The first volume of this three volume set is exceptional. The breadth of this work is substantial. In fact there is so much ground covered in this work that many truly momentous events are covered in what seems a very short number of pages. Most of us think that the history of the US goes something like "The pilgrims wrote the Mayflower Compact, jumped off the boat, ate thanksgiving turkey, hung some witches, dumped some tea and declared independence." Morison does a fabulous job of filling in the spaces. Morison's style is very engaging as well. It is interesting to note that this volume was published in the 60's so there are frequent mention's of communists themes and when the author mentions native Americans he means people that were born in this country even if they had ancestors from England or other European countries. Highly recommended.

The first volume of this three volume set is exceptional. The breadth of this work is substantial. In fact there is so much ground covered in this work that many truly momentous events are covered in what seems a very short number of pages. Most of us think that the history of the US goes something like "The pilgrims wrote the Mayflower Compact, jumped off the boat, ate thanksgiving turkey, hung some witches, dumped some tea and declared independence." Morison does a fabulous job of filling in the spaces. Morison's style is very engaging as well. It is interesting to note that this volume was published in the 60's so there are frequent mention's of communists themes and when the author mentions native Americans he means people that were born in this country even if they had ancestors from England or other European countries. Highly recommended.

Another great book from Samuel Morison. His "Growth of the American Republic" series is magnificent as well.

Borges, besides being a poet and short-fiction writer, took his ultra-worldly ideas to "non-fiction" pieces as well. As you can imagine, the mind-bending work in fiction is even more thought provoking when Borges remarks on Shakespeare, the clipping of one's toes, or the nature of art.

Perhaps the best part of this collection are the "non-fictions" from The Chronicles of Bustos Domeqc -- a very cheeky collection of essays which are written about fictive subjects: a poet who is doomed to repeat himself, a new wave of cuisine where taste has devolved to elemental proportions -- salty, sweet, tart, etc.

Borges wrote as a literarist: he knew his work would be collected, read, and re-read. These collection "non-fictions" are finely translated, with a fresh breath and fresh pen by a trio of translaters.

Jorge Luis Borges And The Canadian Rebellion Of 1944 That Cut Off Relations With Greece
Many sociologists agree that Jorge Luis Borges is clearly the most monumental event in Roman history. While other powerful scholars may disagree, it became obvious that Jorge Luis Borges was not nearly as monumental as Cuban anthropologists would have us believe. This claim is confirmed by three skillful points: the Marcus Aurelius Coup of 1916 that cut off relations with Ireland, the Roman Doctrine of 1968 that paved the way for the Anarchism Doctrine, and the Abraham Lincoln Revolution of 1945 that improved relations with the Italian citizenry.

In 1781 a member of a reknown group of Japanese historical writers wrote: "Nothing succeeds like success." (King 90) In some circles, this caused revolution; in others, revulsion. This begs the question, was Jorge Luis Borges Colonialism? In 1913 it was thought that "It hath been an opinion that the American elite are wiser than they seem, and the French populace seem wiser than they are; but howsoever it be between nations, certainly it is so in Jorge Luis Borges." (Gould 120) Obviously sociologists recognize that the two are intertwined.

These days the lessons of Jorge Luis Borges seem outdated and irrelevant. It's easy to forget that, once, Jorge Luis Borges was a reknown force that changed the minds and hearts of the Italian landed gentry. Even as late as 1945, Abraham Lincoln noted, "To the memory of Jorge Luis Borges, first in war, first in peace, and first in the hearts of German countrymen." (Cromwell 121) God bless America.

