American Books

Reviewed by Anne Marie Medema (age 12) for Reader Views (7/08)

Mary O'Hara is an excellent author because she ties in real things that happen into a fictional family. The breeds of horses O'Hara writes about are real and it is obvious she is educated in each horse's individual characteristics. O'Hara writes using authentic western language terms. In "My Friend Flicka" the story comes alive to the reader as O'Hara writes with much description about the farm, the horses and life out West. O'Hara weaves into her story punishment and reward in real times -- the reward of a boy's joy when he finally receives his filly.

Can you tame a wild heart? The cover states it well. This question explains "My Friend Flicka" to the reader. It is a book about taming both a young boy and a horse. The storyline begins with Ken on a horse ride. While riding, Ken loses many different horse articles. Ken's father had been an army officer and thus raised Ken with firmness and strictness. He demanded respect. Ken has always been dreaming of a horse of his own.

Due to poor grades in school and a missed assignment about horses Ken must repeat a grade in school. His father requires Ken to complete an hour of homework a day throughout the entire summer. Ken's brother gets him in trouble by asking many questions that Ken must answer and tell the truth.

One day Ken scares his father's horses towards a landslide. One horse cuts the other horses off so none of them fall off and are saved. Ken's mother encourages his father to give his son a horse. Ken's father finally gives him a chance to care for a colt or filly. Ken chooses a colt that is a yearling. Since there are many yearlings to choose from, Ken anxiously awaits to make a choice.

The doctor arrives at their farm because four horses need to be gelded. Gelded means the horse can not reproduce and is done to the stallions. The procedure was so horrible and so much blood lost that one of the horses dies due to the gelding. The colts act sad after the gelding. Ken is greatly disturbed by it. This incident means Ken will choose a filly for his horse.

Rocket is a wild horse who has a filly named Flicka. Ken sees Flicka and falls in love with her and wants her. Flicka is caught for Ken. One day Flicka falls sick. After she is sick, Ken finds Flicka in a river lying down ill on a cold night. By the morning, Ken is sick and Flicka's fever is gone. Ken's father wants to kill Flicka but decides against it. Flicka turns into a well-bred horse and a companion for Ken. Flicka and Ken grow up together and learn life lessons from each other.

"My Friend Flicka" by Mary O'Hara is a great book I would recommend for young and old alike. Boys and girls who have a love for ranches, horses and the outdoors would particularly enjoy the storyline. I have read many books in my life time and I rank this one as one of the best. Break-in a book called "My Friend Flicka" and gallop away from the world.

I have to give this book 5 stars. Mary O'Hara wrote an incredibly beautiful story about a struggling family. Many of the details of the story are so true to life. As an adult reading this story, I found the details about the parents to be more interesting than the story of the horse and the boy. O'Hara really understands the concerns of a parent for a struggling child and it's very true to life in the book. Many important issues are touched upon in this book too; responsibility for our domestic animals, love for people and animals, doing our duty in our every day life are all there with out being mushy and sentimental. O'hara also paints a vivid picture of Wyoming and old-time ranch life. It makes me wish it was still like that, so I could visit it. This is another great book for a read aloud family time.

Although he made his audio book debut just two readings ago, stage, screen and television actor Michael Louis Wells is in full command of the metier with his narration of the classic My Friend Flicka. Many will remember the story as a film with Roddy McDowall, as a TV series or as a current film. Wells is on a par with all of the actors who have undertaken bringing this touching tale to life. The reason for the story's many incarnations is obvious - it is one of our best-loved books and well deserves its place among others that are enjoyed from generation to generation, such as Treasure Island and Mutiny on the Bounty.

Pivotal to O'Hara's story is Ken and his seeming laissez faire attitude. Where his mind is his father, Rob, certainly doesn't know. He's a young boy who would much rather just look out a window than study his arithmetic. He should have studied because his report card is so poor that he's doomed to repeat a grade. Rob undoubtedly wonders whether he'll even catch on the second time around.

Their home is Wyoming's Goose Bar Ranch and Rob is working hard to make a go of it. He doesn't need a son who seems given to daydreams. Then, along comes Flicka, a beautiful chestnut filly, with a wild streak inherited from her sire. Ken is certain he can tame Flicka, and so begins the unforgettable relationship between a boy and his horse.

O'Hara wrote a follow-up to her story, Thunderhead, but it never achieved the popularity of My Friend Flicka, a timeless story to be enjoyed over and over again.

- Gail Cooke

This is a very good book. My granddaughter really enjoyed it.

I am in the middle of lstening to this book. Its detailed descriptions of ranch life and horses are quite compelling. But what surprised me was the absolutely accurate description of a boy with ADD. This book was written some two decades before attention deficit disorder gained anyone's attention, but O'Hara's descriptions of Ken's behavior are absolutely consistent.

And then O'Hara answers the question of what to do about the condition: give the kid something he really wants to do and stand back. Of course, it helps that Ken has two wise and good-hearted parents; but then, maybe that is the start to solving most problems that children have.

A fine book on many levels, and a fine companion on the road for adult and child.

First, Jonathan Eig is a tremendous writer! He does have a tendency to detour along tangential lines, but that adds to the richness and backdrop of the drama that was experienced by Jackie Robinson. Eig transforms history into humanity with cameo appearances by icons such as Babe Ruth, Malcolm X, and Sidney Poitier. I felt the sense of pride that African Americans of mid 20th century America must have felt. It bolstered the idea of "Only in America". This was a civil rights story before Till, Brown v. Board.., Parks, and King. I hurt with Oscar Charleston, Josh Gibson, and a litany of other Negro Leagues stars born "out of season". I smelled the hot dogs of Ebbets Field. I met and loved Branch Rickey. I watched Pee Wee Reese, Eddie Stanky, and Dixie Walker and many others mature. I adored Jackie Robinson for his talent and demeanor. All courtesy of Jonathan Eig, who BROUGHT IT!

Jonathan Eig is developing an expertise at rehabilitating hackneyed young-adult biography heroes. First with Luckiest Man: The Life and Death of Lou Gehrig and now with "Opening Day", Eig takes a baseball player whose legend has become tarnished by excessive praise, and retells the story from its original context, restoring a sense of wonder.

The story of Jackie Robinson has with time become a story about the heroism of Jackie's white teammates. History now tells us that they bravely accepted and embraced him, over society's disapproval at the ending of baseball's color line. At least, that's how Eig first approaches and then rewrites the tale. In "Opening Day", the spotlight rightly shifts back to onto Jackie himself, as well as to his wife Rachel, the rock at the center of his life. We hear from Jackie himself via contemporary interviews and from his assigned beat-writer from the black press.

