If you enjoyed Umberto Eco's _Foucault's Pendulum_, you will undoubtedly enjoy this true life tale of magic, European politics, and murder. The book gives an accounting of the life of Ioan Culianu, a professor of comparative religion at the University of Chicago, from his birth in Romania to his untimely murder. Professor Culianu provided astounding insights into the world of magic and attempted to explain its occurrences through complexity. He published many books on magic, comparative religion, shamanism, and gnosticism. Like Mircea Eliade, a fellow Romanian and his mentor before him, Culianu contributed a great deal to our understanding of religion and magic. He also wrote several novels along with his fiancee Hillary Wiesner. This book provides a look into not only the worlds of Eliade and Culianu, but also a disturbing examination of far-right politics in Romania. Culianu's murder remains unsolved despite its obvious link to his outspoken views on the Romanian revolution which occurred just prior to his murder. However, many disturbing coincidences abound regarding this event.

The shot that killed professor Ioan Culianu while he was sitting in a stall in the men's room came from a small Beretta: a .25 caliber gun, fired at leat 18 inches away from his head, for there were no gunpowder traces around the entry wound. It was the work of an expert, a person who stood on the toilet seat of the adjoining stall, and fired downward and into the back of his head; probably the shot of a left hander. Why only one shot? Why such a small caliber gun? Professionals are more heavy handed, more redundant, more brutal. This was exquisitely done, with minimal fuss and no traceable clues.

It was May, 1991, a little after one in the afternoon, at the University of Chicago Divinity School. Prof Culianu, a handsome man in his 40's had three books in press, was about to get married, was loved and respected by students and faculty, and was at the peak of his profession as a historian of religion. His work was recognized internationally, and he could look forward to the honors and comforts of a successful academic career.

Ted Anton presents the true tale of Prof. Culianu with deftness and care. It is a story that to this day continues to reverberate in academia and law enforcement because it has never been solved. Far more exciting than fiction, the story of this professor takes turns and dips that keep the reader on edge and breathless.Culianu was an expert not only on the traditional aspects of religions, but had an interest in the occult arts that formed part of the ancient rituals and practices. He was an expert in divination through geomancy, and was about to teach a course in this practice. He gravitated towards the occult. He knew about near death experiences and about the transmigration of souls; and at the same time he maintained his status as a legitimate scholar and teacher in one of America's prestigious universities.

Fictional stories about crimes and police work are very enjoyable, but reading a book like this renders the others insignificant by comparison. Of course truth is stranger than fiction, but it is also more exciting, more interesting, and finally...more scary.

Culiano taught religious studies at the Divinity School of the University of Chicago--the hand-picked successor to the great Mircea Eliade. Culiano specialized in magic, dualistic heresies and mystical experiences. He practiced what he studied as well, entertaining students and aggravating colleagues. But he also wrote political articles and fiction for a Romanian journal. These got him in trouble with the Romanian secret police; his murder has never been solved.

Blending religious studies, occult phenomena, political analysis, and true crime journalism, this book is also an entertaining and intriguing look at Culiano, academics in America, Romanian intellectual traditions. I hope many people read and enjoy it.

Oh tormented people. One may read 'The Seagull' and wonder what's that all those things about death and killing, and failing love stories. So sad! But in Chekov's world this is a comedy, and it doesn't take too much to get why. It is indeed funny in some parts-- well, not the kind of funny we are used to, but nevertheless, it makes us laugh.

The tragicomic play is of paramount importance in modern teather. Rarely has a playwriter written such a realistic piece analyzing the life of an artist and his/her role in the society. In 'The Seagull' Treplieff is a writer wanna be, who is trying to grow over the shadow of her mother --an aging actress--, and to get an actress wanna be to love him. But above all, he has to deal with feeling jelous of Trigorin a youger and successful writer. There aren't many characters, but there is so much going on, personal dilemas, that the story grows to a placeless dimension.

