The title was suggested by Howard Hawks who once observed, "...I liked almost anybody that made you realize who in the devil was making the picture...Because the director's the storyteller and should have his own method of telling it." Hawks is one of the 16 "legendary film directors" represented in this volume. It is important to keep in mind that these are conversations rather than interviews such as those conducted by Robert J. Emery in The Directors: Take One and its sequel, The Directors Take Two, as well as interviews conducted by Richard Schickel in The Men Who Made the Movies. It is also worth noting that Bogdanovich is himself a distinguished director of films such as The Last Picture Show, What's Up, Doc?, They All Laughed (a personal favorite of mine), and Texasville. As a result of his own background, Bogdanovich's questions and comments reflect somewhat different interests and perspectives than do those of Emery and Schickel.

I rate all of these books Five Stars but probably enjoyed reading Bogdanovich's book the most because the conversations ramble along somewhat messily, as most of my own conversations tend to do, and also because Bogdanovich is more actively involved in the interaction than Emery and Schickel are. As a reader, I feel as if I were really an eavesdropper as 16 directors casually share their opinions, information about specific films and actors, gossip, "war stories," and overall evaluations of their careers' various successes and failures. At no time does Bogdanovich seem intrusive or manipulative. Moreover, perhaps to an extent he did not realize when writing this book, he also reveals a great deal about himself...much of it endearing and some of it admirable. His passion for film making and his appreciation of the great directors are almost palpable. Readers' interests about various directors and their respective films obviously vary. I include myself among those who are die-hard film buffs and so I enjoyed reading every chapter and every word in each chapter. Indeed, each conversation was for this amateur "gourmet" a feast to be consumed with delight and, yes, gratitude.

This is an incredible book that contains Bogdanovich's various interviews with some of Hollywood's greatest filmmakers. These are not detailed biographies however, they are an in-depth conversation about the filmmaker's films and his own feelings about them. While some go into the individual's past it is just so you can get an idea of the personality of the filmmaker. This is a must-have book. A good way to look at it is to read it through once and become familiar with all of the directors, some of whom may be new to you. Then as you view their films go back and read what they have to say. Though sometimes their comments are very brief, it's one of the few sources you'll find where the film-maker makes direct reference back to a film. And I don't know what it is about Bogdanovich but he always brings out gems of truth from those he interviews.

Peter Bogdanovich pioneered the director interview in English, and this wonderful collection will give endless pleasure to film buffs. The book-length interview with Allan Dwan alone is worth the price of admission. Bogdanovich always did vast amounts of study before sitting down to talk with his subjects, and his expertise and enthusiasm encouraged them to open up in a way they usually did not with other interviewers. Anyone writing about the careers of the directors Bogdanovich interviews has to start with his work on them. A fitting companion piece is Bogdanovich's encyclopedic interview book "This Is Orson Welles."

The third book in the Brother Cadfael series, "Monk's Hood," is a powerful parable of forgiveness.

The more I read of this series, the better it gets. I recommend it to anyone.

Historically, I have not been much of a reader of mystery writers. The Chronicles of Brother Cadfael have made me a fan of Ellis Peters's writing. She does not write the one-sided characters that too often fill such books. She consistently surprises me with the depth and realistic humanity of her characters. This is seen most clearly in the "villain" of "Monk's Hood."

Peters's vision of medieval Shrewsbury becomes, like Cadfael and fellow monks, more interesting with each book. It is a perfectly conceived (or reconstructed) world in which to act out her tales.

I am pleased to see Brother Robert's return to a place of prominence within the storyline. He is the perfect personification of pomposity-a delightful foil for the straightforward Cadfael.

I give a heartfelt recommendation to "Monk's Hood" and the whole Cadfael series. Check it out.

"Monk's-Hood" is Ellis Peters' third Brother Cadfael mystery, following nicely on from "One Corpse Too Many". It is set at the close of the year 1138. Almost six months have elapsed since King Stephen's army laid siege to and finally took the English town of Shrewsbury. But, whilst the King may have withdrawn his forces, and departed the town to impress his claim to the English throne on other areas of the Kingdom, murderous deeds are still afoot on the Welsh Marches. And, once again, Brother Cadfael finds himself firmly in the midst of it all.

