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fisherman on the St. Lawrence River, declares the central theme of
this work: "Ain't nothin' worse than a channel current goin one
way and the wind goin the other. That rip'll kill yah." The
unknown and deceptive can spell disaster.
Surviving in the North
American wilderness of the 1750s on the frontier between Quebec and
New York required a keen understanding of wind, water, sailing, the
river, Indians, soldiers, mariners and other people of all kinds, not
to mention bugs, animals and plants, and most important, the
all-pervasive, murderous weather. This thrilling tale skillfully
weaves the lives of six people as they fight to stay alive and
together in conditions that demand resourcefulness, experience and
courage.
Everett lives on an island in the St. Lawrence with the
widowed Ella, whom he has rescued from her burnt-out cabin, and her
son, Jamie. When the novel begins, Everett is trying hard to be a
father to Jamie, help Ella through the loss of her husband and to
steer clear of the warring French, British, Huron, Mohawk and
Iroquois, as well as protect them from thieving rival trappers and
fishermen; but the outside world keeps intruding on their already hard
life.
The fortunes of Everett, Ella, Jamie and their friends Lucy,
a half Iroquois trading post owner, Henri, a deserter from the French
navy, and Gilles, a French ship's officer, intertwine and fragment in
ways that are sometimes tragic, sometimes funny, and always exciting
as they risk their lives to help one another. We come to know these
people intimately and to share the author's affection for them, and
along the way we learn a lot about the human spirit and an
appreciation for the realities of survival.
Clearly Owens has a
vast knowledge of the period and place he creates for us, and tells
his story in some of the most beautifully written scenes I have ever
read. With wisdom and compassion his muscular prose leads us through
myriad complex adventures. Whether Everett and his friends are trying
to stay afloat in crushing ice, flying like the wind across the
river's surface in an ice boat, or crawling on their bellies through a
frozen swamp with a band of Indians, the writing carries us along with
the sureness and depth of the St. Lawrence itself. Rips is a deeply
affecting and exciting novel.
I look forward to seeing other books
by this talented author.
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My thinking is that most people buying this book want some help. They are looking for a "how to" book and this is not that book. A better book might be Prayer Primer by Fr. Thomas Dubay.
I'm sure there are some that will get much out of this, but if you are a beginner to both prayer and a Christian life, you will find this book a problem.
Kreeft's point is that we must begin to pray. Kreeft first motivates. Then he offers an intelligent summary of the major forms of prayer and the progression from rote to contemplative prayer.
Kreeft speaks directly to the reader - to me - when he asks if I really want to pray, or if, by reading a book on prayer, I have deluded myself into thinking that I am doing it. What a challenge! What clarity of purpose!
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The first three parts of "Pope Joan" tell the story of Joanna prior to her arrival in Rome, before she became an historical personage. Set in the ninth century, the narrative captures the European world in disarray after the death of Charlemagne, captures a time when civilization was tenuous and the Church provided one of the few viable social structures. It is this part of the narrative that is unambiguously fictional, the imagined story of Joanna's life in Germany and then in Greece. After her parents die, Joanna clandestinely enters a monastery where she meets the monk Frumentius and develops a romantic relationship with him. When her true sexual identity is surmised, Joanna and Frumentius flee one monastery and then another, eventually ending up in Greece. Joanna soon becomes tired of her romance and her intellectual brilliance attracts the attention of Church leaders throughout Greece. She leaves Frumentius and departs alone for Rome, where the legend, some say the history, of Pope Joan begins. She becomes a papal secretary renowned for her intellect and, when Pope Leo IV dies, she ascends to the papacy. Pope Joan becomes pregnant and dies after giving birth during a procession through the streets of Rome.
While the general outline of the narrative may seem only mildly interesting, the brilliant translation and prose of Lawrence Durrell, together with the biting, irreverent wit of Royidis, make "Pope Joan" an unsurpassed work of comic genius. A flavor for this wit and style can be found in a short passage describing what ensued after Pope Joan gave birth: "Great was the consternation when a premature infant was produced from among the voluminous folds of the papal vestments . . . Some hierarchs who were profoundly devoted to the Holy See sought to save the situation and change horror and disgust to amazement by crying out 'A miracle! A miracle!' They bellowed loudly calling the faithful to kneel and worship. But in vain. Such a miracle was unheard of; and indeed would have been a singular contribution to the annals of Christian thaumaturgy which, while it borrowed many a prodigy from the pagans, had not yet reached the point where it could represent any male saint as pregnant and bringing forth a child."
While the apologist position has consistently denied the historicity of Pope Joan, there is at least some suggestion that the legend is indeed a fact. As Durrell suggests in his Preface, one telling point is that Platina includes a biography of Pope John VIII in his "Lives of the Popes". And no less an authority than The Catholic Encyclopedia states that Platina's "Lives of the Popes" is "a work of no small merit, for it is the first systematic handbook of papal history." Historical disputation aside, however, "Pope Joan" stands as a brilliant work of comic writing and masterful translation, a masterpiece of Royidis and Durrell.
