KING, by John Berger is a poetic novel written entirely in stacato. It is a urban tragedy that takes place in an imaginary city (Barcelona, Paris, Glasgow, London or the city where I live in Lisbon) somehow like the city of Troy in another one of Berger's novel. It tells the story of one day in the life of a group of homeless carachters, with lots of even more poetic flash backs. All this is told to us, like an ancient greek narrator, that participates, observes and tells the story, by a dog or someone that believes he is a dog because everyone there has to find a way in the middle of the wreck and this is King's way to stand this living hell that is called poverty, a kind of a plague that nowadays is getting to even more people in the world. Nothing happens in the whole novel at least till the last chater, where the tragedy reveals itself... there's a mist of a tragedy in this whole novel that never really takes form of a terrific drama. There is a dense but soft and slow (like the plague that is taking control all over the place) tension.

Why does Berger, that in his last books criticized with such a distant look the urban and capitalist way of life, take this "dog" and lets him sign a book about a couple of homeless that live the rest of their lifes in a city, a "desert of souls"? It may seem like he is living in a city like this for a lot of years and full of watching his life being drained he decided just to release a book that has a critic point of view about it. But if you know Berger's work you will know that this is his most isolated, exhilated, distant and critic book about capitalism, the deception of the urban dream and the globalisation. In fact, Berger has a strong influence of lots of other authors like Giambattista Vico (the name of the main carachter is Vico, the name of the great italian philosopher that, like a prophet, said that every civilisation had to pass through four stages and the last one - il ricorso - is in fact the one we are living in, the AGE OF DOGS), Marx, Pascal and Beckett (a strong influence in most of his works and specially in this one we can find some great similarities).

Resuming, KING is a book to read when a person is feeling good. Like Berger (or King) says: "To read a man needs to love himself, not much but a little."

King is a pearl and like Goethe said: "A well trained dog is worth the respect of the most wise man" and Mr. Berger has trained him well.

I recomend it.

PEDRO ALVEs

Mr. Berger uses man's best friend to describe the human existence of the homeless. The 24 hours of experiences the canine "King" relates, had to be told by an animal other than a human, it could not otherwise work. Man as an animal shares many commonalities with the rest of the animal kingdom. As time passes skills we thought unique to ourselves are becoming fewer, I would offer speech as an example. One only has to read of the care that Elephants treat their dead and dying, the ways they revisit their dead to understand that compassion too is something we have yet to master.

We can claim something that is unique to our group. We kill our own, we torture our own, we systematically exterminate and ethnically cleanse our own. And as King relates to us we lack the compassion for those we would prefer to ignore rather than to help. There is a moment when the act of dousing a sleeping man with gasoline and lighting him afire is described as the death of a heretic. King muses the heretic's crime, could it be he is poor?

This book can be easily dismissed as being nothing new and that perhaps is the point. We have become a group that is nearly impossible to shock, the youngest of our group now kill aimlessly, and older members kill the youngest with no more concern than swatting a insect. Those with power persecute the weak; it has become all but a sport.

Mr. Berger's book is important because it shows behavior that should be contemptible, but has become so common, so cliché, it is rarely even contemplated. He needed to use a dog to bring attention to a human problem because a person is not qualified to comment on how we behave.

An important book by a talented man who has lived a long life, and clearly is less than impressed with what he has seen.

Prose that is poetry. A must for any fan of John Berger. And for readers that don't know his work it should be a revelation. An extraordinary, moving, and passionately empathetic book.

I am very familiar with the works of old time Irish writers including the works of James Joyce who wrote about Ireland in exile. I still don't know much about modern Irish novelists until I had the opportunity of meeting and listening to parts of Timothy O'Grady's novel at Perth Writer's Festival early this year. Immediately afterwards I bought a copy and later talked to Timothy briefly about writers in exile and their struggle with dislocation. This story is not only about dislocation and exile. This is the story of a man coming of age and following a journey during which he struggles to make sense of his life, dislocation, loss of love and loneliness.

