Ireland Books

Dr. Norton has done the English-speaking world a great service in producing this fine work of scholarship on a very esoteric subject.

I first learnt of Stefan George in relation to Arnold Schoenberg, who set many of George's poems to music: cf. especially Schoenberg's exquisite and groundbreaking song cycle The Book of the Hanging Gardens, Op. 15 from 1909--his Expressionistic and pantonal year.

As to George's poetry, I think it superior to Rilke's--and Rilke is recognized as one of the great poets of the 20th Century, in any tongue. In the original German, George explored new orthographical techinques such as the elimination of the capitalization of all nouns, excess umlauts, etc.

I wish to stress with some urgency that in my view this recently issued monograph on Germany's greatest poet, Stefan George, who was likewise one of modern Europe's most enigmatic and disturbing political presences, constitutes an achievement of incomparable significance in the historiography of cultural modernism. Experto crede: I have been occupied in studying these individuals for thirty years or more, and I can assure students that Robert Edward Norton has shed more light than admirers of Stefan George would have thought possible upon a dazzlingly talented, albeit indubitably eccentric,literary cenacle at whose center stood the masterful and charismatic visionary who was its spiritus rector.

Although George began his literary career as something of a minor Teutonic satellite on the far fringes of the French Symbolist movement (we learn, for instance, that the poet became quite close, both personally and artistically, to several of the Symbolist School's leading lights, viz., Paul Verlaine and Stephane Mallarme to mention just two of the more prominent figures) the predominant emphasis in Robert E. Norton's monograph rests upon the author's entertaining presentation of a wide range of hitherto obscure details involving the poet's later career, when his personal pretensions began to outweigh his literary career--over which George assiduously endeavored to cast a shroud of mystery and ambiguity--as well as unlocking for us a treasure trove of hitherto obscure biographical facts and anecdotes about the disciples and associates who drifted into the orbit of George-Kreis at one time or another. These anecdotes cover the waterfront, from uproarious and barely believable brawls that erupt out of the blue between alpha-intellects who are not what one would describe as pugilists, to grotesque tales of oddballs and geniuses who prefer to gussy themselves up in amazing couture in order to be wearing chic and appropriate threads when sallying out to attend the legendary and elaborate masqued balls that were almost a matter of routine in Schwabing-Muenchen. That custom, we learn, dictates that these people are more often than not attired in Roman-styled togas or, when feeling somewhat more daring, decked out in some gaudy purple-dyed gown that has been designed to garb a middle-aged intellectual who is impersonating the Magna Mater!

We learn also that these bright young things also hold somewhat outre "language orgies" in the course of which one of the oddest of the odd, viz., Alfred Schuler, launches himself into a catatonic state and then proceeds to time-travel back to ancient Rome (to visit his idol, of course, the Roman Emperor Nero!).

On the darker side of these affairs, the narrative presents more ominous anticipations and adumbrations of ominous types of cultic behaviors and ritual observances many of which would one day come to exert a profound and troubling influence on a less purely literary gathering of activists, viz., Hitler's National Socialists, whose adherents were to inherit so many elements of George's uniquely--even oppresively--authoritarian leadership style, along with the [Schuler-inspired]adoption during the fin de siecle period of the swastika as a sort of occult sigil of mystical might, one that came to adorn the title page of the Circle's official literary journal, the Blaetter fuer die Kunst.

We're also given numerous details about the poet's itinerary as he wandered from one associate's flat to another's (he was definitely what one might call a "professional house-guest"), along with fresh discoveries about the incredible group of renowned thinkers and creative writers (among whom the most talented were surely philosopher Ludwig Klages, archaeologist Alfred Schuler, poet Hugo von Hoffmansthal, and Shakespearean scholar Friedrich Gundolf), all of whom became adherents to the famous "Circles" that were so idiosyncratic a feature of cultural life in Schwabing-Munich at the dawn of the 20th century.

In closing, I repeat that I highly recommend this book to anyone who is interested in German culture, in the nascent proto-National Socialist scene in early 20th century Bavaria, or simply in the spectacle of some of the weirdest intellectuals ever to have come down the pike.

Over there they pronounce his name, "Gay-or-ga," and over there they treated him almost as a god. From American shores we find it difficult to see why Stefan George attained the eminence we once did, but Norton does his very best to penetrate two mysteries--one is the mystery of George's decline in reputation--and the other is, what made him the extraordinary character he was, and what is it about Germans that makes them need heroes and leaders so badly?

George was a talented poet, and apparently a homosexual, and early on he fell in love with the brilliant young poet Hugo von Hoffmanstahl, who drew back when confronted with the full force of George's love, and later became Richard Strauss' favorite librettist and the author of, for example, Der Rosenkavalier, a work that has lasted longer than any of George's own poetry. But, in the US, George has always been shrouded by a mist of romance and also by suspicions that he was somehow a proto-Nazi. His sympathizers say that he was resolutely anti-Fascist and anti-Nazi, but his case was not helped by his insistence on showing the swastika under the impression that its use could distinguished as separate from that of the National Socialists. Stefan George drew a cult around himself, and around the image of his boyfriend, known as "Maximin," who died early and young and thus became, for the George-kreis (or circle), an image of national and personal purity and unrealized potentiality. It is a sad story and Norton gives us a Stefan George who seems almost human, if a bit over-rated. It is hard to believe that eighty or ninety years ago people thought of him as they did Lenin. It has been a long time since a mere poet attained that kind of status in world affairs.

Robert Norton's landmark biography on Stefan George and his circle truly is an exceptional book in every respect. Expansive in its inclusion of meticulous detail, this work stands as the definitive biography on George in any language to date.

Yeats lives in the minds of most lovers of great modern poetry through lines of incredible beauty.

"And we will wander hand in hand
Through hollow lands and hilly lands,
And pluck till time and times are done,
The golden apples of the moon,
The silver apples of the sun.

