England Books

If you are a Bankees/Spankees fan grow-up...When your knicks win something maybe you can write a book, or if the giants win, Jets...Mets....After almost a trillion dollars in the last 5 yrs and no WS rings and the greatest choke ever you should keep reading your Michael Crichton books and keep comments to yourself....By the way Bellhorn looks good with no facial here....crack me up no facial hair but sterioids, drugs, wife beaters, criminals (Howe, Giambi, Strawberry, Scheffield, Gooden) are okay..No facial hair though....You know why all the trees in N.E. point south because NY @#$%^&

I waited to buy this book until after the price was at what i thought was an acceptable level: it took until a year and a half after the Series to get there before i jumped. wish i hadn't waited so long.

a terrific read for all real red sox fans, especially those who know there never was a curse (thanks media) except possibly the curse of tom yawkey/bad (racist and inept) ownership.

my dad passed away in april of 2003 of lung cancer. one of the last things i said to him was "are you looking forward to opening day for the sox?", which was just a few days off as he lay wasting away in a manchester hospital bed. his eyes brightened and he said something like "of course!!!!". he lived and died with the boston teams his whole life: the russell celtics (he was one of the few fans who actually would attend games at the garden in that era: attendence sucked during russell's reign), the pats, in all their ineptitude, the bruins, who were always quality entertainment (he disliked sinden just like all true bostonians 'cuz sinden TRADED BOBBY ORR)..(the b's were the best bang for your sports buck in beantown for the 70s and 80's), and of course the red sox. he was there in '75 for games 6 and 7...he was there in 78...i believe he made it to one of the 86 ws games. he was there A LOT and deserved to see it unfold in 2004. well, at least i can take solace that he didn't see 2003: that's something, i suppose.

And it's well worth the money. As a lurker (someone who hasn't been approved as a member) of SoSH, I followed the postings on a daily basis, from its inception, to the the last entry. A poignant reminder of how red the Sox Nation bleeds.

Moochie is having a good cry right now because the highest paid team in baseball (Yankees) was sent home without a championship win by the Angels for the 2ND TIME in 5 years. Cry me a river.

Wildcard or not, the RedSox tied the Yankees for season wins/loses and won 2/3 games in the final season series against the Yankees. Fact is, the Red Sox were in 1st place through most of the 2005 season. Where were the Yankees up until September?

"Win It For" begins about baseball, but it ends up being much, much more. The many vignettes contained in this book create touching pictures of various people with various stories who all happen to share the love of one team. At times humorous, at times touching to the point of tears, "Win It For" kept me reading - despite the fact that its short-essay format makes it the ideal coffee table book to pick up and put down at will.

I highly recommend "Win It For." I'm a lifelong Red Sox fan who can identify with the passion all the book's contributors have, but I'm also a person who can identify with the various stories that people told.

There are two movie adaptations of "The Winslow Boy" available, recently starring Jeremy Northam (1999), and anciently starring Robert Donat (1948). But neither is an adequate substitute for the real thing, the full text by Terence Rattigan. In 1988, PBS broadcast a superb production of the full text, starring Ian Richardson and Emma Thompson, but it has not, unfortunately, been transferred to video.

The play concerns a public battle against the government, waged by a father to vindicate his son, expelled from a naval academy for cashing a stolen money order. Although the crusade is exciting, the play is most interesting in what it reveals about the people intimately involved: the members of the Winslow family, their close friends and their lawyer. The resulting insights and realism are among the story's chief virtues.

At first reading, the play may seem a straightforward tale of innocence versus injustice. But on closer inspection, one finds that the boy's innocence is never proved, and that some in the family deny or doubt it. Moreover, even if he is innocent, the harm to members of the family and to the country from pursuing the case might be greater than the harm from letting it drop. Such uncertainty is frustrating, but life is like that. Crusades are often launched for ends whose worth is unclear. The play is wise to develop this point.

Moreover, the actions and motives of crusaders may be a mixture of good and bad. This may make them harder to join, but certainly interesting and instructive to watch. One admires the boldness, determination and persistence of the father, Arthur Winslow, without whose initiative the crusade would not exist. Yet he is rather a sourpuss, often dominating or humiliating others. His daughter and indispensable lieutenant, Kate, is the most attractive member of the family, bright and realistic but emotionally withheld and often blinded by partisanship. Sir Robert Morton, the celebrated advocate who represents the Winslow boy is a supercilious, cold fish, and a brilliant (unscrupulous?) forensic champion. All three make substantial sacrifices for the sake of their crusade.

The author is a master of surprise and reversal. Much of the dramatic excitement comes when esteemed characters behave badly, or disregarded characters greatly please. Perhaps the most beautiful moment in the play is a marriage proposal to Kate by Desmond Curry, an old family friend whom she rather disdains (and the reader discounts). And the mother, Grace Winslow, whose views have been generally ignored, finally makes a powerful case that the crusade, out of pride and stubbornness, is destroying her husband and family for a son who is uninterested in the result.

Another excellence of the play is its treatment of controversy. On the questions as to whether the crusade is justified and worthwhile, for the family and for the country, the author impartially assigns plausible arguments to the various sides, from the characters, the newspapers they quote, or the proceedings they attend.

An outstanding play, with plenty of food for the intellect, the heart and the soul.

The book shows the defficenceis of England before WW1.

Overall it is the most boring book i have ever read.

It is based, substantially, on actual events. Try and see (if you haven't already) the David Mamet film adaption of the play which should be coming to video within a few months. It's a simply beautiful treatment. His most human work yet.

I really love this play. A friend gave me a copy and I started reading it on the train and was unable to stop until I had finished reading it! I was able to envisage the characters in my mind and as soon as I finished it, I HAD to go out and rent the David Mamet film adaptation which is also fantastic.

Sir Robert, Catherine Winslow and Arthur Winslow are remarkably well-drawn characters and all of the dialogue in the play is excellent. I really enjoyed this play and highly recommend it!

