Mr. Davis' translation of Attar's masterpiece is indeed very good and as it has the cachet of appearing in the Penguin series I hope that it will lead more Westerners to take Middle Eastern, particularly Persian, language and culture more seriously. While Islamic spirituality has been in vogue in some circles over the last couple of decades (witness the popularity of Rumi), its audience unfortunately tends to consist of seekers of exotic spirituality rather than people who are willing to put in the spade work to understand the cultural context in which this spirituality came into existence.

No doubt there was a time when I would have been in spiritual raptures over this book. At my age, however (I'll be 51 next month) I am less inclined to expect much direct spiritual benefit from a book, but I like to think that I can appreciate a good piece of literature when I read it. Attar is indeed good literature, and Mr. Davis' translation is simple and balanced, with a feeling of intimacy that mirrors Attar's style. It is never overworked or sentimental - if you're expecting Fitzgerald's Khayyam you'll be disappointed.

As for the Sufic interpretations of the content (how profound! how obscure!) I must admit that the more I read of such things the less I understand them. On first reading at least, I suggest to the reader to let the book stand on its own merits as literature, and only afterwards seek any hidden meaning.

This is simply one of the best books I have ever read. Everytime I lend it to someone, I don't see it again, I would have to buy another copy. Make sure you get the poetic/prose version by Afkham Durbandi.

Even though I am a decendant of Farid Ud Din Attar, I can say without bias that this book is excellent. A must read, filled with many lessons and hidden analects.

I found this book very disturbing and I have read many books on serial killers. I thought Arthur Shawcross was one of the most fascinating serial killers until I read this book. It is very well written and unfortunatley you get to know the families / friends of the victims which makes it very difficult to read without becoming emotional, especially concerning his child victims - God rest their souls - I take my hat off to Jack Olsen and the way he wrote a brilliant account, with victims and families in mind, of one very sick individual. Be ready to have your world rocked and faith in humanity almost lost. I will never read anything on Arthur Shawcross again - maybe this is in respect to his victims or just plain disgust with one man who was let loose on society thanks to an overcrowded prison system and parol officers who did not have enough information to make such a decision. You really feel for the victims in this one - very upsetting. A really, really good read.

It's very diversified as the author periodicly changes to the view and quotes of the involved persons. I read some true crime books in the past and most of them started to get pretty boring after 2/3 due to the describtion of the trial. The author Jack Olsen doesn't waste the readers time by dragin out the methodics of the lawyers. Instead you receive very interesting stories from different people with different points of view. And most important: you even start to think knowing Arthur Shawcross after a while. The only negative aspect I have to denounce is the "impious" -so to say -lack of any photographic material. The matter of the fact is; All sick puppies outthere, looking for these strange kind of literature about serial killers, HAVE to read this, guaran-damn-ted!

...one of the best books, period! Jack Olson gathered an enormous amount of first person inteviews with victims, families, psychiatrists, and Shawcross himself. Instead of getting fancy with the order of events (a la Don Lasseter), he logically lays it out for the reader. Shawcross is one sick pup and you'll get to know him real well by th time you put this book down. Only drawback--no pictures! Check out one the the cable companies' serial killer profiles to see what Shawcross looks like and his venues of murder.

I bought this book two years ago and still use it to this day. I've always enjoyed the "meat" of Kay's teaching, and she shares the "secret" of mining the treasures of God's Word in How to Study Your Bible. She covers issues like context, grammar, sentence structure, marking the text, observation, interpretation, application, and so forth -- skills that will give you confidence in correctly handling God's Word.

So many Christians get led astray every day by false doctrine simply because they don't study, or know how to study, the Word for themselves. Well, there's no excuse now! Read and re-read this book, get your colored pencils, open your Bible and begin on a journey where the rewards are abundant. If you're serious about drawing closer to God, then you have got to get this book!

HOW TO STUDY YOUR BIBLE teaches you how to do the inductive Bible study method found in Precept upon Precept courses. It served as a handy guide when I used it along with my Precept Bible study. Its hands on approach helped me to receive the most from my Precept lessons.