The discussion of Jackie's acceptance among his teammates is limited to how they did not in fact accept Jackie as one of them: Eig fails to uncover any evidence that the rest of the Dodgers tried to socialize with or befriend Jackie in any meaningful way once they stepped off the field.

Branch Rickey, who gets rightful credit as the man who integrated baseball, is also shown as the shrewd businessman he is, in both the good and bad sense. Rickey was the executive who refused to trade one of Jackie's most vocal teammate critics, realizing that his pennant hopes resided in that man's bat. He further refused to give Jackie a significant raise for 1948 even though Jackie's presence generated value in publicity and gate that far exceeded his meager rookie paycheck.

Most compellingly, Eig retells the story of the 1947 season month by month, primarily through contemporaneous newspaper accounts. We see the variable way Jackie was treated by the press, and whose agenda affected which stories. A national publication tried to anoint Spider Jorgensen, a strictly league-average third baseman, as the league's top rookie, in a veiled slap at Jackie's aggressive Negro League style of play. We also learn things not commonly told: we know, for example, that Larry Doby was the second black baseball player in 1947, but Eig goes further and tells us who came third and fourth (a cynical move by the St. Louis Browns), and which white owners opposed integration in the disingenuous name of preserving the Negro Leagues.

"Opening Day" could stand to go farther and tell a bigger story. Jackie's post-1947 career and personal life is shunted into a brief epilogue that hints at a possible second book of equal depth. Of course, the space within "Opening Day" is well used: the three chapters devoted to the 1947 World Series are well researched and lively told. Even in a book about Jackie Robinson, the other unlikely heroes and goats of that series (Bill Bevens, Cookie Lavagetto, Al Gionfriddo) still deserve their space.

A complex, nuanced portrait of Jackie Robinson, told with stunning detail and insight into the first black man to play major league baseball in the 20th century. As an historical account, this book goes beyond myth and revisionist morality to create what feels like a genuine account of a complicated man in a complicated place. As a baseball book, it is wonderfully expansive on an important era with lots of legendary players. As a literary work, it is a top-notch narrative told in an elegant, rhythmic cadence. It also gets high marks for journalistic technique and style. If all writers of sport possessed Jon's rare combination of gifts, the genre would be a lot richer.

This is the second book that I have read from author Jonathan Eig. The first, Luckiest Man: The Life and Death of Lou Gehrig, was such a great retelling of the life of the Iron Horse, that my expectations when picking up Opening Day: The Story of Jackie Robinson's First Season were quite high.

Opening Day is the story of Jackie Robinson's first year in the majors, and the challenges he faced when he became the first black American to play Major League Baseball. Any true fan of baseball knows the story of Jackie Robinson, his importance to the game and the lasting impact he has had on the United States. But, Eig manages to provide a fresh look at this historical year, focusing not only on the challenges and bigotry that haunted Robinson, but also on the lives that he touched in 1947 and for years to come.

One of the more intriguing stories from the book was that of Jackie's teammate Dixie Walker. When Robinson's Dodger teammates were informed that he was coming up from the Montreal Royals to play with the team, Walker wrote the team's general manager, Branch Rickey, asking for a trade. There were also rumors that he led an effort by the Dodger players to get Jackie off the team. Dixie always denied the accusation, but nonetheless, he was basically a self-proclaimed bigot - worried about what his family and friends in Alabama would do if he played alongside a black man.

Like authors before him, Eig could have easily cast Dixie as the villain of the story. But instead, he details how playing with Jackie helped Walker evolve into a better man. Within time, Walker started to respect Jackie for his toughness and determination. He started giving Jackie pointers on how to improve his game, and later in 1947, he stood up for him (along with all of Jackie's other teammates) when opposing teams would hurl racial epithets at Jackie. Robinson made Walker start to question his views on minorities and Walker came to realize what he learned about blacks while he was growing up was wrong. After that, Walker played with, coached and managed black players throughout the rest of his career, and later said Jackie was "as outstanding an athlete as I ever saw."

This is just one example of the impact that Jackie had on the lives of others. Stories are sprinkled throughout the book about the significant impression he left on his teammates, other players in the league, broadcasters, league executives - and most importantly, the next generation of black Americans who would continue the struggle for equality in America.

Opening Day, definitely lived up to my expectations and surpassed them, and I highly recommend it for any fan of baseball and/or American history - and to anyone who is interested in understanding the important role Jackie Robinson played in the evolution of the United States.

Eig's extensive research and thoughtful treatment of Jackie Robinson does not vary or question the general truth of his legend: Robinson played the game well under tremendous pressure with little or no support and demonstrated in the process the skill and courage that entitled blacks to equal opportunity. But Eig does add some new perspectives that make the legend far more interesting.

First is the general unpleasantness of Robinson. He's like Pete Rose in his burning desire to win at all costs and would rub some people the wrong way regardless of his color.

Second and perhaps most important is Eig's ability to introduce more subtlety into the story. Eig destroys the legend of Pee Wee Reese publicly encouraging Robinson on the field in the face of racial abuse. That did not happen, at least not in 1947. Robinson is utterly alone in 1947 and has to prove himself to his teammates. Branca is the only guy to make a point of shaking his hand when he first appears, which adds to Branca's own legend as a man of character, but even Branca essentially ignores him for much of the season. Some of this is racial, of course. But some of it is the culture of baseball: a rookie must prove himself.

Robinson's ability to peform in these circumstances, under the most tremendous pressure possible, adds to his legend and makes his 1947 season perhaps the most admirable of all seasons. Eig is also good at introducing subtlety into the legends surrounding Robinson's oppressors. There is some rumbling on the team, but that quickly dissipates. Most interesting is the role of star player Dixie Walker. Walker felt compelled by his southern roots, and by his desire not to have his business punished in the south, to make a point of objecting and asking for a trade. But thereafter, he drops the protest. The problem for Robinson was not simply the obvious bigotry, but his freeze-out by the rest of his team until he could prove himself under the most trying of circumstances. Walker may have given Robinson a few batting tips and may have dropped his trade demands, but neither he nor anyone else took Robinson under his wing. Even in baseball's demanding culture of ritualized abuse of rookies, a rookie will eventually be taken under someone's wing. Robinson did not have that benefit.

The protests of other teams has also been exaggerated. It appears that there were some murmuring on the Cardinals to try to boycott Dodger games, but that fizzled before it started. The Phillies were grossly racist in their bench jockeying, but backed off early in the season. The Yankees in the 1947 World Series had a few nasty bench jockeys.