I enjoyed this play immensely and I also enjoyed the David Mamet film as well--a film that I thought was engrossing and a more than satisfying character study.

I liked how the play speaks of something that we sometimes give little regard to in today's society---the importance of and honor in a good and stable reputation. It was very enlightening to read this tale of a family (especially the father) who was in service of maintaining their son's dignity and place in society.

I was also taken by how this quest for honor taxes the family. My favorite scene in the play also begets my favorite line. The scene where the mother tells the father that he should let their son go on with his ife and not stigmatize him by this singular event is very honest and real. And when the mother says, "When he (their son) is grown, he won't thank you for it."-meaning the preservation of his reputation, I thought the whole idea and point of the story was driven home.

An excellent read indeed

This delightful, heartwarming, rich-in-detail story for older children is one of the finest works of fiction for young people in the English language, and it is wonderful to see that it has been reissued after languishing for so long in the out-of-print file. Set in late sixteenth-century England, it follows roughly half a year in the life of the teenaged Sir Robert Wakefield, who has run away from home to seek a new life in London. Robin encounters members of the theatre company from the Globe Theatre, and is taken in by John Heminges (an actual historical figure), a friend and colleague of William Shakespeare. Robin's adventures in Elizabethan London and in the theatre, where he becomes an extra of sorts, are highly entertaining, and the story's conclusion is satisfying to adults and children alike. This is a great read for kids 9 to 12; younger children might enjoy having it read to them. They'll have fun without realizing that they are learning a lot in the process.

Written by Marchette Chute and enhanced with illustrations by Grace Golden, The Wonderful Winter is an outstanding young adult novel set in sixteenth century London, about an orphan buy living with three ill-tempered aunts. When young Robin Wakefield finds a lost puppy, he acquires the resolve to keep the animal - yet one of his aunts refuses to allow this, forcing Robin to run away to the streets with his cherished new animal friend. Adventure, danger, and excitement ensue in this captivating tale which is enthusiastically commended to the attention of school and community librarians for inclusion in their fiction collections for young readers.

The Wonderful Winter is a fantastic book. It is about a young boy, Sir Robert Wakefield, growing up in Elizabethian England. When his aunts refuse him the dog he has found, he decides to run away to London, with the dog, to obtain freedom.
This book contains all the elements of a classic: great characters, great story, and great writing. It is truly an enjoyable read. I recommend it to all.

This is such a great book! I really liked Robin, the main character, and his dog Ruff. I also learned a lot about Shakespeare. When I first read the book I could not put it down! It is so amusing and from every page you turn something amazing happens! If there is anyone out there looking for a good book to read, get The Wonderful Winter. It will keep you interested for hours.

Sir Robert Wakefield, Robin to us, is a fourteen year old scion of the British nobility, living with his rich, stuffy maiden aunts in Suffolk at the end of the 16th century. One summer day, Robin finds a lost puppy and names him Ruff, hoping to keep him, but his insufferably stuffy aunt Isabel not only refuses to let the dog stay, she plans to have it "disposed of" in the morning. Robin isn't sure what she means by "disposed of", and he's not about to wait around to find out. Rescuing the dog in the dead of night, Robin and Ruff run away to hide themselves in the anonymity of London. After a misadventure with a would-be thief, they are rescued by a man named John Heminges, an actor at the Globe Theater whose company happens to include, among other people, an already famous playwright named William Shakespeare.

Heminges takes Robin and Ruff to his home for a night's sanctuary, but their stay extends through the whole of the winter if 1596-97, as Robin makes himself indispensible to the household and is accepted as an apprentice into the Queen's Company. Among the actors, we meet Shakespeare himself, Heminges, Richard Burbage, Will Kempe, and other giants of the Elizabethan stage, rehearsing a new play in which Robin is given a bit part, about a pair of star-crossed lovers named Romeo and Juliet.

In "The Wonderful Winter", Marchette Chute gives us a fascinating, true-to-life tour of Elizabethan London and the inner workings of the Elizabethan theater. We get to know the actors not only as artists but as people. We learn how a play is put together from its conception in the mind of the playwright to its first performance. Robin is a delightful invention, but the actors in the story were all real, and Chute invests them with a vitality that makes them people we wish we had known personally. "The Wonderful Winter" is a great introduction for young people to the literary genius of Shakespeare and the world he lived in. The reader wishes, along with Robin, that the winter could have lasted forever.

I really enjoyed this book, the first detective novel I've felt like that about in a while.
A really well thought out story, with a killer who we are aware of from the first page. Crowan Frayne is not just a killer, he's an intellectual killer with a warped mind. He has an obsession with the poetry of John Donne (around in the 15 and 1600's). He seems to want to be found as he calls upon an expert, Dr Stussman, in Donne's poetry who works at the university to explain 'things' to the police...(and for those out there who aren't 'into poetry' believe it or not it's fascinating how the poetry reads and is explained by Dr Stussman) HOWEVER there is more to his game than that!

This is Ed O'Conner's first novel (I shall be looking up further ones) and he's succesfully managed to make the characters seem very human, even the killer! The main story of the hideous murders he carries out (and eyes he removes) runs simultanously with the Chief Decective on the case's marriage crumbling...and him tipping nearer and nearer the edge.

A captivating read.

I really enjoyed this book, the first detective novel I've felt like that about in a while.
A really well thought out story, with a killer who we are aware of from the first page. Crowan Frayne is not just a killer, he's an intellectual killer with a warped mind. He has an obsession with the poetry of John Donne (around in the 15 and 1600's). He seems to want to be found as he calls upon an expert, Dr Stussman, in Donne's poetry who works at the university to explain 'things' to the police...(and for those out there who aren't 'into poetry' believe it or not it's fascinating how the poetry reads and is explained by Dr Stussman) HOWEVER there is more to his game than that!

This is Ed O'Conner's first novel (I shall be looking up further ones) and he's succesfully managed to make the characters seem very human, even the killer! The main story of the hideous murders he carries out (and eyes he removes) runs simultanously with the Chief Decective on the case's marriage crumbling...and him tipping nearer and nearer the edge.

