I don't know much about Czech literature, so I don't know if the Prague Spring had anything to do with the writing of Karel Capek, but I would not be surprised to discover a connection. "Leaves wither because spring is already beginning, because new buds are being made, as tiny percussion caps out of which the spring will crack....if we could only see that secret swarming of the future within us, we should say that our melancholy and distrust is silly and absurd and that the best thing of all is to be..living.."

Karel Capek wrote those words in 1929 when he was 39 years old. By 1938, the year the Nazis invaded Prague, he was dead. His brother Josef died a few years later in Bergan-Belsen. But this book is not about those sad events. This book is about a year in the life of a good gardener, how ever extraordinary a writer he might have been.

During his lifetime, Capek realized that humans were becoming enslaved by fascism and run-amuck technology. The ancient and cyclical daily practices of humans were dying before his eyes --the beet farmers stacking their fall harvests at the railroad stations; the wagon loads of manure that could be delivered for garden beds; the nursury men who understood plants giving way to "market garden centers" staffed by those who regularly misidentify plants and stocked with items that "move" (produce a high volume of sales).

THE GARDENER'S YEAR is a reflective book. You don't have to garden to appreciate it, but if you garden, you will probably laugh on more than one occasion. Where is the gardener who has not struggled with a hose; Who has not looked with greed on a bald spot and attempted to squeeze six more phlox plants in, only to discover a dormant sping plant; And, where is the gardener who has not wandered about the yard with a plant in each hand trying to find just one more place for a perennial. Capek understood the gardener's soul. We are a greedy lot, obsessed with dirt, happy in a wagon load of s___, and hostile to many-legged life forms, but, we are also the best sort of human beings who understand the meaning and importance of life.

Capek's writing reminds me of that of Henry Mitchell who wrote two columns (one on gardening the other on "everyday" philosophy) for the Washington Post. Like Mitchell Capek had the gift of converting his own gardening experiences into tales that inform, enlighten, and illustrate the best and the worst of human nature. "I tell you there is no death, not even sleep. We only pass from one season to another. We must be patient with life, for it is eternal."

There is humor and self-deprecation in The Gardener's Year...This is a book that will appeal to the gardener, the philospher, and the Zen deotee, the reader of self-help books, as well as the humorist. Here are quotes: "After his death, the gardener does not become a butterfly but ... a garden worm tasting all the dark, nitrogenous and spicey delights of the soil." "I find a real gardener is not a man who cultivates flowers; he is a man who cultivates the soil". "The life of a gardener is active and full of will." There are easy references to German philosophers, campanula alpina, Tolstoy, the perfume of manure. All this is presented with humor but there are no fools in this book. It could easily be subtitled "Zen and the Pleasant Art of Gardening." It didn't change my life, but it made it better. For Godsake, by this book!

I'll make this short. These essays are simply the best ever about the act of gardening and the gardeners themselves. Anyone who has ever tended a garden for any length of time will immediately relate to the situations and the people in these writings. They are humorous as well as accurate. You'll laugh at yourself and your friends through these wonderfull essays.

This is a collection of short pieces from the Czechoslovakian author of "R.U.R." (the futuristic play in which he coined the term 'robot') who stands out as a calming voice among the chaos of Central Europe in the early 20th Century. The bulk of this volume is comprised of tight, pointed retellings of stories from classical literature: the Greeks, the Bible, and even Shakespeare. By taking a unique slant on some well-known stories, usually with humorous or sardonic overtones, Capek creates modern fables with clearly implied morals that provide practical advice for even the most contemporary readers. Themes range from fear of change, and the importance of the work ethic, to contempt for mob mentality. By placing these tales in the distant past, he is able to present specific political arguments without too openly offending the powers-of-the-moment. With his warm humanism, pointed humor, and continuing sociopolitical relevance, Capek should be a great favorite of fans of such political humorists as Art Buchwald and Jimmy Breslin. With the re-emergence of Eastern/Central Europe from communist domination, it's not too much to hope that Capek's work will soon enjoy the reputation it so richly deserves.

This is terrific!I think Capek is the most underrated writer of the century{at least}.He's comparatively little known,and seldom given credit even for the word "robot" which he "invented".He's got it all-humor,lovely language{it even shines through in a translation},delightful stile,and more... And he's not just a great writer,but a great playwright,too-his "Macropulos Affair" and "R.U.R" are classics.Warmly recommended.