Precept studies will train you to go deeper into God's Word; you wll learn how to feed yourself from Scripture.I recommend HOW TO STUDY YOUR BIBLE to those of you who want to begin in depth Bible study. Precept upon Precept gets you into the Word so that the Word gets into you.

I bought this book (and will be purchasing the Internatl Inductive Study Bible) because I am guilty of being lazy....hearing what the pastor says and not finding out what the Bible says for my self. This book has helped me to discover WHY I believe what I believe, because I've studied it for myself and haven't just parroted the opinions of another person (teacher, pastor, or otherwise. If your beliefs are based merely on the fact that they are what your parents believed (and that's good enough for you), I encourage you to take this book and study the Bible on your own... You might even rethink some of your beliefs on secondary issues.

This is the first major biography written about Jean Arthur and it accurately captures the contradictory and complicated nature of her personality. She was a brillient actress but an enigmatic "original" character, who in many ways was not suited to the public life of a show business personality. In spite of this, she became a great star and one whose popularity remains high due to the supurb quality of her work. I thank Mr.Oller for his excellent book.

John Oller has taken the time and made the effort to reconstruct Jean Arthur's life. Like all biographies, he can only capture a glimpse of who she really was, but what a beautiful glimpse we get! Jean Arthur never wrote her autobiography and is quoted as preferring to "slit her throat" rather than be interviewed. I love Jean Arthur's films as much as anyone, but I respect her uniqueness and admire her privacy. To be a true fan of Arthur is to admire and appreciate the entire person, and without Oller's determination and patience, we would never get to see all aspects of her life and how, like each our own lives, themes emerge that help to explain our identity. The best part of Oller's work is that he lets Arhur's fans see the best in her--if they choose to see it. The best in all of us is in what we accomplish and what we overcome; from this perspective, Jean's life is as good as her acting. Read this book to appreciate the entire Jean Arthur if you love her films. Even better, purchase this book and discover Jean Arthur the person as you rent/purchase her films. She was an amazing lady, and this book is an incredible gift to her fans. You will not be disappointed!!