A captivating read.

Not my usual genre (serial murders are too creepy for me), but I had heard promising things of this new author and thought I'd give it a chance. It was absolutely worth the read. I found O'Connor's writing style to be very original, and quite poetic itself with some really beautiful (and eery) imagery in places.

Several quite fascinating plots make up this remarkable debut by British author, Ed O'Connor. The first concerns a serial killer who has an obsession with the poet John Donne. He uses his poetry as the basis for murder. For some reason, he removes the left eye of his victims and keeps it while leaving a quote from Donne's poetry in blood on the wall. It is up to the local police including Inspector John Underwood to solve the crime before the killer strikes again. Aiding in their investigation is Donne scholar, Heather Stussman who is contacted, not only by the police, but, the killer as well.
Inspector Underwood, however, must deal with his own private hell. His wife of eighteen years is having an affair and it appears his marriage is near the end. His personal life is interfering with his professional life to the extent that he is placing his wife's lover on his list of possible suspects as the killer.
Ed O'Connor displays a remarkable ability, in his first novel, of balancing strong sympathetic characters with a plot that truly makes the reader want to turn the next page. It is not only a gruesome serial killer novel but an intellectual one, as well. Consider it a combination of Thomas Harris (who writes the quintessential serial killer novel with the Hannibal Lecter books) , Ian Rankin (with his depth of characters and balancing several plots) and Reginald Hill (with the academic logic in the killings). There are few weaknesses in this work. Perhaps, it is a bit too gruesome. Perhaps it is a bit too long. However, the whole justifies the means. This is a strong recommendation. Warning: not for the faint of heart.

I was hooked on "The Yeare's Midnight" before I had read a word. The idea that a contemporary thriller would share top billing with metaphysical poet and Dean of St. Paul's, John Donne (1572-1631) is a haughty premise I could not resist.

Mr. O'Connor delivered and then some. This highly original story provides seemingly ordinary characters with traits that send them into an orbit that can only be called bizarre. Our chief detective, John Underwood, is overworked, underpaid, and his marriage is disintegrating. Sound familiar? Not quite. John becomes so overwhelmed with his wife's leave-taking, he disintegrates before our eyes. While detecting, he becomes carried away by fantasies of revenge and mayhem. For one, I become highly nervous when serial killers are running about, and our protagonist has a complete mental and physical breakdown. When John is taken out of the picture, we are left to the mercies of his second in command Det. Sgt. Alison Dexter, an ambitious lady who has worked hard to come up in the ranks. Again, a familiar character in crime fiction except DS Dexter is so ambitious, she plots and connives against all who might take a shred of credit from her. Her assistants despise her in spite of her cleverness and bravery.

The strange killer who removes the left eye of his victims also leaves scraps of poetry written in blood at the scene of the crime. The killer clearly means this poetry to serve as a clue to his motive. He notifies a medieval expert at nearby Cambridge in case the obscurity is too much for the local police. Enter a rather annoying gorgeous lady who is a Donne expert. Many people (self included) enjoy Donne's poetry because it brawny, frank and robust. This is the man who gave us such lines as:

"Busy old fool, unruly Sun
Why dost thou thus,
Through windows, and through curtains call on
us?"

and "For God sake hold your tongue, and let me love."

In the author's hands, the "conceits" and kernels of Donne's love poems are so convoluted and ephemeral, I was lost. I had to have the professor who I didn't like very well lead me by the hand to all the clever conclusions.

However, the pace is good and the trip worthwhile if a little abrupt at the conclusion. I look forward to more books by the clever Mr. O'Connor.

In this impressive volume, Professor McLynn takes the reader through not only the crucial year of 1066, but the decades preceeding this fateful year, slowly building a picture that shows the early medieval period as a vibrant and often chaotic period, rich in political intrigue, economic uncertainty, and devastating military undertakings.

Unlike many books that use 1066 as the centrepiece, McLynn doesn't use a chronological narative, rather he uses the personalities of time to tell his tale and explain his conclusions (many of which run counter to the common understanding of the period).

Particularly insightful for this reviewer was his analysis of Harald Hardrada; as well as the analysis of the Saxon vs. Norman fighting methods and warfighting equipment. Most interesting though was McLynn's dispelling of the myth of the 'arrow through the eye' for Harold Godwinson, arguing instead that Harold was literally assissinated by a group of knights hand-picked by William toward the conclusion of the Battle of Hastings.

The final element that McLynn uses to support his arguments is that of logistics. His method is reminescent of how Hans Delbrück makes sense of the fantastical claims associated with the size of ancient armies. McLynn clearly shows that Napoleon's dictum that an 'army marches on its stomach' couldn't be more true.

This book is a great read for any person even remotely interested in these pivotal events that defined the future of England and also for the serious student of the early medieval period.

Enjoy.

We have a tendency to view people of long ago as simple in their lives and politics. This well researched and written book opens the door to an age much more rich in the scope and depth of its political intrigue and subsequent warfare. In setting the stage for the climactic battles of Stamford Bridge and Hastings, Frank McLynn takes us back thru a generation of tangled politics, alliances made and broken, power won and lost. He details the long relationship between the Godwins and Edward the Confessor, King of England but beset on many sides by powerful enemies. McLynn sketches the life of Harald Hardrada, who served lords of Kiev and Byzantium before becoming ruler of Norway. And he shows how William, Duke of Normandy consolidated his power and administration in preparation for the invasion of England. In the process McLynn puts a critical eye on his sources, recognizing that they may have been written to enhance the reputation of the winners rather than with a strict eye to truth. And he isn't afraid to say that some things we'll just have to assume or guess, because the sources are so scant, so obscure or unbelievable. This is not my favorite period of history, but I found this book most readable and reasonable, and the story very absorbing. A very fine job.

