This is, indeed, the most exhaustive modern biography of John Milton. The renowned critic Barbara Lewalski, as usual, offers the students and scholars of Milton an enchanting biographical masterpiece that both narrates and captures Milton's story and history from his early childhood "The childhood Strews the Man" to his last breath "Teach the every Soul". Mocking Samuel Johnson's theory on writing a biography, Lewalski, without eating, drinking, or living in social intercourse with Milton, has succeed in writing an impressive biography of Milton through, as she mockingly asserts, living in intellectual and artistic intercourse with Milton. Reading this book, to the surprise of Johnson, one will find him/herself eating, drinking, and living social intercourse with john Milton thanks to the scholarly talent of Barbara Lewlaski.

Through focusing on women writers of the Jacobean period, Barbara kiefer Lwalski celebrates the "resistance' that those women exposed not only to the patriarchal culture, but also to its misogyny and anti-feminism. Lewalski reads against many critics who see in the Jacobean women writing as a mere literary experience void of any political resistance and subversion. In fact, Lewalski's tendency to cultural materialism criticism has conspicuously influenced her critique of the women writing experience in the Jacobean era.

Ninety-nine percent of the people who buy this book will have no choice; it will be the required text for an undergraduate survey of British literature. They should know that while this is in many respects a fine book, it is misleading. I will offer a couple of examples based on my own specialization, 19th century literature.

The two volumes offer 15 pages on Sir Walter Scott, that is, 1/400th of the whole anthology, or 1/200th of the second volume. Yet Scott is, arguably, the most influential writer in English for the 19th century. No Scott - - no historical novel - - no War and Peace. The volume's ill-treatment of Scott extends to the selection of Scott's prose, namely the first chapter of The Heart of Midlothian. The story proper does not begin till chapter 2. I would advise a reader new to Scott to skip Chapter 1. What about printing one of Scott's short stories instead, "The Highland Widow" or "The Two Drovers"? If an excerpt must be used, what about the climax of Redgauntlet, with the dismissal of Bonnie Prince Charlie?

The editors and/or publishers have prepared a book they think will _sell lots of copies_. Be warned that this has dictated some distortions. Giving three times the space to Mary Wollstonecraft as to Scott is an example. No doubt Wollstonecraft is important for understanding the currents of sensibility of the age and the voice that feminists did have; but then, where are the hymns of Charles Wesley, taken up by innumerable British people? You need to know something about them if you are to understand the period. Leaving them out really does the reader a disservice.

Users of this book get an anthology that subtly distorts one's picture of the eras through which the selections move. Good luck to its users.

For some as-yet unknown reason, I feel compelled to defend the Norton Anthology against the various charges being brought against it here. So far, it's been accused of being a tool for "academically lazy" professors, [essentially] a superfluous moneygrubbing update, and something which (somehow) renders authors "boring." Another person feels that it's too poetry- and essay-heavy to be representative of the covered periods.

I'll confess that I don't really understand these accusations. It is both what it looks like and what it claims to be: 3,000 pages with as much bang for your literary buck as is possible. The only novels included are those which are exceedingly important and/or representative of a period... which is as it should be.

And frequent updates (which take place every few years -- hardly a serious issue for most people) are absolutely necessary. A static canon would be boring, and likely would leave scholars with nothing to do. I, for one, am happy with the authors added in the seventh edition.

It's an outstanding introduction to two centuries of English lit.

Of course as a student one is bound to hesitate before spending fifty quid on a book, but this one is absolutely worth ist. Abrams and Greenblatt have not just gathered what is indispensable in English literature; the Norton Anthology features brilliant introductions and short biographies, which are concise and readable. All the works presented are scrupulously annotated. And finally the reader gets suggestions for further reading which really help.

There may be a bias towards poetry and high literature in the selection. Poetry, however, is the only genre in which an anthology of this size can give you almost everything you want to know. Individual edititons of classic novels or plays, however, are a lot easier to get hold of than books of poetry, so I feel the editors' choice is fully justified. You will find yourself turn back to the Norton Anthology even long after you have finished college; it is a book that opens up new worlds.