"We must lie down where all the ladders start
In the foul rag- and- bone shop of the heart"

"But one man loved the pilgrim soul in you,
and loved the sorrows of your changing face"

"An aged man is but a paltry thing
a tattered soul upon a stick
unless soul claps its hand and sing..

Yeats believed in much nonsense in his life, and apparently was not the kindest of human beings but he wrote some very great poetry.

I picked up this book of poems as an introduction to Yeats and found it to be wonderful. It contains major works from all of his periods and four plays as well. Highly recommended, for poetry lovers and those with only a passing interest.

In 250 years the mass of pablum we currently pass as literature will be blown away like chaff in the wind.

One of the hard and nourishing kernals left on the threshingroom floor will certainly be Yeats.

These are poems not to be read, but learned by heart.

Among my favorites from this collection (with years of composition) are: "The Stolen Child", "To an Isle in the Water" and "Down by the Salley Gardens" (1889); "The Lake Isle of Innisfree" and "When You Are Old" (1893); "He Wishes for the Cloths of Heaven" (1899); "The Folly of Being Comforted" and "Adam's Curse" (1904); "All Things Can Tempt Me", "Brown Penny" and "To a Child Dancing in the Wind" (1910); and "The Cat and the Moon" and "Two Songs of a Fool" (1919).

During a recent fright when we were escaping our apartment down a ladder, I took two books with me, thinking that perhaps I would need something strong. Happily Yeats's SELECTED POEMS AND FOUR PLAYS was at hand, together with, well, something private. This book, edited by the late M.L. Rosenthal, is an expanded edition of a previous book by Rosenthal that had the same title except it was called, SELECTED POEMS AND TWO PLAYS. This present edition doubles the number of plays it prints in one stroke, adding the very late THE DEATH OF CUCHULAIN as well as the strange, feverish THE WORDS UPON THE WINDOW-PANE. Previously we had only the two plays PURGATORY and CALGARY. Did I say CALGARY? I meant, CALVARY, and neither of them are worth the paper they're printed on. In college my professor used to tell us that Yeats, together with his patron Lady Gregory, invented the Abbey Theater and kept it going by writing plays annually and encouraging their society friends not only to attend but to pledge money in exchange for participation in a community-based theater. However, according to Rosenthal, some of Yeats' plays were distinctly unpopular even with this sudsidized theater and neither the actors nor the audience loved them to death.

As a boy, my dad used to quote Yeats on every occasion and he (Yeats) was a patron saint to many Irishfolk. Today not so much, but as I made my way down the ladder I was glad I had the Yeats book tucked into my pants. He is the epitome of the artist who keeps changing through circumstance, open to new influence, even partial to drugs, for many credit his late flowering to the monkey glands he took in Switzerland to rejuvenate his sex life, the precursor to today's Viagra. In his youth he became a member of a secret band called the Order of the Golden Dawn, and spiritualist interests fueled his poetry and politics both. On his honeymoon he discovered that his wife, Georgie, had mediumistic leanings, and they spent many night holding seances and conversing with the spirits of the dead, all of whom, or so Yeats claimed, had arrived to dispense new metaphors for his poetry. He later wrote up these events in his book A VISION.

Rosenthal was a superb editor who went back and checked all of the original manuscripts and who could distinguish Yeats' handwriting in all its different avatars, and this helped him date the poems to within an inch of their lives. His task was made no easier by Yeats' habit of revision and by his need to provide an income for his sisters, who wound up producing elaborate private, limited printings of much of his work to sell to collectors only at absurdly inflated prices. These books are beautiful but useless, like so many of the romantic Irish flourishes the poet's late work commemorates only to condemn. It is a poetry of questions, which always appeals to young people, those who know the answers. "What's water but the generated soul?" (That one always threw me.) "How can we tell the dancer from the dance?" "Is every modern nation like the tower,/ Half dead at the top?" (Makes you think about our nation, caught up in a senseless war against Iraq.) "Those masterful images because complete/ Grew in pure mind, but out of what began?" "What voice more sweet than hers/ When, young and beautiful,/ She rode to harriers?" Riding to harriers doesn't sound so fabulous now, but we've all got something we look back on and say, everything's been changed, changed utterly.

FROM THE BACK COVER:

The Sheriff and the E-Mail Bride by Liz Ireland:
Caught for good! Does Heartbreak Ridge have a romance curse? No Way! says Sheriff Sam Weston...but he isn't taking any chances. Online, he rounds himself up a lady far from his hometown. The lonesome lawman thinks he's found himself a foolproof courting method-until Shelby, his cyberfiancee, arrives eight months pregnant. Now it looks as if the town's curse may strike again, if Shelby can't win Sam over, and soon!

Stray Hearts by Jane Sullivan:

It's a dog-eat-dog world...Kay Ramsey believed her ex-fiance deserved to pay for cheating on her, so she shaved his prizewinning cocker spaniels! Her punishment? A hundred hours of community service at a local animal shelter. Scared silly of four-legged furry animals, Key knew she wouldn't be able to stick out her sentence...until she saw veterinarian Matt Forester. One hundred hours wouldn't be nearly long enough...

I really enjoyed this book! Jane Sullivan has great skill at telling a story that makes you not want to keep reading until the last page and even then you wish that there was more (I can't wait to read her next book). There was a great mix of emotions both tears and laughs and plenty of romance too. I highly recommend this book to anybody who likes romantic comedy.

Jane Sullivan hits it big and hits it funny with STRAY HEARTS. In a fit of revenge, Kay Ramsey has a grooming service shave Up You into her cheating ex-fiance's prize purebred. The insult should have read Up Yours, but the artist ran out of dog. Her sentence to a veterinary clinic and her fear of animals keep the laughs coming and the chemistry sizzling between Kay and the resident vet. This book is a definite MUST READ. I can't wait for the next Jane Sullivan Novel.

