Collaboratively written by James Edwin Alexander and William R. Burkett, The Secret Court Martial Of Admiral Kimmel: Pearl Harbor Revisited is a fictional courtroom drama concerning a court-martial trial that never took place -- but perhaps should have. It revolves around Admiral Kimmel, Commander-in-Chief of the U.S. Fleet at Pearl Harbor and the man who received the lion's share of the blame for the Japanese sneak attack that took place on December 7, 1941. Admiral Kimmel asked for a court martial to clear his name, but his request was never granted by the War Department. Highly recommended reading, especially for World War II military buffs, The Secret Court Martial Of Admiral Kimmel is a tightly-written testimony, composed and presented in the style of a courtroom transcript, and with a dialogue as sharp as a cutting-edge radio play, so deftly endowed with a powerful sense of tone and conviction that the reader will find it hard to believe that this is, in fact, a work of historical fiction.

Unless you're rich. Then go ahead

Teaching the Arts Behind Bars is a fantastic book because its contributors are people who know what they are talking about because of their personal experience in the field of teaching the arts in prison. I know because I was a prisoner who maintained my humanity because of the encouragement of individuals like these men and women that teach in the gulags of the United States. It is a valuable book for someone who is interested in teaching in a institutional setting or is just plain curious. I may be biased based on the fact that I painted the cover piece for the book, but take that as a tribute to its honesty and value!

i enjoyed the look at view of the lenses..they were very enlightening..

There were four Regular Army regiments recruited after the Civil War from the veterans of the US Colored Troops raised for war service. Two were infantry, the Twenty-fourth and Twenty-fifth, and two Cavalry, the Ninth and Tenth. The Tenth Cavalry was mostly stationed in the west to keep order among the Native Americans who called them Buffalo Soldiers. There has been a continuing great interest in the deeds and motivations of these men in the face of rampant prejudice and social seperation. The Tenth's service has been perpetuated in the present order of battle of the US Army and there still is an active 10th Cavalry though it is now integrated.
This 1899 book was long out of print and the original is now a collectible. This facsimile reprint edition, with a new introduction added, should interest all those who study the War with Spain. In addition to a few introductory chapters on Negro's service from the Revolution to the Civil War, and a chapter each on the other three Black regiments, the book gives most coverage to the Tenth in Cuba. The 9th and 10th flanked the famous 1st Volunteer Cavalry, the "Rough Riders" at San Juan.
The original also has a commendatory introduction by the Cavalry Division commanding officer "Fighting Joe" Wheeler, who had been a Confederate officer in the Civil War. Most of the book is a collection of personal narratives interspersed with interviews with other commanders.
As an aside, Lt. John J. Pershing, later commander of the Punitive Expedition in 1916 and then the AEF in France, got his nickname "Black Jack" from his service with the Tenth.

In contrast to some of the other editions of the complete works of Shakespeare, this book really is value for money. All plays (and poems, etcetera) are printed in a lavishly, pleasing way, very easy to the eye (one of the biggest drawbacks of some editions is that they use a very small font to keep the number of pages to a minimum). As others have commented, not much can and should be commented on the works themselves, they have stood the test of time, and the (normal) spelling that is used in this edition makes each reading an enjoyable experience. All the plays are given a brief (and somewhat succinct) introduction, which is, at best, okay. The strange things, in this book, are, for example, the order of the plays, the way King Lear is printed in two versions (that differ only in small details), and the inclusion of fragments that are attributed to Shakespeare (a bit controversial to say the least). Still, if you want to buy a good, thorough, and well-researched edition of the complete works of Shakespeare, you will not go far wrong with this book.

Pretty much any edition of Shakespeare deserves 5 stars for content. I think the question most people must have is "Which edition?"

I purchased "The Complete Pelican Shakespeare" because I wanted a relatively portable, high-quality book featuring text that benefits from modern scholarship (including brief notes and glossary). I wanted an edition to read and to treasure.

I should say that I didn't need extensive commentary with the text (as in the Arden paperbacks). That bulks it up considerably, can be had in other places, and can be left behind once one has read a play once or twice.

While I'm no Shakespearean scholar myself, this edition seems to meet the editorial criteria quite well. The text appears to benefit from modern, authoritative editorship, the introductions are brief but useful, and archaic terms and phrases are defined on the page where they occur.