Chekov can write with such a confidence that for not a second you doubt the existence of these people. His words are vivid. More than 100 years later, his play is up to date dealing with issues that are universal and timeless-- that can make you either cry or laugh.

Russian plays aren't for everyone--they are dense, heavy affairs, packed full of ideas and slow moving characters. If you are looking for a fast-paced potboiler with lots of action, etc. then stay away from Chekhov. But if you enjoy reflection and having something to talk about when you finish a book then Checkhov will serve you well--and, most improtantly, if you want to read "The Seagull" this IS the translation to get--Stoppard has done a wonderful job, making this classic even more readable and enjoyable.

"The Seagull," is also about how the constraints of society restrict us from achieving our goals. Constantin is not appreciated by the masses for his "experiemental" writing. Masha (?) feels trapped by her social position and unwanted by Constantin thus marries a schoolteacher who she doesn't love. Although Trigorin achieved success through his mediocre novels, he feels unsatisfied by not creating "real" art and compelled to anihilate anyone who attempts to create real art, such as Constantin. It is interesting to note that Constantin is secretly envious of Trigorin for his success and Trigorin is envious of Constantin for maintaining his integrity in his art. Maybe that's why they're always at each other's throats. Just my two cents.

I've said it before, and I'll say it again: Constance Garnett ruins Chekhov for me.

Her work is reprinted for financial reasons, not artistic ones. Want to read "good" Chekhov? Read Robert Payne or Ann Dunnigan's translations. Yarmolinsky is good too.

Rosa La Luna

This collection will expose you to not only some of the best short stories by Anton Chekhov, but some of the best stories ever written in any language. Chekhov's sense of mood and characters overrides his need to provide a predictable plot. He is the forerunner for America's beloved Hemingway, Raymond Carver, and may others in between. People may criticize some of Chekhov's Romantic devices and tendencies, but no one can deny the exactitude of his writing. His work is simple and does not rely heavily on existential characters and events, creating a timeless air.

For writers (and interested readers), there is an appendage of letters that Chekhov wrote to friends about writing. His advice is so right and simple that you'll wonder why your favorite author, or even you, didn't think of them first. Chekhov turns out to be a rather arrogant guy, claiming he never spent more than a day on a story and that his only job was "to be talented," but that is part of his charm. He is the link to modern fiction that is often forgotten. Buy or check out this book. It is a must.

In over 35 years of reading adult literature, these are my all-time favorite works. Chekhov has an uncanny and incomparable ability: virtually nothing happens in many of his stories, yet as you close the book you are aware that something deep and wonderful about human character has been revealed. Chekhov has often been described as being unsurpassed in describing the RUSSIAN character, but I find his descriptions of people, their insecurities and their relationships, to be universal.

If you read books for the action, the color, or the conflict, you will find little of it here. All you will find is quiet and penetrating insight into what it means to be a human being living with other human beings.

its fun, but don't try to make sense out of anything.

I laughed until I started coughing up blood. This is without question the funniest script I've ever read in my life, but if I told you why, I'd have to kill you.

This isn't just a script. It IS a movie. The best special effects I've ever seen. I'd give it 23 stars if I could.

Frank Anton's moving account of what happened to him in Vietnam is not only a POW's mightmare, but one for all of us Americans who left him there. I have been honored to meet Frank, in Florida, on our journey across America with our huey helicopter, while filming the documentary "In The Shadow of the Blade". His account of what our governement knew and didn't do, is shocking. I highly recommend this book to anyone wishing to get a full total picture and understanding of the Vietnam War experience. He has recorded a part of our history and a part of his very own soul! This is a must read book!