What emerges from all this is the pain of the gross racism aggravated by the agonizing loneliness of Robinson as he has to endure everything and prove himself. Eig convincingly shows that by the end of 1947, Robinson succeeded in proving himself and was the MVP of this team. Only then was he accepted by Pee Wee Reese, the team's captain.

All of which demonstrates Branch Rickey's wisdom in choosing Robinson as the man to break the color barrier. Robinson had mental toughness and competitive fire. The rap on black athletes was that they were not mentally tough, and Robinson was exactly the right guy to disprove that myth. Choosing a more passive personality would not have made the point, and choosing a less disciplined soul who would have got into physical fights in 1947 would not have worked either. But it is interesting to learn how Robinson sometimes crossed the line (such as spiking Rizzuto in the 1947 Series) and how close Robinson came to losing it.

Robinson emerges as a complex and truly great man in this narrative. This is an excellent book that I highly recommend.

Pan Yuliang, one of China's finest and most controversial painters, lived in the early part of the 20th century. Forced into prostitution when her uncle sold her to pay for his opium habit, she is later unexpectedly rescued by a man who comes to love her and make her his second wife. Though she is only a concubine, he treats her with love and respect, and encourages her to study painting, both in China and in France.

"...no matter how we long for the past, we are rooted in the present," Pan Yuliang tells her husband, Pan Zanhua. Jennifer Cody Epstein brings this concept home to us in her use of present tense in telling Yuliang's story. Based on the limited knowledge of the painter's life, she has captured this turbulent time period in China, and some of the experiences she imagined Yuliang may have had.

The Painter From Shanghai pulls the reader into Yuliang's life, sharing the horrors of Hall life, the joy in discovering her ability to paint, and the hunger and loneliness of her life in France. Though most of the public never understood her need to paint nudes, Epstein suggests her monsters were what produced her art. In creating beautiful female bodies on canvas, she may have been able to deal with the memories of offering her body in a way no fourteen year-old girl should.

Haunting, compelling, and masterfully written, The Painter From Shanghai invites the reader into Pan Yuliang's world. Although this a work of fiction, you'll feel you've had a glimpse into the life of this intriguing and talented woman.

Reviewer: Alice Berger, Bergers Book Reviews

I picked this book up during my recent infatuation with early 20th century China, expecting something exciting and probably over-the-top romantic (especially with a sticker on the cover boasting "If you liked Memoirs of a Geisha, you'll love this!"). The reality, however, leaves something to be desired.

Perhaps the most disconcerting part of the book is that it is written entirely in the present tense. I'm sure the author was aiming to give the reader a sort of first-hand impression of the events, but it's actually quite difficult to read. More than that, it is used incorrectly; rather than building suspense, it ends up killing it, and the resulting story is flat and lifeless.

The author chooses to either spell out letter-by-letter every event so that the reader doesn't ever have to think, or to skip the event entirely. The latter was an interesting plot device the first two or so times it happened, leaving the reader with a sense of anticipation about the eventual return to and conclusion of these events. It becomes apparent early on, however, that even when there are conclusions, they usually occur as an afterthought and so briefly one might wonder why they were mentioned at all. Even some of the book's most "important" characters are swept under the rug, out of sight, out of mind. When the reader comes to realize that almost EVERY major plot point is going to be built up and then skipped (to be mentioned again, possibly, in a brief flashback), it becomes tiresome. The story is gutted of any emotional bonds between characters because they might vanish at any time, never to be mentioned again. The reader ends up caring as little about the secondary characters as the emotionally vacant main character does.

Amazingly, a story that should be extremely interesting-- set in one of the most turbulent periods of China's history and focusing on a talented and driven young woman who defies the odds-- is in this book incredibly dull. I could barely get myself through to the last page, and by the time I arrived I was just glad to be finished with the book.

Pan Yuliang has lived and taken care of her uncle, ever since her mother died when she was young. At fourteen years Pan Yuliang was sold to The Hall of Eternal Splendour to become a prostitute. Her uncle did it to play off some loans he had accrued for his habit of opium. After two years of working at The Halls of Eternal Splendour, Pan Yuliang was saved. A young man by the name of Pan Zanhua, who is an inspector. He is so fascinated by Pan that he offers to take her away from Eternal Splendour and make her his wife. For once Pan Yuliang sees Shanghai through a different light. Pan Zanhua recognizes Pan Yuliang interest and talent for painting. He encourages her to become a professional painter but is Pan Yuliang to free spirited for the school and will they even accept a woman.


The Painter from Shanghai is based on true events of Pan Yuliang life. I have to admit that I had never heard of Pan Yuliang. After reading The Painter from Shanghai, I found Pan Yuliang to be a very remarkable woman. She could find beauty in everything around her. This included even during the two years Yuliang was at The Halls of Eternal Splendour. Pan Zanhua was a good husband to Yuliang. He helped Pan Yuliang pursue her dreams no matter what people thought. For this fact Pan Yuliang was able to stand up for what she wanted to paint and not just what sold. I feel Jennifer Cody Epstein did Pan Yuliang justice in this creative masterpiece of a book titled The Painter from Shanghai.

Jennifer Cody Epstein's engaging if blandly titled biographical novel, THE PAINTER FROM SHANGHAI, presents a fictionalized but chronologically straightforward account of the life of one of China's most controversial painters of the early Twentieth Century, Pan Yuliang. Born Zhang Yuliang in Anhui Province, the outlines of Ms. Pan's life are readily available on dozens of Internet sites - orphaned as a child, sold into prostitution at age fourteen by her opium-addicted uncle, saved from her fate by a government officer who takes her as his second wife, talented but unlikely admission to an art school in Shanghai and from there to Paris, celebrated for her adaptation of Western Post-Impressionism to Chinese themes and styles, condemned in her native country for her paintings' moral decadence, her brief and largely unhappy return to China in the 1930's, and her eventual return to Europe in 1937 where she lived until her death in 1977.

The challenge for Ms. Epstein was what to make of such a life, how to cast it against its own remarkably volatile cultural/historical backdrop while still positioning her biographical subject's place in the 20th Century art world. She fairly successfully meets the first part of that challenge in her book, infusing Ms. Pan's life with the sense of an artist's vision and tortured soul against a background of violent historical movement - the end of imperial rule, the portioning of Shanghai by Western powers, the birth of Sun Yat-Sen's Republic, the advent of Chang Kai-Shek's Nationalist Party, the early signs of the evolving Communist Party (embodied by multiple appeareances of Zhou Enlai), and the Japanese intrusions paving the way for its 1937 invasions and massacres in Shanghai and Nanjing.

