 13, the haunting Mezzotint and perhaps the most chilling ghost story ever written, A Warning to the Curious. The thing about MR James was that he wrote so well and with such a sensitivity for how to make the supernatural thriller "work". Apart from the inevitably dated settings, it is entirely possible to imagine the events he relates as a plausible part of one's own daily experience! This volume contains a very useful essay (Explanatory Notes)by the author on the elements of the most effective ghost stories. The valuable insights offered therein are alone worth the price. This volume contains a representative sample of his best known work and I am compelled to recommend it in the highest terms. But a warning to "the curious": this is potent story telling. The reader who having once picked it up, will not be the same when they put it down again; if they can (heh, heh, heh,heh).

More than at any other time since the era of the gladiators, entertainment in America today seems obsessed with murder, mayhem and gore. The Chainsaw Disembowelment Scene has been used in so many movies that it's almost a cliché, and I'm so jaded with seeing cadavers that I refuse to turn-on my TV.

How different are these stories by M. R. James. There are no monsters such as in H. P. Lovecraft, and the spectres which do appear never get to perform any injury - it's always a close call.

The focus here is on suspense. Not, though, that there are any surprises. We know that the strange old tome will yield its dreadful secret; that room 13 of the inn will be infested with demons; that the druid slide-whistle will summon some ghastly phantasm.

The pleasure of reading the work of M. R. James lies in his pretty writing - the lost art of the English language in its perfected form. Reading these stories is analogous to listening to a great musician perform florid music which is always in a minor key.

M.R. James is the quintessential, literary ghost story writer. His stories begin with such dark innocence, the reader wanders along, enjoying the prose, while the atmosphere thickens with the macabre. He is very Victorian in his approach, his paragraphs are skillyfully crafted. The only trouble the novice reader will encounter is adapting to his scholarly attention to detail. His prose is magnificent but heavy. The thrill is in the patient reading of his stories. Think of reading M.R. James in terms of drinking port... you sip port, you linger with it, you appreciate its aromas, its texture. You wouldn't think of knocking back a beautiful glass of port? No...Pick this book up, indulge yourself slowly with these stories and soon enough, ghostly memories will fill your imagination. The moods he casts heightens the pleasures of both the mind and the spirit.

Very pleased! The book was in great condition and purchased for a great price! The delivery was expedient! Overall, it was definitely a worthwhile experience where the savings were beaucoup! Thanks!!!

I read this book for a graduate Humanities course. Buy this edition, it is the best with great critical essays. Joseph Conrad's Heart of Darkness, written in 1899 is a seminal work about the ills of colonialism, as well as a postmodern look at the subject of mankind. Conrad's book had a crucial influence on five important works of the twentieth century: J. G. Frazier's book The Golden Bough. Jessie L. Weston's book From Ritual to Romance, T. S. Elliott's poem the Waste Land, Joseph Campbell's Hero with a Thousand Faces, and Francis Ford Coppolla's movie Apocalypse Now, screenplay by John Milius, was based on Conrad's book. Another interesting fact is that this work was read by Orson Welle's Mercury Theater Players on the radio and was to be his first movie. After doing some work on it he abandoned the project to do Citizen Kane! I would have loved to of seen what Welles could have done with this story. Conrad's story is so riveting in part, because he himself served as a riverboat captain. High school teachers and college professors who have discussed this book in thousands of classrooms over the years tend to do so in terms of Freud, Jung, and Nietzsche; of classical myth, Victorian innocence, and original sin; of postmodernism, postcolonialism, and poststructuralism.

Just a taste of the plot reels you in! Marlow, the narrator of Heart of Darkness and Conrad's alter ego, is hired by an ivory-trading company to sail a steamboat up an unnamed river whose shape on the map resembles "an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country and its tail lost in the depths of the land" (8). His destination is a post where the company's brilliant, ambitious star agent, Mr. Kurtz, is stationed. Kurtz has collected legendary quantities of ivory, but, Marlow learns along the way, is also rumored to have sunk into unspecified savagery. Marlow's steamer survives an attack by blacks and picks up a load of ivory and the ill Kurtz; Kurtz, talking of his grandiose plans, dies on board as they travel, downstream.