This lyrically crafted novel is a great collaboration between O'Grady and photographer Steve Pyke. They collectively create a visual journey of a musical Irishman, his journey from one location to another, looking for work and the love of his life. O'Grady's begins his novel with a description of the protagonist's life back at home as a child:

"This room is dark, as dark as it ever gets - the hour before dawn in winter. I have sounds and pictures but they flit and crash before I can get them..."

For me, it is a metaphor of not been able to recreate the places and the people he left behind as a result of his journey.

O'Grady ends his novel with a similar narrative:

"In the room now a breeze comes in through the window and on it there is the smell of spring. Downstairs the girl turns on her radio... There is a time after long work when you can look for strength and there is nothing there....

In the morning light I let go."

In between, we learn about his journey, his recollection of Irish landscapes, the places left behind, the music he played and his love. But this is not just a mere description of a nostalgic mental journey of an Irishman in exile. This can happen anywhere, anytime, and to anyone.

Reading this novel is like watching a visually crafted documentary embedded with voice and music that we can see and hear.

I'm glad that I met O'Grady and read his novel as my introduction to modern Irish novelists. But this novel had another positive effect on me. When I met O'Grady I was writing a novel about my own dislocation. This novel inspired me to look at my private journey again and again, and continue my writing in exile!

I recommend this book to anyone interested in the beauty and tragic of moving from one place to another.

Tim O'Grady creates exquisitely wrought, archetypal prose that could even overpower Pyke's perfect documentary photos. (Without offense to Walker Evans, now I'm wishing Pyke had been around to collaborate with James Agee).

Amazingly, requires very little interest in Ireland or the Irish - O'Grady is from Chicago anyway and this book is more about experiences of all mankind. His crystalline narrative is hardly bound by ethnicity.

Extraordinary and inspiring new use of the verb, can. If you read poetry, you couldn't regret buying this experimental novel.

... then buy, borrow or steal a copy! Never before have I read such a good exploration of Irish exile. Stranded in a dismal flat in England, the protagonist remembers his happy childhood in Ireland, the rough living and working conditions in England, and his only love. The language is quite simple and often Hiberno Irish, but deeply imaginative and so lyrical, that the line between prose and poetry gets blurred. The beautiful black/white pictures added to this book, and the author's ability to portray Irish music help to give an insight into Irish culture. Sometimes it's like watching a documentary, and suddenly you can't help but feeling you're listening to a song; a song of heartache and terrible longing. Despite far from being soppy the book is very moving in the end; you actually hope for a happy ending. But that wouldn't be Irish.

I had a bilateral mastectomy with tram flap reconstruction in May 2002. The decisions I had to make were agonizing. This book was the best I found on the subject, and I read and re-read the case histories that were closest to my own situation. The information proved to be accurate and gave me a realistic expectation of the process and the results. I recommend this book to anyone undergoing breast surgery, with or without reconstruction, as it covers a wide array of decisions that other women have made.

My plastic surgeon gave me this book to read. It was the best book on breast cancer I've found, and I've built up quite a library lately. It aided me in my treatment decision as well as my reconstruction choice. It also explained my pathology report better than any of my doctors. A great book for any breast cancer patient or her family.

There are many, many books out there dealing with breast cancer and treatment but this was the only one I could find that really helps a woman decide what course to take if she thinks she wants to have reconstructive surgery. I found it so helpful I recommended it to my doctor.Making a decision to have reconstructive surgery is hard enough, but then you have to decide what type you would like to have, what your choices are depending on your type of cancer and treatment, and, when to have the surgery.Especially helpful are the black and white photos of the results of each type of operation as well as touching and honest real life descriptions of experiences by women who have had these types of surgeries.Having actually gone through a mastectomy with simultaneous "tram flap" reconstuction, I can attest to the accuracy of both the medical information and the emotional descriptions contained in the book.

