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I first came upon this wonderful book as a Senior at the University of Minnesota in 1984. My senior thesis was a study of Anglo-French Diplomacy during the Napoleonic period, and I find this book to be a wonderful source of information, not only information concerning the History of the Guard, but also more generalized history of the period itself.
This book, as stated, has a fabulous collection of artwork from the Anne Brown Collection at Brown U., and also does a wonderful job getting down to the nitty gritty concerning the Marshals, the Campaigns, the Politics of the Period, etc. Commandant LaChouque leaves no stone unturned in this hugely successful documentary on the Era.
The fact that this book centers the majority of its attention on Napoleon's Guard specifically is especially attractive to me since even now with the advent of the Internet it's still a bit of a tooth pull to get so complete an analysis of the history of one of the most courageous, loyal and dedicated organizations of professional soldiers the world has ever seen...La Garde Imperiale! These hardcore heroes richly deserve to be remembered, and this book does their memory ultimate honor.
The day I lost my original copy of this book was a sad one, and I'm very pleased I have now had, thanks to Amazon.Com, the opportunity to get a replacement. I most highly recommend this book for any gung-ho student of Napoleonic History...Vive L'Empereur!
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Written in the 20s, John Brown's Body redefines the word ananchronism. Its contemporaries are The Great Gatsby, The Sun Also Rises, and Their Eyes Were Watching God. Professors widely praise these modern works for their groundbreaking aesthetics, and not without justification. However, it's hard to imagine a more daring or daunting task than the writing of John Brown's Body. Never mind the fact that he pulled it off marvelously. Stephen Vincent Benet remains the only writer to have even _attempted_ to write an American epic poem. Stephen Vincent Benet deserves high scores both for degree of difficulty and final product. Yet conventional education regarding 20th century American books never seems to give him these high marks.
Why Benet and his book don't get the recognition they merit is a terrific question. Is his book canonically superior to Gatsby and Their Eyes? No. And on some level, it's difficult to see what someone living in Taiwan could glean from this document of American struggle and triumph. To wit, the book can also be criticized for being slightly skewed toward a Yankee perspective. But as a whole, the book is outright better than a lot of works revered as American classics.
What does better mean? What it should mean. Simply a more impressive work of art. More entertaining. More provactive. More fun to read. More intellectual depth, conveyed subtly and beautifully, embedded skillfully but not invisibly in an absorbing tale. On these counts, John Brown's Body is vastly superior to classics like The Sun Also Rises; The USA series of John Dos Passos; Babbitt by Sinclair Lewis; and certainly Hawthorne's later novels. Yet John Brown's Body continues to get short shrift, to the point where it's well nigh unfindable in many a book store. One can only hope that the critics and canon-makers of later generations restore the book to its proper place, high atop our shining history of American letters.
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Page after page of doodles and notes that blow political correctness out of the water, and made me laugh out loud. This product is fall down funny.
Again, a classic that is out of print. Shame, shame, shame.
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His allusions and images are strained; his words pathetically romantic and sentimental; and the story of Evangeline barely tracks the actual events of 1755. All of the charges are true, yet much of value remains in the poem. The poet recognized instantly a crime against humanity when he first heard the tale, and he had the talent, drive, and fortitude to create this vehicle to memorialize the sad story of star crossed lovers, families, and communities divided and exiled from their adored homeland.
That a heart could be committed to a lifetime of wandering in search of a lost love seems archaic to the sophisticates of the twenty-first century, but I believe it possible, even today.
I read the poem - aloud and silently - and the beat of the accents, like operatic arias, added to the the sorrow of the sentimental story. I recommend this poem to parents who love to read aloud to their children. I'm sure that Evangeline and her beloved Gabriel have the power still to stir the hearts of the young - and of the readers, too.
A very useful notes section offsets an overly wordy foreword. I found it easy to find and reference words and phrases no longer in common use.
Read it aloud to your early adolescent sons and daughters and to your love. You'll be happy you did.
When my father went to New Orleans, I asked him to bring me something back. He brought back a copy of this poem. It was required reading for my parents growing up - I had never heard of it.
I confess I was probably hesitant when I sat down to read it. But in no time I was hooked. The poetic language is perfectly styled to slowly tell the tale of two Acadian lovers doomed by the path of Acadian history to separate lives. Reading this poem is like suckling slowly on a sweet nectar under the gently rustling leaves of an oak on the side of a gently flowing river. If this sounds appealing to you, then you will enjoy this poem.
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Keats, Ezra. John Henry: An American Legend. Toronto, Canada: Random House, Inc, 1965.
John Henry, written and illustrated by Ezra Jack Keats, tells the story of a fictitious American legend. Through the powerful illustrations, Keats portrays John Henry as a heroic man with much importance in society. Keats uses bold colors throughout the story, which help stimulate the reader's emotions. John Henry's importance is first revealed in the opening of the story. Unusual, marbalized paper illustrations accompany the words that tell of the night noises welcoming John Henry into the world. Even as a newborn child, he is the focus of the story, taking up an entire page in the book. When John Henry realizes his own strength, he makes the decision to leave his family and go out into the world. The illustration during this part of the story shows that a change is because of the bright colors and the image of waves rolling into the next page. When a storm strikes, John Henry's first act of bravery comes into play. Black and grey colors give a feeling that things are not quite right. The storm nearly causes a ship to sink, but John Henry is able to gain respect and admiration from others by bringing their ship to safety. John Henry, who was born with a hammer in his hand, feels called to go help build railroads. The illustration of him helping with the railroad tracks is much different thtn the other illustrations because John Henry is not the center of attention. Perhaps the reason for this is because helping build the railroad with a hammer in his hand is where John Henry belongs. Henry's next opportunity to be the hero occurrs when a lit fuse burns closely to dynamite in a cave, causing a very dangerous situation. Trying to put out the fuse, John Henry first trips and falls, but recovers by putting out the flame with his hammer. In this illustration, the hammer takes up and entire page! This shows that the hammer and John Henry are of equal importance; without his hammer, he is only an ordianry man. After proving himself to be a hero, John Henry develops a feeling of much confidence in himself. When told about an extremely powerful steam drill, John Henry states that he is more powerful and can drill more holes faster than six men combined. The illustrations of Henry's "race" with the machine are very effective in portraying motion. The hammer appears to be moving so fast that it becomes almost a blur. The pictures show how tired John Henry is becoming, and eventhough the steam drill is ahead of him at one point, he continues to work harder and faster. With much determination, John Henry picks up another hammer so that he can get twice as much done. In this illustration, John Henry and the two hammers take up two pages. Keats uses a bright orange color to offset Henry and the hammers. The bright color gives a feeling of excitement and makes the reader feel confident that John Henry can beat the steam machine. Througout John Henry's battle with the machine, people watch with admiration. John Henry continued to hammer, even after the steam machine collapsed. His goal was to break through the tunnel and when light began to shine through, everyone saw that his goal was reached. With hard work and determination, John Henry once again proved himself to be a hero. He died while walking out of the tunnel, carrying not one, but two hammers.
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