What can we know? But the deeper question is how can we know--and be part of--the universal? In his humane and personal voice, one of the great authors of the 20th Century, ever himself, finds us in the sweet and sad final novel finding, within ourselves, all of us. It surpasses beauty.

I first read these three novels in college, and I've never completely gotton over them, especially the first and last in the set. The basic philosophical question, which is never stated outright, but informs the plot of each novel is "Can we ever really understand another human being." In the final novel, "An Ordinary Life," the author's first person protagonist finds he must ask another question: "Can I ever really understand myself." In answering the second question, he is able (unwittingly) to answer the first. "Hordubal," the first of these novels, is a compelling and haunting rural tragedy, set in 1930's Czechoslovakia. An illiterate Czech farmer who has spent eight years as a miner in America returns to his family in Czechoslovakia, to find his wife and child alienated from him. Within weeks he is murdered. A detective suspects a gypsy boyfriend of the pale wife, but he remains troubled by the idea that he has missed something. The facts are ascertained, but the mystery of Hordubal

Perhaps as a companion piece to War with the Newts this one should have been titled War with God, since this book attacks religious intolerance with the same gentle, sad, hilarious ridiculousness that he employed with devastating effect against racial intolerance in Newts. As a novel it violates most every rule of how a "good" novel should be written, in terms of structure, plot, cohesiveness, restraint, character development, etc and as such it is a fine book. And, of course, it is very very Czech.

Be prepared to enter another world. The Capek's (for many of the plays are actually written by Karel and his brother - and expressionist artist - Joseph) speak to us today loud and clear from a realm linked to ours but slightly askew. Their perceptions are insightful and their vision resonates still. Whether exploring the inhumanity of man or the humanity of the machine, the futility of labour or the glory of the prolitariate, Capek demands consideration.

The translation of the four plays contained in this volume are engaging in their use of the contemporary idiom, though show a little excess due to hindsight ( especially in R.U.R. ). It is however good to have a new version of these pieces, Selvers translation ( which is available in other editions )being used since 1921, though good, has not the clarity necessary for the current century.

Thanks must go to the publishers for bringing these plays back into the public domain. I for one hope to see further volumes so a new audience can truely grasp the bredth and depth of both Karel and Joseph Capek's creative vision.

I'm assuming this is the book I think it is (don't have my old English copy in front of me), but if it includes the story of a dog named Jim, get it. This amazing story (which also explains how dogs asked God to create Man) is at turns folklike, charming, sweet, and transcendent. Capek is an author who could not be published today: for how could you classify him? Only one way: as himself, Karel Capek.

Picture yourself with a group of friends that include Miss Jane Marple. Sitting around the fire, someone brings up the idea of presenting mysteries that only you know the answer, and the other friends must solve. Guess who wins hands down every time? Yes, that little lady with lace mitts who is knitting little fluffy things.

This is a fine book of short stories and, as usual, Dame Agatha outfoxed me every time. Though Miss Jane publicly disdains outlandish plots ("undetectable poison from an African village"), her creator is sometimes guilty of just that. The very few that left me less than impressed involved entirely too much running around, an outlandish premise, and an overabundance of purple prose.

My hands down favorite was "Death By Drowning" when Dame Agatha shows her superb ability to misdirect. Even with broad hints, I didn't come near the answer. And never be certain that the villain will be punished, at least right away. "The Tuesday Night Club" and "A Christmas Tragedy" each have her particular brand of cleverness stamped clearly throughout.

This would be a wonderful book to have in the guest bedroom, but be sure to read it first!

I'm not generally fond of short stories, but there exceptions: Somerset Maugham, F. Scott Fitzgerald, Dorothy Parker... and Agatha Christie. At her best, Agatha Christie's short stories are the equal of any by these more literary writers--and THE THIRTEEN PROBLEMS is very much Agatha Christie at her best. The individual stories are loosely tied together as something of a party game: after dinner each guest is required to present a mystery to which he or she knows the solution and the other guests must puzzle it out. The concept produces a chatty sort format that is both entertaining and perfectly suited to Agatha Christie's demure yet remarkably sharp Miss Marple--who disconcerts the others by inevitably solving the crime.