It is not so clear whether she succeeds in the second challenge, that of defining Ms. Pan's importance to the history of art, either China's or the world's at large. Ms. Epstein provides no substantial sense of Pan Yuliang's artistic style, seemingly settling for the notion that female nudity alone was enough reason to signify her work. While this may well have been true in 1930's China, Ms. Pan's actual work (not included in the book) are strikingly different - far more Rubensesque, for example - than the impressions left by Ms. Epstein's writing. I chose not to survey Ms. Pan's oeuvre until after reading the book, only then to be astonished at the difference between the mental picture I had formed and the reality of Pan Yuliang's work. It seemed surprising that paintings with such strong 17th Century influences would have found an accepting critical audience in a European art world already under the thrall of Pablo Picasso, Georges Braque, Piet Mondrian, Marc Chagall, Max Ernst, Paul Klee, Marcel Duchamp, and so many other Modernists. To a modest extent, I feel compelled to fault Ms. Epstein for both the perception gap (literary impression versus artistic reality) and the reasons for Ms. Pan's acceptance in the Paris art world. How much of the latter, for example, could have been simply a product of her "Oriental exoticism?"

Nevertheless, Ms. Epstein effectively brings her subject to life, casting her as a heroic victor over extraordinary odds by sheer force of talent and will. As an author, she has much material from which to choose - Ms. Pan's cruel childhood (including footbinding), her "Memoirs of a Geisha" adolescence, her insistent self-education, her strong feminist leanings, her cultural iconoclasm, and her unshakable belief in her own artistic vision. There are suggestions of deeper veins to be mined, particularly references to Ms. Pan's homesexual relationship to another prostitute, Jinling, that can hardly fail to be connected with the artist's later focus on the nude female form in much of her work, but Ms. Epstein appears content to introduce them without further examination. In addition, the male characters in Ms. Pan's life - her uncle Wu, her youthful revolutionary friend Xing Xudun, and of course her "savior" husband, Pan Zanhua - are perhaps less thoroughly exploited for their perspectives on Ms. Pan than they could have been. Alternating chapters seen through Ms. Pan's eyes and those of the various males in her life might have provided for more critical, arm's length view of the artist's actions and their effects on others within the broader social and cultural context of early 20th Century China.

Likely unknown to most Western readers of THE PAINTER FROM SHANGHAI is an earlier, fictionalized account of Ms. Pan's life in subtitled cinematic form. A SOUL HAUNTED BY PAINTING was released in 1994, directed by Huang Shuqin and starring China's incomparable Gong Li as the tortured painter. While the movie suffers numerous flaws - underexplained character motivation, storytelling choppiness from multiple continuity breaks, and melodramatic acting, among others - it fairly mirrors Ms. Epstein's story while providing a much greater sense of Pan Yuliang's artistic style and works.

The Painter from Shanghai by Jennifer Cody Epstein is the story of famed Chinese artist Pan Yuliang. If the book was fiction (it is a fictionalized biography), it would be impossible to believe that it's true. Yuliang was sold into a brothel at the age of 14 by her opium-addict uncle. The girl initially believed that she was going to do embroidery to support the family. Trained by the brothel's top girl, she shuts down her emotions in order to deal with daily degradations. At seventeen, she meets a Republican official, Pan Zanhua, who quickly makes her his concubine, and eventually second wife. Zanhua supports her interest in art and allows her to enter art school, even when it endangers his position with the government. Yuliang continues to keep her emotions hidden and only allows them to show through her artwork, many of which are self-portrait nudes. Yuliang's story takes place on the sweeping canvas of Chinese civil war and the Japanese invasion. As as her home country tries to determine its new identity (making the book very timely), Yuliang has to determine her own as well. Epstein tackles this amazing story deftly and with compassion, Yuliang suffered much, torn between art and love and was deeply scarred by the sexual abuse she faced for three years. Many artists have faced hunger and poverty, but Yuliang faced so much more, the reader can't help but be awed by the obstacles she faced and overcame, including the destruction of an entire exhibition by anti-Communist forces. The book is well-written and compelling.

This book is the best I have seen for any beginning poet. Its simply a must have!!!!!!!!!!!!!!!

Ted Kooser has written a poetry manual for amateur and professional poets who are interested in improving their writing craft. His suggestions can be easily implemented. As a poet I've read many books on the writing craft but this one rates in my top three. There is more to writing poetry than to jot down the words the pretty Muse whispers in one's ear. For those serious about becoming better poets, this is the book for you.

This excellent no-nonsense book about writing poetry also manages to be inspirational. In clear and compassionate prose, Kooser addresses real issues that poets struggle with, such as the fine line that exists between gushing sentimentality and the resonant expression of real feelings, the subject of one of his 12 chapters.
Kooser provides wonderful examples to illustrate his points, giving us the pleasure of reading good poetry while we learn to write it. He also provides vivid images as metaphors for how writing works and how readers read, transforming glass bottomed boats and ham cubes into tools for crafting poetry.
Laced with humor, this book feels like a casual conversation that you want to return to again and again.

The author introduces his book saying it contains "my favorite tools for tuning up the poems you write". From discussing the poet's "job description" to the necessity of writing clear understandable poetry, from how poets should serve the poems they write to the necessity of having an imaginary reader in mind, from the importance of titles and opening lines, to cutting out unnecessary words, from ryhme to writing about feelings, writing from memory, how best to use anecdote, fine tuning similes and metaphors, and to a most inspiring chapter dedicated to "detail", this book guides readers to writing (and reading) poetry with greater sensitivity.

Among the many tools for fine tuning, the author sheds light on the connection between the specific choices a poet makes and their outcome, revealing ways in which a poet could manipulate such choices more consciously to achieve the desired results.

Throughout the book, the author quotes numerous poems to demonstrate his meaning, many of which are striking, some unforgettable. While some of the examples are from his poetry, he draws heavily on the work of other contemporary poets, enlarging the scope of the book to include many other voices and visions than his own.

Although deep insight permeates its every line, the book is written in clear and accessible language and a delightful sense of humor. The author possesses the gift of instructing with a light touch, revealing a great deal of information, while staying out of the way, a feat that requires a delicate and artful balancing act that is the mark of a true guide.

This is not an intense workbook to poetry nor a rigid list of rules to follow. Rather, it is a gentle conversation with the author that pleasantly guides you along the finer points of writing poetry.

Interspersed with kind humor, we read sample poems that illustrate various aspects of poetry from voice to how to submit for publication.

It reminds me by its simplicity of "Elements of Style" by Strunk and White.

You might wish after reading it that it had more details and specific exercises to help us develop the poet's skills, but he references a few other works that provide more detail if one is looking for it.

