It is seductive to read Anne Michaels' collected poems as a companion piece to her breath-taking debut novel 'Fugitive Pieces', a fictionialised first-hand account of a young poet who learns how to articulate the horror of his family's past and find redemption though language and the love of a woman. The novel's protagonist writes poems about the persistence of memory, the burden of surviving the Holocaust, and the need for human connection, and a number of poems in this volume explore similar themes. As in 'Fugitive Pieces', Michaels also draws upon her impressive understanding of disparate disciplines including Antarctic exploration, music, geology and mathematics, to make her points. It is as if she has penned a small encyclopedia.

I know of no encyclopedia that can match Michael's liquid turn of phrase, however. Michaels' words fill one's mouth like cold plums: they have a crisp earthy simplicity yet gloriously ooze at the bite.

The underlying theme of many of the poems, as in 'Fugitive Pieces', is the struggle to accept the absurdity of the human condition: the manner in which we are nourished by love, and crave it, yet are inevitably crippled by it when a loved one dies. As Michaels writes in the poem 'Memorium': "The dead leave us starving with mouths full of love...We are orphaned, one by one".

The verse which comprise 'Poems' were originally published in three separate volumes over the space of 13 years, and Michaels has clearly developed her voice in this time. While the earlier poems of 'The Weight of Oranges' are taught and linear, there is something less hurried about the latter poems of 'Skin Divers'. One experiences the sublime sustained pause between the black marks on her page, which contributes depth to her lyric (to coin a musical metaphor which Michaels might well appreciate given her fascination with the piano and the secrets which its playing reveals). The difference between the earlier poems and the latter can be explained by the poet's confidence to dwell a little longer in the image, to explore its possibilities, and to play with cadence and sound.

Each of the poems share, however, Michaels' admirable ability to make the everyday remarkable. She writes of salt, stone and peat, and of mistaking the sea for the sky (in the poem 'Near Ashdod'), yet enables these objects to articulate the yearnings of the human heart. At other times, she finds words and images to articulate the extraordinary - the horrific and ethereal - in terms with which the reader can readily identify. Thus we come to know the psychological scars of a Holocaust survivor and the mind of a Nobel Prize winning physicist mourning her husband. Michaels brings alive events and people - poets, writers, painters, and mathematicians - who have long been dead and makes them breathe again. It is for this reason that I asked my History students to read 'Fugitive Pieces', and will have no hestitation in recommending that they delve into Anne Michaels' book of Poems.

Are you from America? Do you think that the Backstreet Boys aren't really a boy band but a vocal group? Well, here's a new vocal group from Ireland worth knowing about. Here's the 411 on them: They can all sing, for real. They are definitely cute. BSB is one of their bigget musical inspirations, and their songs definitely show it. Although they only released 1 album in the US, the lads are soon coming here to conquer America. If you're a fan who wants to know more upclose and personal stuff regarding Mark, Nicky, Bryan, Shane, and/or Kian, this is a nice collector's item to have with fabulous pics of the guys.

I found parts of this book quite interesting, especially the parts taking place in Greece.

About two-thirds the way through, I suddenly found myself reading without the book making sense. I had to ask someone else who was reading the book at the same time, if she was as confused as I was. My friend explained that they had changed characters. I went back and re-read, but still found the trasition from one character's story to another very unclear. I felt annoyed and disappointed, as I had become involved in the first character's story, and I never did come to care about the second character.

Overall, this book did have some interesting passages. But I'm afraid I personally found the book far too "literary" in style, and very confusing. I am a professional person with a Master's Degree, yet this book made me feel really stupid. I felt confused and lost as to what was happening, and it was a real struggle for me to finish the book after the author switched characters.

In order to appreciate this book you have to surrender to it and let its poetry wash over you. It takes some time to build up, but if you let it, it will move you with its very unique images. The structure is rather unusual: for instance, you might be given a description of the banks of a river in Canada, strange in that artifacts of daily living such as knifes and spoons and dishes are imbedded in its banks. Only later does the reader understand the significance of this description when he or she reads about the flood that almost killed one of the main characters.

No other book that I've read provides such a sense of the dead--all those who once lived on earth and now are deep within the bogs, at the bottoms of the sea, in mass graves, in archaeological sites--to be dug up and remembered by the archaeologists who are like priests of memory. This book is really about memory and how we owe it to the dead to remember them: Jacob remembers his beloved sister Bella who died in the Holocaust; Athos remembers the dead of the excavated city Biskupin in Polland where he rescued Jacob; Jacob finishes Athos' work as a way to honor his memory and the learning he imparted; Ben remembers Jacob and his poetry and finds in his poetry and journals answers to his profoundest dilemmas.