The tale this time involves the mysterious poisoning of a guest of the Benedictine Abbey of St. Peter and St. Paul, by means, what's more, of one of Brother Cadfael's own healing concoctions. With his own - as well as the Abbey's - honour at stake, Cadfael refuses to let matters lie, especially when the sheriff's somewhat over-zealous sergeant appears to be rather hastily leaping to the wrong conclusion as to who is responsible for the dire deed. To add further complications to the task before our mediaeval sleuth, Cadfael suddenly finds himself confined to the Abbey precincts by a more than usually overweening Prior Robert. As always, though, Cadfael's greater humility and wit (aided somewhat by divine providence) win out in the end, with our hero triumphing over arrogant authority of both secular and cloistered varieties.

Ellis Peters uses her own flawless wit and easy flowing prose to spin an enchanting and compulsive story around the central mystery, although the book is not really of the classic whodunnit mould. Her ingenious tale of family intrigue unfolds at a wonderfully leisurely pace, with the reader following a tantalising breadcrumb trail of snippets of information, released at just the right rate to ensure that the reader does not solve the mystery before Cadfael himself. Along the way, we learn something of the complex political and social webs common to Mediaeval life on the English/Welsh borders, as well as much more about the past life of the book's central character. As ever, attention to historical detail is meticulous.

Whether you read this book in sequence or not depends on how much of a purist you are. Reading later volumes before this one will give away something of the book's very ending, though not so much that it will in any way be spoiled. Reading this (or any later ones) before the first two would be a mistake, though, as that undermines some aspects of the first volumes' mysteries. There is no need to have read any earlier volumes, though, if you just want to pick this one up and enjoy it!

One nice thing about historical mysteries is that they withstand the test of time so well. The Brother Cadefel series is now well into its third decade but the writing (and the reading) remains fresh and entertaining. This book won the British Silver Dagger (top runner up for best novel) in 1980 and it could still be a contender.

This episode has Cadefel defending the child of his childhood sweetheart after the poisoning of her new husband. We learn a bit more about Cadefel's background - both in Wales and as a Crusader. Hugh Beringer returns as the honest and smart deputy. I also rather liked Cadefel's new assistant, Mark - a monk with spunk. The action takes Cadefel to the Welsh borderlands and it's fun to see him in a new context.

Bottom-line: Not exactly a page-turner but a wonderful read to savor and enjoy over a couple of days.

Maass provides a vivid and brutal picture of the realities of everyday life during the Bosnian conflict. On the experience of being a war correspondent, and in portraying the suffering of the victims, he is outstanding. However, the book fails to present any serious account of the causes of the war, and seems to lack an understanding of the religious and historical realities of the region surprising in someone so fond of Rebecca West's masterpiece, "Black Lamb & Grey Falcon." Maass is fond of making the point that England and France have a traditional historical emnity, and comparing this to the hatred between the Bosnians and Serbs. This seems to miss a few basic realities, such as the fact that the Anglo/French dislike has never involved (at least for the last five hundred years or so) systematic brutalisation and ethnic hatred on a Balkan scale. Maass also seems a little too blindly anti-Serbian, and to believe, oddly, that US military intervention would have been a panacea for the region. Also, while it raises important questions about the realities of evil and the breakdown of society, it fails to present any real answers to these questions, instead escaping into banalities. Ultimately, a well-written, important book that fails because it is a deeply American account of what is a European tragedy.

Peter Maass was a Washington Post correspondent in Bosnia 1992-93 and this is his riveting, emotive account of the war. Maass echoes many of us when he unashamedly asks the most difficult questions: Why did 250,000 Bosians lose their lives, why can't Muslims and Christians work their differences out after so long, why did genocide occur in Europe when at the end of WW II the world declared it would never happen again, why was the UN impotent once it got into Bosnia, why is the thin skin of civility easily torn and the brutality that lies beneath so easily provoked? Maass was not a cynical, hotel room hero that gives journalism a bad name, those hacks more interested in boasting in the bar and filing stories from second-hand accounts provided by local help-meets. He did his job well and came away shell-shocked, angry and fundamentally changed by what he saw: UN troops standing by while atrocities took place, how residents of Sarajevo nightly ran the gauntlet of the airport, surgeons operating without drugs, children dying on the daily water run, snipers on opposing sides chatting to one another on a two-way radio, the flourishing drug trade, people cheating, lying, killing and stealing to keep their loved ones alive. Maass speculates a little too much - some judicious editing wouldn't have gone astray - and he cannot adequately analyse the causes of the war and the outcomes for the victims involved but this was not his job anyway. He was there as a recorder of events that became a black mark in history and that he did, admirably. Maass, like veteran journalist Simon Winchester who succinctly wrote of the later crisis in Kosovo and asked similar questions, gave ordinary victims of this war a voice. While such journalistic accounts lack historical perspective because their focus is on the immediacy, their evidence is invaluable. We need such accounts, so when the spectre of genocide is raised again we can hold up books like these and say: "Haven't we learned anything yet?"