This book contains two complete novels, and I've so far only read STRAY HEARTS by Jane Sullivan, but I had to stop and write a review. Stray Hearts is about a woman, Kay, who is terrified of animals. When she catches her fiance with another woman, she hires a dog groomer to shave naughty words into the coats of his prize cocker spaniels. She gets caught, and the law comes down hard--she has to do volunteer work in an animal shelter.

The hero is the vet who runs the shelter, and he puts poor Kay to work scooping cat boxes! He's skeptical about her, and she's terrified of the animals. I won't tell you how they work it out, but I can assure you it's funny! A great, fast read, very well written, with lots of reasons to smile and sometimes laugh out loud. Especially fun if you like animals.

I received the book, SILENCE IN THE GARDEN on time. The book is in good condition and I'm looking forward to reading it, soon. Many thanks.
From Annie Cunningham

...and therein lies only one facet of William Trevor's amazing gift. When I began this book, I thought I had stumbled upon a novel in a 'lighter' category by Trevor -- before I realized it, I was completely enmeshed in this story and its characters. Trevor's prose is incredibly crafted -- his attention to detail and his ability to develop his characters are almost without peer, but neither of these talents overshadows his story.

As in most of his marvelous writing, there are twists and turns awaiting the reader -- revelations completely unforseen and unimagined. As always, he brings the Irish character -- both individual and en masse -- to life completely and gently. Meticulous details are made known to us quietly, so that by midway through the this absorbing work, we almost feel that we are living among these people. He has the ability to allow us to know them without feeling we've been told about any of them -- more like we've gained the knowledge over time.

We see Sarah Polexfen come to the Irish island estate of Carriglas to serve as governess to the children of her relations, the Rollestons. Life there seems peaceful and detached -- but she senses there is something troubling under the surface, something of which she is not told and is unaware. Years later, when she returns to the island -- the children are grown, their father dead, the grandmother an aged matriarch -- events from the past begin to come clearer, verifying her earlier intuitions. The story is played out over a period from the early part of the 20th century, seeing the beginning of the 'troubles' in Ireland, to the early 1980s -- and the family looks much different in hindsight than when she first arrived.

There is a sweet sadness present in this story -- as in much of Trevor's writing -- but it never becomes maudlin. The events and dialogue are intelligent and, in their own way, endearing -- for we find ourselves growing to care about these characters, even the ones who are less than admirable. For in the end, they are only human, and humans have frailties and warts, and commit transgressions, no matter how admirable they may seem from a distance.

Every single work of William Trevor's fiction that I have read has been a great experience -- if you've never sipped from his cup, start here...start anywhere. His novels and short stories are equally amazing and well-written -- I cannot recommend his work as a whole highly enough.

William Trevor has crafted yet another wee gem of a tale in "The Silence in the Garden", drawing upon class differences between the Protestant aristocracy and their Catholic neighbors and the bloody violence of the Irish civil war. Most of the tale is set in the 1930's, though events span decades from the early 1900's till the beginning of the 1970's. Sarah Pollexfen arrives on the estate during World War I as a governness to her affluent Rolleston cousins. Through her diaries we read of an unspeakable tragedy and quiet lives of desperation led by the Rolleston family.

This lovely novel is sort of William Trevor's take on a Henry James ghost story. A governess arrives at an enormous estate and discovers there is more than meets the eye. As always with Trevor, the prose is luminous and the characters are complex, deft and compelling. I recommend this, just as I would anything Trevor has written. He is the greatest prose writer of our time.

It was hard to put this book down once I started it. Although the women portrayed faced a living hell all around them, the authors elicit the courage and determination each women had to continue the daily existence in the camps. And that is what is so powerful; the daily horrors which become the backdrop for extermination are also part of the reason that each was able to define for herself a path through death.

This book is novel in its approach and subject matter. Women in the Holocaust, and their triumphs, courage, and resourcefullness has been ignored before now. The stories are personal and engaging. I would put it in the top-ten must reads of Holocaust literature.

This book was a difficult endeavor, as one never wants to face the potential raw ugliness of mankind. However, the voices of these women are invaluable in helping the world to remember a time which must never be forgotten.

As a young woman (34 years old) and a mother of three (which qualifies me as a caregiver, I guess), my heart went out to these brave women, struggling to impart some small measure of kindness or at least relief of suffering to their fellow prisoners. Women and children are seemingly the most vulnerable when society engages in chaos, but the women caregivers chronicled in this book were apparently among the most intrepid of all. I believe they gathered strength from the acts of focusing on giving aid to others in the most desperate of circumstances. Anyone who is interested in what the human spirit can endure, and indeed, overcome, should read this book.

Kudos to Dr. Diane Plotkin for her thorough research into the lives of the women featured in this book. Her attention to detail helps transport us to the various camps where we experience dehumanization and deprivation. Through it all, however, it is interesting to see the various ways these women nurtured and tried to protect one another. This is a "must-read" book because it clearly illustrates the general differences in the ways men and women coped with, and adapted to, life in the concentration camps.

Aine O'Malley is the only daughter in an Irish family with four boys, and is neglected, insulted, lonely and highly imaginative. The story opens when she is 10 during a summer in their Victorian castellated house built above the rocky mainland shore. The Dunbeg castle, a crumbling old wreck built nearly 150 years earlier by her great-great-grandfather O'Malley, has its share of family ghosts and legends. Aine's cousin from America, Rupert - her father's brother's son, visits them for the summer, and she finds a rare ally in him even though he's several years older than her. While her brothers ignore her or taunt her and her parents virtually ignore her, Rupert finds time to talk and explore with her, and achieves a real rapport with Aine. They continue to correspond when he returns to Virginia.

The women in this novel are all deeply troubled and unfulfilled. Aine's mother is distant and troubled by her lack of power in her typical Irish marriage where the man rules the roost. Rupert's mother has a similar marriage, but it's further complicated by the fact that her husband is a pedophile and philanderer. Both seem trapped and helpless in their marriages, which creates negative examples of female vulnerability and dysfunctional relationships for Aine.