The End

--------------------------------------------------------------------------------

One of the most cherished items in my ever-expanding library is my dog-eared copy of "Labyrinths", complete with the coffee-, alcohol-, and bath stains which lend it almost as much character as the words within its covers. This new edition of Borges selected non-fiction will no doubt in the fullness of time reach a position of equal prominence on my bookshelves. The debate will forever rage as to whether Borges deserves that grandest(yet often all too hollow and ephemeral) of epithets - "Great Writer", purely by virtue of the fact that he never wrote anything of more than a few pages in length. But the pellucidity and erudition of his prose raises quality above quantity to an altitude from where we lose sight of the debate, thus rendering it redundant. Along with a number of essays already available elsewhere, including the seminal "New Refutation Of Time", this collection ranges in typical Borges style from film reviews (King Kong, The Petrified Forest etc.), through dispassionate yet condemnatory meditations on Fascism, to his well- ploughed but ever-fruitful ground of literary rumination.His series of essays on Dante opened this reader's eyes-and heart- to the true heartbreaking nature of that poet's relationship with Beatrice, prompting a reappraisal of a book I gave up on fifteen years ago, halfway through "Il Purgatorio"; this summer, I've promised myself, I WILL read the whole of "Il Divina Commedia".Not out of a sense of duty, you understand, but because I WANT to. Therein lies the hub of Borges greatness as a writer: his self-proclaimed greatness as a reader manifests itself on the written page as dizzying eclecticism and enthusiasm for allusion that moves the reader to explore not only new avenues of thought, but also a newer and more verdant landscape of literature than had previously been suspected to even exist. Sail with Borges and new continents, new constellations will rise before you. On a personal note I have Borges to thank for my discovery of Hume, Chesterton, the Pre-Socratics, St Augustine,Flann O'Brien,Thomas Browne, and so many others who would have remained permanently below my horizon otherwise. If you feel that reading a book should an experience of expansion, of glimpsing new vistas,to develop a hunger for exploration, then this is for you.

If you enjoy the Appalachian culture, you'll love the FOXFIRE books. Volume No. 5 covers bear hunting, blacksmithing and gun making. If you've never read these books, it may be difficult, since the text is written in the vernacular of the mountain folk, but this adds to the charm and "character" of the books. The bear hunting stories wer entertaining, but I really enjoyed reading about Hacker Martin and Hershall House. If you want to know how life really was in the Smokey Mountains, read this book.

One of our nation's treasures is being lost one person at a time, and because of Eliot Wigginton, at least some of the treasure is being documented. The people of Appalachia have been marginalized and treated as backwoods hicks and hillbillies, only because of their poverty. That is what makes the richness of their culture all the more amazing. These people live on what an average family throws away every day. They're frugal, resourceful, and highly intelligent. This book only serves to prove it.

If you haven't spent time with hill people, your live is incomplete.

If you need info on Hacker Martin, the famous gunmaker, this is the book!

read one of the short pieces in this anthology. They are also incredibly uplifting too. A brilliant bedside companion for any dog lover.

Although each of the pieces in this book was inspired by the loss of a much beloved dog, this is really a book about vibrant, fully-alive dogs: family pets, fellow hunters, soul mates, and best friends. And while none of the dogs remembered so fondly here still lives, Old Dogs affirms the remarkably special place in the heart we reserve for our dogs. My own dog is sturdy in her middle-age, but reading the eulogies and odes in this moving anthology has made me appreciate more all the quirky habits I take for granted, like how she can't resist running off with one of my Reeboks when I'm shoeing up for our evening walk--the little prance she performs when I tell her, "Bring the shoe back!" Not a sad read but a celebratory one, required for every dog owner!

This is a remarkable anthology of stories and poems by outstanding authors of the past, as well as more recent times. Although these moving remembrances are only of beloved dogs, the lovers of any species of pet will find identical sentiments for their own losses. Whatever kind of companion animal you had, you will find your own bereavement and healing tears reflected here, as well.

Care was taken to avoid over-sentimentality, in this assortment of loving reflections of dogs, celebrated here. These accounts are full of love, and are sometimes even funny - and we are thrust into the realization that perhaps that is the most wonderful kind of living memorials we can have for a beloved pet. Too often, we lose this perspective, while trying to keep from drowning in our own bereavement and sorrows.

Rather than being a collection of sad literary memorials Old Dogs Remembered is a joyful celebration of life with pets. This inspires healthy new points of view and adjustments to moving on into our new lives, without them.

Here we are treated to many different outlooks on how they permanently enriched the lives of their owners. Reading these heartwarming pages will broaden the understanding of each reader, concerning his/her own personal bereavement. Here, we are offered the collective wisdom of others, who reminisce on their honored pets. There is much to be shared and learned here, as well as enjoyed.

With so many different authors, one must appreciate that references and styles have changed drastically, through the ages. As an example of this, some might find the essay by the dramatist John Galsworthy to be interesting, but a bit troublesome to read. And, as with any anthology, there may be some accounts not everyone would appreciate. But all pet lovers will readily identify with the overall shared remembrances, here. This is a heartwarming collection, which can be enjoyed comfortably, in several installments.

