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Kis was a brilliant writer, but as these essays show, completely apolitical. He did not have time for nationalists, internationalists, communists, capitalists any of it, which is why perhaps he went to France to live the quiet life of a University Professor.
Considering that she claims to be a friend of Kis and actually put this work together, it is shameful that Sontag insists on putting a political spin on this collection. She actually claims that the 'gingerbread heart of nationalism' section ranks along with, she claims, Andric's Letter from 1920 as early warnings against Serbian Nationalism. As someone who has translated Andric's story, I can tell you that Ms. Sontag should consider re-reading. The Andric story makes the case that Bosnia is a land of ethnic hatred, ready to explode at anytime, which it obviously did. There is no mention of Serbian aggression or nationalism. Nor does Kis ever pay tribute to any idealized multi-cultural Bosnia, Sontag's cause celebre throughtout the early 90's and repeated in the introduction. Enough politics, however.
Read this work because it tells us a great deal about a wonderful literary stylist, who knew and loved literature. The fact that others would try to co-opt Kis to champion their political philosophies is embarrassing. The book speaks for itself.
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However, there are historical innacuraccies throughout the work. The reader is best advised to get a "twenty-thousand-foot-level" view of the era that interests them from which to pursue more exhaustive texts.
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1 - The sheer weight and bulk of this tome makes it a dedicated desk reference. In fact, you might consider building a special shelf or desk just to hold the book.
2 - The offset printing flaws mentioned by other reviewers is a significant problem. Portions of some entries are not even legible.
The Big Liddell is the kind of book that would be much more valuable in digital format than in print. There's been talk about an electronic version for some time, and it looks like we might finally get one soon ...
The ninth edition of the "big" Liddell & Scott has been offset so many times that the print is faint and verging on the illegible. My copy actually has pieces of print missing. The Clarendon Press ought really to have the whole thing revised and reset. But what a daunting task! (It will probably end up being republished on disk.)
I own the Intermediate sized Liddell as well, and I must say I actually prefer the smaller one. When I took a class where we read "The Apology of Socrates" by Plato, my professor recommended avoiding the Intermediate edition. At first I thought perhaps he was wrong, and I used it to translate some passages. After spending a lot of time sorting through it, I found that I agreed with him. The Intermediate Liddell does have locations of word use in original sources, and has slightly more vocabulary, but for the beginning and intermediate Greek reader, the Abridged Liddell is preferable. Navigating through the abridged edition is far easier and it often assumes a lesser knowledge of Greek, thus it includes some conjugated forms, which then point you to the correct verb. So as you can see, the abridged edition should suit the needs of most classical Greek students. Also, the editors took care to make sure that virtually every New Testament word is included.
Are there drawbacks to the Liddell-Scott? The Victorian English often gets frustrating. We rarely use words like hither and thither anymore. Also, when more morally explicit Greek words are defined, their definition is in Latin. Also, the original printing abnormalities, such as certain parts of letters being cut off from words, remain.
Learning Greek is a rewarding, but daunting task. The task is often made more difficult by grammars and lexicons that assume the reader knows more than he or she does. The abridged Liddell is perfect for the average student. When you want to dive in deeper, learn word origins, search sources, or just want to say you own the most complete Lexicon out there, you should buy the full size Liddell-Scott. Until then, the abridged edition works!
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There are stories here of families being split apart by an uncaring master class. Children were callously sold and permanently separated from their parents. Husbands and wives were similarly split up.
Frankly, it makes you sick.
Then there are the stories of brutality. Again it makes you sick. How could the slave owners have sunk so low?
If you are looking for well written stories that bring the institution of slavery to life for you, this is not the book. What you get here are very short and very simple reports by individuals. There's nothing here that you didn't know already. This is not a great work of literature.
This is just a punch right in the nose to make you wonder how slave owners could have been so cruel.
