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For getting around, lodging and day-to-day needs, the book is superb (although upon arrival, you will also want to buy one of locally published "In Your Pocket" guides - these remarkable and inexpensive magazines are in the league of their own).
Unless you already know a lot about the history and spirit of the Baltic states, you may long for some more pictures and articles where timetables and opening times are NOT mentioned. In this case, Baltic States by Insight Guides can be recommended as a supplement - but by no means as a substitute.
The Baltic countries, which do not have a streamlined and shrink-wrapped tourist industry, are a destination where a Lonely Planet guide is needed, whatever your budget. Lithuania, Latvia and Estonia are friendly and well-developed, but even premium-paying customers can seldom expect to be steered through their holiday or business trip without a bit of understanding how things work. This book is a perfect tool fitting this purpose.
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Paradise Lost can be a difficult read. Personally, I could never get round to comitting myself to the book, but this reading really brings it to life, and is well worth spending the time and money. Milton creates many wonderous and fantastical images and characters. Satan is shown as a tragic hero, tormented by the innocence of Adam and Eve, and prompted to revenge. Milton actually uses his characters to play 'devil's advocate' (literally!) by asking many paradoxical questions of the biblical story. Considering this book was first printed at the height of the witchcraft paranoia of the seventeenth century, it's amazing he managed to get away with it.
Full of allegory and layers of meaning, this is a CD set you can enjoy again and again.
Anyway, despite the date of publication (1962) which leaves the commentary a little outdated, in that it doesn't really address Stanley Fish or Joseph Wittreich or some other big Milton scholars' recent contributions to the subject, this edition is great, for beginning milton readers and more advanced alike. The introduction and footnotes are among the most complete available anywhere with good references to hebrew, classical, and other motifs within the poem. It addresses the ptolemic vs. copernican debate (sun round earth or earth round sun) and Milton's astronomy in some depth in the introduction, maybe beyond what will be interesting until you've finished the poem.
A timeless edition, I would say, which is why its still popular after 40 years, much better than the penguin classic edition.
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The book itself is filled with stories and lovely photographs of the quilts. All the quilts are hand-stitched, of course. I couldn't imagine anyone creating such beauty with a needle and thread.
I am so happy I pre-ordered the book from Amazon. It will be a prized part of my collection.
List price: $16.95 (that's 30% off!)
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Collectible price: $19.06
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What do you get when you take a young gang member out of France, put him in rigorous training of both the body and the mind in Zen without the morality, and then drop him in the middle of a war that goes bad?
You get the Whirlwind. And the voice of the Whirlwind calls to our hero across death, across 15 years of lost memory, across cultures.
Because those who sow the Wind will reap the Whirlwind, our hero is caught up in the events of a past life (his), that tears apart the current life he is trying to build.
As the reader and our hero uncover the mystery of his past life, the story builds to an inevitable conclusion.
We learn philosophy, and the trap of only getting selected pieces of philosophy. We learn what one must do to survive.
And we enjoy the book immensely.
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Williams offers up a tale much less familiar. He introduces us to Clifford Pepperidge, a gay, black, American jazz musician who spends a dozen years incarcerated in Dachau prison, one of the many labeled undesirables who were captured as the Nazis rose to power. While other prisoners suffer the misery of prison barracks and captor abuse, Clifford sits in the comfortable home of a gay Nazi officer and his bovine German wife. There as a servant, Pepperidge allows himself to be used sexually and musically by both husband and wife, the price of survival. In his daily interaction with other prisoners he sees that good men, those with the character and ethics to stand up for their fellows, rarely survive long. It is those who capitulate, who sink down into the muck, who lose their humanity who will endure.
Williams provides us with a fascinating picture of how people react to power and influence, even when it clearly is evil. We see the German burger who blinds himself to the fate of those caught up in the hungry trap of Nazism. The German officer who grasps at every opportunity to accumulate wealth and power. The many who stumbled forward in step with a horror that grows ever larger and more malignant. Where Singer presents a picture of people desperately trying to hold onto their hopes and dreams even in the face of rising oppression, Williams shows us the convolutions that strip away humanity in both victim and oppressor.
The writing is strong, and Williams clearly took the time to do the necesary research to bring his story to life. Richly developed characters hold the reader's interest. It is not a book to be quickly forgotten. Williams holds a mirror up and asks us to look at ourselves and think about how we can be shaped and influenced by people and events. His darkside tale underscores the possibility of our own tumble in inhumanity and evil.
John A. Williams has crafted here a story so compelling, so engrossing in its depiction of life lived on a razor's edge, that you loathe putting it down; you may feel chills when you've finished it. It's that disturbing, and that good. CLIFFORD'S BLUES affirms that Williams retains his gifts (fresh as ever in his mid-70s!) and mastery of his craft.
Clifford Pepperidge is triple-crossed: condemned as "decadent" - for being American Negro, jazz musician, and active homosexual (especially impolitic when he's caught in bed with a prominent white man) - and interned "indefinitely" in a German concentration camp by Nazidom as it rises to power in the early 1930s.
This is a historical possibility we'd not thought of. Yet Williams, no stranger to historical fiction (see, for example, his novel CAPTAIN BLACKMAN), footnotes his text with incidences of real life black jazz musicians detained by the Nazis prior to the outbreak of World War II; I'd never heard about this.
John A. Williams has been publishing books, mostly novels, over 40 years. His heroes have tended to be "manly" black men: uncompromising, heterosexual, hard-loving, hard-drinking and cigarette-smoking urbane sophisticates. I've always taken them to be stand-ins for the author himself; perhaps they represent the image of manliness of a day not quite gone by.
Stepping out of his usual bounds and into Clifford's skin, however, Williams exhibits an even greater sense of manhood, an empathetic virility. Clifford may not fathom how he managed to get himself into such a mess, but he doesn't make excuses. He's as resolute about his sexuality as his racial and artistic makeup, though all combine to make him particularly alienated - and vulnerable - as he faces down brutal imprisonment with other Nazi-dictated "undesirables" (Communists, gays, Jehovah's Witnesses, Jews and gypsies) for twelve long years. He lives to see, almost veritably, the walls of his dungeon shake, practical escape, the possible passing on of his testimony - but at what cost?
I can say, with modesty and with pride, that I've read all John A. Williams' published novels. This is, for my money, his most powerful, arguably his greatest book since THE MAN WHO CRIED I AM.
Williams has always been a thinking person's writer and a darn good storyteller. In this extremely well written and deeply felt book he's rendered the poignant story of a character he made me truly care about. Clifford Pepperidge could be the long-feared-lost-or-dead relative whose tattered diary of surviving hell on earth has just been plopped down in your living room. How can you embrace all of what he's been through? What if it were you? The really eerie question is that, given history, or the record of human events, it's apparent that no one has a corner on inhumane depravity - we're each just as likely or capable of being captor or captive when, if, we allow a new holocaust. But when you look in the mirror, do you recognize the humanity within and extending beyond yourself? Will we remember?
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Just studying these lists and learning new strategies has raised my score significantly.
There are also a lot of puzzles which I'll tackle next. Good for anyone interested in improving thier score.
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Hobson makes his admiration of Waterhouse's paintings obvious. This makes the book a very enjoyable read. It is a wonderful introduction to Waterhouse's work. Hobson spends a lot of time discussing paintings--this is something that is too often forgotten in art history texts. He identifies aspects of Waterhouse's compositions that help make his paintings outstanding. He describes the literary sources of Waterhouse's subjects. He mentions the artists who influenced Waterhouse's style. The essays are clear and well-organized. Anyone who is interested in Waterhouse's work should read this book.
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