I wasn't sure what to expect with this anthology, but I found myself enthralled from beginning to end. Nnedi Okorafor's "Crossroads", Seth Lindberg's "Atropos", and James Dorr's "Madness" were special delights.

A great mix of chilling, horrifying, and otherwise entertaining stories.

This is a great compilation of magic, madness, culture and creativity. All of the stories were pretty satisfying, some of them terrifying! There are some writers here that are going to go places. Watch for the authors of the two longest pieces, Nnedi Okorafor (her story is called Crossroads) and James S. Dorr (he wrote a story called Madness).

Shakespeare's play, "Othello" is usually recognized as one of his "great" tragedy's (with Hamlet, King Lear, and Macbeth). It certainly has a quite exciting plot and great poetry. If you have not yet had an oportunity to read this great work, I recomend it strongly. It is still an intelligent treatment of race, family and civic duty, and sex. It also has one of the most interesting bad guys around - Iago.

I read it in the Arden edition, edited by Honigmann. Honigmann argues that Othello has a strong claim at being Shakespeare's greatest tragedy and makes a strong case for the work. He has a good introduction that gives a quite balanced and clear overview on many topics regarding this play, from the "double" time method Shakespeare uses, overviews of the various characters, as well as a the stage history. Amazingly, he can be remarkably balanced, even when he is talking about his own views. While he is a decent writer, Shakespeare is better... In the text itself, he gives quite ample footnotes to help explain the language, why he picked particular readings, as well as where themes came from...

Like all scholarly Shakespeare editions, the notes are in danger of overloading the text. This reader, however, recognizes the distance between myself and Shakespeare and so I find it comforting to be able to look at the notes when I have questions. At times his "longer notes" were awkward, but there is no easy way to handle this amount of material.

Othello relects the true meaning of a tragedy both in its content and its structure.Tragedy is 'a story of exceptional calamity produced by human actions, leading to the death of a man in high estate.'The downfall of Othello is caused by his own actions, rather than by his character, or rather the two work in unison to create the stage for his downfall.
This is what captured my attention when I read this play.It is very profound to realize the fact that Shakespeare uses Iago to set this stage on which Othello is a mere player.
I love the character of Iago. His total confidence, the superiority that he feels when psychoanalysing human nature, his rational thinking and intellectualism sways the reader to think: 'Wow, this is a compelling and sophisticated man we're dealing with here!'
However, my admiration of Iago does not in anyway undermine my love of Othello. His poetic and calm demeanor makes the reader feel the pity and terror for him when he falls from grace (catharsis). Yet, we are made to understand that the reason why he is made to appear a gullible and ignorant fool to some readers is that he does not have any knowledge of a delicate, domesticated life. Venetian women were foreign to him. This tragic flaw in Othello added to the circumstances used by Iago to destroy him.
The meaning, and hence the tragedy of the play is conveyed through the use of Shakespeare's language, style, literary devices and imagery. Without these dramatic effects, readers would never be able to enjoy the play as much, although the dialogue is at times difficult to decipher.
I thoroughly enjoyed Othello and it is my hope that more people find it enticing as I have. I would be delighted to contribute more of my reviews to that effect.

As a play, "Othello" encompasses many things but more than anything else it is a study of pure evil. Although Othello is an accomplished professional soldier and a hero of sorts, he is also a minority and an outcast in many ways. As a Black man and a Moor (which means he's a Moslem), Othello has at least two qualities, which make him stand out in the Elizabethan world. He is also married to a Caucasian woman named Desdemona, which creates an undercurrent of hostility as evidenced by the derogatory remark "the ram hath topped the ewe".

Othello's problems begin when he promotes one of his soldiers, Michael Cassio as his lieutenant. This arouses the jealousy and hatred of one of his other soldiers, Iago who hatches a plot to destroy Othello and Michael Cassio. When Cassio injures an opponent in a fight he is rebuked, punished, and subsequently ignored by Othello who must discipline him and teach him a lesson. Iago convinces Desdemona to intervene on Cassio's behalf and then begins to convince Othello that Desdemona is in love with Cassio.

This is actually one of the most difficult Shakespeare plays to watch because the audience sees the plot begin to unfold and is tormented by Othello's gradual decent into Iago's trap. As with other Shakespeare plays, the critical components of this one are revealed by language. When Othello is eventually convinced of Cassio's treachery, he condemns him and promotes Iago in his place. When Othello tells Iago that he has made him his lieutenant, Iago responds with the chilling line, "I am thine forever". To Othello this is a simple affirmation of loyalty, but to the audience, this phrase contains a double meaning. With these words, Iago indicates that the promotion does not provide him with sufficient satisfaction and that he will continue to torment and destroy Othello. It is his murderous intentions, not his loyal service that will be with Othello forever.