There will be many an uplifting tear shed in its reading, and we suggest it for your reading pleasure.

I got a copy of Eliot Porter's Glen Canyon book after reading Edward Abbey's "Desert Solitaire," a chapter of which is devoted to a downriver rafting trip along this stretch of the Colorado River just before the dam was built. While Abbey's descriptions are vivid, I wanted to see with my own eyes what he was describing. And Porter's camera is the closest you can get to doing that today.

His pictures are, of course, not the real thing, but they are about as breathtaking as photography can be. The colors, textures, reflections, and the play of light and shadow are wonderful, and each photograph is distinctly different. His own description of the canyon's display of color and light in the introductory essay "The Living Canyon" give an instructive insight into the eye of the photographer. His awareness of what he is looking at and his ways of choosing to look help the reader to see even more in the 80 photographs that follow.

While some of the photographs capture the monumental scale of the canyon walls and formations, many focus on the myriad surfaces that are revealed to the eye: erosion patterns, lichen, rippling water flow, the dark streaking mineral stains extending from seeps, the rough texture of weathered sandstone in glancing sunlight, smooth river stones, the layered stripes of exposed sediment, the trickling spread of water falling from overhead springs, the hanging tapestry coloration of the walls, whorled and striated rock, dry sand. There are also photographs of plants: moonflower, maidenhair fern, willow, tamarisk, redbud, columbine, cane. Above all, there is the rich array of colors, capturing a great variety of moods and attitudes.

Porter was recognized for his photography of birds, and while there are no birds visible in these photographs, his introductory essay makes mention of them, and when looked at with that awareness, many of the pictures also seem to capture a sense of "air space" for flight. Before turning to photography, Porter was a Harvard professor of biochemistry and bacteriology, and it's interesting to see the somewhat dispassionate eye of the scientist in the way he uses the camera. While the story of Glen Canyon may induce sorrow or anger, the photographs are strong for their lack of sentimentality.

The pictures also excite a curiosity about the geology of the river, and the book concludes with a short essay describing how the canyon walls reveal the geological ages that have gone into forming this part of the earth, going back millions of years. The book also includes a catalog of all the plants and animals that inhabited Glen Canyon before its inundation. Altogether, with its quotes from other writers, including Loren Eiseley, Joseph Wood Krutch, Wallace Stegner, and members of John Wesley Powell's expedition in the 19th century, this book is a fitting record of a great lost national treasure.

These photographs are just about all that is left of Glen Canyon. After the Sierra Club and other environmentalists had lost the battle to prevent the Glen Canyon River Dam from being built, Eliot Porter took this extraordinary series of photographs to memorialize the gorgeous area that has been lost forever. Few people at the time knew much about the Canyon. It was too remote, too difficult to get to. Although it was one of the areas that John Wesley Powell found most beautiful in his first expedition down the Green and Colorado Rivers, no access roads or paths were ever built to make it possible for many people to view the areas firsthand. As a result, very few people knew precisely what we were about to lose.

The tragedy is that these areas are really, truly are gone. Even if the Glen Canyon River Dam were magically removed, many of the areas viewed in these gorgeous photographs have already been silted up. The Green and Colorado Rivers carry extreme quantities of minerals, and when the dam stops the flow to form a reservoir, they tend to drop to the bottom. All dams have a limited life. They don't last for as long as one might imagine. Basically, they create a new landmass behind them over the course of a century or so. Many of the spots photographed in these pictures are now solid earth.

One would hope that such beautiful photographs as these, photos that create tremendous longing for what we have already lost, would make us more concerned to preserve what is left. But with the current presidency even today as I write this review opening the national parks to snowmobiles and with people speculating that there will be new attempts to open arctic areas in Alaska to oil exploration, we can't assume that in the least. These photographs may end up being emblematic of all endangered areas, of the ongoing fragility of all of nature.

I was expecting a reprint similar to the small-sized Ballantine issue of the late 1960s. I was surprised to receive a book almost as large as the original Sierra Club hardback! The color in several of the photographs is even better than in the original (and difficult to find/very expensive) book, thanks in part to the cooperation of the museum which received Porter's works as a bequest.