The binding is high quality, as is the paper.

This is the most portable of the modern hard-cover editions I've found, with the possible exception of the Oxford edition, which is thicker, but smaller in the other two dimensions. I decided against the Oxford because the binding is of lesser quality and Oxford has a relatively idiosyncratic editorial policy with which I don't entirely agree.

Sadly, this is still a pretty big book, just small enough for a good-sized person to hold up and read in bed, and too much for an airplane or trip to the park. I wish someone would make a truly portable version! There is no reason that the entire thing couldn't be compressed into the space of a smallish bible (for those with the eyes for it!).

This weighty tome brings together authoritative versions of the complete works of Shakespeare. The excellent and informative introduction provides the historical context for the plays, the author and the folios. It also explains well how the plays tended to evolve with re-writes and performances. I have not read all of the plays and sonnets, but of the Shakespeare works Henry V and Hamlet, for example, provide high drama with stories that are compelling and language that is unique, beautiful and powerful. While the Taming of the Shrew and a Midsummers Night Dream provide humor, and other plays provide tragedy and pathos. A thousand phrases from these great plays and sonnets have probably carried into modern usuage. Shakespeare is best enjoyed first as a play by fine actors, such as those of the Royal Shakespeare company, that can give life to the often archaic and unfamiliar words, phrases and language constructs that come late 1500s. Once you have been captivated by a good live performance, reading the text becomes a joy and the strange language an exquisit pleasure. Some movies based on Shakespeare are more interesting than others (Kenneth Branagh has been quite successful, while Mel Gibson and Sir Lawrence Olivier were less so to my mind) but a live theater performance is far better and the written word is probably a close second. If you are interested in Shakespeare then this is a wonderful book - the only one you need really. If you have children then you really should get this and encourage them to read it. I have started reading selected passages with my 5 year old son and he loves it, he is absolutely enthralled with the language -- be bold, try it.

If you are in any way associated with the works of Shakespeare - on stage, in the classroom, for fun, whatever - you have to have these two books. Let's face it, there are just some terms that defy all logic and explanation. The lexicons will solve it.

The layout is a bit grueling, but worth the payoff, especially for those in theatre without the benefit of extensive Shakespeare training.

I assign a higher rating to Schmidt's lexicon than to C.T. Onions's *Shakespeare Glossary* (which I have also reviewed) for the reason that, although both compendiums by now do show their age, Schmidt's two volumes (one of course needs N-Z with this one) are all in all in many ways more comprehensive and informative than Onions's single-volume work (even after its updating by Eagleson).

Readers of Shakespeare should NOT assume that if they use an unannotated edition (e.g. the Oxford Complete Works) they will understand everything they read if only they consult Schmidt or Onions or both. For one thing, many words in Shakespeare look intelligible from a modern viewpoint, but in fact had a different meaning in Shakespeare's day: an uninitiated reader will miss many such instances if s/he does not use good annotated editions by expert scholars, who provide glosses for well-considered and essential reasons. And I do not even dwell on the need to be aware of bawdy puns (see my review of Onions), or of other specific usages (e.g. legal terms), on which a good deal of new work has been done in recent years. Therefore, purchase of valuable volumes like these should be seen as SUPPLEMENTARY to the use of good, carefully annotated editions. - Joost Daalder, Professor of English, Flinders University, South Australia

This is, simply, the essential, definitive guide to the Bards language. Almost every word in every Shakespearean play is here, and instead of having to guess what the meaning is in relation to the play, each word is listed by play and meaning in each heading. It can even be used for other lexiconic purposes is you're having trouble trying to figure out what Shaw means in one of his passages from "Saint Joan", or Ibsen in "when We Dead Awaken". Unless they suddenly discover a new play by shakespeare, this reference will never go out of date.

And hey, it's not called the "Shakespeare Lexicon and Quotation Dictionary (Vol. 2 N-Z)" for nothing, people. You're going to have to get the other one, but there's no real problem, because this is simply just the greatest lexicon ever for Shakespeare. Your search ends here if you ever need to understand the Bard words.

If you've ever had a dream to travel outside of your own backyard, this book will give you the push you need to make that decision. Alexander Kinglake takes you through the exotic east by the most interesting modes of transportation. Horseback, Camels, Dromedaries, and fantastic sea vessels. You'll travel through places such as Stanboul, Constantinople, Cyprus, Galilee, Cairo, the Pyramids, and Jerusalem just to name a few.