Iago's promotion provides him with closer proximity to Othello and provides him with more of his victim's trust. From here Iago is easily able to persuade Othello of Desdemona's purported infidelity. Soon Othello begins to confront Desdemona who naturally protests her innocence. In another revealing statement, Othello demands that Desdemona give him "the ocular proof". Like Iago's earlier statement, this one contains a double meaning that is not apparent to the recipient but that is very clear to the audience who understands the true origin of Othello's jealousy. Othello's jealousy is an invisible enemy and it is also based on events that never took place. How can Desdemona give Othello visual evidence of her innocence if her guilt is predicated on accusations that have no true shape or form? She can't. Othello is asking Desdemona to do the impossible, which means that her subsequent murder is only a matter of course.

I know that to a lot of young people this play must seem dreadfully boring and meaningless. One thing you can keep in mind is that the audience in Shakespeare's time did not have the benefit of cool things such as movies, and videos. The downside of this is that Shakespeare's plays are not visually stimulating to an audience accustomed to today's entertainment media. But the upside is that since Shakespeare had to tell a complex story with simple tools, he relied heavily on an imaginative use of language and symbols. Think of what it meant to an all White audience in a very prejudiced time to have a Black man at the center of a play. That character really stood out-almost like an island. He was vulnerable and exposed to attitudes that he could not perceive directly but which he must have sensed in some way.

Shakespeare set this play in two locations, Italy and Cypress. To an Elizabethan audience, Italy represented an exotic place that was the crossroads of many different civilizations. It was the one place where a Black man could conceivably hold a position of authority. Remember that Othello is a mercenary leader. He doesn't command a standing army and doesn't belong to any country. He is referred to as "the Moor" which means he could be from any part of the Arab world from Southern Spain to Indonesia. He has no institutional or national identity but is almost referred to as a phenomenon. (For all the criticism he has received in this department, Shakespeare was extrordinarlily attuned to racism and in this sense he was well ahead of his time.) Othello's subsequent commission as the Military Governor of Cypress dispatches him to an even more remote and isolated location. The man who stands out like an island is sent to an island. His exposure and vulnerability are doubled just as a jealous and murderous psychopath decides to destroy him.

Iago is probably the only one of Shakespeare's villains who is evil in a clinical sense rather than a human one. In Kind Lear, Edmund the bastard hatches a murderous plot out of jealousy that is similar to Iago's. But unlike Iago, he expresses remorse and attempts some form of restitution at the end of the play. In the Histories, characters like Richard III behave in a murderous fashion, but within the extreme, political environment in which they operate, we can understand their motives even if we don't agree with them. Iago, however, is a different animal. His motives are understandable up to the point in which he destroys Michael Cassio but then they spin off into an inexplicable orbit of their own. Some have suggested that Iago is sexually attracted to Othello, which (if its true) adds another meaning to the phrase "I am thine forever". But even if we buy the argument that Iago is a murderous homosexual, this still doesn't explain why he must destroy Othello. Oscar Wilde once wrote very beautifully of the destructive impact a person can willfully or unwittingly have on a lover ("for each man kills the things he loves") but this is not born out in the play. Instead, Shakespeare introduces us to a new literary character-a person motivated by inexplicable evil that is an entity in itself. One of the great ironies of this play is that Othello is a character of tragically visible proportions while Iago is one with lethally invisible ones.

You should be aware that this "reader" offers extracts from 83 works in only 191 pages (the Amazon description as of 7/24/00 giving the page count as 400 is wrong); most works are represented through passages that are only a page or so in length. If you are expecting an anthology, you will be disappointed. If you are looking for a text that compiles brief passages relevant to the theme of literature and religion from a wide range of sources, this book will serve your needs.

The change in biblical studies, with an increasing tendency to read the Bible as literature and to relate it to other literature, offers a field day to those who are skilled in both and there is plenty of evidence that they are able to exploit it. Anything in that department bearing the name of David Jasper is likely to be worth reading and this book is no exception. Fundamentally it is a resource book for teachers and students by two people with experience of both, but it also has much to offer to offer the general reader, especially those who find difficulty moving from the world of modernism (where life is rational and organised) to the world of post-modernism (which seems to be chaotic and marred by uncertainty). In a world where individual interpretations replace community interpretations and trust often gives way to suspicion, these editors explore religious literature afresh and at the same time uncover new biblical insights, not least in those biblical passages often neglected.

If the potential readership is broad so too is the literature. Eight chapters include extracts on origins (beginning with Genesis and the prologue to John and going on to the Quiché Indians and a creation story from the Iroquois), on sacred texts, biblical motifs and images, and on the great themes of literature and religion.

Writers include Ovid, Augustine, Wordsworth, Shakespeare, Luther, Bunyan, Kierkegaard, Teresa of Avila, Mark Twain, D H Lawrence, Goethe, Milton, Merton, Donne, Blake, Kafka, Eliot, Beckett, Derrida, and Ricoeur, to mention only a few of the more familiar. With such a wealth it is difficult to be selective, but Michèle Roberts, The Wild Girl, described as 'a kind of fifth gospel written by Mary Magdalene', is a good example of breaking into new territory, the bringing together of Job and Kafka a creative way of tackling a theodicy, Elie Wiesel's Night perhaps the most moving, and Flannery O'Connor's Wise Blood the seeds of a sermon on Matthew 7:3.