Sketched with only a few bold strokes, Kurtz's image has nonetheless remained in the memories of millions of readers: the lone white agent far up the great river, with his dreams of grandeur,his great store of precious ivory, and his fiefdom carved out of the African jungle. Perhaps more than anything, we remember Marlow, on the steamboat, looking through binoculars at what he thinks are ornamental knobs atop the fence posts in front of Kurtz's house and then finding that each is "black, dried, sunken, with closed eyelids-a head that seemed to sleep at the top of that pole, and with the shrunken dry lips showing a narrow white line of the teeth" (57).

I especially became interested in Joseph Conrad's Heart of Darkness from the movie Apocalypse Now. There is a scene in the movie that shows Colonel Kurtz's nightstand in his cave. T. S. Elliott's poem the Waste Land is one of three books on the nightstand. The other two are Jessie L. Weston's book From Ritual to Romance, and J. G. Frazier's book The Golden Bough. Anyone wanting to understand the movie Apocalypse Now, especially the character of Colonel Kurtz, and what Milius and Copolla are trying to tell their audience need to read these three books as well as Conrad's Heart of Darkness!

As a graduate student reading in philosophy and history I recommend this book for anyone interested in literature, myth, history, philosophy, religion and fans of Apocalypse Now.

... I reread Heart of Darkness because my "guys" reading group included two who had not ever read it. The story stands up far, far better than I would have guessed. Conrad is really superb, and this shortish novel could well persuade new readers that "literary" stuff is worth their while. I had forgotten how subtle, how grown-up Conrad's expectations of his reader are. Truly quite marvelous.

With trepidation, I splurged on the Norton edition, even though I am pretty hostile to English-Professor post-modern posturing and nonsense. I am glad I got it, however. The wealth of historical documents help make the then-contemporary setting come real. The big surprise for me was Chinua Achebe's fine essay. While "bloody racist" is still over the top, Achebe has a case of some importance, and argues it well. It is even a comfort to find that the knee-jerk responses by assorted literature professors are indeed just as much postie poo as I had expected. (It's always a pleasure to find that one's unexamined prejudices are warranted after all.)

A particular pleasure for me was talking about the book with my daughter, who has taught it to her honors high school English class. She has developed views, and I learned really quite a lot from listening to her. Book, $11.90; my time, $free; finding out your daughter has deep insight and can teach you, PRICELESS.

In short, wonderful story and useful edition.

Daytime scents of nightmare horrors. Man and his insane ways - bushman, postman, commoner, who to blame? Unless you are familiar with the background of this stunning novel do yourself a favor and get the Norton Critical Edition. For a century Conrad's novel has drawn raves and rage. Each is left to decide where the sanity line lies, to the right or to the left. Upriver or downriver? Riveting every page of the way.

I'll be honest - "Heart of Darkness" is a great, great work of literature, but I don't love the writing style, and it is not a pleasure to read (for me at any rate).

But it is not quite as hard as its reputation, and it is every bit as important. If there is one, "Heart of Darkness" is the definitive statement on European colonialism, especially in Africa. The symbolic meaning of the story is powerful and unanswerable.

The Norton Critical Edition of any book is usually the best - (not always: with Shakespeare I generally prefer the Signet Classics, and for "Pride and Prejudice" at least the Longman Cultural Edition is the best) - and "Heart of Darkness" is no exception. Like so many other books, you haven't understood this until you've understood what has been said about it. The NCE gives the best collection of critical essays available for someone new to the book.

Let me recommend a couple of easier reads for people interested in the genre of literature about colonialism. First is Burmese Days, which is one of Orwell's better books. It is a much more literal, tangible look at the realities of colonialism, and should probably be read before "Heart of Darkness." The other is The Quiet American (Viking Critical Library), which is less critical of colonialism, but still a very good look at the motivations of various people involved. I am very critical of "The Quiet American," but it is still among the first books that anyone interested in the literature of colonialism ought to read.

The Hunting of the Snark is a whacky piece of poetical silliness by Lewis Caroll. Complete nonsense, no-one knows what a Snark is, or why Snark hunters hunt it, or why anyone would want to become a Snark hunter to start with. Anyway, the poem is definitely amusing at times with some of the humour he slips in.