Aine is haunted by unexplained nightmares, shadows and visions, and is constantly criticized and ostracized by her family for her imaginings; but only Rupert seems to understand her. They don't see each other again for years, when she is 13 and he is leaving for college. An awkward and uncomfortable event causes a rift between them, and they lose communication for several years while he is away at college. They meet again when she is an adult and attending drama school in London, but he is engaged and she is angry and disappointed in him. She agrees to marry Nigel soon after meeting him in London, mainly as a negative reaction to Rupert's engagement.

Aine's intense feelings for Rupert are eventually resolved in a surprising manner, and she eventually faces her demons and ghosts and learns how to deal with them.

The themes of oppression and haunting are mirrored in the splendid, vivid descriptions of the Dunbeg castle and rocky seashore and of the humid, sultry surroundings in Virginia. The author allows us to empathize with Aine and be fully engaged with her environs. We feel we know her before the end of the novel, and want her to find healing and peace of mind in a world that so far has been hostile and insensitive.

By the time Aine turns ten in 1986, she is a loner in spite of two brothers. She enjoys and hates the summer visits to Dunberg, the haunting family castle in Ireland. However, this year, things are different as her aunt and cousin arrive from Virginia for a visit. Her cousin Rupert is four years older than Aine, but the two hit it off immediately. When Rupert rescues Aine from a nasty situation, he becomes her knight in shining armor.

Over the years, Aine recognizes how dysfunctional her family truly is. Even more so, she realizes she deeply loves her first cousin. However, he is engaged to someone else, any sensual relationship with him is taboo, and someone wants to simply destroy Aine, leaving her choices very limited. Of course, there is Nigel to consider.

THE SONG OF THE TIDE is a modern day Gothic drama that captures the essence of the genre. The story line works because the plot adheres to its roots of an atmospheric location, ancestral curses, insane people, and brooding individuals whose forbidden love divides their family even as society condemns them for it. Mary Ryan paints a powerful portrait of an angst-laden woman that will bring her a stateside audience who will want more of her works published here.

Harriet Klausner

A falling down Irish castle, a fey little girl with a host of brothers and an unfilled mother and traditionally clueless father. A rebellious aunt and American cousin come to visit and nothing will ever be the same. Aunt Isabelle warns the tiny and already dramatic ten year old Aine that "Men ... eat feelings. They have none of their own and live off other people's." As Aine approaches womanhood, ancient childhood fears haunt her, as does the prospect of life. Her unconventional and unfulfilled mother equates marriage with "mortgaging your life," and then makes a very dramatic exit. As Aine's very difficult life unfolds, the constancy and concern of cousin Rupert Bear for Tigerlily is an inspired touch, but (as in life) happily ever after is more than a bit of a fantasy. This is a pretty yet dark and multi-layered poetic tale that keeps hopefulness on the horizon, and has a lot to say about families and coming of age. The author is extremely talented, and the reader will feel pulled into this living, breathing family and the various landscapes.

Evocative and engrossing, Mary Ryan's The Song of the Tide creates a story with complex layers, emotions, and settings, describing them with skill and sympathy. The heart and soul of Ryan's heroine, Aine O'Malley, reveal a flair for the dramatic, a vivid imagination, and a keen perception or prescience that become a burden as she grows older. The lessons Aine learns about women's roles in society and the source of their satisfaction or power -- whether it is derived from domestic dominance or the ability to escape such ties -- runs in tandem with Aine's own struggle to escape her obsessions and ghosts. Aine's folly results from her belief that her power to control situations or people's opinions is derived by what she leaves unsaid, and more often her reticence or lies create further turmoil and obstacles for her.

Aine's family owns a crumbling castle called Dunbeg, where the story begins with the arrival of Aine's American-born cousin, Rupert and fraternal aunt, Isabelle. Even to 10-year-old Aine's perception, it soon becomes apparent that Aunt Isabelle is on the lam, running away from her husband. Aine immediately forms an alliance and deep attachment to Rupert, her gentlemanly cousin from Virginia who is the first male that didn't pick on her (Aine comes from a family full of brothers). In their explorations of the land surrounding the castle, Aine and Rupert fall afoul of a local resident tramp named Aeneas Shaw, a silly childhood misadventure with surprisingly far-reaching consequences. Aine, already a martyr to nightmares and insomnia, privately adds her new Nemesis Shaw to her list of fears, but recants her initial reporting of Shaw's attack on her to the police because she feels sorry for him and does not want to be the cause of his confinement to a mental home or to prison. In this one act, Aine establishes a pattern that will follow her throughout her adolescence and young adult years, in which she subverts her own fears about her safety, or allows others to convince her she's crazy or has an overly-vivid imagination, to the detriment of her well-being.

When she is 10 years old, Aine suddenly faces down the taunts of her brothers, screaming "From now on, I want some respect!", but it is not until a decade later that she realizes the power to gain freedom from such bad treatment is actually in her own hands, not in the hands of her tormenters both real and imagined. Aine's role models, after all, are her aunt, who after fleeing her abusive, lecherous, alcoholic husband, returns and submits to his will, and her mother, whose attempts at an intellectually-satisfying life are thwarted by her husband's need for clean shirts and who ultimately turns to an unsatisfying and unsuccessful adulterous liaison as a means of escape. Aine's Aunt Isabelle advises her thusly, after her outburst demanding respect:

"'You must never, ever let them see it . . . Aine, darling,' she whispered. 'You must never show them!' My mouth opened. 'Show them what?' 'You must never show men what you really feel,' she repeated. 'Men . . . eat feelings! They have none of their own and they live off other people's.'"

Aine seems to take this advice to heart and begins a lifelong habit of leaving things unsaid, lying to hide the truth, and being evasive with everyone, including herself. The one constant in Aine's life is Rupert's friendship, and her one goal as she travels through puberty into womanhood, is to win his love. What she finally realizes about herself as a woman and as an individual in her quest for his love makes for fascinating, dramatic reading.