"Why Didn't You Get Me Out?" should go hand in hand with George J. Veith's "Code Name Bright Light" in relating the appallingly hard-hearted and callous attitude the U.S. Government had towards the POWs and MIAs during the Indochina War. The more I read on the subject, two events take place: The first is that certain stories and key players keep reappearing (Jerry Mooney of NSA, General Tighe of DIA, Colonel Mike Peck, etc). The more they appear in the same form in different sources, the truer they must be. The second is that I find new information, such as the contents of Warrant Officer Anton's book. As WO Anton relates, the US had solid photographic intelligence of the locations of Viet Cong prison camps and often traced prisoner movements through the jungles all the way to Hanoi. WO Anton, in fact, is told years later that the US made no rescue attempts so as not to expose their sources!. Why develop sources if the information they provide goes unused? "Why Didn't You Get Me Out?" is unique in that most POW tales are set in the major Hanoi prisons such as The Plantation (Anton's last stop) or the infamous "Hanoi Hilton". Anton concentrates his focus on the putrid, festering smaller jungle camps he suffered through on the long trek from his capture in the Que Son Valley to the "relative comfort" of the Plantation. It's all here-the the dysentary, the skin leeches, the cruel guards(and some who were not), the attempts to reeducate/brainwash as well as the infamous Marine, Bobby Garwood, who colaborated with the enemy. Anton leaves no doubt as to the ultimate Vietnam?Indochina question" DID EVERYBODY COME HOME? Those of us who have followed things through the years know the answer is a resounding "NO!". "Why Didn't You Get Me Out" is recommended for any serious student of the Indochina War as well as those with a paticular interest in the fate of the 1.993 (as of October 23, 2000)MIAs still out there. After all these years and after spending one year of my life over there, it's just unreal how many sides there were to that War. This is a first rate new side/ new look. Those who have yet to read George Veith's book should try both.

Frank has written an outstanding book. Altough I firmly beleive that there are some of our guys that stayed in Nam by choice I am as convinced that there are many that were kept as pawns and our government didn't have the guts to go get them. Am very proud to have served in the military with men of the caliber of men like Frank. Thank you Frank for writting this book to let the people of our great country,just how gutless our Leaders were. Roadrunner 6 Out

The only RAW I had read before picking up this book wasIlluminatus!. Still, I thoroughly enjoyed it (even missing the firstof the trilogy/series). The book is about Sigismundo, an Italian goingto school in Paris, who happens to have...[upset] some very importantpeople. After being attacked, arrested, and going through variousother punishments, he goes through attempted brainwashing by a groupwhich believes he'll be their savior, the prophecized Widow'sSon. Worth buying for the excerpt from the Gospel According to MaryMagdeline alone, it's definitely a great book.

This is Wilson's more adventure-oriented of the three, and is a joy to read. It has the feel of a book more like the Three Musketeers or Treasure Island or something, but it also is certainly a Robert Anton Wilson book. It isn't quite as heady as the other two, but it certainly has its moments. There seems some distance from Sigismundo and the reader this time. Anyway, a great book and a great series. Read them all, if you can find them.

Robert Anton Wilson almost defines a new genre with this series. His intelligence and witt will leave you in stitches, and the conspiracies make the X-files look boring. The Chronicles series are part conspiracy, part satire, part historical fiction, part philosophical, and completely mind altering. The characters graft themselves to your skin, and you'll never look at history the same. Consider this book sex for the brain.If it were any better they'd have to make it illegal.

While other Amazon.com reviewers of Chekhov's plays have been concerned with the quality of the translation, I would like to place my emphasis on the quality of the plays. These four great plays: The Sea Gull, The Cherry Orchard, Three Sisters, and Uncle Vanya represent some of the most influential drama written at the turn of the twentieth century; their impact on the development of modern theater is well documented.

Chekhov brought drama out of its conventional Victorian setting and made human character the pivotal point of his work. Plot becomes secondary and what is important is how the various characters respond to situations which usually take place off stage. There are no convenient denouements or deus ex machinas with Checkhov. His characters are flesh and blood and do not undergo dramatic character changes during the play; they are usually the same at the end of the play as they were at the beginning.