"Photocopies" is a collection of twenty-eight stories, together with a photograph and a drawing. None of the stories is more than a few pages. Each of the "stories" is a vivid prose rendering of a person or place that left a seemingly indelible impression on John Berger's acutely refined sense of seeing. It is a collection marked by a minimalist sensibility, but not the cold, sterile minimalism found in the writing of Samuel Beckett or Gordon Lish. It is, instead, the warm, heartfelt minimalism of a writer striving to capture the fleeting, but enduringly memorable, moments of a human life.

"Photocopies" opens not with a photocopy, but with a photograph: the blurred, poorly-lighted photograph of a man and a woman standing under a tree. It is a sort of introduction to the first story, "A Woman and Man Standing by a Plum Tree," where Berger relates his memory of a woman he once met at a reading in Madrid who then turned up, several years later, at his country home in France. The woman is not identified by name. She is in her thirties, an artist and photographer who makes her living by restoring frescoes. The woman brings along a primitive, home-made plywood camera and, at the end of her visit, takes a picture of the two of them together under a plum tree:

"The two of us stood there facing the camera. We moved, of course, but not more than the plum trees did in the wind. Minutes passed. Whilst we stood there, we reflected the light, and what we reflected went through the black hole into the dark box. It'll be of us, she said, and we waited expectantly."

Unlike the photograph, the story that accompanies it, and the other twenty-seven stories in the collection, are clear, precise, vividly-rendered pictures from John Berger's memory. In this sense, Berger's use of a blurred photographic image to introduce the collection is a bit of irony. Ordinarily, a photograph is considered a very exact image of a moment in time. In Berger's telling, however, the more exact image is found in Berger's memory and in the reproduction (or "photocopy") of that memory that is rendered in prose.

"Photocopies" includes recollections of Henri Cartier-Bresson ("A Man Begging in the Metro") and Simone Weil ("A Girl Like Antigone"), as well as numerous unidentifiable, but memorable, friends and acquaintances of Berger. It also includes, in typical Berger fashion, insightful thoughts on drawing ("A Young Woman with Hand to Her Chin") and on the way that images of the body are influenced by local terrain and climate ("Island of Sifnos").

"Photocopies" is a stunning example of how a sensitive, perceptive observer can render a vivid image of the world in prose. In this sense, Berger's collection is a true work of art, a book that I highly recommend not only as entertaining literature, but as a text that merits close reading and careful study by writers and artists.

This is the first work that I have read by Mr. John Berger. Entitled, "Photocopies", it is a collection of 29 memories that he made more permanent by placing them in print. I don't know at what point a novella becomes a short story, or when the latter becomes something else again. Mr. Berger presents these 29 experiences in 180 pages, and while the number presented can be said to be great as measured by the little space they occupy, it would be an error to judge the quality of what they contain by their brevity.

There are not many Authors who can skillfully execute short literary works. By their definition they allow comparatively short spans of space and reading time to take the reader where the Author has mapped his or her trip. So what level of skill and experience can make a reader enjoy and think when provided with only a handful of words? Quite high for the former, and lengthy for the latter I think.

Not many writers can create a sentence that includes the work of both Donatello and Thelonius Monk to explain the achievement of a prison escape. The reader is also treated to metaphors that will become memories. Mr. Berger in describing the aged hands of a laborer could have slipped into cliché, or a variant on many others. However he compares the hands to, "certain old words that today are going out of use".

This volume is a remarkable collection of thoughts, observations and memories that never exceed a few pages, and in one example consumes only a single leaf. Yet they are all of interest, they provoke thought, and they illustrate what results when skill, gifts, and life experience are placed on paper.

"Photocopies" is profound. Like those "packed" files on computer software disks that unpack when you load the program, these brief pieces unpack in my mind. I can read only about two at a time because they are so satisfyin

Please please read this book. You will not regret it. Every essay is an eye opener and get you to really rethink your world-view.