In addition to Miss Marple, the storytellers include a number of always welcome re-occurring characters such as Mr. and Mrs. Bantry, Miss Marple's nephew Raymond West, and Sir Henry Clithering. Each of the stories is as memorable as anything Christie wrote in novel form, and although you can easily read any of the stories out of sequence the dinner party concept gives the collection a unified quality which nonetheless escapes the more demanding requirements of tackling a full-length novel.

This is the ideal bedside book, for you need read no more than a single story--drop off to sleep--and then return again to the next story at your leisure. At the same time it will satisfy even the most hardcore Christie fans; every one is sure to have their own favorite tale (mine is "The Herb of Death") and serious Christie readers will enjoy spotting plot devices that Christie later elaborated into full-length novels. Very, very enjoyable and highly recommended.

These 13 stories actually form 2 groups; all but one are stories-within-a-story, in which one character reveals a mystery to which he or she knows the solution, and the others are allowed to ask questions and try to solve it. Since the characters' story-telling skills vary, this can be interesting. :) Only the last story, 'Death by Drowning', is a 'live' case. Joan Hickson recorded unabridged narration of all the stories, which are split up over 3 recordings:
- "The Tuesday Club Murders and Other Stories" (TCM)
- "The Blue Geranium and Other Stories" (BG)
- "The Herb of Death and Other Stories" (HD)

The first 6 stories cover one of Raymond West's extended visits to his aunt, Miss Marple, while Sir Henry Clithering is also in the neighbourhood. He, she, and four other guests on the first evening form the 'Tuesday Night Club' (1st story, told by Sir Henry), to see which of the various professions represented has the best chance of solving a mystery. Miss Marple, as hostess, is included as an afterthought - at first. :) One real mystery is why Raymond never quite realizes that he's plain wrong in underestimating his aunt. Given the short format, the characters aren't drawn out at length, but even so, we see signs of a romance progressing between Raymond and Joyce, and that they certainly aren't fooling Jane Marple.

Dr. Pender, local clergyman, sets the 2nd puzzle, 'The Idol House of Astarte' - reader, beware that Christie, as a member of the Detection Club in good standing, never set puzzles requiring a supernatural solution. Raymond West, the writer, tells of a strange Cornish holiday in 'Ingots of Gold' - although he doesn't know the answer, Sir Henry does. Joyce Lampiere, the artist, visited Cornwall more professionally, to find herself painting 'The Bloodstained Pavement'. Miss Marple herself outwits everyone with 'The Thumb Mark of St. Peter'. If you're interested in unabridged recordings or more details about the individual stories, the first 5 appear on the TCM recording, the 6th in BG.

In the 'The Blue Geranium', first installment of the second group of stories, Sir Henry Clithering, staying with Colonel and Mrs. Bantry, is asked to suggest a female 6th dinner guest for the evening. Remembering the Tuesday Club of the previous year, he suggests Jane Marple, and explains to Mrs. Bantry how he knows her. Mrs. Bantry suggests trying her on the Colonel's ghost story ("The Blue Geranium"), since they'd be thankful if she could solve *that*. Afterwards, each of the other attendees, tells a story, albeit each in a different style, beginning with Dr. Lloyd (The Companion) and Sir Henry (The Four Suspects). In 'Never Two Without Three, or, A Christmas Tragedy' (usually known as 'The Christmas Tragedy'), Sir Henry protests that the 3 downtrodden males have been doing all the work, and urges Miss Marple into the breach. Mrs. Bantry, warning everybody that she can't tell a story, turns 'The Herb of Death' into a cross-examination - she tells the very bare bones, but doesn't know how to go on without giving it away. Jane Helier, the ornamental but apparently empty-headed actress, goes last with 'The Affair at the Bungalow'. Again, if you're interested in details / unabridged recording, the first 4 of this group are on BG, while the last 2 and the final story are on the HD recording.

The final story, "Death by Drowning", occurs later in Sir Henry's visit. Learning of a death in the village, Miss Marple not only suspects murder but has identified the killer, and she turns to Sir Henry to ensure that justice is done.