I consider this a enjoyable read that opens up one's eyes to the beauty and nuances of poetry.

The Saturdays by Elizabeth Enright was first published in 1941, and though it was written many years ago, is as delightful now as it was then. It's a story about a family who loves each other, works hard and strives to do the right thing. How refreshing!

Mona (13), Rush (12), Miranda (10 ½), who is known as Randy, and Oliver (6) live in New Your City in a brownstone that is rather shabby, but has many floors and fits their lifestyle perfectly. The Melendy children's mother died, but their father and Cuffy, the beloved housekeeper, provide the love, attention and care the children need.

Each of the children has dreams and desires for their futures. Their interests are varied and they each are independent and inquisitive about life and their surroundings.

But while the Melendy children find life generally interesting, Saturdays can sometimes be just plain boring. The children form a club they call the Independent Saturday Afternoon Adventure Club (I.S.A.A.C.). All of the children agree to pool their allowances and each child takes a Saturday with all the money to do something by themselves that they really want to do.

The Saturdays are exciting, not just because of the activities they choose, but because of the people they meet and the stories they hear. Well, Oliver does make one Saturday particularly memorable, but you'll have to read the book to learn about his adventure.

In the day of the novels that glamorize the worst society has to offer, The Saturdays is delightfully refreshing.

Armchair Interviews says: Read the series and enjoy!

This book is different in a good way. It is about 4 children who decide to put there allowences to a good use. Every Saturday the add up there allowence and one of the children gets to do any thing that they will always remember.
By,
Girl With A Plan

I had doubts for this book because it didn't sound very interesting but my Mom wanted me to read it so I did-I loved it. It's original and imaginative and above all easy to read for hours without getting bored. It's original and fun like the story of Mrs. Olifount being kidnapped by jypsies, or Isaac the dog saving the family from suffocating. It's a wonderful book I can't wait to read the sequils.

When I was nine years old I picked up a copy of Elizabeth Enright's "The Melendy Family" on sale for 25 cents at my school Christmas fair, donated by some eighth-grader who evidently felt she had "outgrown" it. I wonder, does anybody ever outgrow the Melendys? "The Melendy Family" was a three-in-one volume comprising "The Saturdays", "The Four Story Mistake", and "Then There were Five". Alas, "The Melendy Family" is no longer in print, but fifty years later, I still have my copy, read to shreds, patched and repatched with scotch tape, a book to be treasured forever and never thrown away. Fortunately, the books making up "The Melendy Family" have been reissued as individual volumes available to enchant yet another generation of young readers.

"The Saturdays", the first volume in the series, introduces us to the four Melendy children: Mona, age 13, Rush, age 12, Randy, who is ten-and-a-half, and Oliver, age 6. Each is given a distinct personality and Enright modeled them on children she had known in her own life, her own children or childhood friends. The result is four fictional characters so totally believable that for years after the books were published, Enright continued to get letters from readers wondering if the Melendys were "real".

The Melendy children's mother is deceased, but they are raised by a devoted, caring father and Cuffy, their beloved housekeeper, who stands in as nurse, cook, substitute mother, grandmother, and aunt, and generally rules the roost. The children are funny, refreshing and unspoiled. Mona has aspirations of being a famous actress and already at thirteen can recite "yards and yards of Shakespeare at the drop of a hat." Rush is the next to the oldest, a musical prodigy with a penchant for getting into and out of trouble. Randy at ten-and-a-half (the half is very important at that age) is an endearing mixture of grace and klutziness, a talented dancer and artist who keeps falling over her own feet when it comes to manual labor. And six-year-old Oliver is the baby of the family, placid and calm, very much his own person, as his story shows.

The story opens on a rainy Saturday which finds Randy and Rush monumentally bored with nothing to do. Randy wants to see a some French paintings. Rush wants to go to the opera. Mona wants to see a play. But in the early 1940s (the approximate time in which the story is set is revealed in the opening pages when Enright tells us that the long scars on the linoleum floor were made by Rush trying out a pair of ice skates on Christmas afternoon, 1939), fifty cents a week allowance was standard, and there wasn't a whole lot you could do with that. Randy has a brainstorm. Let's start a club, she says, and pool our allowances together each week so one of us can spend them on something we've always wanted to do. This idea is adopted enthusiastically by all the children (Oliver wants to contribute his ten cents, too), and thus the Independent Saturday Afternoon Adventure Club (ISAAC) is born.

Each following chapter describes an adventure that takes place on each child's Saturday. Randy goes to see an exhibition of French paintings, runs into an old family acquaintance, Mrs. Oliphant, and is treated to tea at the Plaza while she hears a delightful story of the time Mrs. Oliphant was kidnapped by gypsies during her childhood.

Rush goes to the opera, walks home in a snowstorm, and finds a lost puppy that becomes the family's devoted friend and companion from that day on.

Mona, tired of her long braids, goes to a beauty parlor and treats herself to a haircut and a manicure. The resulting uproar by her father and Cuffy seems a trifle overdone, but as Father later admits, it's hard for parents to realize that their children are growing up.

And Oliver, keeping his own counsel, sneaks out of the house when his Saturday comes and goes to the circus all by himself. An even greater adventure occurs when he is given a ride back home by a mounted policeman on a horse, after he gets lost leaving Madison Square Garden.

After Oliver's adventure the kids decide to spend their Saturdays as a group, but that doesn't stop them from having mishaps such as Randy falling overboard from a boat in Central Park, the family almost suffocating from coal gas when Rush forgets to shut the furnace door, and the storeroom catching fire. It all comes to an exciting conclusion when Mrs. Oliphant invites the children to spend the summer in her lighthouse in Long Island.

"The Saturdays" takes us back to a simpler time and to adventures that probably couldn't happen today (no parent in his right mind would allow a ten year old to go to a museum alone in the New York City nowadays), but kids are still kids, and the Melendys seem so real they could be anyone we knew when we were children, or wish we had known. The time frame may help children understand what a dollar could purchase back then (a wash, set and manicure, or admission to a museum with change to spare). The whole series is a gem for every child and every generation. I still marvel at the priceless find I picked up off a bookshelf at random fifty years ago for only twenty-five cents. It's paid me back a zillion-fold ever since.

