"The Handbook" is a book that must be on any quality specialist's shelf. It doesn't have the absolute truth about quality but it can give you many hints...

Why the fifth star is missing?, because this edition is a little dated (ISO-9000/1994). But if you want to "embrace the quality" you should be looking for this edition, the next and the previous editions in order to get the whole picture about the evolution of quality. You'll never regret about this investment.

Milton is a great figure in English literature, and the great poems which place Satan and God in a struggle that makes Adam and Eve seem like minor characters are the intellectual context for Blake's effort to write a poem using Milton to write about things that minor characters wouldn't even want to talk about. Things don't really start happening for me until plate 12, "According to the inspiration of the Poetic Genius/Who is the eternal all-protecting Divine Humanity" that Milton actually rose up and said, "I go to Eternal Death!" Don't expect to meet anyone saying such things on our streets. This attempt to be instructive in the art of self-annihilation produces one of the great intellectual puzzles of eternal questions, which attempt not to apply to a particular place and time. My appreciation of John Milton and William Blake is more concerned with their ideas than with artistic techniques. The importance of Blake was suggested, more than it was demonstrated, by Theodore Roszak in THE MAKING OF A COUNTER CULTURE, Chapter VIII, "Eyes of Flesh, Eyes of Fire," which observes that a "perfectly sensible interpretation . . . would tell us, for example, that the poet Blake, under the influence of Swedenborgian mysticism, developed a style based on esoteric visionary correspondences . . . Etc. Etc. Footnote." (Roszak, p. 239). What really impressed me was the intellectual context established in the Bibliographical Notes, at the end of THE MAKING OF A COUNTER CULTURE, which states, "Anything Blake ever wrote seems supremely relevant to the search for alternative realities." (p. 302). The radical element of that thought needs to be understood in a way that affirms the religious significance of what Blake was trying to accomplish, and other scholars might overlook how this search in Blake's work might oppose their own assumptions about our cultural inheritance. Harold Bloom, in BLAKE'S APOCALYPSE, (1963, shortly before the radical part of the sixties) said "The dark Satanic Mills have nothing to do with industrialism, but" poetically pick the most common example for why those who are bored might want to complain of "The same dull round, even of a universe, would soon become a mill with complicated wheels." (Bloom, p. 305). There are a lot of names to explain, as Bloom does in his book, and the scholars employed by Tate Gallery Publications for the production of this book display an extraordinary amount of work on this project for that purpose, and the intellectual puzzles are what remains mysterious even after learning what knowledge is available.

At the heart of the poem, "Milton," is the question of what such a character might mean to William Blake, and how, long after Milton's death, he might be of some use. A lot of works have been written to give an author the opportunity to say something that he wouldn't have otherwise had a chance to say, and this book seems to be one of the unique cases of a work which tries to say something that no one else is saying. Instead of treating Milton like anyone who had been dead for more than a hundred years, the treatment of Milton's thought also supposes that it exists through an "Emanation, Sixfold presumably because he had three wives and three daughters." (Bloom, p. 308). Bloom thinks this book is a result of "a complex relation of responsibility to what he has made, though his creation is in torment because scattered through the creation." (p. 308). After John Milton had become blind, his wives and daughters represented a tremendous portion of his remaining contact with the world.