We numb ourselves to atrocities such as the Holocaust because the horror is so great; but books like this help us remember and pay homage to those who suffered. It's a beautiful book even though the structure is flawed and the language not always perfection. Still, it's superior to 95% of what's on the market.

I agreed with all other 5 star reviews, can hardly improve on their reviews, but absolutely disagreed with "audubon" and any less than 4 stars. What answer could any therapy possibly provide to the Holocaust and all its generational victims? Haven't you ever experienced the deeply healing and redemptive power of new love? I too, underlined so much, rewrote so much in my reader's journal, and just recommended this book as my latest "bible" to my entire e-mail family during a round-robin theological/philosophical debate we are having. I stared at Ms. Michaels' picture over and over, so impressed I was that a woman so young can know so much and be so wise in such exquisitely poetic prose that I could read her over and over if stranded on Zakynthos--I haven't yet had the pleasure of visiting after my 3 weeks in Greece. I hope she writes again, and put her right up there with my last latest weeper, Louise Erdrich's, Tales of Burning Love--not just Erdrich's story, but also her writing. Now I have to get Michaels' poetry. Deserved her First Novel award for every well-crafted word and sentence. (My first on-line book review, I was so moved and motivated to read others' responses since no one in my circle has yet discovered her, and to share my delight and astonishment with other appreciators.)

The Presidency and the Political Stream is a collection of twenty essays edited by Michael Nelson, who is a professor at Rhodes College. Each chapter explores a different aspect of the relationship between the presidency and the U.S. political system. This book is recommended to serious scholars of the U.S. presidency.

This book was required for a Ph.D. course I'm attending at the University of Alabama. Trust me I do not read these books for fun.

This book is a set of articles which are all on, you guessed it, the presidency and also the executive branch of the US government.

I'm a Poli Sci Ph.D. and I think this is dull, so I would tell everyone to only read this book if you are forced to!

This is a collection of essays on the presidency. It doesn't look like an interesting book, but many of the pieces are in fact quite interesting. The book covers many different aspects of the presidency, and one can learn a lot merely by reading this book. Although it is definitely an academic book, it is not so dry that it cannot be read by those that are not involved with academics.

These are supposed to be reviews of Viewpoints, the book about Bogart's technique. Some of you are reviewing A Director Prepares (which I recommend more). Don't get mixed up. They're very different texts.

Having been introduced to the concept of "Viewpoints" in a weekend directing workshop, I was eager to read more about it. After reading this book, I know less about "Viewpoints" than before I started. If you're looking for an insight into how Anne Bogart works (and she very well may be very talented - I don't know, as I've never seen one of her productions) you won't find it here. There is much discussion about "the Viewpoints" and referrences to "the Viewpoints" and even definitions of "the Viewpoints", but as far as what Anne Bogart does WITH "the Viewpoints" I have no idea. One reviewer is correct - this book is a love story, written by people who think that Anne Bogart is the Messiah of Modern, er Postmodern Theatre. If you're looking to join in the lovefest, by all means, sign up. If you're looking for insights into how to work "the Viewpoints" into your work...you'll be disappointed.

I hadn't intended to respond, but when I read the review below I felt I must try to explain NY reader's misconception about Anne Bogart and her attitude toward the audience. In the opening essay of this book, Bogart retells one of her first experiences with the theatre: she was fifteen years old, and she attended a production of Macbeth at the Trinity Repertory Company in Providence, Rhode Island. She writes that she was confused and disoriented by the language and staging, but that she left the theatre with a realization that she follows to this day: "Never talk down to the audience. It was immediately clear to me that the experience of theatre was not about us understanding the meaning of the play or the significance of the staging." Instead, she was able to experience the play "directly, in a visceral and fantastic manner."

So, yes... Bogart does insinuate that the audience won't understand every play she directs--but she doesn't say this contemptuously. Even now, Bogart admits that she is often confused by productions she sees, and she writes that this feeling of confronting the unexpected and confusing is essential to quality theatre. She acknowledges that not everyone in the audience will understand because not every human can understand everything; indeed, not even one human can understand everything.

