Rilke's "Duino Elegies" form one of the most perfect collections of lyric poetry you can ever hope to get your hands on. Unfortunately for the David Young translation, however, there is much less Rilke than there ought to be; a series of strange decisions on Young's part casts a shadow over even the brighter moments of his rendering of this masterpiece.

For example, Rilke was a genius at enjambment; that is, he was a master at placing his most important words at the very end or very beginning of a line, in order to highlight them. Think of the first line, which ends with "Engel," splitting it from the first word of the next line, "Ordnungen." (Young merely gives these words together, as "angelic orders," at the end of the third line.) By divorcing the angels from their orders in the poem's very first line, Rilke sets the tone that not all is right in the heavens.

And Rilke's line breaks are even more important than those of other poets, because they are few and far between, since his lines are nice and fat, often more than 13 syllables. Young's lines, on the other hand, are broken up into tiny 2- to 8-syllable, bite-sized chunks. This changes not only the rhythm of Rilke's verse--which obviously would have changed anyway, in translation--but its compositional emphases, as the structure of the most important lines is simply whisked away. And that is a tragedy.

Young's excuse for this unfortunate decision? He happened, while he was working on the translation, "to re-read some of William Carlos Williams' late poetry," and he liked Williams' stubbier, tri-partite lines. Rilke, however, is not William Carlos Williams, and Young's rendering of Rilke as Williams suffers because of this incongruity. (Oddly enough, though, Williams is another poet for whom every line break bears an awful lot of weight; too bad Young didn't carry that respect for enjambment into his work on the "Duino Elegies.")

Those interested in Rilke should do themselves a favor and pick up Mitchell's translation. I simply can't recommend this edition. It gets three stars because, despite the muddle, there are SOME beautifully rendered lines, and some of the power of Rilke manages to squeeze through. And that's always a wonderful thing.

For me, at least, Rainer Maria Rilke's Duino Elegies are the very epitome of poetry. I know others who, even though they admire Rilke above all other poets, prefer other "Rilke" poems, such as "Evening." For me, however, it has always been, and always will be, the Elegies. Certainly they are the most extravagant and elusive of Rilke's poems, even for those who count others among their favorites.

Rilke, who longed for a place of solitude in the country, arrived at the fortress-like Castle Duino, high above the Adriatic, near Trieste, in December 1911. His hostess was Princess Marie von Thurn und Taxis-Hohenlohe, who had invited Rilke to translate Dante's Vita Nuova with her. Princess Marie, however, soon left for more sociable climes and Rilke was left alone on the stormy, wind-swept cliffs of Duino. Rilke, at this time of his life, was known to commit himself to a strict regimen of work. Nevertheless, his poems, he has written, always seemed to burst upon him suddenly, like a thunderstorm on a hot summer's afternoon. And, one afternoon at Duino, the opening line of the first elegy burst upon Rilke like a flash of lightening.

There is no problem with the Duino Elegies...if one reads and comprehends German. If one doesn't, however, the problems of translation can be enormous. Translation, always a fragile task, becomes even more so when it involves poetry, and reaches its zenith with a work as sublime as Rilke's Duino Elegies. So many versions of these gorgeous poems exist (at least twenty), that the Elegies are certainly suffering from a case of "translation overkill."

In the original German, the Duino Elegies are the most sublime expressions of awe, of terror, of love, of splendor, of Life, that have ever been set down by the hand of man. In hands other than Rilke's, however, they can seem clumsy and more than a bit melodramatic. Rilke wrote delicately-calibrated poetry, without excess words and, the dread of all translators, the hyphenated word. But, all that aside, reading the Elegies in translation, any translation, is better than not reading them at all.

No matter how "angelic" these poems may seem, never doubt that they are expression of life in the here and now. As Rilke, himself, tells us, "the world exists nowhere but within us." These gorgeous poems are about the difficulties of living in this world, of not being heard by the angels, and of the tragedy that can so easily befall us. They are about Rilke's desire for solitude and his desire to escape it, i.e., the need and the utter impossibility of understanding and being understood completely in this life.

Although many of the translations are flawed, as translation by its very nature must be, the Duino Elegies remain the epitome of poetry. They are a cry of terror, of awe, of joy, of splendor at the lonely and solitary condition of man.