I had waited impatiently for almost 30 years for someone to tackle a biography of Jean Arthur, one of my favorite actresses and one of the brightest comediennes of the '30s and '40s. In my youthful naivete, seeing that nobody seemed interested in the project, I thought about taking on the job myself. Thank goodness I waited for John Oller to write his book instead! There's no way that anyone could have done a better job with this most reclusive and challenging of subjects. Even during her heyday, Ms. Arthur was an extremely private person--"America's Garbo," as she was called--and in the final decades of her life, snubbed all efforts from outsiders seeking autographs or interviews about her glorious past. It may seem faint praise to call Mr. Oller's book a definitive biography when it is the ONLY one to have ever been written, but I just don't see how anyone will ever gain more access to Jean Arthur information than he has presented here. Oller has taken the time to interview dozens of Arthur's friends and family members, as well as associates from her film and stage careers and from her various teaching posts. The book is remarkably evenhanded. Arthur was apparently a very complex person, with lots of insecurities and neuroses that made her somewhat of a problem to work with. (I'm trying to be kind here.) Oller clearly thinks the world of the actress, but at the same time doesn't shrink from telling us when a producer or neighbor had something rotten to say of her. And when Oller runs into an area where the evidence leads to no clear result (such as the case of Arthur's possible bisexuality), he gives us the facts as well as can be known and leaves it at that. The book is anything but sensationalistic.
This biography traces Arthur's roots all the way back to the 13th century (!) but at the same time does not get bogged down in needless verbiage. It moves swiftly along; indeed, I almost found myself wishing that Oller would devote more space to some of my favorite Arthur movies. One would think that the most interesting segment of this actress' story would be the great Hollywood years, but as it turned out, the latter portion of the book, dealing with Arthur's life after Hollywood, was even more interesting. Oller takes us on a trip through Arthur's stage career, her life as a student and teacher, and her reclusive final years in Carmel, CA. It's all fascinating material, especially for fans of the actress who were never privy to any of this stuff before. The author writes well; it's hard to believe that this biography is his first book. By reading closely and looking at the notes at the rear of this work, one deduces that Mr. Oller spent the better part of a decade on this project...and the results have paid off extremely well.
That said, I should also note that there ARE some small problems with the book; some minor mistakes that a close reading reveals. For example, there are some errors as regards dates. Oller writes that Arthur's play "The Freaking Out of Stephanie Blake" had a preview on Wednesday, 11/2/67. However, in reality, that date was a Thursday. He writes that Arthur's brother Robert was born in March 1892 and died in November 1955 at age 61. Shouldn't that be 63? He writes that at the time of Arthur's death in 1991, she hadn't appeared in a film "in more than forty years." But if "Shane" came out in 1953, wouldn't that be "a mere" 38 years? Mr. Oller tells us that Dee Hoty--the actress who took over briefly for Ms. Arthur in "First Monday in October"-- was "barely twenty" that year (1975), although the Internet Broadway Database gives her birth date as 8/16/52, making her over 23 at the time. He writes of an Oscar ceremony in February 1935 as being in the "spring"; shouldn't that be "winter"? He tells us that the movie "The Stripper," in which Arthur was reportedly going to make a comeback, was based on the William Inge play "Celebration." I have always thought the play in question to be called "A Loss of Roses." Does it go by another name? To end this nitpicking, Mr. Oller tells us that "Shane" was the "third highest-grossing film of 1953." But as reported in the book "Box Office Hits," "Shane" came in fourth at $9 million, behind "Peter Pan" ($24 million), "The Robe" ($17.5 million) and "From Here To Eternity" ($12.2 million).
I feel that these oversights need to be pointed out, as they tend to undermine an otherwise meticulously researched volume, but at the same time feel a bit churlish for seeming ungrateful for Mr. Oller's hard work. The fact of the matter is that he has done the world, and fans of Ms. Arthur in particular and old-timey movies in general, a terrific service, and I am very grateful to him. I have read his book twice already, and will continue to refer to it for many years.

The only way I can describe this book is to compare it to music- it's sort of a cross between Liz Phair's "Exile in Guyville" and poetry. It's bold, shocking, thoughtful, aching, and funny all at once.

These aren't stories that make you feel good about yourself and inspire you to go and change the world or call your closest friends up to share the joy. This isn't Bridget Jones, either- it's far too intelligent. These are stories that are honest in the best way. Elizabeth Crane writes the way you talk inside your head- lots of run on sentences, extraneous thoughts (that most authors wouldn't dare to allow in their writing), and then one pure, true statement in the middle of it all that just grabs you. Some of it is too raw, and some of it seems too blase, but I don't think that Crane is looking to engage the reader in all of her characters' lives. This book is more of a dirty friend you admire than a close, sensitive sister.

The reason I didn't give the book five stars is because there are a few flaws. Sometimes, Crane allowed her characters to go on *too* much and after two pages of the same sentence I felt like I was listening to a friend that wouldn't shut up. Ironically, that's also part of why I liked the book, too. I did roll my eyes at some of the characters (especially Hayden and Hyman) and situations, but overall this is a solid collection. Lots of quotable lines and paragraphs, which to me is the ultimate compliment for a book- it's something that will live beyond its place on my bookshelf.

Having heard this author read one of these stories,"Return from the Depot!" about a mother's return from the dead and subsequent celebrity, I assumed this was among her strongest in this collection. Well, having ingested the entire collection in one sitting, I can say that while the story was a good representative of her sensibilities and talent, the whole of the collection exceeds the sum of the parts, each story illuminating the others while maintaining its distinct place in the cosmos of the author's worldview.

Crane treads the familiar hip-sensitive female territory of Lucinda Rosenfeld and Elissa Schappel: grief and longing, laced with humor and hope over such commonplace heartbreaks as dead parents, bad boyfriends, unfortunate lifestyle choices. Yet in several stories she throws a curve reminiscent of a softer edged Aimee Bender, a fairy-dusting of magical realism, putting the pain in perspective, reminding us that with imagination wonderful things are possible, horrible things endurable, and transformation is just a dream away.