Once you begin to think this way it is difficult ever again to be content with interpreting biblical literature in isolation from other literature, and indeed from all the other arts and the whole world of culture. It certainly raises awkward and embarrassing questions but that may be a more effective way of uncovering religious truth than the traditional watering places of church, liturgy and sermon. Readers should be prepared to be stretched, occasionally alarmed and sometimes threatened, but much of the struggle is avoided only at our peril.

Robert Detweiler and David Jasper edit Religion And Literature, a reader which offers selections from over seventy sources ranging from ancient classics and Western writings to literary analyses. Study questions at the end of each chapter lend to a fine scholarly presentation.

The target audience is teachers of English who have grown up without the basic Bible knowledge expected of every educated person a couple of generations ago. A secondary market must be biblical scholars and teachers who suffer similar deficiencies when it come to English literature.

Familiar Bible passages and relevant extracts from English literature therefore find themselves side by side without any attempt to relate the one to the other, thus providing a resource of considerable value to both parties. In each case we have a few pages of commentary on the biblical passages with a brief explanation as to why each of the liteary passages was chosen, followed by a selection of literary material without commentary. Literary sources include Milton, Chaucer, Augustine, Kirkegaard, T S Eliot, D H Lawrence, C S Lewis, Gerald Manley Hopkins, Dylan Thomas, Bunyanm, Dryden, Shakespeare, Umberto Eco, Oscar Wilde, Shaw, Wordsworth, James Joyce and Derrida.

Two meanings of the Bible in literature are differentiated: the one which treats the Bible simply as a collection of secular writings and the other which sees a literary understanding of the Bible not as a subsititute for its religious content but as an adjunct to it.

This book obviously appealed to some readers which suggests it was at least well written. But as Richard Stokes points out, it is an illusion the hero of the book would be proud of, based on a vainglorious and self-serving memoir rather than fact. Maskelyne was not the 'genius' behind British deception efforts: that was an obscure colonel of Royal Artillery called Dudley Clarke, as a cursory examination of papers at the Public Records Office in Kew reveals. Better to read David Mure's 'Master of Deception' should you be able to track it down,or Jon Latimer's 'Deception in War'.

Fisher's account is semi-fictional ....
I have actually researched the real background behind Jasper Maskelyne's war-time career and have corresponded with his son, Alistair who lives in Queensland, Australia.
I published a lengthy series of articles in the Australian Geniis Magic Journal in the mid-90's debunking Fisher's fanciful account.
Alas, Maskelyne was not involved in any significant camouflage work in the summer of 1940; his role in the protection of the port of Alexandria('41?) and the Suez Canal ('42) have both been exaggerated. Even his alleged involvement in the deception plan at El Alamein is open to question.
David Fisher has produced a mercenary work of dubious historical value. Readers are welcome to contact me for the alternative version. ....

This book tells about Jasper Maskelyne, the famous British magician, and his efforts during the North African campaign in WW II. It lacks an index and table of contents, but is well written. It takes the technical subject of military camouflage and makes it interesting to the general reader. Magic has been part of warfare since the Trojan Horse. It can explain the Walls of Jericho, and the parting of the Red Sea.

It tells how JM matched tricks with the leader of the Dervishes to get safe passage for British troops. How JM stumbled over the means to get desert camouflage paint. To prevent Alexandria Harbor from being bombed, JM moved it! To avoid an attack, dummy tanks, guns, and troops were created as reinforcements to be seen by enemy air reconnaissance. To protect the Suez Canal he used high-intensity rotating searchlights; this was copied by Britain's air defense.

JM was asked to give lectures on escaping when captured; he became a member of MI9 (which dealt with escape and evasion). His Magic Gang also created dummy submarines to hide the absence of real ones. He traveled to Malta to help hide real airplanes and create dummies to attract and waste bombs. They developed a way to drop a crate of supplies without using scarce parachutes. When his friend survived a plane crash only to die in the fire, JM created a cream that withstood flames for a few minutes to allow people to escape. When testing out in the desert, JM became lost an nearly died from dehydration.

To prepare for the attack from the Alamein Line Gen. Montgomery wanted his forces on the north hidden so the enemy would expect an attack in the south. Since the desert was flat, the camofleurs had an impossible job of deception and misdirection: to put a decoy army in the south and hide a real army in the north. Thousands of tons of supplies had to be hidden in the north while dummy supplies had to be hidden in the south. Pages 278-9 explains how the dummy water pipeline was built. The Battle of El Alamein began as planned. The Magic Gang created a phony sea invasion twenty miles behind enemy lines, which diverted German reserve forces. Chapter 18 tells how German tanks were halted by dummy cardboard tanks and silver painted boards! And the battle ended with Rommell's retreat.

Afterwards JM was sent to Canada to establish Station M, which educated and served the OSS and FBI ("Room 3603" references this). The Gestapo placed him on their "Black List". He invented air to ground communication using infrared waves. After the war he migrated to Kenya, and died there.