Most of what our eyes take in is filtered, as we cannot process all that is within the field of our vision. Were there no limits, sleep would be required for the vast majority of each 24-hour period. Our brain provides filters that allow selective acknowledgement or perhaps isolated concentration on those visual cues that we deem important.

Mr. John Berger's book, "About Looking", will radically change your perception of what you see.

Much of the book is dedicated to explaining how various artists' works should be visually understood, what a casual viewer would observe as opposed to someone who is trained in art. I have generally found the long-winded, affected, and pretentious descriptions of art by "Art Experts" to be ridiculous at best and coma inducing more the norm. As Mr. Berger takes you through various artists and how he "sees" their work the language can still seem a bit affected, but as you read, this man uses the words he needs. To suggest he is affecting his explanations would be a petty way to express one's ignorance. Read what he says, and you will see things, as you have not before.

I enjoyed the entire book, however the essays, "Why Look At Animals, and, Uses of Photography", were of greatest interest. They went beyond the explanation of expanding the methods of how the visual can be expanded and included History, Anthropology, and Sociology as well. Many people find zoos artificial, perverse, or even fraudulent. When you read this man's explanation of Animals, our relationships to them over time and how we see them, and they us, regardless of what you now feel you will feel differently.

The same is true in his essay on photography. The science is relatively new, the use and invasion of the camera has become something so common the practice of using a camera is barely noticed. There are the occasional eruptions over privacy, surveillance, and "Big Brother", but those that suggest we are not already a society who have given up much of their privacy, are deluding themselves. Mr. Berger does not just opine on the subject. Court cases, the use of the camera in all its incarnations is explored more deeply than a casual look would suggest there is material to talk about.

This is not a book by a shallow charlatan picking off a couple of quick tricks that make you say hmmmmmmm. He does show that even when the filtered information arrives we see very little of what reaches us; we rarely gain the benefit of all the information. He demonstrates how a bit of inquisitiveness can make what seems ordinary spectacularly special.

In this compilation of correspondence between two erudite artist/writers, the reader is allowed to eavesdrop on the communications of John Berger and John Christie. These are two real renaissance men, interested in everything and commenting on all to each other with such intelligence and candor that we are compelled to read further, taking joy in their knowledge of color, art history, bookmaking, and literature. The book is obviously put together with the input of the book artist, with covers and pages you must touch, luscious color, fold-outs, and lovely photographs of the hand written letters, the books, and even the envelopes that traveled between the two men. The insight into their personal lives and their friendship adds an irresistible dimension. This bok is a must for anyone interested in art in any form.

Like a bee, under vibrating equilibrium and full of gold : thats the emotion felt after reading this colorfull-voices.

I need a qualification, I have only read p.69-p.86 of this book and am ordering it now to read more. In it he speaks first of pleasure and pain, how "The existence of pleasure is the first mystery." and moves on to talk about Van Gogh and Caravaggio. The piece on Van Gogh is simply brilliant. He talks about a majority artists as what I call Nietzschian perspectivists how they bring down the screen of cliche for personal profit from their art, and how Van Gogh is the farthest from this that there is. How for him the creation of art mirrored Creation, and how he could only approach Reality through work, I apologise that I cannot do this justice in 1000 words. He then talks of intimacy and Caravaggio. I will not get into that, you should read it for yourself, but if you are in love or have ever been in love, not that flowery crap but the dirt and the grime and the sweat that is ACTUAL love and all the pleasure and pain it brings, his discourse on Caravaggio's work brings home how closely linked intimacy and reality are. In this he also shreds all of the stupid power games and subtle manipulations our society ingrains into us without us even realizing it. From the perspective of actual intimacy we can understand so much about our world and we become freed from it. This will enlighten anyone with a compassionate heart. This will also most likely make you weep tears of joy for all that you do have, and dissipate your displeasure at what you do not, because what you do not have is not very important if you have intimacy. I cannot do it justice, so just read it.