This is a very interesting collection -- far deeper than I think it may first appear to many readers, simply because the extreme conversational style of the stories lends itself to so fleet a reading that it's easy to hurtle right over the nasty, scarring battle going on between despair and hope -- an underlying shadow largely revealed, I think, in words, turns of phrase, rather than whole plotlines. Doesn't the best comedy always spring from horror?

For example, THE DAVES may at first seem like pure gimmick; then he calls her Jennifer and you realize that for all the quick witted comedy our heroine is trapped in a world of shallow relationships from which there is absolutely no escape -- a trap every bit a nightmarish as your favorite Twlight Zone episode. (I guess that won't make sense to those who haven't read it, sorry). Or take SOMETHING SHINY, in which your wildest dream -- a movie of your life! -- ends up proof that, as you'd always secretly feared, there's nothing to you at all ( no "there there" as they say of LA, which I think is a hidden joke in the story, since it's about the movies).

In NORMAL, a description of someone else's bad behaviour takes a last-second turn to reveal that all the intellectual and moral disdain in the world doesn't stand a chance against the emotional, physical, sexual or psychic attractions we feel. We have met the enemy, and she is us yet again.

Not for nothing is the seemingly positive note the very last -- and, significantly, the very shortest -- with GOOD FOR YOU! sounding a short and simple "I am not most people." Notice, though, that even that proud declaration only comes after misunderstanding, criticism and fear from the rest of the world.

I look forward to watching Ms. Crane develop and I will certainly read her next book(s) with great interest, I think she has a tremendous talent. Don't miss MESSENGER -- but read slowly: it takes a volume of suffering to make a page of jokes.

Arthur For the Very First Time is about when a ten year old boy named Arthur goes to his aunt and uncle's house for the summer. However this isn't all he does. He builds a pen for Benadette the pig. Benadette has babies. Aunt Elda fights with the devil who she calls Ears. I recommend this book because it's exciting and incredible things happen.

In Arthur for the very first time, Arthur's parents fight somuch that they have to send him away because they don't want him tohave to listen to them fight. So they send him away to his aunt and uncle's house .At his aunt and uncle's house he has a weird summer. His aunt and uncle talk to chickens in French, his uncle sings to pigs, and his uncle grows roses and onions. He writes things down in his journal. I recommend this book becasue it has a lot of humor throughout the story. The story also has a beautiful writing style.

This reveiw is about Arthur For the Vary First time. In Arthur For the Very First Time Arthur's mom is having a baby and she is fighting and so is the dad and so they are sending him to his aunt and uncle's house. And there is a chicken named Paulline and a pig name Bernadette and otherfarm animles. They go to someones house to get a goose. I loved this book . There are many problems and they meet many people. Every chapter is great!

The Trial is a book that draws you into its sea of words and never lets you rise back up to the surface. Once immersed in its content, you do not want to place it back down until you have finished it. "The Trial," is about man enslaved trying to become truly free. It is about the cruelty of life and man's failure in trying to find some importance, some meaning, some salvation that is inaccessible in the physical world.

Well, I've just finished reading The Trial for the sixth, maybe even eighth time, and as usual my brain is buzzing with all the unanswered questions and unspoken quandaries that this book embeds in the reader's mind.
An aside - this is the first time I have read this particular translation, having read the Muir's work before. Perhaps this translation is a bit livelier, and the chapters, or sequences, are grouped a bit differently, but the general experience of reading and digesting this book was much the same as with the Muir's version. One caution, if you are a first time reader do not read the introduction first. The author gives away much too much of the story and ending in the introduction.
Now, back to the book itself. As "they" say, the mark of a true classic is that you can reread the book several times and always find it fresh. This is most certainly the case with The Trial. I always struggle with the question of K.'s innocence. The reader is told, unequivocally, that the Law is attracted to guilt. Is this an illustration of the unreasoning, monolithic madness that