"For beauty is nothing but the beginning of terror we can just barely endure, and we admire it so because it calmly disdains to destroy us. Every angel is terrible." - Rainer Maria Rilke, First Elegy

The Duino Elegies are quite possibly the greatest work of Rainer Maria Rilke, himself one of the greatest poets, German language or otherwise, of all time. The elegies, writen in the cold vast chambers of Duino Castle, deal with all the greatest issues of human existence: love, death, tragedy, God, and life's very meaning. Their language reflects their origin: like the Castle's empty stone hallways, the words are perfectly formed; they are fragile and beautiful; weightless and profound. Rilke's first elegy begins with a reflection on the awesome, terrifying power of beauty. He longs to experience it, but knows that it would destroy him. As he writes on, the reader grows to understand and feel not only Rilke's longing, but his fear. The terrible beauty, looming behind all the elegies, is present in the text. The poems inspire wonder, raise profound quetions with ineffable answers, and fills us with awe as it calmly disdains to destroy us.

The German text is perfect, but MacIntyre's translation is splendid and best conveys the work's haunting and desolate undertones. While it seems to me that everyone should own and cherish the Duino Elegies, it is an absolute requirement for anyone seeking to construct a serious collection of great poetry.

I have sat through 2 lectures of Prof. Bokenkamp and found that his knowledge of Eastern thought has followed through in this book. Though not for a person looking for an introduction into Taoist thought, this book is informative in the fact that it has content I have not found in other books. Also, the book is written more for a western audience, which isnt necessarily bad, but Prof. Bokenkamp has taken some liberties with the English language that may have been better kept in Chinese context. For those with a background in Taoism, I recommend this book. Others might want to try the Tao Te Ching first to gain insight into what Taoism is about.

Can be complicated and difficult to read, so take your time. You won't regret it.

This is a collection of Taoist canon books from the early Mao shan, Showing the Spiritualistic roots of the Taoist religion before it was sanitized by those who could not trance or perform as the founders did. It is easy to say and think that everyone is the same but some have improved themselves so much we say they are myths. History is a joy when you can see the ideas of the best minds that lived and the poetry of their lives expressed in these texts. I enjoyed the Purple texts especially as a map to the higher mind.
To those of you who study the Source enjoy, I did.

The third book in the Brother Cadfael series, "Monk's Hood," is a powerful parable of forgiveness.

The more I read of this series, the better it gets. I recommend it to anyone.

Historically, I have not been much of a reader of mystery writers. The Chronicles of Brother Cadfael have made me a fan of Ellis Peters's writing. She does not write the one-sided characters that too often fill such books. She consistently surprises me with the depth and realistic humanity of her characters. This is seen most clearly in the "villain" of "Monk's Hood."

Peters's vision of medieval Shrewsbury becomes, like Cadfael and fellow monks, more interesting with each book. It is a perfectly conceived (or reconstructed) world in which to act out her tales.

I am pleased to see Brother Robert's return to a place of prominence within the storyline. He is the perfect personification of pomposity-a delightful foil for the straightforward Cadfael.

I give a heartfelt recommendation to "Monk's Hood" and the whole Cadfael series. Check it out.

"Monk's-Hood" is Ellis Peters' third Brother Cadfael mystery, following nicely on from "One Corpse Too Many". It is set at the close of the year 1138. Almost six months have elapsed since King Stephen's army laid siege to and finally took the English town of Shrewsbury. But, whilst the King may have withdrawn his forces, and departed the town to impress his claim to the English throne on other areas of the Kingdom, murderous deeds are still afoot on the Welsh Marches. And, once again, Brother Cadfael finds himself firmly in the midst of it all.

The tale this time involves the mysterious poisoning of a guest of the Benedictine Abbey of St. Peter and St. Paul, by means, what's more, of one of Brother Cadfael's own healing concoctions. With his own - as well as the Abbey's - honour at stake, Cadfael refuses to let matters lie, especially when the sheriff's somewhat over-zealous sergeant appears to be rather hastily leaping to the wrong conclusion as to who is responsible for the dire deed. To add further complications to the task before our mediaeval sleuth, Cadfael suddenly finds himself confined to the Abbey precincts by a more than usually overweening Prior Robert. As always, though, Cadfael's greater humility and wit (aided somewhat by divine providence) win out in the end, with our hero triumphing over arrogant authority of both secular and cloistered varieties.

