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Forrest wasn't happy to accept this "tallow-faced boy" at first, but Morton slowly won him over and participated in all of his campaigns.
We get a lot of observations as to Forrest's character -- including that, according to Morton, he believed one attacker superior to two defenders (this is alarming) and that he was "at times the most insubordinate of men" (13). (Greatest general of all time, eh? I can't quite feature that.)
We learn as well about the activities of Forrest's troops, and I found it interesting to observe how often his men charged entrenched opponents (cf. Morton's description of the Battle of Dover, p. 76; etc.). I would be interested to know what Forrest's casualty rates were, as compared to other cavalry commanders and as measured against what he achieved.
The death (possibly a murder) of Captain Freeman, Forrest's deadly brawl with Lieutenant Gould, Chickamauga and Brice's Crossroads all are covered, among other events. Though Morton quotes letters between Forrest and the Federal commander Washburn regarding the treatment of prisoners of war, there is little discussion of Fort Pillow and it is implied, as far as I can tell, that Morton and his artillery weren't there--which seems hard to believe, but that's what the text seems to suggest.
A detailed account, a vital source for the activities and personality of Forrest. Limited personal narrative, with Morton tending to refer to himself in the third person, but quite vivid nonetheless. For anyone wanting to understand the war in the West this would be indispensable.
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One of the main reasons I keep returning to this educational tool, is the inclusion of exercise quizzes at the completion of each chapter. In fact, because it deals with only major concepts, progresses in small, logical, easy-to-learn increments, this book is practical for non-experts, students, and professionals alike.
I majored in Psychology. However, those years are "tailights" now. Therefore, I recently found myself drawn to Chapter-10 "Brain Structures and Memory". Thankfully, the authors included answers for chapter quizzes.
This is a breezy and fun book. You actually get to "color"! A great gift and addition to medical reference collections.
Thank you for your interest & comments--CDS
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No poet who has enjoyed such popularity as Cummings has been so largely ignored by the scholarly establishment. Professors scarcely mention his name, and many anthologies of 20th Century American verse simply choose not to include him, as though he were only a minor figure. In fact, there could be no statement more off the mark than one that dismisses this artist as a minor figure. If there is proof of this, Richard Kostelanetz has given it to us in this excellent compilation.
For anyone who is only vaguely familiar with E. E. Cummings, this book is a good place to begin to delve further into the mind, life, and work of a consummate artist and one-of-a-kind individual. To be truthful, the only knock against the book is that it doesn't give us enough of Cummings. But, to Kostelanetz' credit, we must acknowledge the wide and varied cross-section of work available to us here.
Here we find for the first time selections that would have been previously unavailable or largely unattainable for most readers. There is everything from poems to biography to theatre. Included are some of Cummings' letters, some of his criticisms, a ballet scenario, a film scenario, a bit from the non-lectures delivered when he was the Norton Professor at Harvard, an untitled novel, poems set to music, and much more. Hardly any aspect of Cummings' literary career goes untouched.
In addition, Kostelanetz includes small essays at the beginning of each section that are both cutting and insightful despite their brevity. In these essays, Kostelanetz comments on everything, from the fact that Cummings was an accomplished painter to the fact that Cummings was perhaps the most prolific sonnet writer of the past 100 years. Each little piece offered adds something to one's appreciation of the genius that is E. E. Cummings, even the miniscule note that betrays the convention of spelling the author's name with lower-case letters as something assigned to him by outside forces.
For those who are tired of the same old anthologies, tired of those books that won't take chances on publishing anything too far outside the mainstream, AnOther E. E. Cummings is a must have. This collection, by no means complete in itself, is nonetheless the last, necessary piece to anyone's Cummings puzzle. Indeed, no collection should be considered complete without it.