A brilliant descriptive writer, Kinglake tells you every detail about what he's viewing along the way, along with the emotional side of traveling through history. Standing on a hilltop, possibly the precise spot where Homer did, that inspired his works, Kinglake takes you there with him, describing unchanged landscape and the flood of emotions that will definately touch you. When he arrived at the Holy lands, it left me in tears, and a great yearning to plan my own pilgrimage there.

It amazed me that this man made it through his travels safe and sound. He survived the plague which was rampant at that time. It was frightening to read about, let alone live through it! Which he tells about in depth. The extreme fear everyone lived in. Yet despite all the precautions taken, it still managed to seek you out and take you into it's unimaginable numbers. Day after day, he watched cavalcades of funeral processions pass through the streets, from sunrise to well beyond sunset. How he fooled it, I'll never know. He always seemed to be in contact with plague stricken people, and even thought for a time that he too had fallen victim when symptoms began to appear.

Through this journal you'll learn about the people of this era and before. The Ottomans, Bedouins, Monks, Jews, Catholics, and Christians. Aristocrats, such as Lady Hester, Sheiks, and Pasha's. Most interesting was Kinglake himself. Just who was this man? He tells little about his own background. But as you read, this intelligent, confident, diplomatic Englishman unfolds before you. With a sense of humor few can match!

This book was gifted to me, and sparked the desire to be a part of what Kinglake and others knew about life. Not to let each day pass by caught up in mundane routines, but live each one to the fullest.

This is a book to be treasured and I read it several times. It is hard to imagine the world Kinglake describes which is virtually extinct now at a time when lions abounded in Eastern Europe, Caliphs and Pashas smoked their pipes through long tubing and Lady Hester Stanhope gets esoteric.

Full of humour, the book is as British as they come with such sensitive nuances about the subject matter including disease, women, customs and issues of religion in the holy land.

I'm still looking for this brand of hero inside and out but don't think he's that common except as a carricature. Did Kinglake's world and attitude really exist?

This is a very good, and very funny book. I also came to it through Churchill's recommendation. As I read about it, the man who overheard Churchill growl "Kinglake" went off and read Eothen, loved it, and then asked Churchill, "What now?"

The gruff reply was "More Kinglake." This rather puzzled our aspiring author -- Kinglake's only other book was his two-volume "Invasion of the Crimea."

After a casual search of more than twenty years, I finally located this two-volume set through Amazon, and -- guess what -- it's terrific. It's even better than Eothen, because it has a serious purpose. It is marvellously written, and numinously intelligent. It needs to be brought back into print.

this is a comedy only in the sense that the play ends well - ie, noone dies, most everyone is happy. else, there's little humor in this comedy, save for the knave, lucio. like others here have pointed out, this is actually a pretty serious play that takes a pretty hard look at human weakness, particularly lust. there are some fine, impassioned speeches by claudio and his sister, who pleads for his life. worth a read. but don't expect any laughs.

One of Shakespeare's lesser read and lesser performed plays, Measure for Measure profoundly explores the themes of justice and mercy. This exploration compensates for the defects of the play: the unbelievable resolution, the Duke's refusal to interfere early on (which causes pain to the characters), the inconsistency in the application of morality (Isabella considers it wrong for the betrothed Claudio and Juliet to have sex but justifies--and even helps to arrange--it between Angelo and Mariana), and the unexpected suddenness of the Duke's proposal to Isabella. The play seriously weighs the concerns of justice and mercy, and although it ultimately favors mercy, it recognizes the complexity of the issue. How can one practice mercy and yet restrain vice? How can one "hate the sin" yet "love the sinner?" Mercy seems to be the necessary choice over justice because man is too fallen to bear the brunt of justice. "Judge not lest ye be judged. For with what measure you mete," said Christ, "it shall be measured unto you." If you hold a high standard for others (as does Angelo for Claudio) and yet fall short of it yourself, you will be judged by the same standard. Since we seem destined to fall short of righteousness, it is best to practice forgiveness, so that we too may be judged lightly. And yet there is a concern that such practice of forgiveness will lead to a laxity that permits vice to flourish (which is the reason the Duke leaves Angelo in charge in the first place). Though mercy and forgiveness are favored, the arguments in favor of justice are not simply dismissed.

