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Nevertheless, the illustrations are something, and there is something in the poem, I don't know exactly what it is (nor does anyone else, regardless of how convoluted and esoteric their arguments), but I'm convinced that in order to understand the least bit of these poems, you must read them all. Study them, in fact. The notes in this version are very good, and the extra illustrations are great, particularly the painting of Adam and Eve discovering Abel with Cain running off covering his newly marked forehead. Also, there is a large Lacoon, undoubtedly Blake's best thing. (I don't want to call it a poem, painting, or even "work" for some reason).
Milton is a great figure in English literature, and the great poems which place Satan and God in a struggle that makes Adam and Eve seem like minor characters are the intellectual context for Blake's effort to write a poem using Milton to write about things that minor characters wouldn't even want to talk about. Things don't really start happening for me until plate 12, "According to the inspiration of the Poetic Genius/Who is the eternal all-protecting Divine Humanity" that Milton actually rose up and said, "I go to Eternal Death!" Don't expect to meet anyone saying such things on our streets. This attempt to be instructive in the art of self-annihilation produces one of the great intellectual puzzles of eternal questions, which attempt not to apply to a particular place and time. My appreciation of John Milton and William Blake is more concerned with their ideas than with artistic techniques. The importance of Blake was suggested, more than it was demonstrated, by Theodore Roszak in THE MAKING OF A COUNTER CULTURE, Chapter VIII, "Eyes of Flesh, Eyes of Fire," which observes that a "perfectly sensible interpretation . . . would tell us, for example, that the poet Blake, under the influence of Swedenborgian mysticism, developed a style based on esoteric visionary correspondences . . . Etc. Etc. Footnote." (Roszak, p. 239). What really impressed me was the intellectual context established in the Bibliographical Notes, at the end of THE MAKING OF A COUNTER CULTURE, which states, "Anything Blake ever wrote seems supremely relevant to the search for alternative realities." (p. 302). The radical element of that thought needs to be understood in a way that affirms the religious significance of what Blake was trying to accomplish, and other scholars might overlook how this search in Blake's work might oppose their own assumptions about our cultural inheritance. Harold Bloom, in BLAKE'S APOCALYPSE, (1963, shortly before the radical part of the sixties) said "The dark Satanic Mills have nothing to do with industrialism, but" poetically pick the most common example for why those who are bored might want to complain of "The same dull round, even of a universe, would soon become a mill with complicated wheels." (Bloom, p. 305). There are a lot of names to explain, as Bloom does in his book, and the scholars employed by Tate Gallery Publications for the production of this book display an extraordinary amount of work on this project for that purpose, and the intellectual puzzles are what remains mysterious even after learning what knowledge is available.
At the heart of the poem, "Milton," is the question of what such a character might mean to William Blake, and how, long after Milton's death, he might be of some use. A lot of works have been written to give an author the opportunity to say something that he wouldn't have otherwise had a chance to say, and this book seems to be one of the unique cases of a work which tries to say something that no one else is saying. Instead of treating Milton like anyone who had been dead for more than a hundred years, the treatment of Milton's thought also supposes that it exists through an "Emanation, Sixfold presumably because he had three wives and three daughters." (Bloom, p. 308). Bloom thinks this book is a result of "a complex relation of responsibility to what he has made, though his creation is in torment because scattered through the creation." (p. 308). After John Milton had become blind, his wives and daughters represented a tremendous portion of his remaining contact with the world.