This book is part of trilogy - Pig Earth, In Europa, Lilac and Flag - depicting the erosion of traditional peasant culture and the incorporation of the children of the peasantry into modern urban life. Taken together, these books comprise a kind of fictionalized sociology of modernization. Each of these books describes a different aspect of this process. The first book, Pig Earth, describes the traditional life of poor French peasants from the Savoy region. Pig Earth is a series of stories and poems showing the seasonal routine of labor, the close relationship of other aspects of peasant life to seasonal labors, and relatively closed nature of these communities. The latter is shown to have both positive and negative aspects, a combination of social solidarity and insularity. The second book, In Europa, is a series of stories showing the penetration of modern industrial civilization into the life of the peasantry and recounts some of the costs, and benefits, of this process. The last book, Lilac and Flag, is set in a mythical city, called Troy, which has aspects of many modern cities. Lilac and Flag describes the life of a young couple, the descendents of poor peasants, who now live a marginal existence in the metropolis of Troy. Overall, this is a successful set of books. Berger is a very talented writer and this set of books gives a vivid sense of the important transition from peasant life on the land to modern industrial civilization. Berger's attempt to depict this important social process is really admirable. The books do vary somewhat in quality. In Europa is probably the best, containing a number of powerful stories, with Pig Earth coming a close second. Lilac and Flag is probably the least effective. The style, presumably a correlate of the urban setting, is distinctly different and the plot has surreal elements. I suspect that Lilac and Flag will strike many readers as relatively familiar and conventional where the contents of Pig Earth and In Europa are relatively novel. If I were to read just one of these books, I would pick In Europa.

It is important to realize that Berger is describing the tail of a process with roots in the Renaissance and that accelerated tremendously in the 19th century. The traditional life described in Pig Earth is actually a life that has been greatly affected by industrial civilization. Many men in the community described by Berger participate in seasonal labor in large cities, there is compulsory primary education, and the local church has a strong influence. Other aspects of the modern world intrude themselves. These include military service, railroads and it is likely that farm products are produced for an international market. In the early or even mid-19th century, a community like this would have been completely geographically isolated, illiterate, and probably would speak a language distinct from French. There are some other fine books devoted to this topic. Eugen Weber's excellent Peasants into Frenchman is a very interesting and readable social history of the impact of the modern world on the French peasantry. A detailed view of French peasant life can be found in Pierre Helias The Horse of Pride, a combined ethnography and memoir about a Breton peasant community written by a scholar who was the son of Breton peasants.

"Pig Earth", by John Berger is the first of 3 books written over a fifteen-year period that taken together form the trilogy, "Into Their Labours". The setting for the first volume is a small village in the French Alps containing a collection of stories about the traditional life of peasants in their village. The books taken together offer a sweeping view of what has happened to this group of people, and as the Author notes, with small changes in detail these stories could be of peasants and their economy anywhere in the world.

The, "economy", of the peasant is the keystone not only of their monetary well being, it also is the foundation that supports their culture, their way of life. It is the means by which they are able to stay away from the cities and there industrialization, the village maintains the individual, the city destroys him or her. This first book shows the life of the Alpine Village intact even as it foreshadows its demise.

There are great ranges of stories that cover daily life, the 24-hour a day commitment that their lives require, and in the end a three-part story that illustrates what will be the downfall of the village. This three-part story is particularly fascinating for the Village disciplines one of its own that they have labeled with a superstitious moniker. When they carry out her isolation from the Village, she adapts, embraces ways different from those who have scorned her, and in the end the destruction of the Alpine Village and its way of life is gone, and those who live there do not yet realize it.

This book is an interesting hybrid that includes poetry interspersed among the traditional prose of a novel. I am not a reader of poetry so the only compliment I can pay this portion of Mr. Berger's work, is that I enjoyed it. He placed and wrote the poems in such a manner that they read without breaking the cadence of the larger work.