This was a book I found hard to put down, and is probably one of the best books on the Anglo-Saxons and specifically the Battle of Hastings that I have ever read.
Maclynn's attention to sources, and critical analysis of those sources, is excellent. And I found the chapters covering each of the main protaganists illuminating. Covering the behind the scene machinations shows just how much Harold II had to contend with, how great a king he would have been had he not been killed, and the great disservice that has been done to him historically simply because the Normans were victorious.
You very much get the feeling as to who the victors of this battle should have been, the Anglo-Saxons, and it was so very close too.

Mclynn's book is the clearest and most profound of the many which have centred on the events of 1066. The background into the three 'big men' involved (Harald Hardrada, king of Norway, Harold Godwinson,Earl of Wessex and King of England, and William Duke of Normandy) is extensive, but written with real sense of the demands of narrative. This is not a dry academic treatise. It is a well paced, yet thoroughly researched book. I especially liked how he went deeply into the political machinations of the time. These were not simple people. They were canny, shrewd, calculating, and Mclynn exposes the dealing and double dealing that went along with magnate status in the eleventh century. He tackles several historical traditions and beats the snot out of them, Harold's death by arrow in the eye being one. An immensely readable book,and one of the most well thumbed in my collection

I cannot praise this slim volume too highly as a resource for the study of the 11th century in upper Europe. Dr. McLynn is a superb writer, balancing the need for exhaustive details and character insights with a narrator's gift for storytelling. Focusing on the three major players of the invasion of England in 1066, William of Normandy, Harald Hardrada, and Harold Godwinson, he not so much writes concerning the actual battles of 1066 as about what led to them, leading the reader on an epic journey through political intrigues and lavish landscapes, from Norway to Byzantium. And if he uses the word "contumaciously" far too often, one can forgive him in favour of the grandeur of the tale.

What I especially admire is that McLynn has no fear of discounting or disagreeing with popular impressions. His take on 1066: the housecarls' favoured weapon was not the double-headed axe (although they used it), but the pike, of which they had many varieties; Harold was not killed by an arrow to the eye; the supposed superiority of the Norman military engine versus that of Anglo-Saxon England was nonexistant, as seen in Harold's 1063 war that brutally smashed the feared Welsh. These tidbits and more await the reader of this highly recommended work.

I'm not usually a big fan of mysteries, but thanks to this book, I'm a new convert to the genre! Not too graphic, delightfully humorous, even a bit or romance--Everything I love! I simultaneously couldn't wait for it to end/didn't want it to end. I'm ordering the 2nd book now....

Takes place in England during the 1930s.

This mystery is about a weekend country house party with murder and mayhem. There's espionage, a jewel thief, secret agents, blackmail, and guests who are not who you think they are. Inspector Wilkins rivals Poirot and James Anderson rivals Agatha Christie.

I found myself relaxing after the first chapter, knowing I was settling down to a good British mystery. I tried to deduce who the murderer was, but couldn't. And never did figure out the bloodstained cozy until it was revealed in the story line. When the Inspector finally revealed the murderer I was stunned.... This is how a mystery should be written!

Excellent read. I am looking forward to reading his second title "The Affair of the Mutilated Mink."

Hmm. Now, let me see. Was it the Earl of Burford in his collection-room with a candlestick? Or maybe it was Mrs. Peabody in her boudoir with one of her husband's weapons. Naw. More likely it was -- just who was it, anyway? I know! It was the Baroness out in the carpark with her trusty spanner.

For certain, there are laughs on every page--nearly every line, in fact, of this delectable, delicious parody of the classic 1930s-type English Country House Mysteries. Mr. Anderson has done his homework wonderfully well; the settings are absolutely spot-on, the characters a delightful mélange, and the plotting is, quite simply, to die for! And of course, someone does just that.

The twelfth Earl of Burford, current resident of Alderley, a medium-sized stately home, is Britain's foremost collector of firearms--all sizes, all kinds. For several years, he has been corresponding with Hiram Peabody, who is America's foremost collector. When the Peabodys decide to stop off in Britain for a look around, well, naturally, they would go visit the Earl and his Countess.

The earl has a daughter, Lady Geraldine and a younger brother, Richard Saunders, who has been making his way steadily upward in the diplomatic service. Into this family enclave comes Jane Clifton, a schoolfriend of Gerry's, Giles Deveraux, a retired Navy man, now writer who has been commissioned to do a book on stately homes, and a brace of diplomats from an unnamed Duchy on the continent. Richard and a gentleman from the HO are to negotiate a support treaty with the representatives of the small country.

Of course, Peabody has a secretary, and the care of Alderby is in the capable hands of Merryweather, the butler. And then, when her car has a sudden accident, the Baroness de la Roche is added to the mix, creating merry mayhem for all concerned. Well, maybe not merry for everyone. But for you, as reader, most assuredly. You can't go wrong with this slightly loopy and very loving modern-day look back at a treasured convention of the past. Clues, indeed. They're all over the place, just waiting for the 'not-at-all-sanguine' little gray (or whatever colored) cells of Inspector Wilkins to winnow them down to those precious few that will really solve the marvelous puzzle, even to the bloodstained egg cosy of the title! Simply amazing, and totally awesome!

The Affair of the Blood-Stained Egg Cosy is one of many mysteries whose plot centers around a house party. However, Affair is unusually creative, funny, and clever. Affair was written in 1975, and takes place in the 1930s, but its humor and wit is timeless. Walter Satterthwait's Escapade would seem to owe a debt to Affair, as there are several similar elements and plot points. However, Affair succeeds in all the areas in which Escapade failed. James Anderson's plot is complex but never feels ridiculously contrived, and does not base plot points around ignorant, mistaken assumptions about ballistics, as Satterthwait does. Anderson also does a much better job with his characterizations, and is better able to make key characters charming rather than unintentionally obnoxious. AFFAIR is a really delightful book. Now if only the sequel would be back in print!