Through their accounts, we are able to see the pain and suffering as well as the spirit and pride of those born into slavery, learn from it, and pass it along to our children. This is a wonderful resource for not only African American families, but for anyone interested in history and the period of slavery and its impact upon the African American race. It is compiled with the grace and dignity deserving of a people who have been through so much!
Reviewed by Tee C. Royal
of The RAWSISTAZ Reviewers
__Old Negro Spiritual
The words of the spiritual above must not have been uttered to these beautiful human beings who have graciously allowed interviewers from the 1930's Governments Works Progress Administration to chronicle their life stories. For if the words above had been uttered, the slave experience, from an intimate and painful point of view, would never have received the credence they due. Tales of slavery are still passed down from generation to generation, and traditions still are followed but to see a book like Unchained Memories is special. Quite simply, this is a beautiful book. I'm so thrilled to have been given the opportunity to read it and experience it and learn from it. I can treat the book as a textbook, a factual accounting of the lives of former slaves who have wonderful stories that they don't mind sharing with the world. For that reason alone, this book has earned a permanent place on my coffee table, for all who enter into my house to experience. Something about the actual words of former slaves bound in book form validates an agonizing time in American History.
Unchained Memories is well researched and magnificently laid out. At the beginning of every chapter is an introductory text that accounts for the tenure of the time, followed by a poignant quote and then brief narratives begin. My one regret is that the narratives are so short, when biographers obviously spent a great deal of time with these people. I am grateful that there is an extensive bibliography at the back so that I can, at some point, go and read the entire account by the former slave. Oh where will I find the time? If you read this book, I would highly suggest that you get a copy of the HBO documentary of the same name and watch it as well. There is nothing like "hearing" the words spoken by African American actors of today in the vernacular of the time.
I'm glad that Unchained Memories was published, and quite fittingly made its debut during Black History Month. These former slaves are the reason why Black History Month is perpetuated now and a fitting tribute for remembering from whence we as a nation have come.
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I review other baseball books on my baseball...........
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it is alway easy to find excuses not to read...don't ignore the truth.
It is true that his opinions are sprinkled throughout, including his irritating comments about on-off vibrato.
In case readers haven't noticed, it's a crime that he has lumped all women violinists together into a short section and essentially belittled their contributions. Kyung-Wha Chung and Anne-Sophie Mutter both offer more than, say, Pinchas Zukerman will ever amount to.
To his great credit, he helps to introduce some wonderful insights into the playing of Henryk Szereng, Leonid Kogan, and Arthur Grumiaux (along with several others). This book is a must for every violin lover in an effort to remember and preserve the memories of these great musicians. Roth also is relaying a message to the next generation of violinists: help preserve the art of violin performance, but remember that musicianship and honest communication are of the utmost importance.
Yet, because the thrust of this book is his evaluation of the violinists' playing, he cannot avoid being subjective. For example, his ears are hypnotized by the tone and vibrato of Heifetz and Kreisler. He thinks that one should use vibrato for every note in a lyrical passage, and he believes that a white vibrato-less note has absolutely no expressive power. Therefore, he criticizes many violinists, including Oistrakh, for using vibrato in an "on-and-off" manner.
After reading this book, I had the IMPRESSION that Mr. Roth's list of the greatest violinists ever PROBABLY goes something like this:
=1. Heifetz =1. Kreisler 3. Oistrakh 4. Szeryng 5. Perlman 6. Kogan
He also greatly admires Szigeti, Grumiaux, as well as Menuhin and Elman (in their youth).
Among today's younger generation of violinists, he probably thinks Joshua Bell, Gil Shaham, Maxim Vengerov, Sarah Chang, and Leila Josefowicz are the most promising.
I wrote the above assumption to give you an idea of Mr. Roth's taste. But even if you disagree with him, this book is still worth reading. It provides much valuable information you'll not find elsewhere, including opinions expressed by the greats themselves and a vast survey of the violinists' discography. Though Roth's comments are inevitably subjective, his professional observations can be taken as a reference, especially when you've got to understand his tastes. Of course, if you dislike Heifetz, you can pretty much ignore most of his adulations.