The Hunting of the Snark seems to be a very, very short imitation of The Canterbury Tales. The first chapter (titled a fit) introduces all of the occupations of all the different people going on a journey. However, instead of going on a general pilgrimage and telling tales along the way, their trip is very specific to hunting.

The Baker actually attempts to tell a story, but the Bellman (who leads the group) says there's no time for storytelling. They have to catch the Snark before nightfall.

Along with the Bellman and Baker, a Banker, a Bonnet-maker, a Butcher, a Boots, a Billiard-maker, a Barrister, a Broker, and a Beaver tag along to hunt for the Snark. The Beaver is afraid of getting cut by the Butcher, so he puts on a dagger-proof coat and talks to the Banker about buying an insurance policy.

The Beaver is involved in a hilarious scene with the Butcher later, when the two attempt to compute sums. But perhaps the funniest scene of the entire book is in the Barrister's dream when the Snark declares sentence on a pig, only to find out the pig has been dead long before the trial even began.

I'd highly recommend this short poem for Carroll fans, even though it's not big enough to contain but a small portion of what's to be found in the Alice books.

I have read a great deal of nonsense in the past, but this was by far the best nonsense that I have ever read. There is no point, no meaning, no sense, and no boringness. It is a delightful poem (which is well written and very fun to read aloud) about a crew on a ship hunting a snark. The crew includes a captain who only rings a bell, a beaver, a cook who only cooks beavers (the beaver and the cook did not get along well), a man afraid that the snark would turn into a boojum and make him disappear, etc. As you can tell, this makes for an insanely silly poem. The subtitle is rather fitting, as my sides were definitely hurting from laughter when I was done. Well done Mr. Carroll.

Overall grade: A+

Nonsense poems can easily miss the mark
Yet, this masterpiece has that spark.

"How do you kill a _____?", you ask
To find the answer was the hunters' task.

"What was their fate?", you wonder
Did they ever catch their elusive plunder?

A paragon of haunting Carollian lore
Be in no doubt that you'll finish wanting more.

This poem is just great!

First, this one of the most delightful pieces of writing that ever appeared in (more or less) English. It succeeds as a sustained exercise in illogic. I am sure that only a mathematical logician like Dodgson could possibly have pulled it off - only someone with such deep understanding of reason could master unreason so completely.

Second, Martin Gardner's commentary adds depth and background to the reading. Gardner explains terms that are now obsolete, but also adds his own analysis and a rich history of the Snark phenomenon. It should be no surprise that Gardner is still best known as the long-time editor of Scientific American's column on Mathematical Games, a mathematician himself.

I can't add much to the scholarship or praise that already surrounds this incredible poem. I would like to point out, however, that most non-native English speakers are unfamiliar with this poem. Many of them have only ever seen the serious side of the English language, and have never seen English at play. I consider this short work to be the ideal introduction to the very best of English-language nonsense.

//wiredweird

This is a truly wonderful exposition of the IW breed. It is lamentable that it is now out of print and therefore so expensive to own. Even so, it is such a thorough compendium of Irish Wolfhound knowledge and lore that it is worth having.

In my opinion, this is the best book ever produced on the Irish Wolfhound. In depth information which is easily understood by the novice as well as totally absorbing for the more experienced owner. Mary McBryde has done the Irish Wolfhound proud. A must for anyone with interest in this very special breed.

Bought this book yesterday and it's worth every penny that was spend. Since I dont own a Wolfhound and wanted to know more about them before I got one, this is the perfect book. It has everything you need to know. Not just all the boring Kennel, champion part were most other books go into great detail for those who are interested in showing and breeding. Since I'm not,other things are more important like the character,the history,the feeding of puppy's and adults and all the other things that dog owners find important for everyday life. Thank you very much for writing such a great and informitive book with so many great pictures.

I paid an enormous amount of money for this book. Every breeder I spoke with acknowledged it as the premier source of information extant for Irish Wolfhounds. (One breeder said they'd never heard of it, and that raised my eye considerably.)

It was worth every last penny, but for the life of me I don't understand why it's not still in print. There isn't a single book on Irish Wolfhounds that stands up to this, and when you compare this book with others, it's similar to comparing an Irish Wolfhound to a gerbil. No comparison.