This book is far and away the best reading possible. I am an avid reader of the classic, country house murder mystery from Britain's golden age of mystery writing, and James Anderson just nails it here. Masterfully. He somehow combines complex plotting, excellent writing, and humor so that the story is both a suspenceful whodonit as well as an entertainment tour de force. You simply must buy this book.

To be more specific:

1) The setting: Alderly, the ancestral pile of the Earl of Burford. And an alarm system that makes entry or exit from Adderly impossible at night.

2) The time: 1930s.

3) The cast of characters: an eccentric peer, his stately wife, their spirited daughter, an "Honourable" on hard times, a beautiful but mysterious woman who fascinates, obscure dimplomats and foreign office men, a secretary of questionable skill, rich Americans carrying diamonds, an author of dubious intent, and Merryweather - the omniscent, ever-present, yet dignified butler.

4) The clue: a blood-stained egg cosy.

5) The plot: epsionage, jewel theft, murder, impersonation, a secret passageway, in fact everything but the kitchen sink. It's right on par with Agatha Chirstie's "The Secret of Chimney's."

How could this go wrong? It doesn't. It goes very right. And you will NOT figure out who the murderer is. Save some shipping and order this book with Anderson's other masterpiece "The Affair of the Mutilated Mink."

Bryan Talbot's ALICE IN SUNDERLAND is so unique that it is difficult to find anything to compare it to. It would be inaccurate to call it a graphic novel, because it tells no story. There really is no plot of any kind. What it actually is is a local history. Talbot essentially tells the story of his town of Sunderland while tracing unexpected connections it has with Lewis Carroll and relatives of Alice Liddell.

The story, such as it is, concerns "a guy" (the book begins "Well, there's this guy . . . ") who walks into the Empire Theatre in Sunderland for a performance of ALICE IN SUNDERLAND, only to find himself the only person in the theater. Onstage appears a man in a puffy shirt (think "the pirate shirt" of SEINFELD fame) and the head of a rabbit. The Rabbit Man begins to talk, only to remove his head, revealing a human face (which is, in fact, Bryan Talbot's own). He then proceeds over the next 300 pages to provide an endlessly inventive history of the local area, repeatedly drawing connections to ALICE IN WONDERLAND. The exploration is categoric, embracing prehistoric and ancient history, medieval history, and modern history. He covers local the economy, politics, architecture, and cultural life. By the end of the book you not only feel like you've explored a corner of the world you never even thought about investigating, you feel that you'd love to visit the place. And indeed, you feel like you know it. You also learn a very great deal about Lewis Carroll.

What is astonishing is that Talbot keeps his story fascinating from beginning to end. In actuality this is a one-note symphony, but he so successfully disguises this that you scarcely notice it. Frequently his story approaches the sublime. For instance, at one point he enters the first house in a row of elegant dwellings for Sunderland's economic elite. He searches local records and discovers that it was built by a Quaker merchant named Joshua Wilson. He then spends the next five pages exploring his life and character. He seems to have been a thoroughly likable and admirable individual, a genuinely good, though largely forgotten, man. And then the sublime: " . . . and Joshua, long dead and long forgotten, now lives again in some small way in the mind of you, the reader." The book is filled with magical moments like that.

This is easily one of the most beautiful to look at books that I've ever seen. Talbot is unusual in the world of graphic literature in that he not only writes and pencils his work, but colors it as well. He also employs a hot of graphic techniques in organizing his pages. He uses paintings, drawings, retouched photographs, reproductions, collages, and just about anything else you can think of in creating his pages. I've shown the book to several friends who have been instantly struck by the sheer physical beauty of the pages.

I can't recommend this book strongly enough. It is easily one of the most beautiful books that I own (the only one that might surpass it is the first two volumes in THE ABSOLUTE SANDMAN -- Talbot, by the by, illustrated some of Gaiman's stories). It is also one of the most unique.

Throw away your notions of what constitutes a graphic novel because Bryan Talbot has rewritten whatever rules there were. This is a book that can't be devoured; it is a history of the Empire theatre in Sunderland but it isn't. What is evident is Talbot's love of Sunderland and its true importance in history. But it isn't a history book. It defies genres and so I will call it what it simply is:- a masterpiece.

I didn't really know what to expect from _Alice in Sunderland_; the reviews on Amazon piqued my interest, so I dove in. I had assumed it was a re-telling of Carroll's _Alice in Wonderland_, but I was willing to take a chance. I don't regret the gamble, although the book itself is about Carroll's classic only in the story *behind* the story.

The graphic novel is really about Sunderland itself - the history of the city and the relationship between the place and the people who live there with Carroll (nee Charles Dodgson), and quite a bit about Carroll himself - and how all these people and places relate to the writing, characters and events in _Alice in Wonderland_. The connections and interrelationships are fascinating (from the ancestral home of George Washington, to the inventor of the lightbulb and police box of Doctor Who fame, to well-known artists and performers.) Those who are interested a strict retelling of the story, therefore, will be disappointed.

However, the journey, non-sequitors and history of Carroll and the story are fascinating, as Talbot clears the record of many misconceptions about Carroll (that he was shy and withdrawn except when around children, for example), and the writing of the story itself (that it was created while Carroll was an Oxford Don and influenced by his time there.) These examples are just two of many. On this criterion alone I would give the book 5 stars. The artwork is impressive, Talbot clearly enjoying setting the record straight and taking the reader along on a wholly whimsical and visually stunning journey as he weaves the tale. This, too warrants five stars.

I don't read a lot of graphic novels - but I have no remorse about buying this one. It is a fascinating, true-life tale masterfully illustrated. Recommended.

There have been and always will be books that intimidate your average everyday book reviewer. As someone who works primarily with children's literature, this doesn't happen to me all that often. After all, as much as I'd like to be overawed by the latest Junie B. Jones series title, it just ain't gonna happen. But encompassing the whole of literature written with children in mind means sometimes having to deal with books that only just barely touch on my sphere of experience. When I first heard of Bryan Talbot's graphic novel, "Alice in Sunderland," I had no idea what it was. Not really. A glance at the cover gives the reader some hints to the contents, but for your average everyday American the word "Sunderland" means nothing. It's a nonsense word. A play on "Wonderland" obviously, but beyond that we're without reference. Standing at an impressive 328 pages, the book is obviously publisher Dark Horse Comics' most ambitious project to date. Dense, intense, and without comparison, Talbot has constructed the ultimate love letter/tour guide to his home. The fact that it may have also inspired Lewis Carroll's best-known work? Almost a sidenote.

