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In Mr. Putter and Tabby Pick the Pears, the fourth book in the series, Mr. Putter attempts to pick the pears from the tree in his backyard. The ailments that come with old age try to keep him from accomplishing his task, but Mr. Putter soon comes up with a witty and humorous solution that will have everyone laughing while they continue turning pages to see how it all ends.
Mr. Howard's cartoon-style illustrations greatly enhance this wonderful story, which is written in such a format to be used as either a 3-chapter book for the beginning reader, or a bedtime story that is longer in length. Either way, the Mr. Putter and Tabby books would be a great find for emerging readers' shelves. Like having a kindly old grandpa next door, they only make life richer!
My son loved all the descriptions of "juicy things"...apple cider, apple pie, pear jelly, apple turnovers. Every time we read this book, he wants to make a different "juicy thing".
I love the comfortable companionship between Mr. Putter and Tabby, as well as the wonderful drawings. This book makes me want to check out the other Mr. Putter and Tabby books!
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He begins this work with a brief biography of Schopenhauer that seeks to relate the early experiences of the philosopher to the development of his key ideas. Mr. Magee then sets forth the Kantian foundations of Schopenhauer's system and indicates the areas in which Schopenhauer has added to (or "corrected") Kant's transcendental idealism, notably by linking the concept of the Will to the description of the "thing-in-itself." Shopenhauer's ideas on art, on suffering, his connections to eastern religious and metaphysical belief-systems, his famous pessimism, and many other issues are discussed clearly and cogently.
This is simply the best book on Schopenhauer that I have ever read, with the exception of Schopenhauer's own works.
The sentiment expressed by Wagner in the previous quotation articulates how I felt when I had discovered Schopenhauer and that is probably true for most readers of these philosophers. There is something in his ontological and aesthetic conclusions that induce a feeling of nausea and repellence and yet they are filled with much liberation. It's sort of like the feeling a prophet gets when he receives a divine revelation.
Magee does a magnificant job in making Schopenahuars ideas accessible to the public. The final chapter added to this 2nd edition dispels the popular misconceptions (misconceptions that I have run across) concerning Schopenhauers treatment of the will. What S really says is that we have direct phenomenal knowledge of the noumena but that 'phenomenal' knowledge is still nevertheless a representation. I don't think to S, the representation of an perceptual object is an illusion but merely that in order to perceive things, the brain develops a conceptual framework so that objects in the external world can be apprehended. Many people who object to his uses of representation often assume that he is saying that what we perceive is something completely different than what it is in itself. What Schopenhauer really saying is that we shouldn't ascribe too much importance, regarding our knowledge, to the object and ignore the perceiving subject as this would greatly retard our quest for understanding.
Magee also points out how avant-garde Schopenhauer was for his time because of his anticipation of Freud's unconscious, Einstein's relativity, and Schrodinger's Quantum Mechanics. One can conclude that Scopenhauer would have not at all have been surprised by these breakthroughs in modern science since he enunciated philosophical ideas that were very similar.
I must say that I find Schopenhaurs treatment of music flawed in that he seems to believe "that in aesthetic contemplation, the individual is no longer an individual but the pure, will-less, painless, timeless subject of knowledge." In this respect I might think Nietzsche was right in the Gay Science when he pointed out how typical it was for many followers of Schopenhauer to adopt the erroneous metaphysical aspects of his philosophy. Music, as with everything, is a manifestation of the phenomenal world. Interaction with music is not will-less if Scophenhauer really thinks everything to be a result of the will. In that sense we see his pessimism getting into the way of his philosophical doctrine. Magee was right when he pointed out the impossibility of renunciating the Will.
In further regard of S's treatment of music, I prefer Wagners theory of Art to be by far much superior to that of Schopenhauers.
"Wagner saw art as a celebtration of the purely human, of this life of ours in the world of experience, whereas Scheopnhauer saw this life as a burden and this world as a vale of tears, and regarded art as concerned with Platonic Ideas and the noumenal; Wagner's theories were historicist, which Schopenhauer would have despised; Wagner believed that the creative artists should address himself to 'the people', whereas Schopenhaur considered only a minority capable of being interested in great art; Wagner considered the main function of art as expressive, whereas Schopenhauer saw it as cognitive."
Even though he was overlooked by many, Schopenhauer was definitely the pinnacle of empirical epistemology. Magee interestingly emphasizes that Scopehnhauers philosophy, much like Wittgenstein's, is in some sense mystical because it doesn't imply that the empirical world is all there is. Unfortunately, we see that because of the limits of human understanding, many post-posivist philosophers have jumped on the religious band wagon. Clearly though, Scophenhauer would have thought it ridiculous to claim to know what the noumenal world (and I do not think he thought of it as separate from the phenomenal world) is as the religions of Christianity, Islam, and Judaism claim to do (Nietzsche would later show how little 'faith' in these ascetic religions is worth). Regarding the similarities to Scophenhauer's philosophy and Buddhism, I would not find it unreasonable to conclude that Schopenhauer's philosophy is a more sophisticated and more reasonable form of Buddhism insofar that Buddhism takes a metaphysical approach to life but does not apply phenomenal concepts to the metaphysical world.
I HIGHLY recommend buying this book. Magee has done a tremendous service to the revival of Schopenhauer.
A VERY beautifully written short story which is much more a poetic dream journey than an erotic story. Very interesting book!