Walter Kaufmann, in LIFE AT THE LIMITS, considered a sonnet by the blind Milton about a dream in which one of his wives, who had died, was seen by him "Brought back to me like Alcestis from the grave." The reality expressed in the final line of that poem, "I wak'd, she fled, and day brought back my night," seemed to Kaufmann to be "the most powerful last line of any English short poem." (LIFE AT THE LIMITS, p. 75). Blake approached this situation, in which picturing another person might be considered the strongest link with any reality, with what modern readers might consider an unctiously religious picture on plate 15, with the caption (explained on p. 139 with, "The giving up of selfhood to achieve a more inclusive sense of self is essential for the artist to create" which isn't so scary if it is only applied to artists and monks): "To annihilate the Self-[there is a foot here in the picture]-hood of Deceit & False Forgiveness." Then plate 16 starts with "In those three females whom his Wives, & those three whom his Daughters/Had represented and containd. that they might be resume'd / By giving up of Selfhood:" This poetic division of a single poet into six male-female relationships is the most surprising thing in the poem, for me. Trying to apply it to religion states a much more radical understanding of what religion has to offer than most people expect if they merely go to church, which seems to be one of Roszak's points about how our culture accepts religion by making it strictly mainstream, totally "God Bless America" as the most popular current phrase goes. Much of the scholarship on the creation of Blake's large works notes how uncommercial it was in Blake's day, as "Hayley discouraged him from anything other than `the meer drudgery of business' (p. 14)" and this book tries to make that picture perfectly clear.

In one of the few small works at the end of this book, Blake complained:

The Classics, it is the Classics! / & not Goths nor Monks, that / Desolate Europe with Wars. (p. 264)

I feel the same way, complaining about some books, but Blake assumed a society in which people were actually being taught things like a Platonic belief in forms, and the Classics were a large element of what seemed bad to him. He might have felt differently if he ever had a chance to observe our formless void, where any claim to wisdom is highly suspect. We can only look the other way.

The book also covers the expedition and its encounters while exploring the new land and the many Indian tribes the met. It is told in alternating view points of Sacajawea and Captain Clark. Their views on the happenings around them are very interesting. It is apparent how time and time again Sacajawea, or Janey as the expetition named her, was indespensible. Read between the lines to see the bond that formed between Sacajawea and Captain Clark.

This is an outstanding book that I recommend to adults as well as teens. Very informative and easy to read. The chapters were short and it was interesting how they altered from one view to the other and back.

This may be listed as a book for children, but it should not be labeled for any particular age group. Adults will enjoy it too.

The book so clearly points out the great optimisim of the early explorers that led them through dangerous situations with such confidence. The reliance upon actual texts from the participants of the voyage make this a very authentic story.

Jonathan Bate in his exhaustive introduction almost convinces you of the play's greatness, as he discusses it theoretically, its sexual metaphors, obsessive misogyny, analysis of signs and reading etc. His introduction is exemplary and systematic - interpretation of content and staging; history of performance; origin and soures; textual history. Sometimes, as is often the case with Arden, the annotation is frustratingly pedantic, as you get caught in a web of previous editors' fetishistic analysing of punctuation and grammar. Mostly, though, it facilitates a smooth, enjoyable read.

As well as crime solving, these stories also offer a unique and vivid portrait of the South of the forties that Faulkner captures through his characteristically tactile and vernacular use of language and shifting narrative perspective. The impoverished farmers that persist, ageless and enduring, the occasional urban outsider or foreigner, and the rich landowner of mysterious circumstances, are some of the characters that populate these stories. Tradition, inheritance, and the looming presence of war shape Faulkner's candid and non-sensational rendering of this microcosm and his tacit exploration of time and mortality.

On its surface, Knight's Gambit is a collection of mystery stories that all feature Gavin Stevens, the county attorney for Yoknapatawpha county, who is sometimes considered Faulkner's spokesperson. Even though Knight's Gambit is not a major work, it is Faulkner and therefore worthwhile by definition to many serious readers.

The mystery at the heart of each story is not found in actions, though some of the plots are puzzling, as much as in the characters' hearts and souls. The tales in this collection range from the haunting "Tomorrow," which reminds us that no one ever knows where "love or lightning either will strike," to the title selection, in which Stevens (the Knight) captures his Queen after a twenty years' quest spent translating the Old Testament.

Any of these stories would be worth a close, scholarly look, and it does help to be familiar with Faulkner's canon to appreciate them fully. However, this volume does not require a critical approach. If you like Faulkner, take a break from the constant challenge of his major works and enjoy these stories. In Knight's Gambit, Faulkner enlightens, ennobles, and entertains in almost equal measure.