Step right up! Step right in! Take off your hats and coats and make yourself at home. A man walks into a theater for a performance unlike any other. Onstage, the rabbit mask-wearing lead performer begins to tell the story. But it's not the story of Alice in Wonderland or even Charles Dodgson, her creator. Rather it's the tale of a place. A little strip of land on the North Eastern side of the island of Britain. A location that has inspired so many heroes, stories, tales, and legends you'd be amazed to hear them all. But Talbot isn't going to concentrate on the biggest folktales of his region. Nothing so straightforward. Instead, the book leaps, glances, references, and side-steps around every possible connection Sunderland might have to the world of Alice. What's more, the very history of Britain itself is tied intricately into Sunderland's tale. At the heart of it all, however, is the story of Lewis Carroll. For every seemingly inconsequential tangent, Talbot continually and continuously ties Alice Liddell, muse to the great author, and Carroll to the land they belonged to. Part historical treatise, part series of Rosicrucian-like connections, Talbot is unafraid to absolutely stuff his book with as much information as humanly possible. The result is a ridiculous and magnificent ode to a too little appreciated region.

It might sound a tedious affair. Constant backing and forthing between the present and the past. History coming alive is meant to be boring, right? So what are we to do when an artist like Talbot bends over backwards, not only to fit everything in, but to violently and continually change his style so as to both retain our attention and show off his prowess? Care to hear Henry V's speech before Harfleur, Act III, Scene I, done in the style of Mad Magazine? A Jabberwocky poem via Tenniel (right down to the unisexual hero?). Bryan Talbot can tell the story of brave Jack Crawford like it was a boys adventure tale then turn around and present some pretty nasty Normans ala Jack Kirby. There's even a bit of D.C. horror, odes to Herge, and a visitation from god-amongst-comic-artists Scott McCloud. Tenniel and Hogarth may get their due praise, but let us too admire what Talbot has seen fit to sneak in here and there artistically.

But I love the little things about this book too. The central plot concerns a single attendee, treated to this magnificent show in the Empire Theater. Of course the performer, the viewer, and even the man giving the walking tour are all various rather handsome versions of Talbot himself. Still, you grow very attached to the man watching. You're touched by his continual love and interest in George Fornby, local boy made good, ukulele phenomenon, and general nice guy. It's history is what it is. Hearing that the current Queen of England is related by blood to Alice Liddell isn't just good fun. Talbot can then turn Her Majesty into the Red Queen and at the same time show the moment Queen Elizabeth unveiled Sunderland's ode to the Great Library of St. Peter's in 1993. No detail is so small that Talbot can't weave it into the text in some fashion.

I had the pleasure of seeing Mr. Talbot discuss this book at a conference held by the Lewis Carroll Society of North America. And let me tell you, it takes guts to stand before that kind of assemblage so to present a book on their beloved. From that talk, however, I learned all kinds of secrets about "Sunderland". The amount of Photoshop that has gone into some of these pages looks daunting at the outset. It's even more so when you hear how Talbot meticulously reconstructed some of his photographic scenes. The image of photographers taking pics of Alice at Columbia in her later years? Some of those fellows were lifted out of the original filmed production of "King Kong". That image of the Bayeux Tapestry? It took some wrangling to get to display even the replicated version held in the Reading Museum of Berkshire.

Not that the book is flawless. Sorry folks, but while Talbot may be a genius he is by no means perfect. He tends to bog down on the topics that are of the greatest interest to him and him alone. A walking tour thorough the public art of modern day Sunderland is cool to begin with but can't maintain the book's momentum after a while. Facts about Sunderland's shipbuilding and geography come across as akin to Melville's whaling portions of Moby-Dick. You feel obligated to read through them, but you get no pleasure from doing so. It's also funny to take into account what Talbot didn't include alongside what he did. He fails to speak on whether or not the Cheshire Cat's origins are also Sunderland-based (a notable absence, I feel). He doesn't mention, when discussing the Bayeux Tapestry (England's first graphic novel and compiled by "a single artist") that the creator was widely considered to be a woman. Sometimes watching the unmentioned becomes as fascinating as the mentioned.

Ah well. It's a remarkable affair just the same. For those readers willing to dedicate a couple days of their time to reading it through, "Alice in Sunderland" is one of the most rewarding reads. The convergence of graphic novel enthusiasts, Lewis Carroll advocates, and history majors is sweet indeed. An intimidating work in the best possible sense of the term.

The book took me by surprise. I was expecting another boring graphic novel, but Alice delivers so much more. I've little to compare it to in the field of graphic storytelling, but the only thing that comes to mind is From Hell. Like From Hell it delves with an enormous amount of information on a subject and this occurance is Alice in Wonderland, Lewis Carroll, and Sunderland England and how they all tie together.

Talbolt does this by presenting the facts in a lucid style of a theatrical presentation. Using this device, he jumps around the history of Sunderland(from it's begginings to the theatre he's telling the story and to so much more) and how Carroll may have been influenced by the location when writing the Alice stories.
Yet it isn't just a story about a book for kids, it touches upon so many varied things that it had my head swimming with information so I could only read about fifteen pages a day. His artwork adapts to the element of story that needs it. There are about a hundred smaller stories under this title and he jumps and creates some interesting designs to make this work. Talbot has gone beyond the usual standards of comics and presented a amazing new book.

The only complaint I have is how he overuses a photoshop filter over photographs. If he did this once in a while it would be alright, but it's a technique that is driven into the ground by the end.