The Song of the Tide is a lushly descriptive, hauntingly beautiful tale set in Ireland, England, and America, and each scene has an all-encompassing quality that surrounds the reader in a tangible atmosphere. The reader is a witness, not only to the beautifully-described exteriors, such as the eerie castle Dunbeg and the sultry state of Virginia, but is also privy to the interiors of Aine's mind and even her dreams. The story succeeds on all levels to draw in the reader to a well-constructed plot, a complicated conflict, and a satisfying denouement.

This was a magical book that brought St. Petersburg to vivid life.

But a statements made on pages 258-259 literally made my eyes grow wide.

The first statementa concerns Marius Petipa's ballet "Don Quixote". Petipa was teh renowned Premier Maître de Ballet of the St. Petersburg Imperial Theatres, who is perhaps the most influential Balletmaster that has ever lived.

Volkov explains that the critic Gaevsky considered the so-called "Dream Scene" from Petipa's "Don Quixote" to be a "veiled portrait of the Russian Capital". If Volkov researched just a little further, he would know that the "Dream Scene" as it is danced today in Russia is actually the work of Alexander Gorsky, who revised "Don Quixote" extensively in Moscow in 1900 and later staged his version for the Imperial Ballet in 1902.

In the book Volkov discusses Petipa final ballet, "The Magic Mirror", which failed miserably upon its 1903 premiere. Volkov discusses an accident at the general rehearsal of the ballet, which the aged Balletmaster viewed as a bad omen. He then goes onto quote a passage from Petipa's diaries, written a short time prior to the incident, in which the Balletmaster discusses his wishes for his funeral. Volkov then writes, quote:

"The sense of change characteristic of fin-de-siècle St. Petersburg and the hovering expectation of doom did not leave Petipa. This was undoubtedly one of the reasons for his love for Tcahikovsky, who worked, we could say, on the same psychological wavelength. Petipa could have easily remained with the music of Cesare Pugni, Ludwig Minkus, or Riccardo Drigo-after all, some of his biggest successes were collaboration with those minor composers."

The view that Petipa preferred to collaborate with Tchaikovsky is FAR from the truth. It is a common misconception that Petipa was on some mission to "improve" the quality of ballet music. Although he did hold Tchaikovsky in high regard, Petipa's preferred collaborator during the late 19th century was no doubt Riccardo Drigo, and the light, melodious ballet music of the specialist was what Petipa really preferred. There is, however, no direct statement made by Petipa to support this, but one needs only to review the way Petipa handled the scores provided him by the composers of the post-Minkus era to see what his tates truely were. It was the director of the Imperial Theatres, Vsevolozhsky, who abolished Ludwig Minkus's post of "Official Ballet Composer" in 1886, and subsequently the director brought several "symphonic" composers to the table to collaborate with Petipa. Tchaikovsky came in 1889, composing the magnificent "Sleeping Beauty" that premiered in 1890, followed by "Nutcracker" in 1892. It is significant to note that in 1891, between "Sleeping Beauty" and "Nutcracker", Petipa requested that Minkus supply the music for his ballet "Kalkabrino". Afterward Vsevolozhsky commissioned several "symphonic" composers to collaborate with Petipa, but the Balletmaster nevertheless often supplemented much of their scores with the additional music by Drigo (i.e. additional variations, dances, etc.)

At every opportunity, Petipa worked with Drigo. By the time Petipa retired in 1904, nearly every ballet in the Imperial Theatre's repertory contained additional music by Drigo.

To say that Tchaikovsky worked on the same psychological wavelength as Petipa is not a bad statement, but Volkov's passage quoted above basically states that the composers Pugni, Minkus, or Drigo did not.

Not only is the author obviously erudite about his subject matter, he is in love with it, making this book more than just an outsider's account of a city's cultural history. Exploring the 'mythos' of St. Petersburg through the work and lives of many of the creative spirits who either lived here or reflected the city in their works -- Pushkin, Gogol, Dostoyevski, Akhmatova among the better-known -- Volkov brings to life the very streets, houses, and canals of a great city on the border of Russia and Europe. But even more, his reader has the great pleasure of being accompanies on this journey by the very Russian-intellectual thoughtfulness and erudition, 'intelligentnost', of the author. Warmly recommended indeed.

Solomon Volkov is a sorcerer. He will have you chuckling out loud one minute & weeping the next! In the pages of this book, you will come to know the people of St. Petersburg; their glory, their sorrow, their passion, their genius. Volkov has brought this immortal city across the ocean and planted it firmly in my heart. It has instilled in me a deep appreciation for the talents of those who, in some cases, forfeited theirs lives for the sake of creative freedom.

Solomon Volkov has prepared for Western readers a breathtaking history of St. Petersburg's cultural treasures. Anyone who has seen "The Nutcracker Ballet" should read this book. Volkov brings forth the great ballet artists, classical music composers, painters, and writers who were centered in St. Petersburg, Russia's "window on Europe". Most of these great artists are as familiar to western readers as Tchaikovsky. But we are also introduced to equally great artists, poets, and writers we didn't know before. The introduction is invaluable. Underlying the "stars" of center stage, and running throughout the 300 years of cultural history is a constant reference to the "mythos of St. Petersburg" which Russian emigres worldwide will recognize with longing and affection. It is important to learn of the deeply-felt magical aura this city imposed on the artists and writers who lived there, including on Solomon Volkov himself.