Everything he writes is very true historically and that makes the book even more enjoyable. His sense of humor and the story made me feel almost being there with Sir Nigel. The story itself is simple but full of surprises. If you are a kid or if you are one of those grown up kids like me you will love this book.
Or maybe you're a science-fiction or fantasy nut. The books you love best are those in which a very imaginative author conjures up a remarkable, detailed, complex world, puts human-type characters in it, and sets them in motion, reacting to the forces around them. You'd crawl through mud to find a book like this.
So why oh why oh why don't you give this neglected masterpiece, this Sir Nigel--and with Doyle as the author--the acclaim it so richly deserves? No, it's not fantasy or science-fiction, but it begins in England in 1348, and can you possibly imagine a time and place more foreign than that?
To briefly summarize, the story is about a young squire, Sir Nigel, and his quest to perform noble deeds so that he can win the hand of his love, who waits patiently for him to complete them. If you want nothing more than adventure, this book has it. He begins by rescuing a damsel from a scoundrel who would besmirch her honor; there is a small then a large sea battle against the Spanish; there is a journey to a cruel, pirate-infested island, and the revenge exacted on its leader; there are jousts, one on one and thirty on thirty; and in final there is a large, desperate battle between huge armies of French and English where much glory and blood is to be found. Large and small, adventures abound, and I haven't even mentioned half of them. And nothing here stretches credibility. Yes, Nigel is a hero, but he suffers setbacks also--some really embarrassing--and in fact misses most of a set-piece battle he was looking forward to when he almost gets his brains bashed in at the beginning of it.
Like all of Doyle's creations, this novel is rich in small details also. For example, forks hadn't been invented yet. It was considered good manners to hold your meat with your thumb and middle finger while cutting it; to do otherwise was bad form. When you're done with the meat, you toss the bone behind you for the dogs. Once a week, the whole mess was swept out and more hay is laid on the floor. He shows a great knowledge of weaponry as well, talking about the relative merits of the bow and the arbalest, the heavy stones heaved by mangonels, and of course the use of swords and shields and lance. These are just a couple of examples. Practically every page reveals insights as to the way of life in those times, not the least of which is the portrayal of the chivalraic code by which they all lived.
Lastly, it is beautifully written, almost lyrical. Nigel comes upon the fair Edith, "whose face had come so often betwixt him and his sleep." Is there a more economical or descriptive way to put this? And later, marching in war-torn Brittany: "As the darkness deepened there came in wild gusts the howling of wolves from the forest to remind them that they were in a land of war. So busy had men been for many years in hunting one another that the beasts of the chase had grown to a monstrous degree, until [even] the streets of the town were no longer safe . . ." Descriptive? Indeed, chilling.
This is exciting, informative, first-class fiction, and warrants a much larger audience than it has apprarently been getting over the years. Do your part!
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I will always keep this book close at hand throughout my journey through life. Excellent. Vostellung!
However, when actually reading in the book I was quickly forced to the conclusion that this is a real find. Arthur Plotnik not only is inspired by trees, he also did his home-work (in a big way!) and he surely can write. This book reminds me very strongly of D.C.Peattie, as he would write if he were to live today. What can I add to that?
P.S. I can add that this book has an impressive list of references for further reading and a perhaps even more impressive list of internet sites on trees.
This book is a great exception. By touching only lightly on the dry botanical aspects of the trees, and focussing on their characters, the author shows confidence in the subject while letting his enthusiasm and wit have full rein.
Again, most illustrations drawn by authors' partners usually serve for breaking up the text. Not these. The unison between the illustrations and the textual descriptions is evidence of true collaboration and a rare conjunction of talent.
If you're interested in "those big things with the leaves", and you don't happen to live in a forest, but this book.
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Pros: Have been able to find everything I've needed quickly. (Chain rule, logarithms, conditional probability, general solution to quadratic equations.) The explanations are terse but clear.
Cons: Crowed typography, could have used more margins, maybe a choice that was made for this reprint. Sections are number x.y-z, makes it hard to notice when the index refers to a range: x.y-za-zb. The index doesn't always lead directly to the desired section, for instance there is no entry for chain rule, but differentiation takes you right there.
Unfortunately, I'm already through most of the classes where I could have made good use of this book, but for those starting out, this might be a handy reference.
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This is definitely a worthwhile read even if you've read the aforementioned novels. As usual, skip Joshi's introduction. For example, Joshi finds the source of Machen's numinous sense of horror in -- surprise! -- Machen's Victorian discomfort with sexuality. Not to mention the fact that he was a Christian, too. Ooh those Christians just hate sex! I suppose we are then to believe that Machen undertook the translation of Casanova's "Memoirs" as some sort of penance, like the protagonist's hair shirt in Machen's "Hill of Dreams". (Machen's "Memoirs" is still the standard translation in English, by the way.) Or could it be the case that Machen was more subtle than the freshman composition caricature of a sexually repressed Victorian Anglo-Catholic Joshi draws in his introduction; that in fact one of Machen's great themes is the reconciliation of sensuality with mysticism? Not surprisingly Joshi, who professes a peculiarly coarse and unreflective variety of atheistic materialism, is blind to this possibility.
Whatever happened to E. F. Bleiler or Lin Carter? (Well, they're dead, sadly. But can't Chaosium and Dover find a better editor for their Weird Fiction?)