In the aftermath of the war in the Balkans, it became quite a "fashion" to be reading about the Bosnian war and it seemed like alot of people started writing about the history, politics and cultural background of an area that was largely neglected before. Peter Maass' book could easily have been another telling from a Western journalist's/ politician's mistaken perpective, where they accuse the Yugoslav -- Muslims, Serbs, Croats and everyone of having been fighting and killing each other from day one. Instead, he has a produced one of the best personal accounts of the Bosnian conflict. Rather than confronting the issue in a me vs. them scenario, Maass crosses the line and tries to identify with them, the victims of conflict, and an indifferent international community. Maass sets a background for readers who have zero knowledge on the war or countries involved and his strong, frustrated, bitter and angry voice moves readers to the suffering that went on in the region known as the Powder Keg. A phenomenal book on a complex situation, Maass has done justice to the countless nameless people who were affected by the war by bringing their story to the surface and telling the truth as he saw and experienced it.

This is the best book on Accupressure for emotiona or EFT (Emotional Freedom Techniques). Procedures are very well explained with lots of diagrams. Doing the balancing and Polarity Reversal techniques they have mentioned relaxes anybody. I was able to resolve couple of emotional issues very easily within minutes. This technique really works! You can also use it to improve your performance. Highly recommended.

Having read a zillion self-help books over the years, I have to admit that this is the single most useful self-help book I have ever read. I have purchased about ten copies of this book and passed them out to friends and family members. By the use of the techniques described in the book, I have eliminated long-standing emotional sore spots in my life. And, just for fun, I removed my life-long fear of touching and holding lizards, spiders (yes, I can actually hold a tarantula in my hand!) and snakes. Also, in about five minutes, I helped my niece get over her apprehensive feelings regarding starting high school. I don't know anyone who does not occasionally struggle to combat feelings that are not amenable to logical reasoning. This book clearly explains the simple and easy-to-memorize procedures that can completely eliminate such disturbing feelings. It is also interesting to read -- when I first picked up a copy of the book, I couldn't put it down. My copy now is dog-eared, marked up, and definitely USED.

"Instant Emotional Healing" is one of the most important books that I have ever read. The book is well written and the techniques are easy to learn and use. I use the techniques in the book often, and am much more emotionally balanced and happy as a result. The techniques can be used for simple irritation and frustration to serious phobias and lifelong emotional problems. I highly recommend this book to anyone.

The core premise of the book is that the key to achieving and sustaining significant change lies in changing people's basic ways of thinking. Those of us who have worked with organizations to achieve meaningful change, quickly come to realize that the central challenge is the engrained patterns of thought in the minds of people. That is the ultimate challenge that this work sets out to tackle.

The question one is left with, as with many books of this type, is not the value of the book (it is excellent), but How many leaders of change will read this volume, take its insights to heart, and ACT upon them?

The book is divided into three sections around the challenges of initiating, sustaining, and redesigning and rethinking. Within these sections are the ten key challenges to profound change. The notes from the field provide a record of organizational change initiatives and specific approaches taken by GE, Hewlett-Packard, British Petroleum, Ford, Dupont, and others. The book includes case histories, round-table discussions, team exercises, checklists, and solid guidance.

This work is densely packed with valuable insights, guidance, and developmental techniques. It offers enormous potential to receptive and motivated readers who are able to move from thought to action. Highly recommended. Reviewed by Gerry Stern, founder, Stern & Associates, author of Stern's Sourcefinder: The Master Directory to HR and Business Management Information & Resources, Stern's CyberSpace SourceFinder, and Stern's Compensation and Benefits SourceFinder.

