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There isn't a cliché or hackneyed phrase in the whole book. If you didn't like rainy weather, you will now. You will embrace not only rain, but thunder, lightening, rainbows, puddles, fog, galoshes, wind, drizzle, and clouds.
I am amazed at Audrey's freshness. Take lines like "Churning clouds with heavy eyebrows brush the hills at daybreak...." What an original appropriate metaphor.
"Storm Concert" is spectacular with its comparison to the philharmonic, no reaching for comparisons, no grappling for simile, all of it falls into place so smoothly that it fits like your skin. It is never jarring, never overwritten, never self conscious.
One of the best lines in the whole book is in "Rainy Windows." At the very end. The poem reads; "In the car on a rainy day, the blip-blap, blip-blap of windshield wipers makes everything outside blurry and soft-edged, like dreams just after waking."
LIKE DREAMS JUST AFTER WAKING! Blurry and soft edged. Captured exactly. A powerful line.
In "Thief" we have the storm man slipping through the night with a bag of rain on his shoulder . . . lightning flashes from his fingers!
It is difficult to sell a BOOK of poetry. It is close to impossible if you are a new author and don't have a huge track record. So this is a coup, and it is fine to realize someone is out there sniffing out quality in a publishing world that usually looks for more of the same thing. If it sells in pink, do it in blue.
My only regret is the book has illustrations. I don't like to be told, especially with poetry, what to imagine. I want the words themselves to create the pictures in my mind. Illustrations of poems are interference in our creativity and imagination. Any illustrations. And I found some of these illustrations pedestrian. When you read, you can move away from annoying noises, fighting neighbors, unpleasant scenery, to the quiet of your own hearth or atelier. But you can't move away from annoying pictures in a book-you have to take them with you. That is unfair.
But the heart of the beast is in the poem. And the heart of the poem is Audrey.
About the Author: Judy Delton has published over two hundred books with Dell, Harper, Houghton Mifflin, Doubleday, Dutton, Harcourt, Hyperion, Disney and others. Her Pee Wee Scout series has sold over 7.5 million, and has just come out in Turkish, and in Braille. She has two new novels out with Houghton Mifflin, and regularly publishes a plethora of essays, articles, and literary criticism.
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If you needed any further confirmation that Kennedy is a scholar with a puckish sense of humor and a droll wit, you get it at the beginning of his "Note on Names," where he wryly observes that, "Like the naming of cats, the naming of Crusader castles is a complicated problem." Kennedy's writing voice conjures to mind images of a cozy library in some great English country house, where your host relaxes in a satin smoking jacket while both of you swirl brandy in your snifters and discourse about the comparative merits of crumbling castles on the western fringes of Asia. The book's first chapter - a survey of the development of Crusader castle studies from the mid-nineteenth century to the present - beautifully encapsulates Kennedy's discursive style and story-telling skills. "[Emmanuel Guillaume] Rey's life is something of a mystery," he muses, and you want to lean forward from your chair on the opposite side of the fireplace and say, "Tell me more." And he does, with an notable eye for the memorable quote, such as T.E. Lawrence's ironic complaint, while traveling around the Levant in 1909, that he was unable to reach Amman owing to "the unthinking activity of some local Bedawin in tearing up the Hejaz railway."
In form, the book consists of a generally chronological survey of the development of the Crusader castle, with individual chapters on siege warfare and the special features of (respectively) the castles of Templars, Teutonic knights, Hospitallers, and the Muslim princes. Another sign of Kennedy's passionate engagement with this project is the fact that he took all of the 90-some color and black-and-white photographs that illustrate the book himself. (There are also another two dozen plans, sketches, and prints illustrating the text.)
The photographs, together with Kennedy's text, cover not only the well-known structures like Krak des Chevaliers, Belvoir, Saone, and Montfort, but will also introduce you to a fascinating collection of lesser-known castles. Among these are the great Hospitaller citadel of Marqat, near the Syrian coast; the two castles overlooking ancient Petra; and - most curious of all - the cave-castle of al-Halbis Jaldak overlooking the Yarmuk River valley, the subject of a siege memorably described by the twelfth-century historian William of Tyre (which Kennedy helpfully quotes in its entirety). Kennedy's enthusiasm also extends to the humbler fortified towers of the lesser Latin nobility.
Kennedy's secret is plainly that he is both a scholar and a romantic - as anyone who wishes to write effectively about the Crusades should probably be. Let me close this review by quoting his own explanation for his enterprise in producing this book:
"There is something fascinating and frequently moving about forlorn and failed enterprises, those 'old, forgotten far-off things and battles long ago,' however perverse they may now seem. It is impossible for me to stand on the windswept battlements of Crac des Cevaliers, climb to the remote crags of the fortress overlooking Petra or explore the magical stillness of the deserted valley by Bourzey, without feeling a potent mixture of admiration and nostalgia which breathes excitement and emotional commitment into scholarship."
This book can be enthusiastically recommended to history buffs and armchair travelers, as well as to those with a more scholarly basis for their interest.
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I liked this book, and if I could I would give it 3.5 stars, but I didn't love it as some do. The second book is much better but you really must read the first book first. I recommend this to anyone, even women like myself.
As for the characters themselves, Jack Aubrey is the ingratiatingly sanguineous and impulsive Commander of H.M.S. Sophie who's impolitic and indiscrete shoreside antics continually taint his otherwise brilliant nautical career. Counterbalancing Aubrey is H.M.S. Sophie's surgeon, the eminent Dr. Steven Maturin who is possessed of a wonderfully melancholic and self-abusive nature. Both protaginists are made all the more fascinating for their individual peccadillos. In Master and Commander, Aubrey and Maturin embark on a series of lively adventures, which take place on both the land and the sea. The result of these increasingly enthralling encounters is the open revelation of their particular strengths along with the uncompromisng exposure of their peculiar weaknesses. Meanwhile, a solid foundation is laid for what becomes, in subsequent books, perhaps one of the most intriguing friendships in all of literature.
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