Anna Funder gives a sharply cut and moving (in)human face to the now defunct German Democratic Republic by interviewing former Stasi members (the top, foreign spies, informants, organizers) and their direct or indirect victims.
In `a world where there was nothing to buy, nowhere to go, and where anyone who wanted to do anything other than serve the Party, risked persecution or worse', the Stasi's aim was to know everything about everybody with all means, even radiation. As the author poetically states: everybody had `a mirror Nemesis' in a Stasi department. The result was that everyone suspected everyone else and turned into an `internal emigration' for the sheltering of their secret inner lives.
In fact, the Stasi was a formidable organization (one informant for every 6,5 citizens) created in order to defend the government against its own people.
Anna Funder exposes the real Stasi mentality: `The most important thing you have is power" (Chief E. Mielke). Its colossal archives were partly shredded after the fall of the Berlin Wall (15000 sacks) and are being puzzled together. A truly Herculean task.
The author paints a society built on ideological fiction (human nature was a work-in-progress which could be improved by Communism) and on blatant lies (a multi-party democracy, no former Nazis, not responsible for the Holocaust).
But what is left after the collapse? A `Wall in the Head'. The victims are still heavily marked (psychological damage by the terrifying effect of total surveillance) and some Stasi men still hope that the Wall will be built again.

Anna Funder wrote a formidable evocation of life in a communist one party state protected by a wall.
A must read.

When author George Orwell wrote Animal Farm and 1984 he wrote of the contemporary and future 'proletarian' dictatorships. The German Democratic Republic, more than any other state before or since, came the nearest to a state of perfected and complete absolute control over its citizens' lives. The author of Stasiland, Anna Funder, has done a suberb job of revivifying this state in her readers' minds through the personal stories of the GDR's inhabitants. I got this book for Christmas and had it read in three days, so good I never wanted to put it down.

The book's chapters trace the lives of various GDR citizens, both those being oppressed and the Stasi personnel charged with terrifying the GDR's people into abject submission. In Soviet Russia there was one KGB agent for every 5830 people, in Nazi Germany one Gestapo agent for every 2000 people, but in the GDR there was one Stasi - or full-time informer - FOR EVERY 63 PERSONS (see p. 57)!

Funder hears shocking tales of personal tragedy, bizarre - but true - stories of GDR logic, and personal justifications from ex-Stasi men themselves. One 15-year-old girl singlehandedly, without any prior planning(!), almost manages to escape over the Berlin Wall, getting within a couple meters of freedom. Another family is permanently separated from their seriously ill son for his first five years of life. And one woman's personal and career life is ruined when she refuses to submit to ideological control.

The author also interviews some famous GDR personalities, such as musician Klaus Renft, the evil-spirited Karl Von Schnitzler, and Hagen Koch (who literally wrote the plan for the wall). She also interviews the puzzle people trying to piece back together the shredded Stasi files. And she also meets with Stasi agents, who for one reason or another, decided to join the 'dark side'.

As I was reading the book, I couldn't help but become absolutely convinced that, despite the very publicized efforts of the German gov't to piece back together the Stasi files, in fact, German (and all other Eastern European) CURRENT LEADERS WANT TO COMPLETELY OBLITERATE EVIDENCE OF THEIR OWN CRIMES DURING THE COMMUNIST REGIMES. The fact of the matter is that many of the former communist elite are still in power now and are using all their gov't influence to ensure they are never, EVER going to be outed! So, in reality, many of them have gotten away with murder and look set to lead comfortable lives into retirement. Many times throughout the book I sensed a continuing cover-up and obfuscation by former Stasi men.

The German government's extremely feeble, half-hearted attempt to reassemble the Stasi files with a staff of 30 or so persons is an absolute farce! Funder calculates it will take them over 300 years to reassemble the files at this rate. With a budget in the billions of euros, it becomes patently obvious the German government's objective is to NOT reassemble the incriminating files. A person might even believe that the Stasi File Authority is headed by a person, Herr Raillard, who is secretly charged by gov't leaders with eliminating any damning evidence that is actually found. This isn't a surprise, as it is the same across the entire former Communist bloc.

This is a great book with a wonderfully direct, realistic writing style. I hope Ms. Funder writes a sequel to the book. I would have liked to have seen some photos too, though. I highly recommend this book to anyone interested in life in Eastern Europe.

Stasiland is the former East Germany, a country where the Stasi, the secret police, spied on every inhabitant, kept files on everybody, and seemed all-powerful. Anna Funder has written about the Stasi in a way that sometimes seems like fiction, other times like memoir, and ultimately like an exceptionally readable history.

The Berlin of Funder's book is post-Wall Berlin, but it is as gray and paranoid as the Berlin of John le Carre's spy novels. Funder seems depressed throughout, and it is no wonder. She spends all her time interviewing former "Ossis," East Germans who were victims of the Stasi or who were former Stasi themselves. Even her irrepresible rock musician friend reveals that his band was declared "non-existent" by the Stasi. The secret police were so thorough that he cannot find any evidence that his group, which recorded several albums and was quite popular in the East, ever existed.

Through Funder, we hear from Miriam, who nearly made it over the Wall at age sixteen, but was caught, jailed, and blacklisted. Shortly after she married, her husband was arrested, then the Stasi showed up at Miriam's door to tell her that her husband had killed himself. She refused to believe the obvious lie and the subsequent funeral was a bizarre farce. Decades later, Miriam is still trying to make sense of it all, still searching for clues to explain what really happened.

Frau Paul tells of her newborn son whose East German doctors risked their careers by smuggling the infant to the West because it was his only chance to survive a life-threatening condition. Frau Paul was denied permission to visit her baby unless she agreed to help the Stasi trap an acquaintance of hers. She desperately wanted to see her son, whose condition kept him in hospital for years, but knew that if she agreed to help the Stasi just once, she would be theirs for life. The child was well-cared for, but was growing up with only the hospital staff as his family. When he left the hospital at age six and returned to his family in the East, he was polite but distant with the parents who were strangers to him. Forty years later, Frau Paul still considers herself the traitor to her country and failure as a parent that the Stasi told her she was.

Not all of the stories are tragic. Funder learns of a woman the Stasi tried to recruit to spy on her co-workers. The woman agreed, then went to work and cheerfully told everyone that the Stasi had recruited her to be a spy. Since her cover had been blown, she was no longer useful to the Stasi. They never bothered her again.