As Mrs. Brogan nurses her son along with Dan and Sun Dance, she weaves a marvelous tale of her childhood. It reminds all children that their parents were small once too and thinking that maybe parents are as dull as you might think. The shocking conclusion will leave you waiting on pins and needles for the next book in this funny, exciting series.

Amber Cat was a good book; of course, it was confusing, as all 2 of the 2 books (Dog Friday, Amber Cat) that I read so far by Hilary McKay were. It was confusing as in it didn't exactly give some important details; some so important that you couldn't exactly picture the few scenes, although there were options floating around my head when I read these parts, but none were right, and I will now never know, given to the fact that the author didn't explain the parts and details well enough so that I could see them in my head. But the book made a point, unlike a lot of other books, and it didn't carry on and on with one boring subject, as some other books do also. I also think that Sun Dance's mind was a little jumbled, and that Mrs. Brogan's stories about her childhood were very fascinating and sounded fun. I think that when Robin was going to build a raft, it was not a good idea either. Harriet was very interested and I really enjoyed reading about her and everybody else.

Robin Brogan,Mrs. Borgan Robin's mother and Robin's best friend Dan are the main characters of the story. The Amber Cat is a sequel to Dog Friday and if you like it you will for sure like the Amber Cat. I read Dog Friday first and liked it but if you read Amber Cat first you might not understand it very well. The Amber Cat goes back to when Robin's mother was a kid. Robin's mother has a friend that was alive when her parents were kids. Mrs. Borgan was telling this story when Robin , Dan, and Sun Dance had the Chicken pox. Robin's uncle Charlie was there one summer when they were kids. He hasn't seen Robin since his dad died. Charlie, Robin's uncle, was coming to visit Robin and his mother. The Amber Cat goes back to when Robins mother was a kid.Why I like these books is because they are strange books and thats the tipe of books that I like. Robin finds a dog and since he found him on Friday Robin calls him Friday.

This book is about a mother who stays home with three boys while they have the Chicken Pox. She tells them an amazing story about when she was 11 and played at the beach with her cousins and a mysterious girl named Hillary. The author made me feel like I was right there watching them. I felt like I was in a secret world. There were many characters with interesting personalities. The ending left me thinking everything through again in my mind. I would highly recommend this book!

This was one month's selection for our Mother-Daughter reading group. Half the group couldn't get past the first three chapters (that's never happened before!), and the other half of the group persevered and finished the book, and LOVED it. The beginning is very confusing and there are so many characters introduced, that it's hard to keep track of who's who. Right up until the last chapter, there are things that are unexplained, so it's like putting a puzzle together AFTER you've read the book. This is a book best read silently by yourself---too complex to read aloud. The author does a wonderful job of weaving magic about how we influence the lives of those around us, as well as those who come after, and how others who came before have influenced our lives. My daughters (9 and 10) and I loved this book.

If you are going to do The White Mountains, here's your book. Useful, hold that, extremely useful trail maps... If you want to do the 48 4000 footers in NH, this is a great tool to plan your travels!

"THe White Mountain Guide" is the Appalachian Mountain Club's 28th and Centennial edition of its popular and indispensible hiking guide to New England's top outdoor recreational area. The guide itself, once past a few introductory chapters on safety and geography, has descriptions of each of the established trails in the region. Each description tells how to get to the appropriate trailhead, a narrative of the trail itself, and a breakdown by distance and elevation change of the major segments of the trail. These trail descriptions, updated for each edition of the guide, are invaluable in planning anything from a day hike to a multi-day trip in the beautiful White Mountains.

The guide comes in a small cardboard box with three double-sided color maps that provide coverage of all the trail routes. The maps are detailed, easy to read, and at a usable scale for the White Mountains. Inexplicably, the maps included with the guide are paper and unlikely to stand up to repeated field use in the conditions often found in New Hampshire. Dedicated hikers are recommended to invest in the waterproof and tear-resistant versions of these maps, also published by the Appalachian Mountain Club.

This guide is very highly recommended to hikers and walkers planning an outing in the White Mountains of New Hampshire.

This is a great set of maps and trail descriptions, though its not much for planning or suggesting anything in the white mountains. The trail maps are very well detailed, complete, and having the mileage on them directly is a nice addition. The book is a hard to use for planning, though it works for simply looking up a particular hike and reading some about the difficulty and anything you need to know to not get lost.

This is the first edition of the WMG that I have owned, but owners of previous editions have pointed out that the maps in this edition are superior to theirs because the new maps include mileage on every single trail in the White Mountains. It is too bad that they are paper and not Tyvek or some other waterproof material, because they are already falling apart. If you are an avid hiker in the Whites, I suggest getting the Tyvek ones sold seperately.

The guidebook itself is exhaustive and lists every detail of every trail, which is useful if you already have a route picked out but not if you are trying to find a good hike and aren't sure where to go. For that, I recommend Michael Lanza's New England Hiking or New Hampshire Hiking from Foghorn Outdoors.

This 100th anniversary edition of WMG comes in a box that came unglued fairly quickly and then again after I reglued it. I would get rid of the box altogether except that the book doesn't have a pocket in the back for the maps like other AMC guidebooks do and I don't want to lose them. I hope that future editions of this guide will do away with the box and go back to the pocket.

If you do not have your own copy of WMG and are looking to purchase one, this is definitely the product to buy. If, however, you already have an older edition of this book, I would suggest buying the Tyvek maps seperately and wait for a few more editions to be published before replacing your book.

Just what I was looking for, a guide with all kind of details about the routes of the beautiful white mountains. This is a very complete guide and it is well complemented with the maps that come with it. Some visuals could be a good add to the book but the excellent descriptions are enough and clear.

Good buy for those seeking adventure at the whites.