The pictures are worth a million words. It's often difficult to get an idea of how immense this beautiful and gentle dog truly is, but there are eye turning pictures in this book that make you wonder if it's a dog or a bear. Aside from its enormity, it's also a stunningly beautiful dog (although many consider it wiry and ugly - their loss), and again, the photographs and drawings capture the true essence of this most magnificent dog perfectly. If all you want is a picture book, this is the book for you. However, I wouldn't advise spending $300 on a picture book if that's all you want. Look on the web, there are great photographs of this leonine canine everywhere.

The author covers so many topics, and she does so with a sure, knowledgeable hand. She begins with what it's like to live with Wolfhounds, and that is an important chapter for anyone considering taking this dog into their home. It's not like buying a German Shepherd, or a Labrador, or even a Mastiff. This dog requires *space*, not to mention room to run. Lots of it.

There is an excellent chapter, that was my personal favorite, on the history of the Irish Wolfhound. You'll find many writings on the internet that say this or that about the Wolfhounds ancestry, but this is the authority.

From there forward the book moves from choosing a Wolfhound (companion or show dog?; what color?; first contact with the puppy) to rearing; adult care; feeding; basic training; breed standards; how the different colors are produced; showing the wolfhound; coursing; breeding; whelping a litter; caring for the litter; health care; and finally discussions on Irish Wolfhounds in the UK, Ireland, North America, and worldwide.

If you have a question about an Irish Wolfhound after reading this book, then rethink your question - you're probably asking the wrong question. It's all here, and it's as magnificent as the dog itself.

This was a great investment. I took another's advice and spent the extra money to buy this book versus a smaller, cheaper Wolfhound book. I am so glad that I did. It has a great in depth history of the breed including the efforts of those who worked so hard to keep the Wolfhounds from becoming extinct. It covers puppyhood, breeding, health care, training feeding. It has it all. I went ahead and bought it new to avoid the waiting list. Definitely worth the money!!!

This important book reveals another dimension to Tolkien that remains obscured by his monumental storytelling. Tolkien was gifted with a many-sided creativity, as most artists are, and his visual creativity casts as vivid a vision of re-enchantment as his written work.

This book is much better than I thought it would be. Mostly I was curious to see more of Tolkien's art, but the text that goes along with it is wonderful. Christopher Tolkien asked the authors to write this book to showcase his father's art, and they do a wonderful job of describing the pictures, pointing out details that I missed, and putting them in context of when and where and why Tolkien drew them. Several versions of the same pictures are shown so you can see how Tolkien worked through a problem until he found the best final product. Plus the inspirations for some of the pictures are also shown, to show that Tolkien copied others sometimes, but in the end put his own mark on it. By copied, I don't mean plagarized. He drew his eagle from a book of birds to make sure he got it right, or was inspired by other artists particular works. Highly recommended if you are a Tolkien fan. If you are just into art and not a Tolkien fan, then I don't think this will interest you.

This book is a great way to collect some of Tolkien's best works of art and to get a glimpse behind the scenes of one of the greatest literary figures of the 20th century. Highly recommended.

Lleno de ilustraciones color, y algunas en blanco y negro. Me gusta porque es lo que Tolkien imaginó para sus obras... eso es lo que lo hace más hermoso. Además demuestra que Tolkien era un alma muy sensible, amante de la naturaleza, y esto se refleja no solo en sus libros sino también en sus dibujos. Me gustaría que estos dibujos estén incluidos en sus obras, no solo los dibujos de otros artistas. Hermoso, hermoso, para todos los admiradores de Tolkien.

This book features many of Tolkien's ink, watercolor, pencil, and colored pencil works. The detailed descriptions of each drawing include history, explanations, and dates. Quite a few maps are included, as well as illustrations for The Hobbit and The Lord of the Rings. It is wonderful to see how Tolkien imagined Middle Earth and its inhabitants. The colors he used are very earthy and lovely.