Judy Lind

I wanted to respond to the reviews below that thought it was either implausible or dated for children aged 10-13 to wander around New York by themselves. I grew up in New York (in Manhattan, across the park from the Melendys) in the late 1980s. I turned 13, just Mona's age, in 1990. I started walking home from school alone in fourth grade (when I was nine, a year younger than Randy). Like Mr. Melendy and Cuffy, my parents' major worry was that I was careful crossing the street. (Reasonably enough, they feared that drivers would not be able to see a small child.) Many of my friends from elementary school walked or took the bus to school alone at the same age. By twelve (Rush's age), I was allowed to take the subway to visit friends from junior high school, and they took the subway to visit me. By fourteen our teachers assumed that we were competent to find the Metropolitan Museum of Art on our own for projects. None of these people were neglectful, and none of them were "horrified" at the idea of pre-adolescents wandering around the city alone. This was in the supposed "bad old days" when crime was theoretically much higher than it is now, and none of us ever suffered any accident. (Although a group of friends and I got lost coming back from the theater in eighth grade, and were pretty embarrassed that we looked like tourists.)

Anyone familiar with the geography of New York City knows that the Melendy children stay within a fairly small geographic area in THE SATURDAYS, and that the areas where most of their adventures take place are some of the richest and safest in the city. Most sensible New York parents would allow their children to wander there on Saturday afternoons with no more concern than the appropriate ones that Mr. Melendy shows. (Be careful of traffic, don't talk to strangers, and don't get lost.)

Ironically, this ties in with the review that says that Enright did not take enough "risks" with the book, by having her characters get kidnapped by gypsies or run away from home. The fact is, she wrote a fairly realistic description of the childhood of the middle and upper-middle classes of New York City....kids who come into CONTACT with a relatively diverse group of people who have had a variety of experiences, but who actually live in a fairly safe, and sheltered world.

As a New York City kid, I was thrilled to read a book that reflected MY real life experience, as opposed to yet another story about kids who lived in houses with back yards and rode a school bus, and generally had no relationship to my real life. I still love THE SATURDAYS for its loving description of a New York that has in some ways remained startingly the same, even though parts of it have disappeared (no more two way traffic on Fifth Avenue, and no double decker buses!). As other reviews have said, The Saturdays is a charming, well-written book for kids, that can also be enjoyed by adults. It's also one of the few accurate and positive stories about growing up in a great city. I would recommend it for all ages.

Many a thing you know you'd like to tell her
Many a thing she ought to understand
But how do you make her stay
And listen to all you say
How do you keep a wave upon the sand?
---from the Sound of Music

I discovered early on in my parenting adventure that my least favorite part of it was the unremitting vulnerability without full control. And, I soon found, the control diminished rapidly through the dangerous years of adolescence and early adulthood.

Reading Pamela Palmer Mutino's beautifully written account of the addiction and subsequent overdose of her daughter was, at times, almost too painful to bear. Ms. Mutino has lived through our worst nightmare and recounts it with such raw frankness that you may need, as I did, to just shut the book and ponder for a moment or even for days the enormity of love and loss.

But don't make the mistake of not opening this book simply because it's sometimes a difficult read. Not only will the rich prose within strengthen you to motor on parenting despite the mixed bag of vulnerability and joy, she's got a secret at the end, and that is how to survive the journey and thrive no matter where it takes you.

"Maybe," she says, 'there could be life after Maria." Luckily, she not only shares her years with Maria in this powerful book, we get to see a glimpse of life after Maria.

Pamela Palmoer Mutino shares the story of her daughter. Mutino wants readers to know that Maria was more than an addict. She was intelligent, witty, and beautiful. She was loved. I can only imagine the pain and horror that Pamela Palmer Mutino is experiencing. She cleverly demonstrates how addiction does not only affect the addict but everyone around the addict. SWISH: Maria In The Mourning is beautifully written with the strong emotional voice that comes from a parent's love. This is a must read for all parents.

This book portrays a mother's grief in a highly creative and realistic style. One does not have to know or have experienced addiction to feel the impact of Maria's or her mother's journey together. Finally, the book is about love and forgiveness.

One minute a mother is relishing the swishing sound of a wedding dress in anticipation of her daughter's wedding. Almost the next minute, it seems, she is mourning the death of that same daughter to horrific addiction and overdose of heroin. It's enough to make her imagine that a ornament-less, six-foot Christmas tree is the perfect size of a heroin dealer which she attacks with unmitigated rage.

Words can't describe the cycles of mourning, so aptly described years ago by Kubler-Ross, that consume the being of this mother who was so intimately involved in her daughter's life, as every loving mother would be. But far fewer mothers have had to do deal with the agony and hope of a daughter in rehabilitation, a process given attention in phone calls and Maria's letters from both jail and rehab center.

One particularly startling section describes the cold, clinical and heartless treatment Maria's mother received at the hospital where Maria was taken after her overdose. It's impossible to excuse this lack of sensitivity and Maria's mother aptly also describes her reactions to it in a letter composed to the staff of that hospital.

The words penned by Ms. Mutino and Maria's friends will poignantly touch the reader's heart but also leave them with the many questions such a death leaves behind, like the destruction wreaked by a horrific storm. The literate quality of this account sets it apart from the multitude of other accounts, with poetry such as "Heroin and the Livid Lie," in whith the author describes the process and aftermath of this insidious, consuming killer, "...My bare feet / tiptoe thorugh your psyche... / I am hungry / but you don't feed me.... / Abandoned, / I die inside you..."

Swish: Maria in the Mourning is quite simply unforgettable!

Reviewed by Viviane Crystal on August 18, 2008

Imagine your daughter's wedding day and helping her into her beautiful dress. Now, imagine the sound her dress makes...Swish...Swish. Pamela Mutino will never hear that sound. She will never see her only daughter get married. She really does have to imagine that day because it will not be reality for her. Swish is a beautiful story written by a mother to her daughter. Pamela Mutino's only child died of a heroin overdose at the young age of twenty-three. Mutino delves deep into her soul and bares her pain for all of her readers. In the first chapter, Mutino imagines her daughter's wedding. In the second, she faces reality at her daughter's graveside. And we feel her pain.

Mutino writes about her experience and details events I could not imagine. Especially touching is when Mutino noticed petals had fallen on Maria's body during Maria's visitation and she wondered why Maria did not brush them off. Another chapter that affected me was her chapter detailing her cruel treatment at the hospital when she found out about Maria's death. She writes a letter to the hospital asking them, among other things, why they could not have even cleaned the blood off Maria's neck and shoulders before she had to face her daughter lying on the table. Mutino shares with readers of Swish Maria's personal letters from jail and rehab, so we gain some insight into the struggles Maria faced in her short life. A talented writer, Mutino is also a playwrite, and as she tells in her book, she had no intention of ever writing anything. But she knew at some point her writing was her way of working through her personal tragedy. The best way to do justice to such a beautiful and emotional story is to end with Mutino's words.

