As with his other novels, Owens tightly weaves many cultures to achieve a beautiful, funny and suspenseful story. If you're familiar with the mythological alter egos of Attis McCurtain and Diana Nemi it will take your breath away in its intricacy. A quick trip to read up on these two in Frazer's The Golden Bough will bring the story full circle, as many Native American stories tend to be presented. This book has the sexiest octogenarian couple readers are ever likely to encounter along with surprise players from across cultures and times
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This is an EXCELLENT book! If you get nothing else from this book other than to discover WHY you make the decisions you do, it is worth the price.
Titleless, identified only by numbers, these poems have vivid metaphors and imagery ("let not winter's ragged hand deface," "gold candles fix'd in heaven's air"). The tone of the poetry varies from one sonnet to the next; sometimes it focuses on old age, to love that "looks upon tempests and is not shaken," and simple expressions that can't really be interpreted any other way. Some of it is pretty well-known ("Shall I compare thee to a summer's day?/Thou art more lovely and more temperate") but most of them you won't have seen before.
Even if you're not normally a fan of poetry, the delicate touch of Shakespeare's words is worth checking into. Fantastic.
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By far, Stevens comes alive in the preface of Trefousse'account. The reader is pulled gently into the life of this individal because of the hardships he experienced as a child and because of his determination to see justice prevailed.
As I progressed into the book, I marvelled at both the strengths and weaknesses of this complex man called Thaddeus Stevens. Personally, I think he was a man before his times. It is unfortunate that he considered himself a failure. We have had many presidents in recent years who could not or would not acknowledge that they had achieved anything of "real tangible worth". Stevens comes to the end of life feeling that he had achieved very little of lasting value. It is truly worth lamenting! If Stevens could come back to this century, I think he would be astonished to see what legacy he left the United States and particular minorities who have benefitted much from his efforts to support emancipation and a true Reconstruction for those who had suffered because of slavery.
I was first introduced to Thaddeus Stevens in Lerone Bennett's BEFORE THE MAYFLOWER. I found Stevens to be the underdog, but an all powerful hero for the rights of equality. I think the second best thing to having enjoyed Trefousse' outling the work of Stevens would be to see the book made into historical fiction. Somewhere out there in "fantasy land" is an actor who could bring more to "life" this complex man called Thaddeus Stevens
Stevens, the tactical leader of the "radical Republicans" through the Civil War and Reconstruction era stands probably second to only James Madison in Constitutional history.
Considering his historical role a thorough biography has been long overdue. Trefousse has gone a long way toward supplying a fresh biography of the man. In its pages he has applied the extensive depth of modern scholarship now available on the reconstruction era.
Only Fawne Brodie has attempted a biography in recent times and that book, Thaddeus Stevens: Scourge of the South has slid thankfully out of print.
The Trefousse biography will likely be the standard source on the life of "the old Commoner" for some decades to come.
But don't assume you'll have an easy read. Saviolo is not writing in his native language, and it shows. He doesn't describe motions very well, and occasionally appears to leave out a foot move in a long sequence. Di Grassi never wrote in English. This manual is a sixteenth century English translation of his Italian manual. People who deride the "negative campaigning" of today will get quite a surprise when they read Silver's virulent contempt for the rapier and the foreigners who teach it.
There is also the language issue. Yes, it's written in English, but sixteenth century English doesn't always mean what you think it does. Saviolo tells you to come on guard with your right wrist against your knee, your right foot against your opponent's right foot, and your point against his face. Obviously, something has been lost in four centuries. In this case, it's the fact that "against" meant "opposite or across from", not "touching". You are now armed against one problem, but it's still not the language you think it is. (Hint: an Oxford English Dictionary is a very useful companion volume.)
Also, don't assume you can do this in modern fencing. The blades were longer and heavier, and they don't work like modern fencing weapons. Furthermore, these are very basic lessons. We know that the advanced moves were jealously guarded, and not written in books.
With all the difficulties, this book remains essential - it's a direct link to the fighting methods of the Elizabethan fencers. Di Grassi is the easiest to follow. Saviolo is particularly helpful for research, because he spends some time explaining why he does things differently form others, thereby documenting both styles and explaining the thinking process of fencing masters. Silver prefers the short sword to the rapier, and shows us that the Renaissance held many different views.
This books stands alone -- there is just no commercially available substitute.
Your stage combat will look better, your re-enactments will be more real, your understanding of the sword will be sharper.
The time in which these manuals were published was crucial: there was a gradual transition from the medieval sword techniques to the renaissance rapier ones. At the time (and long afterwards) the french schools of fencing were not existent and the main flow was latin: two of the manuals were written by italians and the swords used in latin countries were rapidly evolving from medieval sword towards the rapier. Those were times of frequent wars and of deadly clashes involving different cultures and ways of fighting. Very different from the later "civilized" duels between long-haired make-uped "gentlemen" which originated the french schools of fencing from which our childish fencing appeared.
This work is the real thing! It shows the experience of three sword masters, in a time where expertise was gained by fighting often and staying alive doing it, and mastery was achieved by recognition from a world where everyone was a swordsman ready to challenge such a person just to get fame.
Forget for a moment modern sword-"play" and read this book about real swordsmanship!