This work contains an element that the Author notes is a relic of the Nineteenth Century, even as he mourns the passing of the practice. In a section named, "Historical Afterword", the Author explains his book. What he says about his book I will leave to those who choose to read this man's work. However his Philosophy on what books have become is interesting and very accurate in my estimation as well. Many I know will find what he says offensive as they read that of which he speaks. He talks of how it is assumed that literature has elevated itself into pure art, however he believes it has degenerated into pure entertainment. Of one example he gives, is his feeling that Authors who believe their work of imagination to be all that a reader needs. He finds this attitude insulting to the, "dignity of the reader, the experience communicated, and the writer". He follows this with an essay on his book, which is brilliant, demonstrates the talent of this man not only as a writer but also as a pure thinker. If he had a bookstore I believe I would like it. Of course it would be small and would contain only books worth the time they take to read, and the expense they are to the reader. Some may find this statement arrogant, but for those whom do, I suggest you read his thoughts as many times as it takes to agree with his idea. For all this man advocates is quality work and Authors that respect their readers.

This trilogy took 15 years to accomplish and it has been awarded appropriately. Even while writing this he penned other works that won The Booker Award amongst others. This man is one of the great Authors living today; however if 15 years for three slender volumes seems absurd then try the alternative, alphabet books. A is for atrocious, B is for botched, C is for contrived, through Z is for zero, representing value received.

I approached this book, knowing that John Berger was a Marxist, with the fear that I would be treated to pages of dogma about how the realities of modern capitolism were destroying the pre-industrial arcadia of provincial France. Luckily, he is much more subtle than this. He doesn't rant about the value of the peasant world; he simply gets it across exactly the way it is. I never for a second felt that he was romanticizing the lives of the residents. And while the prose is beautiful, Berger never poeticizes the reality of peasant life - slaughtering animals, finding water pipes, getting goats to breed (notice the decidedly un-romanticized title); he allows us, however, to see why these tasks have their own beauty, their own value.

It is ironic that a book so anchored in realism should have its greatest success with a work of fantasy: the stories that make up The Three Lives of Lucie Cabrol are all masterpieces, and allow Pig Earth to be more than just a lovely work of journalism.

The only thing I felt detracted from the coherence and overall quality of the book was the poetry. Berger is a fine poet, but not a great one; he is, however, a great writer of prose. I was generally much more impressed with the stories than the poetry, and didn't think many of the poems were of enough merit to be included.

The sadness one feels at the close of this book is an earned sadness. What I mean by this is that Berger succesfully makes one feel, without saying a single word about it, that it is truly a shame that this world will probably not exist for much longer, that farming will probably done by a few people who will be pushing buttons on machines instead of living the traditional life of a peasant. Obviously, this is inevitable, but this book is a worthwhile reminder that progress comes at a cost, as well as being a wonderful read.

A FORTUNATE MAN: THE STORY OF A COUNTRY DOCTOR, first published in the mid-1960s by John Berger, has as its subject a certain John Sassall, a rural physician in England. This small volume, 169 pages in paperback, is also nicely illustrated with many apt b/w photographs by Jean Mohr.

If you've ever been enchanted by ALL CREATURES GREAT AND SMALL by Dr. James Herriot, an English country veterinarian, then A FORTUNATE MAN starts out promising enough with a half dozen or so brief accounts of Dr. Sassall's interactions with his patients. Then, the remainder and greater portion of the text is a lengthy Berger essay based on his observations of the physician and his place in the community. Sassall himself, as might otherwise be revealed by his very real and illustrative day to day rounds, is reduced to the introductory cameos.

Berger mixes philosophy and social commentary as he explores such subjects as the doctor/patient relationship, the art of diagnosis, the physician's social standing in the community, and the physician's view of suffering. The flavor of Berger's dissertation can be sampled from this snippet regarding suffering:

"The objective co-ordinates of time and space, which are necessary to fix a presence, are relatively stable. But the subjective experience of time is liable to be so grossly distorted - above all by suffering -that it becomes, both to the sufferer and any person partially identifying himself with the sufferer, extremely difficult to correlate with time proper. Sassall not only has to make this correlation, he also has to correlate the patient's subjective experience of time with his own subjective experience."

