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This was the most comprehensive and thought provoking book on decision making I have read. Of the three books assigned to this course, this is the one students preferred.
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Like Gaspar, I too had to leave the town of my Azorean ancestors to make a life for myself. I too am haunted. His lines come back to me daily. From a poem about these ancestors: "And this old country is any place we have to leave/The voices of the dead follow me across a continent now/They still want to speak with my voice." From a poem about his mother, limited lives and the lost industry of ice-cutting: she stands as a young girl on the frozen pond with "the look of all the rest of her life in her eyes."
I asked for this book, and his previous book of poems, "The Holyoke" (with an exquisite introduction by Mary Oliver) in the Provincetown Bookshop, something of a local institution. After I'd spelled out Gaspar's name to the clerk and repeated the title twice, she said, condescendingly, "Are you sure you really want it? Why don't you go to the library and make sure before I try to special-order it for you?" For the bookstores in town not to carry this book, not to fill their windows with Frank Gaspar's work, for the streets there not to ring with the sound of his poems being read aloud--is a slap in the face, a knife in the gut to the native population.
I thank God for Frank Gaspar.
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Good luck to this book and good luck to the homeobox genes.
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There is an inherent flaw in summary books of this type, and regardless of how well such a book is written, the editors cannot avoid it. This flaw lies in the reader's acceptance of the editor's expertise in choosing representative works that tie in with the editors' stated intent. Now who am I to put my own puny vision above that of the distinguished and erudite editors?
Still, since I am both a rational and critical thinker, Magill's choices, which include acts of commission as well as omission, often leave me gasping in disbelief. I have no problem with standard choices like Faulkner's AS I LAY DYING or Mark Twain's LIFE ON THE MISSISSIPPI or even thoroughly controversial ones like Nabokov's LOLITA, but too many literary near-misses, has-beens, and never-wases somehow wind up included at the expense of far more worthy contenders. Why include potboilers like Erskine's TOBACCO ROAD or routine westerners like McMurty's LONESONE DOVE?
I would have appreciated an introduction that contained a rationale for Magill's choices. Had he approached the always dicey question of what makes one work of literature stand out enough to be a 'masterpiece,' then the reader's ability to think about such abstact qualities as characters' impacting both on each other and on the reader might be stimulated enough to lead this reader to take the book of plot summaries and do something really daring--to read the work itself and draw his own conclusions. And that to me is the ultimate goal of any piece of criticism.
It is an irreplaceable guide for students and scholars, or anyone who appreciates our American heritage of literature from the colonial times to the present.
The reader is afforded a complete description of the principal characters, a synopsis of the story, and a critical evaluation of the story, as well. The type of work, the author, the type of plot, the date of the work, and the location of the work are also provided.
You will feel like you just read each literary work, even if you have never read it before.
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