TO ALL YOU AMERICANS OUT THERE. I'M TELLING YOU, THAT THIS BOOK IS THE GREATEST. AND THAT YOU SHOULD ALL GO OUT AND GET A COPY OF YOUR OWN. AND YOU'LL SEE HOW GREAT OF A WRITER WINSLOW ELIOT IS. I'VE READ THIS BOOK 6 TIMES. IT'S AWESOME!!! GET UP AND BUY THE BOOK, HOPEFULLY THEY WILL MAKE A MOVIE OF THE BOOK. IT'S THE BEST!!!

THIS BOOK IS THE BEST BOOK I'VE EVER READ, AND I COULDN'T GET ENOUGH OF IT AND SO I READ IT FOUR TIMES IN 5 DAYS. I WAS SO ADDICTED TO IT. I THINK THE AUTHOR DID A GREAT JOB WITH THE LOVE SCENES AND JUST THE WHOLE BOOK ITSELF WAS THE GREATEST. I RECOMMEND THIS BOOK TO ALL READERS IN THE WORLD. IT'S THE BEST!!!

I found this book to be very fast reading and makes me want to keep reading it so I can find out what is going to happen next. I hope this author is going to write some more books

I checked the book out of the local library a couple of weeks ago and have not stopped reading it since. The library volume is due back, so I just purchased it. My only complaint is that the last poem is Gary Synder's from 1978. I would like to see Mr Weinberger reissue the volume with latter translations such as Arthur Sze or Sam Hamill. And if any one is looking for a most needed project, a translation of all of Wang Wei's Wang River poems.

Poetry, said Robert Frost, is what gets lost in translation.
Poetry, says Eliot Weinberger in the introduction to this small volume, is that which is worth translating.
Both, of course, are right. That is what I like about poetry. It tolerates different points of view, a multitude of interpretations. A poem, or its translation, is never 'right', it is always the expression of an individual reader's experience at a certain point in his or her life: "As no individual reader remains the same, each reading becomes a different - not just another - reading. The same poem cannot be read twice."

"Nineteen Ways of Looking at Wang Wei: How a Chinese Poem is Translated" contains a simple four-line poem, over 1200 years old, written by Wang Wei (c. 700-761 AD), a man of Buddhist belief, known as a painter and calligrapher in his time. The book gives the original text in Chinese characters, a transliteration in the pinyin system, a character-by-character translation, 13 translations in English (written between 1919 and 1978), 2 translations in French, and one particularly beautiful translation in Spanish by Octavio Paz (1914-1998), the Mexican poet who received the 1990 Nobel Prize for literature. Paz has also added a six-page essay on his translation of the poem.

Wang Wei's poems are fascinating in their apparent simplicity, their precision of observation, and their philosophical depth. The poem in question here is no exception. I would translate it as:

Empty mountains
I see no one

but I hear echoes
of someone's words

evening sunlight
shines into the deep forest

and is reflected
on the green mosses above

Compared to the translations of Burton Watson (1971), Octavio Paz (1974), and Gary Snyder (1978), this version has a number of flaws. My most flagrant sin is the use of a poetic first person, the "I", while the original poem merely implies an observer. The translation reflects what I found most intriguing in the original text. First of all, the movement of light and sound, in particular the reflection of light that mirrors the echo of sound earlier in the poem. Secondly, the conspicuous last word of the poem: "shang"; in Chinese it is a simple three-stroke character that today means 'above' (it is the same "shang" as in Shanghai ' the city's name means literally 'above the sea').

This is a very simple poem. The simplicity is deceptive, though. What looks very natural, still wants to make a point. The point is that looking is just one thing, but being open to echoes and reflections is what really yields new and unexpected experiences. Wang Wei applies the "mirror" metaphor in a new way in his poem. This metaphor was very popular in Daoist and Buddhist literature, and says roughly that the mind of a wise person should be like a mirror, simply reflective and untainted by emotion. Wang Wei seems to have this metaphor in mind when he mentions echoes and reflections in his poem. A Buddhist or a Daoist, for that matter, would also recognize the principle of "Wu Wei" (non-action) here: nothing can be forced or kept, everything simply "falls" to you and will be lost again. In this sense, a person cannot "see" (as in the activity of seeing); a person can only be "struck" by the visible (as in being illuminated - the "satori" of Zen Buddhism).