Quote: "Condemn the fault, and not the actor of it?
Why, every fault's condemned ere it be done.
Mine were the very cipher of a function,
To fine the faults whose fine stands in record,
And let go by the actor." (II.ii.38-42)

Measure for Measure is seldom read, and not often performed in the United States. Why? Although many of Shakespeare's plays deal bluntly with sexual issues, Measure for Measure does so in an unusually ugly and disgusting way for Shakespeare. This play is probably best suited for adults, as a result.

I see Measure for Measure as closest to The Merchant of Venice in its themes. Of the two plays, I prefer Measure for Measure for its unremitting look at the arbitrariness of laws, public hypocrisy and private venality, support for virtue, and encouragement of tempering public justice with common sense and mercy.

The play opens with Duke Vincentio turning over his authority to his deputy, Angelo. But while the duke says he is leaving for Poland, he in fact remains in Vienna posing as a friar. Angelo begins meting out justice according to the letter of the law. His first act is to condemn Claudio to death for impregnating Juliet. The two are willing to marry, but Angelo is not interested in finding a solution. In despair, Claudio gets word to his sister, the beautiful Isabella, that he is to be executed and prays that she will beg for mercy. Despite knowing that Isabella is a virgin novice who is about to take her vows, Angelo cruelly offers to release Claudio of Isabella will make herself sexually available to Angelo. The Duke works his influence behind the scenes to help create justice.

Although this play is a "comedy" in Shakespearean terms, the tension throughout is much more like a tragedy. In fact, there are powerful scenes where Shakespeare draws on foolish servants of the law to make his points clear. These serve a similar role of lessening the darkness to that of the gravediggers in Hamlet.

One of the things I like best about Measure for Measure is that the resolution is kept hidden better than in most of the comedies. As a result, the heavy and rising tension is only relieved right at the end. The relief you will feel at the end of act five will be very great, if you are like me.

After you read this play, I suggest that you compare Isabella and Portia. Why did Shakespeare choose two such strong women to be placed at the center of establishing justice? Could it have anything to do with wanting to establish the rightness of the heart? If you think so, reflect that both Isabella and Portia are tough in demanding that what is right be done. After you finish thinking about those two characters, you may also enjoy comparing King Lear and Claudio. What was their fault? What was their salvation? Why? What point is Shakespeare making? Finally, think about Angelo. Is he the norm or the exception in society? What makes someone act like Angelo does here? What is a person naturally going to do in his situation?

Look for fairness in all that you say and do!

'As you like it' is one of those Shakespearean plays that is considered 'great' by critics, but never really found true popular acclaim, perhaps due to the absence of charismatic characters (the romantic hero is particularly wet) or compelling dilemmas.

It shares many features with the great comedies - the notion of the forest as a magic or transformative space away from tyrannical society ('A Midsummer night's dream'); the theme of unrequited love and gender switching from 'Twelfth night'; the exiled Duke and his playful daughter from 'The Tempest'. But these comparisons only point to 'AYLI''s comparative failure (as a reading experience anyway) - it lacks the magical sense of play of the first; the yearning melancholy of the second; or the elegiac complexity of the third.

It starts off brilliantly with a first act dominated by tyrants: an heir who neglects his younger brother, and a Duke who resents the popularity of his exiled brother's daughter (Rosalind). there is an eccentric wrestling sequence in which a callow youth (Orlando) overthrows a giant. Then the good characters are exiled to Arden searching for relatives and loved ones.

Theoretically, this should be good fun, and you can see why post-modernist critics enjoy it, with its courtiers arriving to civilise the forest in the language of contemporary explorers, and the gender fluidity and role-play; but, in truth, plot is minimal, with tiresomely pedantic 'wit' to the fore, especially when the melancholy scholar-courtier Jacques and Fool Touchstone are around, with the latter's travesties of classical learning presumably hilarious if you're an expert on Theocritus and the like.