Of the FIFTH DISCIPLINE SERIES books, THE DANCE OF CHANGE is by far the most important for you to understand. THE FIFTH DISCIPLINE and THE FIFTH DISCIPLINE FIELDBOOK are wonderful, valuable books, but they largely avoid the tough question of how to sustain a Learning Organization initiative. Based on lots of experiences in different companies, THE DANCE OF CHANGE is the most realistic, thorough, thoughtful work on achieving large-scale organizational change that has ever been my pleasure to read. I immediately found it helpful in overcoming some of my bad habits (including falling in love with my own jargon rather than using common English). Since I first read the book about 9 months ago, I have found it affecting my consulting practice by causing me to focus more on lasting change, than immediate change. That's an important lesson for everyone. Like THE FIFTH DISCIPLINE FIELDBOOK, THE DANCE OF CHANGE allows you to focus on the areas where you need help the most. The beginning is a wonderful systems-dynamic analysis of how successful change occurs, and how it can be derailed. Like THE FIFTH DISCIPLINE FIELDBOOK, you do not need to read THE DANCE OF CHANGE from front to back. I found myself skipping around, and enjoyed the experience. Even if you do not want to have a Learning Organization, you will find THE DANCE OF CHANGE very valuable for giving you direction on how to achieve permanent, valuable changes. On the subject of achieving the strategy you wish to implement, I strongly urge you to also read THE BALANCED SCORECARD. These books are good complements to each other. For picking up on your most important issues, you will find Peter Drucker's MANAGEMENT CHALLENGES FOR THE 21ST CENTURY to be invaluable.

This book is touted as a "resource" to the Fifth Discipline, but my view is that it could itself stand on its own steam as a handbook for change management. With articles contributed by a variety of authors, the book looks at the challenges of triggering, initiating, aligning and sustaining change and the various diverse ways to confront and solve those challenges.
The challenges that the book identifies are the challenges of:

Orientation, Generating Profound Change, Not Enough Time, No Help, Not Relevant, Walking the Talk, Fear & Anxiety, Assessment & Measurement, True Believers and Non-believers, Governance, Diffusion, Strategy & Purpose.

The book is choc-a-block with tools, explanation of jargon and
references to other resources. An orientation to Systems Thinking and looking at organizations as complex systems would help in clarifying the book more. Hence it is desirable to read "the fifth discipline" before you read it.
However, the delightful nature of this book ensures that you can flip open any page, read a little bit and keep it back, and feel refreshed and not thirst for more.
For people who look at organizations as communities, as networks and as human systems in addition to just being an economic entity this book will delight and scare.
For others, this book will act as a provoking way to look at change and organizations in search of equilibrium.

The Fourth Way is a collection of questions and answers transcribed at meetings with Peter Ouspensky (or is it now PC to spell it "Uspenskii"?), a teacher of the fourth way system presented by Ouspensky's teacher, G.I. Gurdjieff. There is great substance in the book, and if one were able to distill it all, it may be that it contains practically everything one might really need to know about awakening. But substance must be transmitted in a form that is palatable. I, for one, have always found The Fourth Way (the book, that is) unbearably tedious and didactic. Ouspensky was without doubt a sincere man, and he may well have been a great teacher. His writings (and I've read 'em all, including his papers at Yale's Sterling Library, which contain a few gems) also reveal him to have been stuffy, pompous, and very, very intellectual. Reading The Fourth Way, one might imagine that awakening is not only a terribly complex matter, but requires familiarity with a vast array of concepts. Tain't so. Partly because of his era, and perhaps because it pleased him to imagine that he possessed information that was truly unique, Ouspensky also labored under the illusion that the fourth way system was, as he liked to call it, "esoteric." This is quaint, but what was "hidden knowledge" to Westerners sixty years ago can now be found in countless works in almost any bookstore, and is taught by genuine teachers of Buddhism, Sufism, and other traditions. One need not join a fourth way cult led by some self-appointed Gurdjieff wannabe and get humiliated and milked in order to awaken.

Regardless of the usefulness or uniqueness of the methods, however, the book itself is turgid and one of the most boring of its genre. This does not make it any more "practical" than a book that is interesting or inspiring; it simply makes it more boring. It's like being given unnecessarily unpleasant medicine by a musty old aunt who imagines that she knows all anyone could possibly know about health care. Now Ouspensky's In Search of the Miraculous is a different story altogether. It not only contains most of the essential material, but presents it in a way that holds the reader's interest. That one's a classic, and strongly recommended.