My favorite drawing in this book is "End of the World" done in pencil and colored pencil on a sheet of notebook paper - you can actually see the lines of the paper. It is so simple; yet, the story it tells includes subtle intricacies and complexities similar to those in his writings. I also love the pencil and colored pencil drawing, "The Tree of Amalion," which obviously blooms with the flowers of Tolkien's imagination since they do not resemble traditional flowers. Finally, the hand drawn Christmas cards are beautiful mini-stories with dancing bears and penguins, and Father Christmas making deliveries.

This book is truly exquisite, full of details and surprises for those of us who didn't know Tolkien was an extremely talented artist. It is a worthwhile purchase in my opinion.

J.H. Sweet, author of The Fairy Chronicles

I'm beginning to realize that George Gissing is an author who is relatively unknown by the general public but who is frequently studied/referenced by academics. The main reason why I think this is true (and this relates to the book at hand) is that Gissing himself had more of an academic temperament than a writing temperament. He was very adept at analyzing the world around him and commenting on it to a point of depressing realism, but he wasn't a storyteller. In fact, he struggled with creating enough storylines in order to support himself. Thus, while his books give impressive looks at Victorian life, they don't always leave a reader fully satisfied.

Why do I say this so confidently? Well, as Gissing was particularly self-aware and as he was particularly oppressed when writing "New Grub Street," in this novel he writes about what it's like to be a writer in London in the 1880's and 1890's. He essentially writes about his own life and those he find around him, all of whom are trying to make a living on writing.

Gissings seems to portray himself through the main character, Reardon. When the story opens, Reardon is struggling. His sophisticated wife is getting fed up with their impoverished lifestyle and with her husband's inability to write decent material. Reardon, a sensitive soul, is floundering under mounting pressure and stress. He is torn between his desire to write sophisticated, meaningful material and the public demand for "fluff." The more stressed laid on him, the less he is able to create and stick with any plausible fiction novel. He becomes more and more fererish and unable to work, and he is devastated as he loses his wife's love and respect.

Around this central character Reardon, Gissing builds a very full and weighty cast of characters. A small sampling of these characters are:
- The embittered, older column writer/reviewer, Yule, whose temperament has made so many enemies during his career that he is still laboring hard to support his small family at the end of his life.
- Yule's daugher, Marion, who is very clever but who is also very vulnerable. Her education has made her too good for many positions and marriages but her lack of money makes her a poor match for the educated class.
- Reardon's friend Milvain, who is an ambitious young man who has no problem writing exactly what the masses want. He knows his talents, he knows the market, and he knows his stuff won't last for posterity. But he is determined to live a comfortable life, make a strategic marriage and become a semi-respected man.
- Biffen, another friend of Reardon's, sympathizes most with Reardon's situation and condition. Two peas in a pod, these men spend long hours discuss meter, prose and ancient poetry.

I found myself continually amazed at Gissing's amazing ability to get into the head of many individuals in his large cast and to see how the world makes sense through each's eyes. Gissing also provides us with a wealth of information about the Victorian publishing scene. It was amazing to read that writers and publishers then were struggling with the same issues writers and publishers are struggling with today.

Additionally, Gissing gives you an unglorified look at poverty and the impoverished educated class of London at that time. While Dickens' works on the poor is idyllic and sentimental, Gissing simply relates the life he has known. There is nothing exceptional or amazing, and Gissing seems to argue that poverty takes character out of a man rather then build up a man's character.

Overall, I found this to be a fascinating piece...though perhaps a slow read. For those interested in publishing, writing, realistic portrayals of Victorian England, or other such topics, this is a fantastic work.

Poor Gissing! I suspect his miserable, self-destructive life fuelled his wonderful novels much as (we now know) Dickens's traumatic "blacking-factory" experience explains so much of the nightmare world of those gargantuan fictions. Gissing greatly admired Dickens, and like Dostoyevsky, seems to have appreciated the grim side of Dickens most. Not much humor in Gissing; but there is the same shabby poetry one used to see in Bloomsbury back in the 1960s. The same wonderful appreciation of futile, obsessive scholarly lives. Gissing is a great poet and sometimes a rather fine moralist. His pictures of London rival those of the Master (Dickens --and Dore). Don't miss him. Start with "Workers in the Dawn" and "The Nether World"--his passion more than compensates for his crudities. Remember: he was also a very accomplished classicist--more of a scholar than any other major Victorian novelist! A not insignificant fact.