These days Amos Burn is remembered as a somewhat dour and obscure player who was famous for losing a couple of brevities to more famous players like Frank Marshall. Burn had a defensive/positional approach to chess and was by all reports quite reserved and taciturn. So what incentive would there be to catalogue his chess career in such great detail. The secret with this book is that it brings Burn to life within the context of his times and historical setting (1870s to 1920s). The players, the tournaments, the controversies are analysed in at times great detail, and are overall very interesting and holds the reader's attention throughout. The various elements (games, notes, pictures, tournament tables, and background details) are superbly presented to enable the reader to drop in and out (you will not be able to digest the material in one sitting) without getting lost in the enormous detail. This is a desert island book par excellence and will provide interesting reading for years. The closest comparison is the excellent book on Alekhine by Skinner and Verhoeven (same publishers). If you think that it is the biggest chess book on the planet, the Burn book is in fact bigger. It is not just the size, but that it takes chess biography/game collections to a higher level. I thought that this would be impossible as the Alekhine book is a masterpiece (it's only weakness is the absence of photos - has only one - the Burn book has hundreds). The games are a comprehensive collection, as unlike Alekhine, Burn did not tend to play a lot of simultaneous and blindfold games, with the inevitable variablity in quality. The games therefore are uniformly good, but not quite reaching Alekhine's genius (both highs and lows). The annotations are outstanding, both compemtorary and brought up to date by Forster (who is a strong player himself). Any serious student of chess will be richly rewarded. Although quite expensive, the book contains enormous value and will definately become a classic. It has the expected excellent McFarland touch (quality paper, library quality binding, high quality layout and general presentation, etc) and despite its size (over 950 pages)is unlikely to fall apart. I believe that this book sets a new challenge for chess authors and is quite likely to be the best book of its type ever written. Even Edward Winter, one of the supreme chess authors, has in a recent review admitted that this is the book that he would have liked to have written. I cannot wait for Forster to turn his mind to Lasker or indeed any of the other world champions who richly deserve this treatment. Buy this book, you will not regret it.
Walter Hart, Burra Creek, Australia

Truly a magnificent undertaking by Richard Forster who not only provides a detailed study of Amos Burn's chess career but also a truly enlightening history of chess as it was played at that time and the chess players who played it. If you want to learn more about chess and the chess players of the second half of the 19th century, here is the book for you. This book also provides a standard by which all other chess biographies and games collections should model themselves after. I would give this book 50 stars if I could.

This book is easy to recommend for those interested in Burn's career, or even people interested late 19th century/ early 20th century chess, especially the players based in England at that time. It's well worth the high price tag if you fit in that group.

I put myself in that group -- I'm not a particular fan of Burn (I don't mean that as a slight -- I'd just not read much about him, or played over many of his games until I read this book), but I love the dark recesses of chess history, and the period covered in this book especially fascinates me.

Forster does a decent job of setting the background in which Burn lived by documenting some of the club politics and events of the times. This can sometimes be rather dry reading, but that's one problem chess biographers face -- oftentimes the great players lived rather mundane lives outside of chess.

That said, I admire the scholarship of the book. There is a lengthy appendix, bibliography, and index, as well as an index of openings, and credits for annotations which Forster did not write himself. This book will function as a reliable reference for those interested in Burn or the players of his time.

There are a *lot* of games, all, or virtually all, annotated by Burn, other players of the age (especially appreciated are the notes by Steinitz, since his writings aren't easy to come by these days), or Forster, who is an International Master himself.

There is a massive amount of material here --972 pages, including index, etc, and plenty of tournament tables, pictures, and other diagrams. The most surprising revelation to me is that Burn was a very fine tactical player. There are quite a number of brilliant attacking games in his praxis.

So, how to recommend? If you have no real interest in Burn or his games, it probably won't be worth the money to you. However, if you do have an interest, you can hardly go wrong. The book is beautifully bound, as is common with the McFarland chess books. It is rare to find such quality in any field. Forster's work is easily one of the greatest chess biographies ever written.

This is the best chess book I have ever seen. It's what I think the perfect chess book biography should be. It has annotated games, chronology of the player, crosstables, history, best indexes I have ever seen, pictures and photographs, trivia, and absolutely thorough (972 pages!). Richard Forster wrote the best chess book possible on a less-famous chess master. I wish every great chess master from the past had a book like this. The publisher, McFarland and Company, put together this book, which I think is there finest work. - Bill Wall

Why? Let me count the ways...

The heart of the book is Burn's games. It is hard to see how Forster's treatment of them could be improved. First, he unearthed over 900 of Burn's games; only about 500 of those appear in databases or other books. Second, his annotations are marvelous. All annotations by the players, or by a contemporary chess columnist, are given. These include comments by many of the leading lights of the time (in particular Steinitz). In addition--and what is crucial--Forster, an IM, analyzed the games himself (with the help of a computer) and often adds excellent annotations of his own, or corrects errors in the contemporary annotations.Hundreds of the games are annotated, many of them in great depth. Third, the indexes: There are indexes of all the games based on the openings and opponents' names, as is customary, but in addition games are arranged in a seperate index according to the chess themes they exemplify. It includes entries such as "stubborn defense"; "instructive games"; "rook endings"; "positional sacrifices"; "Bishops of opposite color"; etc., etc. For those looking to improve by seeing how Burn handles certain types of positions--the #1 reason people buy collections of master games in the first place--this is invaluable.

Apart form the games, this book's biographical section is excellent. Just about every fact known about Burn--birth, death, family, work, travel, chess tournaments participation, club memberships, relations with other players, etc.--is given. Here, too, Forster "goes the extra mile": for example, for every tournament Burn participated in, he gives us not only his results and opponents, but the complete crosstable (when available); he not only tells us when Burn played in the Liverpool chess club, but what exact positions he held, the text of some of his speeches (or speeches in his honor) given at the club, and so on.

Finally, there is production value. The book is HUGE--over 900 folio pages on high-grade paper--in excellent, hard-cover blue velvet covering, with a gold-embossed title, and includes numerous rare photographs. "They don't make 'em like that anymore", as a cursory glance at the endless stream of thin soft-cover books on your local bookstore's "chess" section will show.

At $75, it's a bargain.