The book is less about Dr. Sassall then the author's discernment of the man, and the two are not necessarily the same. This volume would be well-received as part of any medical school curriculum - Theory of Bedside Manner or Medical Ethics 1A, perhaps. For myself, as one who is grudgingly granted 10 minutes of a doctor's distracted attention during the annual physical - the HMO's time is money, after all - I wanted to be presented with first hand evidence that real doctors (like my father the GP who made house calls!) still exist somewhere in the world. Berger's lecturing, while well-meaning and perceptive, didn't do that. It just bored.

I read this book for the first time as an undergraduate in 1987, now as a graduate student in health care, I'm realizing the wealth of information about how an effective system of care looks like. It's not the HMO approach, it's the approach that keeps one close to the ground in their community.

If you care about people and health care systems, read this book!

It begins as if it were fiction, and ends as a study of one man's life, his relation to his patients, and the economic and social conditions which frame this connection. It is less biography than philosophy, and it extends beyond doctors toward all people and their actions.

This is not to say that John Berger's observations of Dr. Sassall's life can be applied to all people. Much is specific to Sassall's identity as a doctor. His depression, Berger claims, is a result of "the suffering of his patients, and his own sense of inadequacy." But there is a theme of existentialism that underlies the book, and it is ultimately about, I think, the pain of searching for purpose after one has faced and understood absurdity. Berger cannot conclude his essay because Sassall's essence cannot be truly captured, and his existence is not yet finished.

Besides being a philosophical book, it is also very personal. It is difficult to categorize FORTUNATE MAN into nonfiction categories because it is very intellectually intimate. It is a unique and thoughtful book, not only to be enjoyed but appreciated with effort and time.

John Berger's to The Wedding traces a poetic and delicate path, elliptically circling round an initially undefinable story; the reader has to stick with it to find the many ways of seeing its intricate web. The writing seems quite detached and even sometimes cold, but certain brief and passing phrases cut so close to the bone that they have brought me and many friends of mine close to tears. (The book is somewhat reminiscent of the The English Patient in its detachment, although the lyrical style of To The Wedding is quite different, much more compact and spare) The other thing that's interesting about the book is that at first it seems like a scene set in a time past, but as you get a clue of the real "story", it's ultimately quite surprising in its modernity and specificity in addressing issues of our time (i don't want to give anything away plotwise!). The juxtaposition of this specificity of purpose and the timelessness of the symbolism and the fact that it deals with universally recognisable human emotions of nostalgia, sorrow and loss are what give the book its strength. No doubt the fact that it is based on actual events and characters in the author's family lends it its special poignancy

This is one of those jewels that, by itself, make learning to read the most important thing we learned, and having a heart the most profound gift we were ever given. The story is a story of love. Of how love survives on love alone, and we are its humble witnesses. Berger weaves the longings and fears of people, like you and I, wrestling with living, meeting and knowing, carving some faith out of this world. I purposely abstain from telling the story in concrete terms. I leave it to you to discover it and paint their lives with your own colors. This is about a story of faith, faith on love and its simplicity and depth. Faith on another whose faith is offered to us. Berger's narration is a lesson to every writer who ever long to disappear behind his or her words. A gift to every reader hungering for the beauty and warmth of true language. In times, like ours, when self-reflection is invaded by the jargon of self-help, and everyone seems to sound like everyone else--pain a! nd experience stripped from their detail--John Berger gives us people with souls and doubts and joys of their own. If this book doesn't make you better, it sure will make you kinder.

I love this book and recommend it to all of my friends, no matter what their tastes are. "To the Wedding" is intimate and yet epic in spirit. what Mr. Berger does with voice is daring and remarkably effective: a blind man tells us what he sees, and characters are revealed in both in first and third-person. Like Ondaatje's Hana, Ninon and will remain with you for a long, long time.