so often surrounds totalitarian states, or is Kafka tellling

the reader indirectly that K. is guilty? I think most readers,
especially me, want to like and identify with the central
protagonist of a novel, but on this particular rereading
I noticed that K. is really a pretty nasty character. He is
arrogant beyond belief, selfish, treats women and most everyone
else as objects, and is even potentially violent. He alienates
and insults people who have the desire and the means to help him
navigate the formalities and uncertainties of his arrest and
trial. Or, is he an essentially decent fellow who, beset with
unrelenting frustration and anger at being accused and arrested
for a crime he didn't commit, decompensates into irrational
actions? Don't expect easy answers from Kafka. He is not going
to wrap everything up in a pretty bow, fully resolved, so that
you can feel good. It's a damned disturbing, sometimes bizarre,
and ultimately amazing novel. What is noteworthy is how
deceptively simple the construction of the plotline is. First,
the novel is short. Second, there are no parallel or
simultaneous plotlines occurring. There is only one plotline,
that of K. as he is initially arrested and subsequently tries to
make sense of what the charges are and how to deal with them. K.
is in every scene. There's no ,"meanwhile, back at the
courthouse, Inspector Smith was...". So the story, if this novel
can be said to contain a "story", moves along quite quickly.
Kafka's prose style is crisp and unadorned, as you might expect
from someone educated in business and law in early 1900's
Prague.And it's a good thing that he writes so clearly, because
the story itself contains not only some astonishingly bizarre
scenes (the flogging in the closet springs to mind) but dizzying
explanations of the procedures and logic of the court, the Law,
the judges, and lawyers. Imagine a writer like Tom Robbins, or
Don Delillo, with their hallucinogenic segues and refusal to bow
to consistency and logic, trying to pull off the "Lawyer"
or "Painter" sequences. It would be a soggy mess. But Kafka with
his precision and austerity makes it breathtaking.
It's funny, when my friends see me reading Kafka the initial response is almost always surprise and some variation of "Yuck!"
Of course, they haven't read him, but everyone "knows" that he is weird and dark and disturbed plus the book is old and doesn't probably even have a happy ending. Oh well, their loss.
I really want to take a class on Kafka, ideally focussing on the Trial. It is puzzling and unsettling and I'd love to hear other's thoughts on the symbolism and meaning contained in the book. In fact, if you're a Kafka scholar, or just someone who likes and has given some thought to this book, email me with your thoughts.
I unhesitatingly recommend this novel. It is important. It is certainly important to me.

ng

I giving the book 5 stars, because it's a really good read. Not having read any other translation, I must take other reviewer's word that it compares well. Read the other reviews, they are correct about this books quality.

Now, here's why I am mad. I read the introduction. Then I read the translator's notes. The translator is quite full of himself and his cleverness. Thus he points out the sections where he was particularly clever. In doing so, he gives away the plot, the ending of the novel, and why we should think about it the way he translated it, and not trust earlier transactions.

This should have been an afterward, not before the text. I reviewed the plot, including the ending, before reading the text. This somewhat ruined the experience for me. Skip the translator's notes, and you'll have a fine edition of Kafka's influntial novel.

. . . to really achieve its full potential, this play needs to be acted out on stage. Still, highly excellent, involving twins, cross-dressing, love tangles, sword-fighting, secret marriages, music, disguises, mistaken identities, high speech, and lowbrow humour.

The entire play takes place in Illyria. In the main plot, Orsino is in love with Olivia, who unfortunately does not return his feelings. Viola is shipwrecked on the Illyrian coast, and dressed as a boy, comes to serve in Orsino's court, where she of course falls in love with Orsino. Meanwhile, in Olivia's court, some of her courtiers plan a cruel--but funny--practical joke against her pompous steward Malvolio. There is also a third plot later on involving Viola's twin brother Sebastian, who has been shipwrecked likewise. Naturally things get quite confusing, but, true to Shakespeare's comedic style, everything gets worked out in the end.

This is an enjoyable book to read, and the notes are very helpful. However, it is still better as a performance.