"Nineteen Ways of Looking at Wang Wei" is a light, unscholarly book - and I mean this as a compliment. It is a pure pleasure to read the different translations together with Weinberger's lucid comments. Weinberger has a wonderful sense of humor to accompany his analytical mind; and he is allergic to pomposity. He enjoys mocking the pompous. This is what he has to say about one translator's misguided efforts to rhyme Wang Wei's poem: "line 2 ... adds 'cross' for the rhyme scheme he [the translator] has imposed on himself. (Not much rhymes with 'moss'; it's something of an albatross. But he might have attempted an Elizabethan pastoral 'echoing voices toss' or perhaps a half-Augustan, half-Dada 'echoing voices sauce')."

In the translation of Chinese poetry, as in everything, Weinberger notes, nothing is more difficult than simplicity.

Simplicity is particularly difficult for certain academics, it seems. A professor, who had read Weinberger's comments on Wang Wei's poem in a magazine, furiously complained about the "crimes against Chinese poetry" Weinberger had allegedly committed by neglecting "Boodberg's cedule." Weinberger later discovered that this cryptic reference was to a series of essays privately published by professor Peter A. Boodberg in 1954 and 1955 entitled "Cedules from a Berkeley Workshop in Asiatic Philosophy" ('cedule' is an obscure word for 'scroll, writing, schedule'). "Boodberg ends his 'cedule' with his own version of the poem, which he calls 'a still inadequate, yet philologically correct, rendition ... (with due attention to grapho-syntactic overtones and enjambment)':

The empty mountain: to see no men,
Barely earminded of men talking - countertones,
And antistrophic lights-and-shadows incoming deeper the deep-treed grove
Once more to glowlight the blue-green mosses - going up (The empty mountain...)

To me this sounds like Gerard Manly Hopkins on L S D, and I am grateful to the furious professor for sending me in search of this, the strangest of the many Weis."

The multiple translations of Wang Wei's poem are a door into the incredible spectrum of human thinking. This small delicate poem and its translations show how culture, translation and individual thinking change a work of art. I found myself writing a "translation" of the poem to discover yet another prismatic dimension of this jewel of a poem.

I love this book. I have been to Oaxaca several times and have visited most of the potters in the book. On my last trip, I asked each of the women to sign my book near her picture. This is now one of my most treasured posessions along with my memories of Oaxaca. The photographs are great and the stories are beautiful.

Born and raised in México and having a deep appreciation of its diverse and rich folk arts traditions, and guided by the reviews, I bought this book. What others say is true- this softbound book is lavishly illustrated and is a wonderful introduction to the contemporary ceramics covered, as well as the six women potters dealt with. Thise with a love of Oaxacan ceramics will likely love this book as well.

There is but one, very significant problem: the title is, to me, completely misleading. The book actually covers two villages- Octolán de Morelos, and the reigning family of potters, as well as Santa María Atzompa and two of the many potters who work there. San Bartolo Coyotepec and the creator of world-renown black pottery, Doña Rosa Real de Nieto, and her descendants, for example, have no coverage in this book, nor do older more traditional forms.

Oaxaca is an incredibly beutiful state, with many traditions and crafts. This book covers a small fraction of them- and in my opinion misleads with a title implying it covers all the ceramics of Oaxaca. With that caveat, I highly recommend (and give a restrained five stars to) this book, within the scope of its limitations.

Having been to Oaxaca approximately ten times in the past 20 years, I can appreciate the quality and beauty of this fine book. The reasonable price of this "paperback" belies its perfect format/size and its gorgeous photography, text and printing quality.

I've rarely been satisfied with "crafts" books, but this one has been so perfectly written and executed, that it makes me want to jump on a plane and immediately fly to Oaxaca, to find and meet the fantastic artists presented here.

I met one of these women several years ago (Angelica Vasquez), and this glorious book will create an urge in many of its readers to meet her and the other artists that are included here.

Here are six essays by John Ashbery about six of his favourite minor poets, ranging from John Clare, born in 1790s England, to David Schubert, born 1913 in New York. John Brooks Wheelwright and Laura Riding are included, from the early 20th century, as is Raymond Roussel (a French precursor to anti-novelists, a specialist in parenthetical labyrinths, and endlessly detailed descriptions of bottle-labels). We have, too, the doomed author of "Death's Jest Book," the 19th-century poet Thomas Lovell Beddoes.