Walter Kaufmann, in LIFE AT THE LIMITS, considered a sonnet by the blind Milton about a dream in which one of his wives, who had died, was seen by him "Brought back to me like Alcestis from the grave." The reality expressed in the final line of that poem, "I wak'd, she fled, and day brought back my night," seemed to Kaufmann to be "the most powerful last line of any English short poem." (LIFE AT THE LIMITS, p. 75). Blake approached this situation, in which picturing another person might be considered the strongest link with any reality, with what modern readers might consider an unctiously religious picture on plate 15, with the caption (explained on p. 139 with, "The giving up of selfhood to achieve a more inclusive sense of self is essential for the artist to create" which isn't so scary if it is only applied to artists and monks): "To annihilate the Self-[there is a foot here in the picture]-hood of Deceit & False Forgiveness." Then plate 16 starts with "In those three females whom his Wives, & those three whom his Daughters/Had represented and containd. that they might be resume'd / By giving up of Selfhood:" This poetic division of a single poet into six male-female relationships is the most surprising thing in the poem, for me. Trying to apply it to religion states a much more radical understanding of what religion has to offer than most people expect if they merely go to church, which seems to be one of Roszak's points about how our culture accepts religion by making it strictly mainstream, totally "God Bless America" as the most popular current phrase goes. Much of the scholarship on the creation of Blake's large works notes how uncommercial it was in Blake's day, as "Hayley discouraged him from anything other than `the meer drudgery of business' (p. 14)" and this book tries to make that picture perfectly clear.
In one of the few small works at the end of this book, Blake complained:
The Classics, it is the Classics! / & not Goths nor Monks, that / Desolate Europe with Wars. (p. 264)
I feel the same way, complaining about some books, but Blake assumed a society in which people were actually being taught things like a Platonic belief in forms, and the Classics were a large element of what seemed bad to him. He might have felt differently if he ever had a chance to observe our formless void, where any claim to wisdom is highly suspect. We can only look the other way.
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I have a problem in understanding his logic when it comes to the Black Americans Soldiers which he controlled. The General states that he was not a predjudist person and was in charge of the 24th Infantry (black) during the Mexican-American war. He praises their work, yet, when the 93rd Division (black), American,arrived in France; Pershing assigned them to the French Army.
Pershing made the statement that Americans will not fight under another countries Flag but then gave the 93rd Division (provisional) to the French.
Further on, General Pershing makes the statement that Black Americans are good soldiers as long as their are white officers leading them. There is no mention of visiting the Regiments (369th, 370th, 371st, and 372nd) during his tours of the regiments.
The Generals attitude towards black officers resulted in an open field-day on all black american officers.
The 92nd Division, a complete black-american division was not given its rightful respect, due awards, and training while in france.
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Text provides excellent instruction of MS Access functionality, while briefly touching SQL and VBA. You'll need additional resources to learn them. Layout of the book makes quick referencing difficult.
Overall, an excellent book !!!
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Although the book is rather hefty--nearly 900 pages--the reader never gets bogged down. The writing is clear, and topics are covered in enough detail as to promote a decent all around understanding of the material.
If I could fault the book in any way, it would be because there are perhaps too many topics covered here. The writing is very good, and I think the authors could have expanded this book into, say, 3 books without getting mired in every detail.
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Did I like the book? It was only OK. I appreciated the short chapters that took me into other spaces at lunch hour. But, it was a familiar whimper without any breakthrough thoughts for me. California angst. Middle-aged angst. Writer's angst. Self-help angst.
Perhaps my lack of enthusiasm was due to my gender. For a woman it's interesting to be inside the mind of a guy, but in this case I was happy when the well-written denouement finally came and I closed this book. I would rather be rereading Arthur Rosenfeld (!!!) or Craig Carozzi for male points of view.
Sutton should keep writing; he has a lot to say to some people. I'm just not on his wavelength.
You can buy this book to see someone work through a case of writer's block. But I would highly recommend it if you want to read some small masterpieces which happen to have been written at the rate of three pages a day.
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The book is flawed in several areas. For drywall inspection, the book emphatically states: "Do not spend a lot of time as you will notice everything once you move in..." After moving in, the builder will not repair walls that could have been damaged while the buyer moved in.
This is very important since you have 1 final opportunity to find problems that you did not cause. If you overlook a scratch or dent, the builder will likely not repair these items. They will repair leaks, faulty appliances, etc, but after the final inspection, they will not cover problems that a homeowner could have caused.
The book also suggests you have power available to test all appliances during final inspection. But until escrow closes, the house is not yours and you cannot have services started until after escrow closes and the title has been recorded into the owner's name.
I wanted to see if having this book would allow me to not have to use a home inspector when going on the final inspection. The builder has their own people "assist" you on the final inspection which is a conlict of interest. This book is good, but I think I'll still pay the $250 for a home inspector. Builders build many homes, while how many new homes do most consumers buy?