My Brother-in-Law first mentioned this collection of stories by Karel Capek, one of the seminal Czech writers of the pre-Communist era, best known now, if at all, for originating the term "robot" in his 1920 play R.U.R.: Rossum's Universal Robots. These stories, which originally began appearing in 1928 in his newspaper column, are all short mysteries; but they are a unique type of mystery. Capek is less interested in the mechanics of the mystery story itself than in the essential mysteries of human existence: a coded telegram makes a family doubt their daughter, a man is obsessed with footprints that disappear in the snow, a community is wonders why a certain woman is the only one who can find a certain type of blue flower, a stamp collection stolen in childhood is shown to have warped an old man's life, God sits in judgment on a condemned man, and so on. Some are really terrific, some merely amusing, but all are interesting, albeit brief, meditations on our perceptions of the appearance of things, how those appearances often mask a much different reality and how those perceptions shape us.

To my mind, this is a collection that is best read a story at a time, much as he wrote them. While they are somewhat interconnected, I found that reading several in succession was less enjoyable than savoring one a night or every couple of nights. Let them ripen this way and the tales leave behind some indelible images.

GRADE: B+

Aptly translated into English from the original Czech by Norma Comrada, Tales from Two Pockets is an anthology of 48 classic short stories by Karl Capek, each of which centers on the themes of mystery, solving puzzles and discovering deft culprits. Tales From Two Pockets is a mind-teasing, imaginative, and deftly woven collection which will aptly serve to introduce Capek to a new generation of readers, and is a "must" for anyone who appreciates a well and deftly written story.

I purchased this book on the recommendations of Amazon.com readers. I was not disappointed. Tales from Two Pockets is a collection of short-stories by Czech mystery writer and playwrite Karel Capek. The stories are delightful, with many humorous and unexpected twists. Each story is wholly different from the others, but all are brilliant and a joy to read.

Karel Capek wrote this book against the dark clouds of the unholy duos of communism and nazism, of the world of Hitler's and Stalin's. The pessimistic, yet humorous outlook on humanity and the adversities befalling it at the nimble hands of the newts, is as valid today, as it was in 1936, when this book was first published. Shrouded in a wealth of detail, the "War With The Newts" anticipated much of what happened in the decades after the 1930s, anything from the population explosion to the horrors of World War II. Capek's book is to literature, what Herge's "Tintin" is to comic books. You will not regret reading it - warmly recommended!

Captain Van Toch finds a bay which is home to a giant salanmander which he soon comes to realize is a very smart salanmander. He ends up training them to hunt for pearls, in return giving them knives to fight off their ancient enemy - the sharks. After he dies the world ends up taking over and exploiting them. These 'Newts' are trained to work underwater, carrying out projects to increase the landmass, clean harbours and build aircraft islands. Soon the military is training them to fight, the schools are training them to read and write, and the newts are also being taught about God, freedoms, history and other subjects that slowly change them to being equal to mankind in every field of science and knowledge.

What happens when MANKIND is the Newts' new enemy?

Is this a warning about exploiting the workers? Or a warning against mankind losing what makes us human? Or maybe a warning against relaying on machines too much? Or is it a warning about how man fights man? No matter what the warning IS it IS also a GOOD SCIENCE FICTION book. If you like Wells you will like Capek. Also lots of humor.

I randomly found this book on Amazon one day, and decided I had to have it. When it arrived, however, I found myself slightly taken aback by the endless stream of footnotes throughout the book - not to mention the sections in another language altogether! And yet from the first page I was hooked - simply from a plot point of view, the story is engrossing all the way through. I found myself mysteriously endeared to the newts and dying to read each section. Capek is a brilliant writer - I find it hard to believe in many parts that it is a translated work. It's incredibly funny in parts and can definitely be very tongue-in-cheek. Capek also holds nothing back when it comes to mocking mankind - as a former scientist, I found his depiction of scientists particularly amusing, but he really lets out an endless stream of satire with no group spared. Germans, lawyers, the British, Hollywood, Big Business, capitalists - they all take a turn. I think if I knew more about world events in the 1930s I would have gotten more out of the book, but I think anyone with a good sense of humor would enjoy this book. Parts of it are written with a very academic tone, but it's quick moving and satirical enough to read through.