Ellis Peters uses her own flawless wit and easy flowing prose to spin an enchanting and compulsive story around the central mystery, although the book is not really of the classic whodunnit mould. Her ingenious tale of family intrigue unfolds at a wonderfully leisurely pace, with the reader following a tantalising breadcrumb trail of snippets of information, released at just the right rate to ensure that the reader does not solve the mystery before Cadfael himself. Along the way, we learn something of the complex political and social webs common to Mediaeval life on the English/Welsh borders, as well as much more about the past life of the book's central character. As ever, attention to historical detail is meticulous.

Whether you read this book in sequence or not depends on how much of a purist you are. Reading later volumes before this one will give away something of the book's very ending, though not so much that it will in any way be spoiled. Reading this (or any later ones) before the first two would be a mistake, though, as that undermines some aspects of the first volumes' mysteries. There is no need to have read any earlier volumes, though, if you just want to pick this one up and enjoy it!

One nice thing about historical mysteries is that they withstand the test of time so well. The Brother Cadefel series is now well into its third decade but the writing (and the reading) remains fresh and entertaining. This book won the British Silver Dagger (top runner up for best novel) in 1980 and it could still be a contender.

This episode has Cadefel defending the child of his childhood sweetheart after the poisoning of her new husband. We learn a bit more about Cadefel's background - both in Wales and as a Crusader. Hugh Beringer returns as the honest and smart deputy. I also rather liked Cadefel's new assistant, Mark - a monk with spunk. The action takes Cadefel to the Welsh borderlands and it's fun to see him in a new context.

Bottom-line: Not exactly a page-turner but a wonderful read to savor and enjoy over a couple of days.

This is the 12th book that I've read in this series. I'm reading them in order, but I read a couple of the later ones before going back to start from the beginning. Like all the others, this one is nicely written. Peters' command of the English language is impressive. Her ability to portray life in 12th century England is also impressive. These stories are good period pieces. I have enjoyed all of the episodes I've read so far.

On the other hand, this particular installment is not the most mysterious of Brother cadfael's mysteries that I have read. It is clear from early on who the ordinary ruffians are. It is also clear who is troubled and has questionable motives. It only remains to clarify the relationship between two troubled young men to sort out the mystery. Further, the mystery doesn't have much immediacy for the reader, having taken place a considerable distance away and before the story opens. This story is also a bit "gushier" than most. The romantic angle is played up with a bit too much intensity and there is a "miraculous" healing during the story that fills a whole chapter and does little to further the plot.

I enjoyed this book. It was a pleasant and easy read. But, as a mystery, it was only mediocre. If you are a Cadfael fan, enjoy. But, if you're looking for a real whodunit, look elsewhere.

If you're interested in an audio edition, check that you're getting the unabridged recording narrated by Stephen Thorne.
Ideally, read all the preceding books in the series, in order, before reading this one. At a minimum, first read #1 (A Morbid Taste for Bones, the story of how the monastery came to have St. Winifred as its patroness) and The Virgin in the Ice, to avoid the biggest spoilers.

This June of 1141, the feast of the translation of St. Winifred dawns upon a time when the civil war between the Empress Maud and King Stephen for the throne of England may finally draw to a close: Stephen was captured at the battle of Lincoln, and even now Maud is negotiating with the city of London for her entry into Westminster for her coronation. The papal legate, Bishop Henry of Blois, brother to Stephen, has called a legatine council (including Abbot Radulfus from Shrewsbury) and is working on turning his allegiance to the empress, for the sake of peace. Hugh, sheriff of Shropshire for Stephen, broods on ways and means of getting a man into Bristol to free Stephen, and prays for a miracle, while using his friend Brother Cadfael as a sounding board.

Cadfael, too, is praying for a miracle - any miracle - at this feast of St. Winifred. Not from a desire for the abbey's glory, or from any faltering of his own faith, but as a sign that the saint took no offense from the events of _A Morbid Taste for Bones_, when he accompanied a delegation from the abbey to the saint's grave in Wales to bring back her mortal remains as holy relics. (Since that was before Hugh's arrival in Shrewsbury, Cadfael summarizes the story for him, so it's possible to follow the plot of _Pilgrim_ without reading _Bones_. But be warned that Cadfael reveals the ending of _Bones_ to Hugh.)