The Fourth Way is one of a series of books that Ouspensky wrote describing his studies with G.I. Gurdjieff, his guru and guide who showed him the way to achieve a higher conscience through practical study and work that virtually anyone can do. A primer would be "In Search of the Miraculous." After you have read that, you will be ready The Fourth Way -- that is -- maybe. The Fourth Way is basically a how-to book on achieving a higher state of conscienceness that taken in all at once by the beginner can literally blow ones mind. Ouspensky even warns the reader that certain tecniques that he shows in the book can "break down buffers" that are needed to, well, keep one's sanity. This is heavy stuff -- great stuff, but beware, you will never see the world the same way ever again. Jim Wolf

One aspect of this book, The Fourth Way, that affects some negatively is it can seem to present an avalanche of separate ideas that can seem to overwhelm. Learning to awaken and practicing to awaken shouldn't seem like an act of trying to hold a thousand different ideas in your mind at the same time. Yet, as you study the ideas that are presented in this book (and the Psychology of Man's Possible Evolution and In Search of the Miraculous, to name two of the other more famous ones by Ouspensky...) you find that there are a handful of central ideas presented that have more weight and that act as a center-of-gravity of the entire language. When these central ideas are identified (Self-Remembering, Non-Identifying, Separation, External-Considering and the subtle practice of Transforming Negative Emotion are five of the most central ideas of the entire Work language...) you can then sort out all the rest of the seemingly vast array of things to observe or do or not do or ponder, etc...and see where they fall and where their place is relative to the central ideas and practices. Always re-orienting yourself by the light of the central ideas and practices. This book, the Fourth Way, also presents the cosmological side of the Work. Five of the central ideas of the cosmological side are the Ray of Creation, the Law of 3, the Law of 7, Scale (or, 'Degree') and Relativity. These ideas are used as metaphor and as models to understand the psychological side. This book is not dry and 'overly' (choose your own word) intellectual (nor is it boring if you are truly enthusiastic about learning rare ideas of a high order, ideas, by the way, that may indeed be found in various religious writings and schools but are hardly presented in such practical and precise and, yes, poetic and mysterious language). These ideas ARE poetic and mysterious and your understanding of their inner meanings and connections (not to mention your ability in actually practicing them) can increase as far as you can climb with your effort and your inspiration.

Ellis Peters' fourth Brother Cadfael mystery is set in the summer of 1139, in a Shrewsbury still recovering from the siege of town and castle by the army of King Stephen the previous summer. To speed the rebuilding of its defences, the townsfolk are eager for financial help from the abbey of Saint Peter and Saint Paul, which, being located just outside the town, came through the episode of the siege without harm. With the lucrative annual three-day St. Peter's fair fast approaching, the burghers of the town are anxious to secure a share of its profits - normally given over entirely to the abbey. The new abbot, however, is far from anxious to set a dangerous precedent by ceding away the abbey's dues.

Thus it is that merchants arriving from distant towns for the fair find themselves suddenly embroiled in a dispute between town and cloister - and embroiled rather too deeply for comfort as the town's youth escalate the situation out of hand. And so it is that Shrewsbury (and therefore Brother Cadfael, of course) suddenly finds itself with the mystery of another murder (and various other nefarious goings-on) to solve.

With her characteristic meticulous attention to period detail, Ellis Peters weaves an intricate web of deceit and intrigue into this far from obvious murder mystery. As usual, she balances the political manoeuvrings of the principal parties with the playing out of a separate romantic sub-plot. This serves to keep the reader (and, in this case, Cadfael too) guessing almost up to the very end as to the real drama running through the story and, of course, to the identity of the villain of the piece. Indeed, the reader is well into the nail-biting conclusion to the story before realising fully what has been going on.

Peters' writing style ensures that this book is as enjoyable as Brother Cadfael books ever are. Fans of the mediaeval sleuth may be somewhat disappointed to find that he actually has very little to do here beyond collating the pieces of others' findings but this does not really detract from the tale over all. If the Cadfael books are new to you, I would really recommend reading the first two volumes before any others to truly get the most from them. On the other hand, if you are not interested in reading the whole series but simply want an evocative tale of mediaeval England, then you need look no further than this.