Funder visits the office of the "puzzle people," workers who put shredded documents from Stasi files back together. The papers reveal who the Stasi was watching, what they discovered, and who the informers were. Ossis may now request to see their files, but many of the files have yet to be put back together. The director tells Funder that at the rate of an average of ten reconstructed documents a day per employee, it will take forty puzzle people 375 years to reconstruct all the shredded documents. And, he explains, "as you see, we have only thirty-one employees."

Little by little, Funder allows us to realize that the Stasi does not exist as a curious and irrelevant moment in history. The torture devices in the Stasi museum and the thousands of bags of shredded documents that recall the abuses of power are evidence of a government that still haunts the lives of millions of former Ossis. It had seemed so powerful, but when the end came for the Stasi, it was without violence in a peaceful revolution of people who were just fed up.

Anna Funder is an Australian writter who found herself in Berlin several years after the Berlin wall and Communism in former GDR (German Democratic Republic; or DDR in the German language) collapsed.

Through personal stories of former East Germans, Anna tries to put together a mental pictures of what life in former GDR was like. And this mental picture is a stark, dark, oppressive, and paranoid collage of people's lives' stories.

One will learn that East Germany was 'the most perfected surveillance state of all time,' where there was one Stasi officer or informant for every 63 people. The book covers the national formation of the GDR regime and also discuss the cultural background of why Germans were willingly subjecting themselves to authority. The best torture method devised by the Stasi was sleep deprivation. With all this and more, the author makes the point that the regime would not have survived without the Soviet military muscle and presence.

The book also presents some light and funny trivia: the quasi-scientific method of 'smell sampling' used by the 'Firm' (Stasi), the East German silly dance style called 'Lipsi' and the corny or mind-numbing propaganda TV shows.

Interviewing people who lost loved ones in the evil regime's prisons, persons who taught counterintelligence classes for the Stasi, who worked as informants or undercover policeman, students who tried to escape across the Berlin Wall, and persons who are still believers in the 'proletarian' revolution and are nostalgic about the values of the former Socialist republic.

By reading this ecclectic biography collage you will learn about German cultural values, GDR political and idiological history, the Stasi (one of the most feared secret police organizations). Stasiland also shows how much the Stasi archives ruined many lives in former East Germany.

A recommended counter-balance to the gloomy and depressing theme of this non-fiction is the romance/drama/comedy movie "Good Bye Lenin (2003)."

"Long live our holy Germany" were the last words of Colonel Claus von Stauffenberg on the night of July 20, 1944. Peter Hoffmann's magnificient book is a salute to the Stauffenberg brothers and most importantly Claus von Stauffenberg. Stauffenberg was the real thing, a man of deep Christian principles and extradionary courage who knew that the future of Germany was more important than his life and the life of his fellow conspirators. He made the ultimate sacrifice so that others could live in freedom. Stauffenberg is not only a hero of Germany, but of anyone on earth who loves freedom and respects the laws of God and humanity. Stauffenberg was Germany's guardian angel, who attempted to save his nation and slay the man he deemed "the antichrist." Doctor Hoffmann paints a wonderful picture of Stauffenberg's early life and military career. He then moves into minute detail of the plot to kill Hitler and the man whom fate had chosen to lead it. Simply a great scholastic achievement.

Peter Hoffmann's biography of Stauffenberg is the best anyone is likely to write on the subject. The book comprehensively assesses all primary sources hitherto used by Stauffenberg's previous biographers, plus many additional sources which the author himself found. Hoffmann's previous books, among them 'THE HISTORY OF THE GERMAN RESISTANCE, 1933-1945', and 'HITLER'S PERSONAL SECURITY' serve as a foundation to this work which, all told, spans 30 years of scholarly research. As the depth and breadth of this study eclipses any other attempt to date, its conclusions are unassailably judicious. Thus, Hoffmann's 'STAUFFENBERG' has made perhaps the most definitive contribution to the historical field of resistance to the Third Reich.

Aside from being the single man in history to make several (and one very famous) attempts on the life of Adolf Hitler, Claus Von Stauffenberg was a unique guy.

Born in 1907 to Prussian aristocracy, Stauffenberg was playing the cello, reciting Shakespeare, and taking an interest in Catholic theology
by the age of exactly 12. Had he made a career out of any of these three, his fate would have been less cruel. Claus Von Stauffenberg, though, was a born soldier.

Ultimately becoming a General Staff officer in the German Abwehr, Stauffenberg and his brothers Berthold and Alexander still made considerable time for poet Stefan George, and were part of his "Secret Germany", a quasi-mystical poetic cult of sorts which worshipped George as "Master, and the three brothers were were prophesied by the poet manque as the future leaders of the Fatherland. Goethe, Holderlin, Rilke and Nietzsche were heralded as the predecessors of the movement. The problem with the entire affair was that George was not very talented and his literary salon was composed mostly of teenage boys.

Despite George, the slow but sure rise of the Third Reich (which, like most Germans, Stauffenberg initially welcomed and his inevitable participation in nearly all of Germany's military campaigns, Claus Von Stauffenberg always retained an odd detachment from his surroundings and a sense of self which was very strong.

The sheer wealth and richness of not only Stauffenberg's life, but the life of his wealthy and somewhat sheltered family--his career as a decorated soldier in the Wehrmacht, his prestige as a model, and as head of the General Staff office--makes his brutal death in front of the Bendleerstrasse in Germany a surreal and bizarre turn of events.

Stauffenberg was aware of Germany's imminent defeat, yet as early as 1942 he was making some quit imprudent remarks about the Fuhrer: "In August 1942 Stauffenberg told Major Joachim Kuhn, a close friend, that the treatment of the Jews and other civilians was monstrous, *that Hitler had lied about the cause of the war*, and that he had to be removed. He then shouted: "They are shooting Jews in the masses. These crimes must not be allowed to continue!"

Then in in another outbrust which later got him arrested, news of more atrocities sparked Stauffenberg to scream in front of SS and general staff alike:"Does not one German soldier have the courage to shoot that pig?"