These essays are engaging and readable, informed and informative without being pedantic. There are anecdotes, too (about Riding, most notably, who is aptly diagnosed by Ashbery as "a control freak"). We notice that half of the authors are homosexual or possibly so, most either committed suicide or had a parent who did so, three were affected by mental problems, and the majority were ardent leftists (Riding being an exception).

To this reader, the two Johns, Clare and Wheelwright, are the most immediately endearing, and David Schubert's disjunctive colloquial tone does fascinate. Some of the comments about the gang of six do shed some light into Ashbery's curious methods: Clare's mucky down-to-earthiness and Beddoes' elegant, enamelled "fleurs-du-mal" idiom both being "necessary" components of poetry, in Ashbery's view. Some of Wheelwright's elastic sonnets have a Saturday Evening Post-type folksiness that is often found in Ashbery's own poetic inventions; Schubert's poems (in Rachel Hadas's words) "seem(ing) to consist of slivers gracefully or haphazardly fitted together." An aside: Look at the first two lines of Schubert's "Happy Traveller." Couldn't that be John Ashbery? About Raymond Roussel, whose detractors accuse him of saying nothing, Ashbery mounts an impatient defence that reads like a self-defence: "If 'nothing' means a labyrinth of brilliant stories told only for themselves, then perhaps Roussel has nothing to say. Does he say it badly? Well, he writes like a mathematician."

We learn that Ashbery is not fond of E E Cummings, and he is unconvincingly semi-penitent of this "blind spot": Cummings, with his Herrick-like lucidity, his straightforward heterosexuality, and his resolute nonleftism, would not appear to fit nicely into Ashbery's pantheon. Ashbery even takes a few mischievous swipes at John Keats -- rather, he quotes George Moore doing so. Ashbery will doubtless forgive his readers if our enthusiasm for the poetry of Keats and Cummings remains undiminished.

There is much in the poetry explored by "Other Traditions" that is dark and bothersome; but there are felicities. These lectures form a fascinating kind of ars-poetica-in-prose by one of America's cleverest and most vexing of poets.

Every once in a while, I come across a book that opens up new doors for me. They introduce to me to areas of life that I otherwise might never have encountered. Other Traditions by John Ashbery is just such a book.

I have always had a love for, but limited knowledge of, Poetry. It was Edward Hirsch's great book How to Read a Poem and Fall in Love with Poetry that first introduced me to Ashbery's work. He is, in my opinion, one of the greatest living poets. Therefore, I jumped at the opportunity to read Other Traditions.

Other Traditions is the book form of a series of lectures given by Ashbery on other poets. Ashbery writes about six of the lesser-known artists who have had an impact on his own life and work. All of them are fascinating. They are:

-John Clare, a master at describing nature who spent the last 27 years of his life in an Asylum.

-Thomas Lovell Beddoes, a rather death obsessed author (he ended up taking his own life) whose greatest poetry consists of fragments that must often be culled from the pages of his lengthy dramas.

-Raymond Roussel, a French author whose magnum opus is actually a book-length sentence.

-John Wheelwright, a politically engaged genius whose ultra-dense poetry even Ashbery has a hard time describing or comprehending.

-Laura Riding, a poet of great talent and intellect who chose to forsake poetry (check out the copyright page).

-David Schubert, an obscure poet who Ashbery feels is one of the greatest of the Twentieth Century.

The two that I was most pleasantly surprised by are Clare and Riding.

Clare has become (since I picked up a couple of his books) one of my favorite poets. He is a master at describing rural life. I know of no one quite like him. Ashbery's true greatness as a critic comes out when he depicts Clare as "making his rounds."

Riding, on the other hand, represents the extreme version of every author's desire for the public to read their work in a precise way--the way the author intends it to be read. Her intense combativeness and sensitivity to criticism is as endearing as it is humorous.

Other Traditions has given me a key to a whole new world of books. For that I am most grateful.

I give this book my full recommendation.

This book is much smaller than I thought it would be, but this only enhances its gem-like charm; from its rich cover to its finely homespun interior. I thought at first I had heard it all before from Ashbery, in his short Schubert and Roussel essays, and in comments dropped in Reported Sightings; but even when covering the same ground he subtly brings forth new worlds. It's refreshing to hear him talk of these beloved poets, like a tour through the comfortable rooms of his mind, which of course also offers countless insights into Ashbery's own career of poetic journeys. I recommend this book to both literary scavengers of the past and arcane poets of the future, but especially to the intriguing combination of both living a dream right now.