Of the chronicles of Brother Cadfael that I have thus far read, "St. Peter's Fair" is the most "mystery-like." No cut and dried solution springs to mind as the plot unfolds. This one had me guessing for some time.

All the regular ingredients of the previous stories are here: Political wrangling, personal intrigue, a love story, and of course--a murder.

Cadfael once more is a treasure trove of wisdom. Some of his lines here are classic. Cadfael is a very noble, very humane, world-weary protagonist. Ellis Peter has truly created a detective for the ages in him.

In "St. Peter's Fair" Cadfael is up against one heck of a baffling case. He and Hugh Berengar (my favorite secondary character) team up to try and solve the murder of a visiting merchant. I have no desire to give the ending away. I will only say that "St. Peter's Fair" has the added bonus of a chase scene.

"St. Peter's Fair" is a worthy entry in this series. The more I read of Ellis Peters, the greater my respect for her becomes. I recommend this book highly.

St. Peter's Fair is another excellent Brother Cadfael chronicle by Ellis Peter's. She continues the story of a monk inside the monastery, who has already seen much of the world. St. Peter's Fair opens with a controversy between the locals and monastery. The local people of Shrewsbury feel that the monastery is reaping unjust benefit from the fair without giving the town its just due. Soon a merchant at the fair is found murdered and a local is implicated.

Cadfael uses the skills he developed outside of the monastery to help track the murderer. Aiding him is Hugh Beringar, who was introduced in a previous chronicle. Cadfael continues to develop as a warm, loving human, who has a sense of justice.

Ellis Peters is a must for any fan of medieval tales.

Dire times for Shrewsbury

In this book the second of Ellis Peter's Brother Cadfael series we find Shrewsbury in 1138 in deep trouble. The forces of King Stephen are approaching and citizens are scrambling to align themselves with the victor. Unfortunately those in the castle were aligned with the Empress Maude and paid dearly for it.

This book introduces us to the crafty Hugh Beringar a worthy friend or foe to Cadfael. Part of Cadfael's dilemma in this chronicle is to determine which Beringar is. They are evenly matched for foxiness, but we hope that Cadfael's age may assist him in the end.

This series is a must for the medieval lover. It is an excellent mystery and will keep the reader guessing.

One Corpse Too Many : The Second Chronicle of Brother Cadfael by Ellis Peters After watching a number of the Brother Cadfael episodes on PBS, I was pleased to learn that the series was based upon the books written by Ellis Peters. One Corpse Too Many is my first adventure into the written version. As in most cases the written version is much richer and even more entertaining than the television version. As I read the book, I cannot but help hear Derek Jacobi's voice as Brother Cadfael. The written format adds much to character development, especially of secondary characters. Ellis Peters also helps us with the very interesting historical facts surrounding these exceptional episodes of our beloved Brother Cadfael.

This is one story which I had seen on PBS, which inspired me to read the original. What a treasure lay waiting in my bookcase!
I found that all Ellis Peters' Brother Cadfael books are "Excellent Mysteries", even if I occasionally question her private brand of clerical or secular justice. But the literary gems of extreme value are those five novels which enhance our understanding of the protagonist's character. An additional bonus to the delectable mysteries themselves with their beautifully landscaped setting of England or Wales is our introduction to medieval customs and monastic ritual.

I promise to be careful not to give anything away which might diminish the reader's enjoyment of future novels in the series (20, plus a prequel book of 3 short tales). My favorites are #1, where we realize the importance of Cafael's devotion to his Saint Winifrid, also Welsh. Next comes #2 because we have the wonderful relationship with Hugh Beringar, his friend and fellow sleuth--no matter which of the warring cousins they seem to serve: King Stephen or Empress Maud. My last 3 favorites are those novels which reveal Cadfael's gradual relationship with Olivier--no hints or spoilers. Thus the unlikely hero who has retired from the world to pursue a life of inner peace within the cloister becomes increasingly more human; he earns our sympathy, respect and love.