As an English pastoral, 'AYLI' doesn't approach Sidney's 'Arcadia' - maybe it soars on stage. (Latham's Arden edition is as frustrating as ever, with scholarly cavilling creating a stumbling read, and an introduction which characteristically neuters everything that makes Shakespeare so exciting and challenging)

Anyone with a working knowledge of Shakespeare's plays knows that As You Like It is a light, airy comedy. It is clearly not one of Shakespeare's greatest plays. As You Like It is more obscure than famous. Even amongst the comedies it comes nowhere close to the popularity of plays such as A Midsummer Night's Dream, The Tempest, or Twelfth Night. That said, it is a treasure in its own right. This is so, if for nothing else, because it contains one of the greatest pictures of a woman to be found in Shakespeare's works, excluding the Sonnets.

Ah, sweet Rosalind. In her are encapsulated so many ideas about the nature of woman. She is first pictured in a rather faux-Petrarchan manner. This quickly fades as an intelligent woman comes to the fore. While the intelligence remains, she is also torn by the savage winds of romantic love. Rosalind, in all her complexity and self-contradiction, is a truly modern female character.

Most of the women in Shakespeare's tragedies and historical plays are either window dressing (as in Julius Caesar) or woefully one-sided (Ophelia, Lady Macbeth). This is not the case with Rosalind. Rather than being marginalized, she is the focus of a good chunk of the play. Instead of being static and [standard], she is a complex evolving character.

When Rosalind first appears, she outwardly looks much like any other lady of the court. She is a stunning beauty. She is much praised for her virtue. Both of these elements factor in the Duke's decision to banish or [do away with] her.

Rosalind falls in love immediately upon seeing Orlando. In this way she at first seems to back up a typically courtly idea of "love at first sight." Also, she initially seems quite unattainable to Orlando. These are echoes of Petrarchan notions that proclaim love to be a painful thing. This dynamic is stood on its head following her banishment.

Rosalind begins to question the certainty of Orlando's affection. She criticizes his doggerel when she finds it nailed to a tree. Rather than wilting like some medieval flower, she puts into effect a plan. She seeks to test the validity of her pretty-boy's love. In the guise of a boy herself, she questions the deceived Orlando about his love.

Yet Rosalind is not always so assured. Her steadfastness is not cut and dried. Composed in his presence, Rosalind melts the second Orlando goes away. She starts spouting romantic drivel worthy of Judith Krantz. Even her best friend Celia seems to tire of her love talk. This hesitating, yet consuming passion is thrown into stark relief with her crystal clear dealings with the unwanted advances of the shepherdess Phebe.

Rosalind contradicts herself in taking the side of Silvius in his pursuit of Phebe. She seeks to help Silvius win the love of Phebe because of his endearing constancy. Yet the whole reason she tests Orlando is the supposed inconstancy of men's affections.

This idea of Male inconstancy has made its way down to the present day. Men are seen, in many circles, as basically incapable of fidelity. Though a contradiction to her treatment of Silvius' cause, Rosalind's knowing subscription to pessimistic views on the constancy of a man's love places her on the same playing field as many modern women.

Rosalind takes charge of her own fate. Until and even during Shakespeare's own time women largely were at the mercy of the men around them. This is satirized in Rosalind's assuming the appearance of a man. Yet she had taken charge of her life even before taking on the dress and likeness of a man. She gives her token to Orlando. She decides to go to the Forest. She makes the choice of appearing like a man to ensure her safety and the safety of Celia.

Rosalind finally finds balance and happiness when she comes to love not as a test or game, but as an equal partnership. Shakespeare is clearly critiquing the contemporary notions of love in his day. His play also condemns society's underestimation and marginalization of women. However, the Bard's main point is more profound.

As You Like It makes it clear that the world is never picture perfect, even when there are fairy-tale endings. Men and women both fail. Love is the most important thing. With love all things are possible.

"As You Like It" is bar none, one of Shakespeare's VERY best works. It is probably the most poetic of the comedies and contains perhaps as many famous quotations as any other of his plays. Rosalind is perhaps his greatest female character and this work, along with the equally (or even more) brilliant "Midsummer Night's Dream," is the best example of Shakespeare's theme of the "dream world" vs. the "real" world. This play, especially the scenes in the forest, is a celebration of language and the power of the freedom of the imagination. It consequently can be read as a criticism of the "real world," here represented by Duke Ferdinand's court. Like many of the other comedies, Shakespeare is mocking the "ideal" which many in his society would have praised. Though this play deals with some pretty dark themes (which of his plays doesn't?) it is a light-hearted and fully enjoyable read!