George Gissing's 1891 novel, "New Grub Street," is likely one of the most depressing books I've ever read. Certainly, in its descriptions of literary life, be it in publishing, or in my own realm of graduate scholarship, the situations, truths, and lives Gissing portrays are still all too relevant. "New Grub Street" itself points to the timelessness of Gissing's portrayals - as Grub Street was synonymous, even in the eighteenth century with the disrepute of hack writing, and the ignominy of having to make a living by authorship. One of Gissing's primary laments throughout the novel is that the life of the mind is of necessity one which is socially isolating and potentially devastating to any kind of relationships, familial or otherwise. "New Grub Street" gives us a world where friendship is never far from enmity, where love is never far from the most bitter kinds of hatred.

The anti-heroes of "New Grub Street" are presented to us as the novel begins - Jasper Milvain is a young, if somewhat impoverished, but highly ambitious man, eager to be a figure of influence in literary society at whatever cost. His friend, Edwin Reardon, on the other hand, was brought up on the classics, and toils away in obscurity, determined to gain fame and reputation through meaningful, psychological, and strictly literary fiction. Family matters beset the two - Jasper has two younger sisters to look out for, and Edwin has a beautiful and intelligent wife, who has become expectant of Edwin's potential fame. Throw into the mix Miss Marian Yule, daughter of a declining author of criticism, whose own reputation was never fully realized, and who has indentured his daughter to literary servitude, and we have a pretty list of discontented and anxious people struggling in the cut-throat literary marketplace of London.

Money is of supreme importance in "New Grub Street," and it would be pointless to write a review without making note of it. As always, the literary life is one which is not remunerative for the mass of people who engage upon it, and this causes no end of strife in the novel. As Milvain points out, the paradox of making money in the literary world is that one must have a well-known reputation in order to make money from one's labours. At the same time, one must have money in order to move in circles where one's reputation may be made. This is the center of the novel's difficulties - should one or must one sacrifice principles of strictly literary fame and pander to a vulgar audience in order to simply survive? The question is one in which Reardon finds the greatest challenges to his marriage, his self-esteem, and even his very existence. For Jasper Milvain and his sisters, as well as for Alfred and Marian Yule, there is no question that the needs of subsistence outweigh most other considerations.

"New Grub Street" profoundly questions the relevance of classic literature and high culture to the great mass of people, and by proxy, to the nation itself. For England, which propagated its sense of international importance throughout the nineteenth century by encouraging the study of English literature in its colonial holdings, the matter becomes one of great significance. The careers of Miss Dora Milvain and Mr. Whelpdale, easily the novel's two most charming, endearing, and sympathetic characters, attempt to illustrate the ways in which modern literature may be profitable to both the individual who writes it and the audiences towards which they aim. They may be considered the moral centers of the novel, and redeem Gissing's work from being entirely fatalistic.

"New Grub Street" is a novel that will haunt me for quite some time. As a "man of letters" myself, I can only hope that the novel will serve as an object lesson, and one to which I may turn in hope and despair. The novel is well written, its characters and situations drawn in a very realistic and often sympathetic way. Like the ill-fated "ignobly decent" novel of Mr. Biffen's, "Mr. Bailey, Grocer," "New Grub Street" may seem less like a novel, and more like a series of rambling biographical sketches, but they are indelible and lasting sketches of literary lives as they were in the original Grub Street, still yet in Gissing's time, and as they continue to-day. Very highly recommended.

I found Jasper Milvain, the "alarmingly modern young man," to be the most interesting character in Gissing's New Grub Street for a number of reasons, the most significant of which is that he evinces what can only be considered a modernist's consciousness in his approach to writing. That is, while it soon becomes clear to the reader that Milvain represents the antithesis of what Edwin Reardon personifies-i.e., the work of literature as an emanation of author's native genius-and thus one of the intercalated plots of the novel involves the incremental success of Milvain as a modern man of letters, and the concomitant gradual abjection of Reardon. In a manner of speaking, then, Milvain and Reardon's fates emerge from a common source, namely some sea change in the reading public's (the consumer's) preferences and tendencies.