"I only knew that there was a story in me that was going to haunt me until it was in print. I did not want pity for my suffering. I wanted Maria's beautiful spirit to live on in such a way that others would connect to their own truths, when it came to loving, losing, living, dying and moving on." - Pamela Palmer Mutino, Swish: Maria in the Mourning

Clever and creative character development, mind absorbing details takes you into the characters lives as it was long ago. A story whose creatively orchestrated plot fascinates you and grips you until the end, anticipating the intrigue of Book II.

A great book to read for all ages which takes you away to the Medieval era with details of life long ago, with virtue and honor and chivalry and nobility to enchant your wishes for the characters and idealize attributes to strive for.

A Very entertaining and enjoyable read with a map to follow and peoples lives at stake for the outcome of Truth.

I read this book in three days while on vacation in Maine. I could not put it down. While it does have a prominent theme of action and fantasy, a Sword For The Immerland King is overflowing with new ideas and true wisdom. F.W. Faller starts each chapter with a quote or proverb that relates to the following chapter. They are all very wise and relevant, and I found myself looking forward to reading each new proverb. For example, two in particular that caught my eye: "Who is the greater prisoner: the caged man whose mind transcends his physical boundaries or the untethered being whose mind holds him in a cage?" and "We are forever doomed to suffer with histories defined by those who are able to shout the loudest.". Faller also deals with some spiritual ideas, such as "cymbic" relationships and the myriad layers of the "vorn" (sort of like the soul). The characters, plot, and scenery are very skillfully developed and described. Aside from everything else, FW Faller has an exquisite way with words, a talent that he exercises in weaving this intricate tale that I will most certainly re-read after I've finished the sequel!

I was happily surprised to find out that there are still great fantasy authors out there who can not only spin a good yarn, but also do so in a way that shows morally why some ways of acting are better than others. I eagerly look forward to the next book in the series.

A Sword for the Immerland King is one of the best, if not the best book I have yet read. It is a fantasy good for almost all ages that can comprehend the complex story line. The characters are real and come alive during the book. It is action packed and the world of Tessalindria is an incredible nation with a complete history. I am strongly looking forward to the next book.

The Sword of the Immerland King captivated me with a story in the epic proportion of the Lord of the Rings. With exquisite imagery and just the right balance of suspense and imagination, the author succeeds in creating a book that you never want to put down. Personally, although I read dozens of books a year, I'm not an avid fiction reader. But since I knew this author, I thought I would give it a try. I was not disappointed. I finished it in less than a week and now I'm reading it to my two boys (8 and 6) who only complain when I stop reading to them!

Fantastic job! I am hungry for the second volume.

This is one of the greatest books I have ever read. Next to the Bible it has had a positive effect on me and I share its positive message with everyone.

I speak to groups and this is on my suggested reading list.

A must read.

I am not one who writes or talks much but I have to share with those who I meet.

Think and Grow Rich continues to be a book I would suggest that everyone keep in their library and read at least once a year.

An excellent read for anyone who desired to have it all and wants to truly know how to go about accomplishing that very goal step by step.

Preparation is definitely the key!

It becomes important that we know about the rules that will ultimately determine our success. Not just to know their meanings and what they do, but to make these principles a part of us - a habit that will lead us to do the right thing automatically, regardless of the circumstances. As Kimbro said, "it is our job as Black Americans to disentangle the myths, misconceptions, and half - truths that clouds the judgments of our society".
All, regardless of race or class or economic status, are entitled to a fair chance and to the tools for developing their individual powers of mind and spirit to the utmost. This promise means that all children by virtue of their own efforts, competently guided, can hope to attain the mature and informed judgment needed to secure gainful employment, and to manage their own lives, thereby serving not only their own interests but also the progress of society itself. Also noted by Kimbro, "Blacks as a whole have moved from a position of utter destitution - in terms of wealth, education, and human rights - to a place alongside their ethnic counterparts".

Black males, particularly, have edged precariously close to becoming an endangered species. There are more Black males in prison and correctional facilities than on college campuses. Functional illiteracy among minority youth may run as high as 40 percent.

The search for solutions to our educational problems must also include a commitment to life-long learning. Learning is the indispensable investment required for success but without life-long learning, one's skills will become rapidly dated.

This would also reverse the current declining trend--a trend that stems more from weakness of purpose, confusion of vision, under use of talent, and lack of leadership, than from conditions beyond our control. We as Black Americans need to realize that we do not simply exist, we need to always realize what our life will be, and what we will become in the next moment.



I took liberty to expand upon the following:

THE PRESIDENT'S NATIONAL COMMISSION FOR EXCELLENCE IN EDUCATION (During Reagan era, still suitable today):

The report called for greater federal support of education and included the claim that the nation was threatened by "a rising tide of mediocrity". A Nation at Risk is a reform based on the development of standards-based curricula. The focus is on outcomes of education in relation to standards of achievement, the idea being that student achievement and instructional programs were likely to improve.

One of the most quoted portions of this report came from the introduction just after the "Rising Tide" remark. It said: "If an unfriendly foreign power had attempted to impose on America the mediocre educational performance that exists today, we might well have viewed it as an act of war. As it stands, we have allowed this to happen to ourselves. We have even squandered the gains in student achievement made in the wake of the Sputnik challenge. Moreover, we have dismantled essential support systems, which helped make those gains possible. We have, in effect, been committing an act of unthinking, unilateral educational disarmament".

The following five recommendations were made by the report:

Content
Recommended that the graduation requirements for all students be raised to include 4 years of English, 3 years of mathematics, 3 years of science, 3 years of social studies, 1 semester of computer science, and for college bound students 2 years of foreign language.

Standards and Expectations
Schools should expect better academic performance and behavior from students and universities should strengthen admissions requirements.

Time
More time should be spent on the new required courses by being more efficient and by lengthening the school day and year.

Teaching
A series of recommendations that focused around teachers being better prepared.

Leadership and Fiscal Support
A call to citizens to hold educational leaders responsible be willing to provide the fiscal resources needed to implement the outlined reforms.




Using available statistics, Black America continue to take for granted the enormous and victorious battles won by the Civil Rights movement. "If there is one thing that we have won and accomplished, it is our moral right to exist".


Racism and discrimination should never be an excuse for your lack of development, but real creative ability-ability to live largely in a world based on ones own inner resources, finding one's true self, overcoming ignorance, and always remaining receptive and teachable should be never ending endeavors.

Slavery in America has left a scar on the Black family structure where as slave master would separate parents from children, husband and wife from each other is still visible today with children being born into single parent households or children being separated from parents. This cycle has not ceased but instead has taken new forms.