Common threads run through these four plays. The dramas are set in provencial Russia with the recurring theme of a longing for a life that is just out of the reach of its characters. Especially moving is the masterful Three Sisters in which the sisters become more and more certain that their dream of returning to Moscow is never to be realized, and that they will spend the rest of their lives in an isolated garrison town where their talents will never be recoginized. Also, for the first time that I am aware, nature is given central stage. Chekhov takes his plays out of the drawing room and sets them in nature with detailed set descriptions describing the time of day and the nature of the weather - all of which gives his plays a palpable realism.

The five masterpieces in this collection deal with the dizzying pace of an industrializing world. Although the plays were written a hundred years ago, they are still very relevant to our modern existence. Chekov's questions about the place of class in a world in which class boundaries rapidly shift, the value of money in a world in which life has no meaning, and the meaning of existence in which experience is absurd still open our eyes to the many layers of existence which we uncover (or choose not to) every day.

In today's world, which, like Chekov's, is changing every day, it would behoove all of us to sit down for a while every day and ponder the infinite wisdom of "The Cherry Orchard" (which is in this collection) and try to understand ourselves.

This is a wonderful translation and it happens to be the translation reccomended to me by Miss Joan Potter. (Voted one of the five utmost speakers on Chekov) She has traveled all over and has all the translations ever. It's an easy read compared to most translations and very actable.

This is as bad as R. A. Wilson's nonfiction gets (though his fiction can get even worse). Most of these "essays" are self-indulgent and border on the literally meaningless, like the obscure and unmusical poetry he writes. Wilson, who claims he is beyond all models of reality, is in fact a True Believer in synchronicity (the theme of the book), Aleister Crowley and plenty of other occult hogwash. And as is always the case, he has not a single original idea of his own--all he does is re-state the works of others in his own superior prose. Go read Cosmic Trigger or Quantum Psychology and leave this one alone.

Many of Wilson's books have been accused of being mere fodder for his personal philosophy, incorporating the same jokes and the same sermons into a barely recognizable plot. That is not true, but much of what attracts people to his books is the way that he makes people see things in different perspectives.

This book has essays on physics, Sade, and Joyce. Both Ulysses and Finnegan's Wake are explained in ways that actually make a person want to read the books, while the Marquis de Sade is given his due as the master of disturbing literature.

What makes this book worthwhile for me is the essay on Tennessee Williams comparing him to Sade. I don't remember the play that he is discussing, nor does American Theatre for that matter, but what stands out is a praise for Williams as a true artist - "An artist must put out questions and let the audience figure it out for themselves. An artist is not there to provide the answers. Arthur Miller is not an artist because he spoonfeeds the answers to you. In every play Miller is running for elected office."

I am paraphrasing but in that one argument, I managed to crystalize and express all my doubts about political art - including agitprop, "identity art" and sermons disguised as plays. I knew that I hated these types of artistic expressions, but I always felt like I should like them especially when they agreed with my political philosophy. For that alone, this book is worth buying. You have a 90% chance of finding something in this work that states a constantly debated point so clearly that you wonder why it wasn't said this way to begin with.

Learning Shakespear in High School is all part of the government military/industrial mind control program. It is designed to train the analytical/suspicious mind to deal with intra-relational problems and analize them instead of attempting to analize societal problems as a whole. This technique is continuated into adulthood by the use of soap opera scripts. The mechanism for the brain and thought programming is extremely subtle but profused in such rampant abundance which effectively renders overwhelming impact upon the unsuspecting. It has gone as far as to dictate laws for grammar and sentence structure. It seems disconnected from the theory but you will realize that speach or sentence structure is thought. Therefore by controlling sentence structure, your thought structure is also being controlled. Long run on sentences provoke deep drawn out thought on creative concepts.

Sorry, I have to differ from my fellow reviewers.

The translations here by Constance Garnett are tired and clunky and way too literal. The art of translation has evolved light years from the "word-by-word" school. To compare how much more "modern" Chekhov can sound (and Chekhov was, is, and will remain always MODERN), read Robert Payne's translations. Payne eliminates the clumsy clauses and unnecessary commas and lets the story shine through.