Milvain identifies as vulgar the most lucrative market for the product of the man of letter's labor. The vulgarians, or "quarter educated," drive the market (479), and since they have been determined to desire nothing more than chatty ephemera, they have successfully opened an insuperable gulf between material success in writing and artistic success. Reardon's psychologically penetrating novels just aren't in demand. Therefore, there emerges quite an interesting conceptual shift within the nascent hegemony of the quarter-educated as established by their purchasing power: what was once considered healthy artistic integrity has transmuted into a peculiar kind of petit bourgeois hubris, if, in the new paradigm, the writer is more an artisan than an artist. Therefore, Reardon's artistically-compromised and padded three-volume novel, written with no other end in mind than to pander to the vulgar reader, nonetheless achieves only modest success because, the fact that it is indistinguishable from countless other similar works glutting the market aside, his novel is infected from his irrepressible integrity, and thus his novel becomes a strange sort of counterfeit, a psychological narrative masquerading as a popular novel. Reardon thus becomes a sort of Coriolanus among writers.

Milvain, on the other hand, is a sort of Henry Ford among writers; he reveals his particular genius when offering advice to his sister Maud about how to write religious works for juveniles: "I tell you, writing is a business. Get together half-a-dozen fair specimens of the Sunday school prize; study them; discover the essential points of such a composition; hit upon new attractions; then go to work methodically, so many pages a day" (13). In other words, Jasper has managed to streamline and to mechanize the writing process. He studies previous works, abstracts formulae from them, isolates the elements of these formulae, and then deploys and rearranges these elements to give his own writing a patina of originality. By treating writing as an exercise in manipulating formulae, Jasper exchanges "authenticity" (whatever that word means anymore) for the convenience and efficiency of not having to grapple with his own potentially mutable and recalcitrant genius. Jasper did not invent writing, just as Ford did not invent the automobile. But like Ford did with automobile manufacture, Milvain discovers those aspects of writing that lend themselves to mechanical reproduction. Thus he is able to capitalize on his time and effort, and effectively becomes the very machine Reardon believes himself to be but never actually becomes because of his lingering notions of artistic integrity (352).

Also of interest is the fact that Albert Yule is a sort of synthesis of Milvain and Reardon. Like Milvain, Yule attempts to streamline his own literary production by delegating some of the labor to his daughter Marian. However, like Reardon, Yule clings to the superannuated notion of the necessary individuality of writing: "[h]is failings, obvious enough, were the results of a strong and somewhat pedantic individuality ceaselessly at conflict with unpropitious circumstances" (38). In other words, Yule fails to recognize the obsolescence of the lone, learned genius within the realm of literary production. A market of vulgarians who demand occasional literary confections simply does not expect Works of individual genius. Moreover, even if they were in demand, works of individual genius are too ponderously inefficient to keep pace with the rate at which they are consumed. Therefore, Yule straddles the either/or proposition personified by Reardon and Milvain: One may preserve his artistic integrity and write "for the ages"--hence Yule, Biffen, and Reardon's fetishization of Shakespeare, Coleridge and authors of classical antiquity--and starve in the process, or one may write "for the moment" and actually turn a respectable profit.

The shadow of Charles Darwin indeed looms large over the events and characters of New Grub Street. The growth market brought about by the advent of the "quarter-educated" vulgar class, and their discretionary income coupled with their callow aesthetic sensibilities and truncated attention spans, represents a nascent economic, if not ecological niche, for certain social creatures to occupy. However, it's not simply a matter of being able to adapt one's skills to the tastes of these consumers. One must also be a prodigious enough writer to keep pace with an equally prodigious rate of consumption. Individuals like Milvain and Whelpdale are adequately adapted to this niche in that they satisfy the demands of this niche in terms of both content and output. Reardon panders to the vulgar taste only grudgingly and after long resistance and thereby cannot meet the production demands of this niche. Biffen absolutely refuses to pander at all. Alfred Yule does attempt to pander, but his mode of literary production is too inefficient to meet production demands, and he is also largely ignorant of vulgar literary taste. While more in touch with the vulgar reader than her father, Marian Yule is as inefficient in her literary production as her father. Therefore, each of the characters named above are equally maladaptive, albeit for various reasons, and thus their extinction by the novel's end strikes the reader as somehow inevitable. Whereas Milvain and Reardon's widow Amy are left to come together as the triumphant niche occupants and thus reproduce themselves in their offspring, should they decide to produce any.