"Twelfth Night" is one of the famous romantic comedy written by William Shakespeare. Many critics said, "Twelfth Night" is the masterpiece among his comedy because his fully developed style and insight are in the "Twelfth Night", so it has special value and attractiveness.
There are four main characters in "Twelfth Night" ; Duke Orsino, Olivia, Viola, and
Sebastian. Duke Orsino who lives in Illyria loves Olivia, so every day he send one of
his servant to Olivia's house for proposal of marriage. However, every time Olivia
refuses his proposal for the reason that she lost her brother before long, so she is now
in big sorrow and can not love anyone. One day, Viola comes into Illyria. She and her
twin brother Sebastian are separated in a shipwreck and they are rescued by two
different people in two different place, so they think the other one is dead each other.
Viola disguise as a man and become a servant of Duke Orsino, and then she fall in
love with Duke Orsino. But, Duke Orsino loves Olivia and he send Viola whose new
name as a man is "Cesario" to Olivia for proposal. Unexpectedly, Olivia fall in love with
Cesario!! Therefore, love triangle is formed. In the latter scene, Sebastian also come into
Illyria, so the confusion getting worse. However, in the end, all misunderstandings are
solved and Cesario become Viola, so the four main characters find their love.
There are also four supporting characters in "Twelfth Night" ; Clown, Sir Toby Belch,
Malvolio, and Sir Andrew Aguecheek. They make the readers laugh through their funny
behaviors and comments in subplot.
"Twelfth Night" is very funny story and enjoyable book, so I recommend you.

I didn't read this particular version of Twelfth Night, so I'm rating the plot, not the editing. This book was the first play by Shakespeare that I read, and I loved it! It starts when Viola and her brother, Sebastian, are seperated in a shipwreck. Viola decides to disguise herself as a boy and work for Orsino, the duke. Orsino sends Viola to tell Olivia that he loves her. Viola does what he says, but she wishes she didn't have to, because she has fallen in love with Orsino! Then Olivia falls in love with Viola, thinking that she is a boy. While all this is going on, Andrew Aguecheek is wooing Olivia, who scorns him. Also, Maria, the maid, Sir Toby Belch, Olivia's uncle, and another servant write a letter and put it where Malvolio, a servant, will see it. The letter says that Olivia is in love with Malvolio. Malvolio immediately starts trying to woo Olivia. Maria and Sir Toby pretend to think that he's mad, and lock him up. Meanwhile, Sebastian comes to town with Antonio, the man who saved him from the shipwreck. Antonio gives him his purse and says that he must stay away from the city because he fought against the duke in a war. A few minutes later, Antonio realizes that he needs money for lodgings and goes to find Sebastian. In the city, Viola is being forced to fight Andrew Aguecheek for the right to marry Olivia. Antonio sees the fight and hurries to intervene. Orsino recognizes him and has him arrested. Antonio asks Viola for his purse so that he can pay bail, thinking that she is Sebastian. Viola denies having had a purse. Then Sebastian comes up. Olivia had found him and married him on the spot, and he, deliriously happy, had gone away to give Antonio his purse. On the way, he met Sir Toby and Andrew Aguecheek. When they try to force him to fight, he punches them and goes on. They come up too, bitterly accusing Viola. (No one has seen Sebastian yet.) Then Olivia comes up and speaks to Viola, who denies being her wife. Orsino becomes angry with her, thinking that she has married Olivia, and accuses her of treachery. Just as things are looking bad for Viola, Sebastian reveals himself. Then everyone is happy (since Orsino falls in love with Viola on the spot) except Andrew Aguecheek and Malvolio, who is later set free. The plot of this book is a little hard to understand, but it is halariously funny and makes for happy reading.

a good read, but can be confusing for kids. It takes a while to comprehend all of the Shakespearian langauge, but is very interesting. It is boring at parts.

The Winter's Tale is a lot of things: heart-breaking, exhilerating, funny, beautiful, romantic, profound, etc. Yeah, it's all here. This is one of the bard's best plays, and I can't believe they don't teach this in schools. Of course, the ones they teach are excellent, but I can see high school kids enjoying this one a lot more than some of those others (Othello, King Lear).