Ford's introduction is interesting, but note: he says NOTHING about the translations. He must know they are abominable. Personally, I have no respect for Richard Ford and Ecco Press for reprinting these. Screw the reader, right?

with Chekhov. Whatever volume (happily, there are lots in print), whatever translation you start with, you'll want to keep reading and keep discovering. But, Chekhov may require some getting used to. His stories are melancholy, funny, laconic, ironic. Not many of his characters could be called heroic. His plots do not end neatly. He asks many questions but doesn't answer them. My personal favorites in this volume: An Anonymous Story, Ward 6, The Grasshopper, The Lady with the Dog.

For a great critical essay on Chekhov, read Nabakov's in his Lectures on Russian Literature.

Anton Chekhov was a student of Leo Tolstoy, and thank God he wasn't as long winded, otherwise we would not have all these wonderful short stories.

Short stories before Chekhov were plot oriented and sensationalized. Enter Chekhov, the ultimate master. Now the short story is liberated, it has become more of an art of the moment, an art which reflects deep insights into the social environment of his day - our day too!

Present day short story writers with their overly descriptive styles, their lack of real characterizations, and their general ignorance to the importance of brevity and directness would do much to ponder the intricacies of Chekhov's short masterpieces.

Yeah, yeah, I liked the book. What I don't get is the one review that said RAW was paranoid but then warned you not to play with a Ouija board because "you never know what you might dig up" (paraphrased). Since when did a stupid toy acquire strange, demonic powers? Now THAT sounds paranoid to me.

You've obviously never used a Ouija Board. By the way, R.A.W. has done it again - telling it like it is (from his point of view, anyway). To those who aren't sure whether or not to take him seriously, just remember - Hermes was a trickster, but he was the only way out of the underworld. Welcome to Wonderland.

R.A.W. is my new favorite Writer. This man is a Genius. He is so far ahead of his time, that he will be Immortalized with Einstein, Crowley, etc. Robert Anton Wilson is one of the very few writers I have experienced, who sees through the smokescreens and delves into the mysteries, with a SMI(2)LE on his face
R.A.W. does not take himself too seriously, nor does he take society, government, religion or Secret Societies too seriously. This is one of the most Humorous books I have read recently--however, it will only be funny to those with a fairly decent knowledge base of; Physics, Quantum Physics, The Occult, Anthropology, Psychology, Secret Societies, Conspiracy Theories (see R.A.W.'s "Everything is Under Control"), and a good understanding of the fact that we are, indeed, living on "The Planet of The Apes."
R.A.W. hit the nail on the head, with his theory that we are "Domesticated Primates" --look around, and read the news.
The Essays, articles, quotes, reading lists, poetry, Scientific/Psychological breakdowns of the situation Domesticated Primates have gotten themselves into is fascinating and makes more sense than most of the theories circulating in the media, schools, etc.
I am studying Anthropology, and I have always studied various religions and Psychology...and I find "The Illuminati Papers" to be a revealing and important book to be circulated among the Eggheads. Most folks will not like it, because Americans do not read much and this book will make them feel inadequate. However, many people will "get it" and they will treasure this Tome of Wisdom.
"The Illuminati Papers" contains wonderful articles, essays, etc.--such as "The Abolition of Stupidity," "Quantum Mechanics as a Branch of Primate Psychology," "An Incident on Cumberland Avenue," "Beyond Theology: The Science of Godmanship," "Stupidynamics" & "Hey, man, are you only using half of your brain?"
This book seems small and appears to be a "quick read." However, this is a book that will often have you thinking more than reading. I often found myself wandering back to the pages, after some paragraph or line triggered a series of thoughts that carried me away into Contemplation for a while. I was astounded that I did not finish it in one or two sittings. This is definitely a Thinking person's book. I would raise a suspicious eyebrow at anyone who reads through it, swiftly....or look for Diplomas on their walls, stating that they are a Physicist, Neurologist, or Psychologist.... or, perhaps, a "Super Anthropologist." :-)