Truly, there is no comparison between the Cross and Durrell versions. Jane Austen chided her gullible heroine in "Northanger Abbey" for indulging in pulp Gothic novels that were "all plot and no reflection". The Cross book is all plot and no reflection. Or even worse, it is all agenda and no reflection. It is unabashedly, tediously revisionistic, hell-bent on making Pope Joan an idealized, religiously progressive proto-feminist. Cross projects all our late-twentieth century values onto her, time and place be damned. And it bludgeons you with its purpose for hundreds upon hundreds of pages. Joan never emerges as a character, just a cause. This is a book that in 50 years we will be able to look back upon and say, "Oh, how '90s". Plus, the writing is cliched and really rises no higher than that of "genre" level prose.
The Durrell translation of the Emmanuel Rhodes book is everything the Cross book is not. The prose simply sings, even in translation -- there were passages that were so beautiful, they gave me a palpable headrush. It is filled with gleeful black humor, the plot is tight and well-constructed, and the book, though irreverent, is filled with respect and affection for the character of Joan. Rhodes has no agenda for Joan, he depicts everything with honesty and clarity. For example, he does not attempt to make apologies for anti-Semites, and even adopts their views in casual references as a device to voice the world views of the characters that is required to immerse the reader in the time and place of the book. And Joan's baser impulses driving her actions are never gilded over into something more heroic than they are. Plus, the Rhodes book is simply fun.
This is the funniest book I've read since Fried Green Tomatoes! It's a hilarious, irreverent, bawdy, sacreligious saga at the expense of every prudish, hypocritically pious notion ever spawned in Christian history. It's a scream! I wonder if my neighbors have been disturbed by my uncontrollable howling. As an example, there's the bit where Joan uses the leg bone (sacred relic) of a martyred saint which she and a group of monks are transporting, to fend off the overly-amorous monks during an episode of gluttenous over-indulgence!
This very literate debauchery is the work of a genius.
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The book is a simple retelling of the irreverent film and is easy reading for the younger set. It's sweet, gloriously silly and a wonderful companion to the film. I especially enjoyed the claymation pictures which do a wonderful job of capturing the moment with just one glance. I'd read it to you kids at bedtime.
One side effect though -- don't be surprised if your kids refuse to eat poultry after reading this book!
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This work is sometimes criticized because of "repetitiveness" in the writing, but I find the repeated phrases add to, not detract from, the power of the novel. As in Lady Chatterley, he also manages to work in many brilliant and cutting observations of the price of progress in an industrial society, and document in careful, keen-eyed accuracy the varying responses of his characters--and, through them, archetypal human responses--to that society.
The only way to describe "The Rainbow" is that it would be more of a masterpiece if you didn't have to read it. If there was somehow a method in which you could absorb this book without cutting through Lawrence's prose, this would be undoubtingly be one of the greatest books ever [not] written.
Unfortunately this is impossible, because the style is inextricably connected with the thematics and direction of the book as a whole. So we as the reader must deal with the prose, because the text is as close as the reader will ever get to the novel, although I think that one of Lawrence's central themes is that the text cannot itself represent life. Hence you have text that attempts to depict life, text that knows implicitly that it will fail at this task, yet text that will try as hard as it can to draw out this picture of three generations of a family.
In class we listed a few adjectives that would describe Lawrence's style for "The Rainbow":
+Repetitive
+Lyrical
+Oppositional
+Fecund
+Slow-motion
+Translated
+Intense
...and the list goes on. If you are very patient and can deal with the text beyond the text, so to speak, you will like this book. If you are like me, you will not like this book, but you will be glad that you read it.
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Laurence Peter's self-proclaimed principle that "each person rises to their highest level of incompetence" only serves to demonstrate Peter's dislike for people and his own failure in life. It has been said that it takes no more than to read the first chapter of any book to determine whether or not the author likes people, meaning that the author is truly interested in telling a story, sharing facts regarding an issue or teaching a new-found knowledge to the reader. Peter on the other hand, begins assuming that people are inherently failures, and it is only a matter of time and effort before they become that. Peter's self-fulfilling prophesy, eeerrr, theory, is no better demonstrated than in his own book, the Peter Principle. It was the transition to his highest level of incompetence.
I would not recommend this book to anyone who believes in leadership, success, the trail and tribulations on the road to success and the richness and diversity of people and the endurance of the human spirit.
Napoleon Hill wrote in his book: Think and Grow Rich and I will paraphrase: The difference between those who are truly successful and those who are not is this, there are those who fail, fail and fail, then give up; they are the unsuccessful in life. Then there are those who fail, fail and fail, then get up; they are the truly successful. Unfortunately, Peter didn't realize the importance of encouraging people to succeed, instead he chose only to present the scenario that if you've done well, stop at that, you couldn't possibly get any better?!
I suggest to the Amazon.com readers to save their time and money from this book.
1) One half of the people you meet--that is every other person you meet--is below average.
2) Only 1/4 of the people you meet are really smart--those of the upper quartile--and in a democracy they will always be out voted.
Our hope is in that upper 25%, yet they will always be in a minority, with the lesser 75% of us misunderstanding them, or dragging them down.
Now you see how this book makes sense!
Keep in mind that a theory is only as good as it's data. Luckily, we can verify the Peter Principle rather easily. Just look around your workplace, and look at what goes on. You will see the Peter Principle in al it's glory.
A painfully true book!