The opportunity to reach beyond your boundaries, to traverse places where you aren't entirely comfortable--that is one of the greatest assets of the theatre. And that devotion to the challenge of understanding characterizes every aspect of Anne Bogart's work. Bogart is an intelligent, creative, talented director--and this book is an excellent introduction to her poignant process.

Twister is a bad movie with a horrible horrible plot that adds up to nothing. It's about a couple of tornado chasers that fall in love. Ever so dumb plot. The only thing that makes me give this movie two whole stars is the special effects (although the movie deserves only one). Special effects are great in this movie. If your a no plot special effects freak (buff), then you would love this horrible movie Twister. Rated PG-13: for language, and scenes of tornado damage

Pretty good screenplay to a pretty good movie. Interesting fact: this isn't the final version of the screenplay that was used in the movie. In fact, there are a lot of differences. But simply put: if you like Crichton's novels you will like this one, as it features more of his trademark realistic science and suspense. However, the plot is somewhat cliche, and the ending is pretty weak, and that's why I give it 4 stars.

Imagine a cyclone of dirt, stone, and just about anythingthat's nailed down is ripping through the road right in front of yourcar.

That's exactly what Michael Crichton and wife, Anne-Marie Martin, imagined when they wrote this screenplay called TWISTER.

An exciting story about two competing teams of scientists who try to place a special sensor pack into a tornado during a day of endless twisters.

The story is pretty much set aside in favor of exciting action sequences and a humorous romance between the two main characters. But it's still quite a bit of fun.

This is the couple's original draft of the script, made interesting because of it's numerous differences from the final film. The main plot is almost exactly the same, but dialogue, supporting characters, and a great many smaller details will be new to readers who enjoyed the movie.

The book also features an informative intro by Crichton detailing the conception and writting of the script.

So, whether you're a fan of the movie or a fan of Crichton, I'd definately have to give this book a strong recomendation.

And be sure to look out for that cow.

Imagine being handed over to the torture of being boiled in a cauldron of gold by your father. Azriel went through this in Anne Rice's The Servant of the Bones. This is a story told by the spirit from ancient Babylon. Azriel has been condemned to being the Servant of the Bones for all eternity. After defeating his strongest master, Gregory Belkin, Azriel goes to the mountain to find Johnathan, a college professor hiding from reality. Once he finds Johnathan, he insists on sharing his entire life story from before his horrible death , to his life with his two favorite masters Zurvan, and Samuel of Strasborough. He then tells in great detail how he defeated his strongest master, and became a free spirit. This book has a slow beginning, then it works it's way into a compelling story of one spirits fight to freedom. Anne Rice does a magnificent job bringing her spirits to life and telling details of their past, and present situations. I recommend this book to anyone who likes thrillers, suspense or even drama; there's a bit of each in this masterpiece.

I am very young, and I love books. Anne Rice is my favorite, and is a god-send to book readers. Her latest tale is about a ghost, phantom, whathave you, Azriel. He tells a gripping story about the gods of Babylonain, and how he was chosen by the god, Marduk. It is a very well paced, and thought out plot, that leaves the reader gasping for more. I hope that this will become a trilogy, for it is superbly written and gripping. The only complaint that I have, is that she goes on and on about the scenery and what he's thinking, and she's thinking. Well, that's a very minor flaw, and I tried my best to find another, but to no avail!!!! Hurray for Mrs.Rice, for she is the best writer of our time. -Ben Petiprin, age 13.

This is another great masterpiece by my favorite author, Anne Rice. Again, she weaves a world rich with life and death, joy and sorrow.

Azriel is the main narrator of this heart wrenching tale. A story that begins in our time line, taking us back through Ancient Babylonian time and ending in modern day New York City. Azriel tells us of his days as a Hebrew mortal, and his time as Servant of the Bones. A genie if you will, but not exactly. A gentle born Hebrew who was forced to make the ultimate sacrifice to save his people. Refusal would have meant that death would surely flow. Azriel would be forsaken and than deceived. Living from one master to the next, Azriel does their bidding until becoming his own master, controller of his own great power.

Asleep for centuries, Azriel is awakened to witness a horrific murder. Unbeknownst to him, he would take action that would change the future of mankind. Who is this Servant of the Bones, who was created out of madness, with the purpose to serve evil?

Contrary to the opinion of most reviewers, this is an excellent story. This is TYPICAL Anne Rice, but even better. I recommend this book immensely. You will be bewitched.