I recently read New Grub Street, and I must say I was stunned by how much I enjoyed it. Gissing's prose and characterization hold up remarkably well. He's sort of an urban Hardy, though far more accessible to today's reader. I'd recommend this to any serious reader. Oh, and this novel is ripe for adaptation. A BBC miniseries would be great.

Imagine your father is an underworld figure who tosses people from the tops of skyscrapers. He's THE ROOFER.

As if that weren't enough, your mother offed herself, your brother is dangerously unstable, and Hollywood is shooting a film about your family.

We're not done yet:

You become involved with the actor playing the role of your father. He's a Hollywood leading man who falls in love with you and wants to separate you from your brother. Which you can't allow, because you owe your brother for an unspeakable favor he performed years ago, an act of family loyalty that demands loyalty in return.

Still not enough?

Sorry. Read the book. The darkest secrets don't come out until the end.

The Roofer is a superbly-crafted slice of a brutal lifestyle, narrated with the sharpened insight and cynical humor that so often characterize children of chronically dysfunctional families. The plot is absorbing and fast-moving, the language colorful and absolutely authentic, the pace brisk and thoroughly engaging, right from page one. An aside: During a recent hurricane, several evacuated friends stayed at our home, though we had no power. One discovered The Roofer on a shelf mid-afternoon. When the sun set, he was so absorbed, he finished it by candlelight. It's funny, it's touching, it's a delightful reminder that love, hate, fear, guilt, hope and redemption are endemic to the landscape of every life, from the streets of Hell's Kitchen to the front walk of the reader's own home. Jan Myles Schwartz

I have to say that The Roofer was the first ever work of fiction that I read regarding the mafia. I was NOT disappointed. I had class in college on Organized Crime and Ms. Orloff's interpretation of the family life was superior. I have read her other works and this one now moves to the top of the list.
I was so pleased with the end and must say that if it hadn't ended the way that it did I would not have liked the book as much.
I will definetly look forward to reading her next book and I will recommend them to all of my friends.

Erica Orloff is one of my new favorite authors. I was introduced to her by Urban Legend in the SIlhouette Bombshell series and picked this up because I liked her writing. The Roofer is a dark and dangerous story of a woman and her brother and how their father a brutal man - a leader of one of the Irish gangs in Hells Kitchen in New York lived and died. This is a not often glimpse into the unglamorous lifestyle of those whose life is crime.
Ava and Tom O'Neill struggle through youth as their father is in and out of prison for his works, raised at times by his brother, and dad's gangster colleagues after the children's mother takes her own life early on as a result of a long battle with manic depression.
A journalist sets out to uncover THE ROOFER- that is the street name for their father. He throws men off roofs as a method of making a statement and ruling the are with terror. THe result is not what the journalist expects- the public is fascinated with the Irish Sopranos and a big movie is made about Ava's father. The journey through fame and fortune, the dark secrets never revealed, battles with sanity, sobriety , conscience and guilty have a distinctly Catholic flavor captured beautifully in these pages.
The Roofer would make one heck of a good movie! A nice complement to all of the glamorized Italian princess films. Ava is a dark, tortured, tormented, damaged heroine who longs for nothing. Her hope has long been taken away. Seeing her reach for a different life and moving out of darkness is just great.

"The Roofer" tells the story of Ava O'Neil, the daughter of an Irish mob hit man nicknamed "the Roofer" for his propensity for tossing his prey off of rooftops. When an author who shares a past with her family is writing a book about her father's life, she is determined to stop him at any cost. Even bedding the author does not keep the book from being published, as it quickly becomes a best-seller and a hit movie. Soon Ava finds herself dating the actor playing her father in the movie.

But her dark family history, pain-filled childhood secrets, and a shared tortured past with her brother keep her from finding true happiness and fulfillment with another person, including actor Vince, the former mid-western farm boy that can take her far away from Hell's Kitchen.

Told in flashbacks over a four day Irish wake, the story of the O'Neil family is both tragic and compelling, and hard to put down.