Forget the clever plot on this one--for it is the unique and fascinating countredance of personalities that makes this novel precious. Each side in the battle for the kingdom is distrustful, trying to outmaneuver the other. Readers must decide for themselves who gains the most, who loses the most and who has the last laugh. Brother Cadfael certainly enjoys great freedom of movement--missing many masses and daily offices in purusit of justice--thanks to the old Abbot's pious nature and shunning of secular matters. Ellis Peters offers us much more than mystery artfully blended with medieval history; she presents great insight into the human heart and mind. Savor each novel and Brother Cadfeal will surely become your favorite herbalist-detective.

While the book makes highly entertaining reading, it is dangerous in its glibness. Dangerfield's account is often referred to as a fundamental source for the women's suffrage movement in Britain, but his manipulation and outright suppression of facts willfully twists the contributions of the Pankhursts, radical feminists whose thinking was far in advance of its time. One often has difficulty identifying which he hated most: the incompetence of the Liberal Party or the women fighting for political recognition.

This book is the classic account of Edwardian Britain and is on the suggested reading list of the Institute for Edwardian Studies...It was written by a contemporary journalist and is a great read. However, it focuses a great deal on the political side and lacks objectivity. An excellent counter-weight to Dangerfield is David Powell, The Edwardian Crisis. This is a first-rate academic revision to what Dangerfield and past scholars have written about the Edwardian period, but it is not really for those new to the subject.

Whoever you are and whatever you do you can find soemthing to take away from this book. Essential for an understanding of politics in a democracy, and better because it gives readers an example to learn from, rather than just theory. Also a great study in human relationships and the tragi-comedic nature of life. Probably one of the best and wittiest books on history/politics ever written.

I'm a lover of Shakespeare's works. I found a used copy of George Krapp's 'Troilus and Cressida' at a local book store. This Modern Library version is an reprint of his classic translation. If you love to read the sources for Shakespeare (Plutarch, Chaucer,Homer and Ovid) then I believe readers will enjoy this poem.

CHAUCER : TROILUS AND CRISEYDE. Translated into Modern English by Nevill Coghill. 332 pp. New York : Viking Press, 1995 (Reissue). ISBN: 0140442391 (pbk.)

Nevill Coghill's brilliant modern English translation of Chaucer's 'The Canterbury Tales' has always been a bestseller and it's easy to understand why. Chaucer was an intensely human writer and a great comic artist, but besides the ribaldry and sheer good fun of 'The Canterbury Tales,' we also know he was capable of other things. His range was wide, and the striking thing about Coghill's translations are how amazingly faithful they are to the spirit of the originals - at times bawdy and hilariously funny, at other times more serious and moving when Chaucer shifts to a more poignant mode as in 'Troilus and Criseyde.'

But despite the brilliance of Coghill's translations, and despite the fact that they remain the best possible introduction to Chaucer for those who don't know Middle English, those who restrict themselves to Coghill are going to miss a lot - such readers are certainly going to get the stories, but they're going to lose much of the beauty those stories have in the original language. The difference is as great as that between a black-and-white movie and technicolor.

Chaucer's Middle English _looks_ difficult to many, and I think I know why. It _looks_ difficult because that in fact is what people are doing, they are _looking_ at it, they are reading silently and trying to take it in through the eye. This is a recipe for instant frustration and failure. But fortunately there is a quick and easy remedy.

So much of Chaucer's power is in the sheer music of his lines, and in their energy and thrust. He was writing when English was at its most masculine and vigorous. And his writings were intended, as was the common practice in the Middle Ages when silent reading was considered a freakish phenomenon, to be read aloud. Those new to Chaucer would therefore be well advised, after reading and enjoying Nevill Coghill's renderings, to learn how to read Middle English _aloud_ as soon as possible by listening to one of the many excellent recordings.

Coghill certainly captures the spirit of Chaucer, but modern English cannot really convey the full flavor and intensity of the original. Learn how to roll a few of Chaucer's Middle English lines around on your tongue and you'll soon hear what I mean. You'll also find that it isn't nearly so difficult as it _looks_, and your pleasure in Chaucer will be magnified enormously.

As usual, Chaucer has come through as the greatest poet of Middle English. This is by far the best expansion on Homer's epic poetry to appear since Publius Vergilius Maro's Æneid, and I'm sure Augustus would have enjoyed it just as much! Shakespeare's adaptation, Troilus and Cressida, is an excellent play but does not give this poem justice. I would definitely recommend it to any serious fan of English literature!