Derrida, the renowned French postmodernist and author of, among other things, "Writing and Difference", is at it again in his latest effort, "Adieu to Emmanuel Levinas." His work is designed to cast great doubt on the classical notions of truth, reality, meaning, and knowledge. The goal is reprehensible, but Derrida can usually pull it off. "Adieu to Emmanuel Levinas" is thus a major disappointment to all those fans of outmoded deconstructionist French philosophers. The book suffers from being far too personal, and lacks detail. Anecdotes abound, but they are, in toto, not particularly interesting or helpful ones, mostly along the lines of childhood vacations to the beach and the like. As for the few attempts Derrida makes to actually deal with PHILOSOPHY, detail is sorely lacking. When a reader comes upon phrases like "the hermeneutics of orangutans," he/she really deserves to have some idea what the author is talking about. Sometimes you just want to read about eschatalogical polemics or signifier/signified interrelations, but you won't find that here. Seen in this, or any other light, "Adieu to Emmanuel Levinas" falls pancake-flat. Spend your money on something that makes sense to somebody other than the author. I am sad now and it is Jaques Derrida's fault.

Contrary to an above reviewer of this book, Derrida's project is not "designed to cast great doubt on the classical notions of truth, reality, meaning, and knowledge." Especially not in Derrida's writings of the last 15 years, following his so-called "ethical" or "religious" turn. This volume includes two essays, "Adieu to Emmanuel Levinas" and "A Word of Welcome." The former is the eulogy Derrida gave at Levinas's burial, and the latter is an excellent analaysis of Levinas's ethics in the terms of "hospitality." Valuable for anyone interested in Levinas, recent developments in ethics, or Derrida's later philosophy.

This book is not really three essays. It is three lectures. For Derrida, this is a big difference. Derrida is both a brilliant writer and a brilliant lecturer, but his lectures don't read that well. I think its admirable that publishers are making so much of Derrida's material available, but this book is inferior to much of the rest of Derrida's available work (such as: Margins of Philosophy, Glas, Of Spirit, ...) This book is really only for those who have worked their way through at least a couple of Derrida's other books.

...well, I'd say read Jon Krakauer's Into Thin Air. Or even Boukreev's The Climb or David Brashears High Exposure. I thought this book would be interesting because it's a different summit and a female climber. It does move at a brisk pace but it's definitely not up to par with the other titles.

To be fair, Kocour is not a professional writer. And while her interment on Denali might have been suspenseful for her, considering most of it was spent tentbound in a blizzard where she never appears to be in real danger there's not a lot going on for the reader. She is also (as other reviewers have observed) rather ungenerous towards her fellow climbers. Even her tentmate, the only one she seemed to get along with, gets described as "pleasant to look at, though not particularly handsome." And despite the assistance of a professional writer, some of the wording is awkward bordering on hilarious. Example: on complimenting one of her guides upon reaching the summit, she calls him "a tribute to his family's storied mountaineering history." Who talks like this-hands? Her ethnic stereotyping of some Korean climbers is also tiresome.

Still, it's an easy read and it does have some interesting detail about Denali and climbing in the death zone. And it's one of the few mountaineering books that I've seen written by a woman. So, read at your discretion.

Both my wife and I read this book in almost one sitting; it was very compelling. Her descriptions of the cold, the storm, and her relationships with the other climbers were right-on. This is the world of climbing as it exists today, and it gives excellent insite into the high-mountain disasters of recent history. I've climbed over 100 mountains higher than 11,000 feet--several of which were winter ascents and required technical ability. I'm not a professional mountain climber and I've never hired a guide. But I probably will hire a guide some day. To put this book down because the author isn't a full-time mountain climber is weak. I have a professional life outside of mountain climbing. That's the reality of modern climbing--is my experiance somehow less authentic because of that? This author was there, her writing is compelling, I enjoyed it immensely!

This was a real page turner. AND it came as close to an explanation I expect I'll ever get, as to why anyone would want to climb a mountain in the first place. The descriptions are terrific. The author sees with an artisit's eye and captures for the reader the raw beauty of Denali. She also captures the feel of the elements. Reading late into the night, I went out to walk my dog in a down parka, hat, gloves, etc....and folks, I live in California where it was 54 degrees outside. Ah, the power of the written word. This is a very different approach to climbing than portrayed by Krakauer's book, very team oriented. I never would have read either book, except I have a friend who climbs and have been trying to understand why for years, Kocour's book helped me do that whereas Krakauer's made me think I should reevaluate my friend's sanity. I am glad that I read both, but I think FACING THE EXTREME has by far the most to offer.