Attempt after attempt failed; Stauffenberg was regularly seen carrying a "remarkably plump briefcase" (as Albert Speer put it) to three different meetings in Hitler's "Wolf's Lair" in Prussia. Once Hitler did not show up: the second time Stauffenberg's incompetent superiors instructed him to not to set the fuse, and the third time the bomb exploded and by sheer chance did not kill Hitler.

Even in the face of the Gestapo's considerable wrath, Stauffenberg did his best to get the coup de'etat to to succeed. In a most fortunate turn of events for Stauffenberg, probably, a General Staff officer involved in the plot turned on the other plotters and had a handful of them, Claus included, shot on the night of July 20, 1944.

Why? Why was such a priviliged and wealthy figure in the German army who would certainly never have been charged with war crimes choose to sacrifice his life, the life of his family and friends, in an attempt so tenuous and fraught with uncertainty?

The answer, I think, lies in Stauffenberg's unbelievable bravery, sense of common decency, and Christian background. Without these things he may indeed have been a terrifying force for the Third Reich. He could no longer stomach what was going on around him. Peter Hoffmann here gives the definitive biography of this heroic man who embodies perhaps the most inspiring example of "what might have been" in history. A must read.

Of the ten or so serious biographies on Stauffenberg, this will stand as the text to refer to for comprehensiveness and objectivity. The prose is clear, the questions of enduring interest are all answered, and the reader meets the man. Unreservedly recommended.

Ms. Mumm provides important insights to the lives and motives of women in Victorian England who chose to enter the uncharted territory of active religious life in a world which not only frowned upon the notion of an independant woman but also one where it was illegal in the church for a woman to express herself thus. It was amusing to discover the ruses which some Mothers Superior devised to circumvent attempts at episcopal and clerical control. Given the difficulty in procuring access to documentation where it survives her work is an important step to futher understand an often unknown aspect of the not too distant past as seen through the eyes of women. It is all too often assumed that women both Anglican and Roman Catholic chose the cloister simply for pious reasons alone when the true picture was far more complex. This is a book that needed to be written.

I found Susan Mumm's an inspiring overview of early female Anglican orders. I was amazed at their flexibility in membership and was really surprised at the idea you did not have to be a member of the C of E or even a Christian. In addition they demonstrated such open mindedness in not dismissing anyone from their ranks for illegitimate birth. This was unique for a time when appearance and propriety were everything. These women seemed have inherently understood the true goal of life's journey.... the individual's realization of her own salvation in this case, in a community of like minded women.

What I found significant was S. Mumm's inability to get information after, if I am correct, 1915. It appears that these creative women were followed by those less inspired and perhaps more inhibited. I found it tragic.

As a young teen I was inspired by the writings of Mother Kate SSM and her efforts in the slums of London. The early efforts of these women lead to changes in education and nursing and inspired women to achieve outside the confines of the Victorian household. However, that dream appears to have been clouded and eventually lost. Few if any of the orginal Anglican women's orders kept that first creative life and inspiration. That is unfortunate.. but perhaps not.. perhaps they have finished their work or need to hear the sound of the trumpets again.

Often, scholars presume that we "know" x about a particular subject, only to discover that our knowledge is based on half-truths or, worse, mere prejudice. Susan Mumm's project in this book is to rectify our remarkably scrambled understanding of Anglican sisterhoods. Notwithstanding the work of sociologists and historians like John Shelton Reed, Geoffrey Rowell, and Nigel Yates, Victorian Anglo-Catholicism has not been an intellectual growth industry. Mumm's book is both a useful contribution to a not-overcrowded field, and an excellent introduction to a promising area of research.

As she herself admits, Mumm skimps on the theology behind Anglican sisterhoods, dwelling instead on their missions, internal politics, and conflicted relationships with the Protestant mainstream. Contrary to what may be the expectations of some, Mumm finds that "first-wave" Anglican sisters did not necessarily join religious communities out of deep piety; instead, they saw the communities as the best route to careers in fields like administration, teaching, nursing, and social work. Thus, at least in the beginning, the impulse behind such communities could well be dubbed quasi-feminist. By contrast, "second-wave" sisters were far more likely to join out of strictly religious considerations, something that put them into conflict with older members of the community. Not surprisingly, this rise in purely religious vocations coincided with the spread of secular career opportunities for women. Mumm also finds that these sisterhoods were far more successful than their male counterparts, in terms of dedication and pure longevity, and that their missions to the poor have been seriously undervalued by previous scholars of Anglo-Catholic history. Finally, Mumm does a good job laying out the basic Protestant objections to the sisterhoods, which range from the sexist (women were "unfitted" for such independence) to the sexual (sisterhoods were anti-family and anti-marriage).

The only problem with the book is one that was beyond Mumm's power to rectify: many sisterhoods either left no records or refused to allow her access to them. Readers may therefore wonder about the extent to which her sample was actually representative. Nevertheless, this is a minor quibble about an important piece of scholarship.

Religious Life, Victorian-era convents of nuns -- most peoplewould likely jump to the conclusion that this book is about totallyregressive (not to mention repessive) institutions.

Instead, Susan Mumm sets out to examine the phenomenon of a movement situated in an age and time of few opportunities for women, a movement run and directed by women, which offered them more than ample scope to found and direct important institutions, to live independent of the control of men and of families, to decide upon their own lifestyle and establish a corporate life which fostered individuality, education and creativity. Susan Mumm describes surprisingly enlightened practices among Anglican Religious -- members ecouraged to keep up with their reading and their own interests, communities which invested on behalf of each entrant in case she should ever decide to leave, so that an annuity might be provided... Anyone acquainted with a religious order knows how unique each individual in that community is, contrary to common stereotypes: this book is utterly fascinating in that it sketches out how enlightened the administration of Anglican Religious life in the nineteenth century really was. Quite an education! And extremely readable.