The volumes in this entire series are all highly readable and present a picture of our nation starting from a dismal reality in the Pacific to ultimate victory by virtue of the courage and sacrifice of men of the US Navy, as well as of the British and Dutch. The Naval battles of Coral Sea and Midway and the subsequent invasion of Guadalcanal and establishment of the "Cactus Air Force" made up of whatever American planes that were available to fly on any given day turned the tide in the Pacific, though with 3 more years of fighting to come. The loss of the Astoria, Quincy, and Vincennes on the night following the invasion hastened departure of much of the supply train and of the carrier covering group which left 2 days earlier than planned due to the loss of Cruiser protection, those 3 of the Northern Group as well as the Australian Navy Canberra of the Southern group. Our 2 radar pickett destroyers, Talbot and Blue, were positioned in their cross channel watch so as to miss seeing the Japanese Cruiser fleet enter the harbor and surprise was complete. The IJN suffered no losses during the action, but I believe they subsequently lost the Furutaka on their return to Rabaul. This bears historical checking for accuracy.

The remaining 6 month struggle for Guadalcanal is inspiring and very tragic for the conditions and imminent threat of death endured by those brave men. I was deeply moved by the courage and sacrifices of the US Navy and US Marines. 59 years after the fact I also feel (grudging) admiration for the men and weapons of the IJN.

The "Arsenal of Democracy" had agreed with the European allies that European victory was the priority issue, and that men and materiels for the Pacific war were scant for the first year or so and in many instances outmoded.

The entire series is excellent reading for those interested in history and their American heritage. I have had the entire series for about 50 years. The current pricing scheme at Amazon is a true bargain, and I recommend the series without reservation. The sadness is that such an event ever occured to generate this excellent historical writing.

The Guadalcanal campaign was the most dramatic and at times the most desparate naval campaign of the war. In addition, Morison spent considerable time on board ships in the area, participating in some of the actions he describes. The result, in this volume, is the most personal, the most vivid, and the best of Morison's 15 volume history.

The naval battles in the waters surrounding Guadalcanal were some of the bloodiest and hardest fought actions in World War II. Both sides entered the campaign with strengths and deficits, which were ultimately exploited by the other. The Japanese entered the campaign with superiority in surface craft, torpedoes, and night fighting technique. The Americans had more carriers, better submarines, and air superiority derived from control of Henderson field. During the campaign, American and Japanese naval forces suffered nearly equivalent and horrific losses, which by virtue of its superior resources, the United States was better able overcome and proceed to victory.

The waters around Guadalcanal saw many of the most significant -- and decisive -- surface actions of the war, which resulted in many ships of both combatants giving meaning to the name of "Iron Bottom Sound" which attended the approaching waters to Guadalcanal. The volume begins with the battle of Savo Island, and the resulting disintegration of Allied plans, and proceeds through each of the hard-fought battles which followed. With such epic material, as gifted a historian and writer as Morison absolutely cannot fail, nor does he disappoint.

Among Morison's history, this volume contains the most vivid descriptions of the island terrain, the tropical seascape, and the violent actions to which they were witness. Charts and pictures compliment Morison's descriptions of salvo chasing, and shells slamming into wildly manuevering warships. No other history of the battles surrounding these waters has both the perspective and immediacy which render Morison's history so compelling.

Each of the volumes of Morison's history is well worth reading; this particular volume is worth reading over and over.

Morison's entire "History" is an amazingly complete account of the US Navy's operations in WW II, but this volume, the story of the six month Guadalcanal campaign, is simply outstanding.

Like Midway before it, Guadalcanal provided ample material for an engrossing story: the ease of the initial landings, the shock of Savo Island, the desperate land battles, the brutal naval engagements. Maybe because it is one of the earlier volumes in the set, maybe because the story is so compelling: whatever the reason, the writing in Volume 5 is the best of the entire series. It is engaging and informative and written with noticeably more "color" than some of the later volumes.

As with any work of history, there are a few conclusions here that haven't aged well: e.g., Morison's assessment of Frank "Jack" Fletcher's withdrawal of the carriers after the initial landings. But anyone reading this book will come away with a very servicable understanding of the campaign, and will be well-prepared to evaluate other accounts fairly.

If you want to pick and choose from the set, "The Struggle For Guadalcanal" should be your first choice.