The story is, of course, brilliant. King Leontes goes into a jealous rage at the beginning against his wife Hermione. Leontes is very mistaken in his actions, and the result is tragic. Shakespeare picks the story back up sixteen years later with the children, and the story works to a really, really surprising end of bittersweet redemption.

This is one of Shakespeare's bests. The first half is a penetrating and devestating, but the second half shows a capacity for salvation from the depths of despair. Also, this being Shakespeare, the blank verse is gorgeous and the characters are well drawn, and the ending is a surprise unparalleled in the rest of his plays. The Winter's Tale is a truly profound and entertaining read.

The Winter's Tale contains some of the most technically difficult solutions to telling a story that have ever appeared in a play. If you think you know all about how a play must be constructed, read The Winter's Tale. It will greatly expand your mind.

The play opens near the end of a long visit by Polixenes, the king of Bohemia, to the court of his childhood friend, Leontes, the king of Sicily. Leontes wants his friend to stay one more day. His friend declines. Leontes prevails upon his wife, Hermione, to persuade Polixenes. Hermione does her husband's bidding, having been silent before then. Rather than be pleased that she has succeeded, Leontes goes into a jealous rage in which he doubts her faithfulness. As his jealousy grows, he takes actions to defend his misconceptions of his "abused" honor that in fact abuse all those who have loved him. Unable to control himself, Leontes continues to pursue his folly even when evidence grows that he is wrong. To his great regret, these impulsive acts cost him dearly.

Three particular aspects of the play deserve special mention. The first is the way that Shakespeare ties together actions set 16 years apart in time. Although that sounds like crossing the Grand Canyon in a motorcycle jump, Shakespeare pulls off the jump rather well so that it is not so big a leap. The second is that Shakespeare captures entirely different moods from hilarious good humor to deep depression and remorse closely adjacent to one another. As a result, the audience is able to experience many more emotions than normally are evoked in a single play. Third, the play's final scene is as remarkable a bit of writing as you can imagine. Read it, and marvel!

After you finish reading this play, think about where your own loss of temper has had bad consequences. How can you give yourself time to get under control before acting rashly? How can you learn to be more open to positive interpretations of events, rather than dark and disturbing ones?

Love first, second, and always!

This book is one of the greatest books I have read. The flashbacks of all the important memories of his life reflect that he was a man who wanted to be known as something more than a mere tennis player. I find it amazing that a person can go through so much and could still stand up after it. I recomend this book to those who want to remember the memory of Arthur Ashe, and those who don't even know who the man is. After reading this book I tip my hat in repect to the memory of Arthur Ashe.

and that, to me, is a good sign . . . my only disappointment is that i would have perhaps wanted to see a bit more about his tennis-playing days . . . it instead concentrated on his role as a citizen and American . . . particularly moving was the conclusion, in which he writes a letter to his daughter.

'Days of Grace' is possibly the most moving biography, if not book, I have ever read, by a man whose courage, determination and decency towards fellow man have left me in awe.

The book contains moments of humour, of deep sadness and of joy, and throughout there is a vein of truthfulness that is unparalleled in anything I have ever read. The experiences that Ashe had in his life were so many and so varied, from the highs of winning three Grand Slam's to falling ill to heart disease and AIDS. His relationships with his parents, his wife and daughter, tennis players including Connors and McEnroe, and with his peers in segregated Virginia are all explored thoughtfully and with careful reflection.

In short, Ashe's book offers an account of his life, his beliefs and his final thoughts on the world and his life. Ashe triumphed in sport to become wealthy and well known, but suffered from racial prejudice as a child and terrible diseases as an adult. Yet not once did wealth change his outlook or basic lifestyle nor did he give up in the face of racism or death. Instead Ashe took another path, the noble path - he showed deep respect and understanding towards his fellow man, he used his wealth and his disease to help thousands of others and he never lost site of the moral lessons he had learned as child.

'Days of Grace' is a remarkable book from Arthur Ashe, an extraordinary man.