Kimbro's writing style is multi- dimensional and stimulating to the imagination. It spirals you into the seams of the book. In the section dealing with the " Law of Compensation" there are many lessons to be learned by all ethnicities.

Black people have to take the opportunity and the responsibility by portraying themselves differently. As Kimbro mentioned, your thoughts are the steering mechanism of your life. "Faith only enters the mind that has been properly prepared for it. Although I must add, your heart and your guts usually have a say so with what you think or decide too.

Quoting Thurgood Marshall, " Blacks must earn their way to higher achievement". In other words, through perseverance, hardwork and desire.

As John H. Johnson stated, "Black people have the power to make it in this society".

As George Washington Carver stated, "We must rid ourselves of the idea that there's a short - cut to achievement".

Black America has to realize that whatever God has allowed to be taken away from it temporarily he has suredly replaced it with something far greater. A glance at history will confirm that. Although many individual Black Americans in this society continue to adorn themselves with the albatross of ignorance around their neck. Black people need to reconstruct the perspective lens of White America.

Although I thought, Kimbro did not use fair judgment by not choosing Reginald Lewis (TLC Beatrice) as a role model in his book due to Lewis's butting heads with John Johnson of Johnson Publications. In my judgment, if Kimbro knew about this spat he should have left Johnson out of the book.

Although this book is directed at the African-American community, the principles found within are color blind. Dr. Kimbro creates a step-by-step approach for achieving success. There is enough in the book that merit's a periodical re-read.

Great book. I would recommend this book to anyone who want to be successful in their respective field.

While I have great respect for Jack Kerouac, I am not all that impressed with his writing. I never really got into The Beat writers, although by all accounts I should have in late high school when I was interested in "automatic writing." That stream of consciousness, punctuation-less thought that comes from your mind when it can't quiet itself. I think I have the same assessment of many of the Beat writers and poets, and I did have the unique experience of going to City Lights Book Shop in San Fransisco, which is owned and run by one of the original Beat poets. I respect their art and their way of expressing it, but it never really hit me as anything profound. I enjoyed Tristessa some, but not as much as I was hoping I would. I had heard so much about Kerouac from my best friend, who loved On the Road, but I was never hooked. If you are interested in esoteric topics presented in slurred poetry then this is for you. I don't care much for some performance art, and much of what I have read from the Beats seems like a literary version of that. Perhaps I haven't read the right things, so I may not have a good grasp on them. I'll have to try and read some from William S. Burroughs. I hear he had some great books.

In Tristessa, Kerouac writes about his time on the road in Mexico City. The book is broken down into two parts, a year apart. It is a sort of love poem to Tristessa, the morphine addicted prostitute that he is in love with.

In true Kerouac fashion we once again live vicariously through his vivid writing of his experience on the road. His ability to bring the reader right into the middle of his world is the reason I keep coming back to him again and again.

Jack Kerouac describes his low-budget meanderings within the slums of the Prostitution and Drug Culture in 1950's Mexico City. His descriptions of the hovels that his "compadres" live in, is quite engrossing... it reminds me somewhat of the activities in the neighborhoods of modern-day Tijuana (short all the pets and chickens and so-forth)... I wouldn't recommend anyone attempt these same "feats" in modern-day Mexico City, as it has become a much more dangerous place for tourists over the last 50 years.

The fact that Kerouac is able to travel and live among the bohemian under-culture is one thing, but that he is able to describe it with his running dialog style on a typewriter is quite unique (a style that is something close to what I'd independently come up with at 14 in 1973, while capturing a dialog between a good friend and my sister on my Mom's old manual typewriter).

I can`t really review the whole book yet as I`m only on page 16, but so far this book is thick, and dripping in poetry. Kerouac is genius, unmistakable. I should have read this sooner--by page 16 it`s already more highly beautiful then 1000 other books combined. I`ll read the rest of it and write more later--Hopefully it`s more of the same

Tristessa by Jack Kerouac *****

Tristessa may just be the best thing Kerouac ever wrote. Yes I know On The Road was, and still is one of the greatest and most important books of all time, but I must say I don't think Kerouac ever felt what he wrote as much as he did when he wrote Tristessa. You can feel his heart aching in the literature, something that is very, very rare to find, but very rewarding when you do.

Tristessa follows a man in Mexico City, Mexico who is completely infatuated with a women named Tristessa who is a junky, to say the least. This tortured story follows these two along with a revolving door of assorted men, and her fellow girlfriends over the course of about a year and a half. These two love each other but the narrator can't bring himself to give into her because of her addictions and flighty ways, but he also is conflicted and can't leave her in this condition because he really does love her so, and her him.

This is a gut wrenching tail of love, loss, and not being able to let go. If this is not the most prolific thing Kerouac ever wrote it sure is close, and wins my pick for his best.

My daughter got a copy for her birthday and wasn't that intrigued, maybe because of the cover picture. But the story was absolutely wonderful and
having been to NYC made it even more special. We just bought a copy to give
a younger friend because we loved it so much. It is a wonderful tribute to the imagination and wonder in the simplest of lives. Very special for adults and children alike!

That's because I was given this book 64 years ago when I was six years old! (It was originally published in 1942.)I just looked it up on Amazon.com thinking I might find another used copy in better condition than mine and I find that Twig still lives on in the lives of a new generation of children!

The story is charming but it is the illustrations that make the story come alive. No credit is listed for an illustrator so perhaps the author did them herself? The drawings are mostly in black and white but a few are touched with color.

The story is that of Twig, a little girl who meets a tiny boy in her backyard. Through magic she shrinks down to size of the boy named Elf. Elf is actually a Brownie who has flown in on the back of a sparrow. Twig and Elf set up housekeeping in an upturned tomato can and furnish it with a table (a thimble and a bottle top,) a mirror (a shiny gum wrapper) and a broom (a feather). I have to say that not a lot happens in this book. No violence or bloodshed, and not even any enemies for Twig and Elf to fight. This is a gentle story and yet an enduring one.

Every household with children should have a copy of this book!

I read this book over 40 yeras ago and have never forgotten it. It drew me into a world of wonderment. I just obtained a new copy for myself as a grandma. I will read it again and again with my grandchildren. This author was magical!

This story was recommended to me by a Kindergarten teacher. A little girl's backyard comes to life with talking animals and fairies. The story is a pleasant look into our childhood imagination! Highly recommended for all!

My six year old daughter who loves all things magical but nothing scary, just loved this book. Her little face had an ear-to-ear grin when Twig became small and especially when the fairy queen appeared. The story works on many levels and led to a rather philosophical discussion about whether or not it was really a dream that Twig had. I highly recommend this book. It's a sweet story with basic, old-fashioned, comfortable characters.