Abbot Radulfus returns in time for the festival, bearing word of a cowardly murder at the legatine council. The attempted murder of the envoy of Stephen's queen failed, but Ranulf Bossard, the brave man of the empress' party who foiled the attempt, was himself cut down in the street.

All the brothers are busily preparing for the huge influx of pilgrims at this time of year, many of whom are ill and seeking miraculous healing. Brother Cadfael, as herbalist, sees some of the more noteworthy cases: Rhun, a devout half-Welsh boy with a twisted leg that might respond to treatment; his sister, Melangell; a young Welsh clark, Ciaran, traveling barefoot and wearing a large iron cross, on his way to Wales to die; Matthew, Ciaran's faithful shadow. There are less savory characters, as well, petty (and not so petty) career criminals who prey on the credulous and the frail. (Credulous, as in, people who trust a stranger's dice.) Some may even have fled from a city too hot to hold them.

Into this festival atmosphere rides a young envoy of the empress' party, on a twofold mission: to sound out Hugh on the question of his fealty, and to seek Bossard's young heir, who disappeared in this direction after his lord's death. But even if he is among the pilgrims, how can he be identified by those who have never seen him? And was he involved in Bossard's death?

It is A.D. 1141, A year that brings a tide of pilgrims to the Addey.

This is the tenth mystery in the series. You may want to start from the first to let the interacting mysteries reveal themselves in chronological order. This is the second one for me after "The Morbid Taste for Bones." I do have to warn you that the synopsis to "A Morbid Taste for Bones" and "Virgin in the Ice" is played out again somewhat in the first two chapters of this book.

What can not be portrayed in the short Cadfael movies and would make marvelous reading on its own is the inter action between the forces and reasons behind the vacillating positions of Empress Maud and King Stephen. This is also a crucial part of the story; as the loyalties and logistics play a major part in the mystery and people's lives.

I will not compare and contrast the people in the story or the differences in the film adaptation as the fun is finding out for your self, all the actions and interaction of people. I will say that none of this would have been possible with out the grace of St. Winifred.

I am an avid fan of the Cadfael series and I enjoyed this book very much. The ending is terrific, though some people may not agree with me. Am deducting one star because of the character of Millicent Prescote. She is extremely disloyal and changeable. I truly wondered at the end if her marriage will be a happy one.

Ellis Peters is in a class by herself. Before her death at the age of 82 in 1995, she wrote a series of 20 mysteries set in England and Wales during the 12th Century. (She also wrote many other books under her real name, Edith Pargeter.) In the Cadfael mysteries, her "detective" is a former Crusader who has decided to spend his last years as a monk in a monastery in Shrewsbury. I have found the Brother Cadfael in the books to be far more interesting than the Brother Cadfael of the television series. Many of the books in the Cadfael series are as much (or more) historical romances as they are mysteries. Don't start any book in this series unless you enjoy a strong dose of romance and medieval English history mixed with mystery. The Cadfael series (like most good series) is more enjoyable if the books are read in sequence. Dead Man's Ransom is the ninth book in the series.

In Dead Man's Ransom, Brother Cadfael is called upon to solve the murder of the Sheriff of Shropshire, Gilbert Prescote. Suspicion falls on a Welsh captive and on others who have a grudge against the stern sheriff. Cadfael's investigation is hampered by Welsh raids along the border and by continued strife within England.

In the tenth installment of the ever-so-popular Brother Cadfael series, author Ellis Peters proves a winner once again with "Dead Man's Ransom."

Set in the year 1141, civil war runs amok in Britain between King Stephen and the Empress Maud, and it appears that the end of the twelve year old struggle is in sight. The war has taken its toll in many areas, as civil wars do, and the people are quite weary of it all. Maud's forces, however, now have captured the king himself. The sheriff of Shropshire, too, has been taken captive. This means, in those days, that in all likelihood an exchange of prisoners will take place.

Alas, one of the captives is now dead and it is our Brother Cadfael who senses that, indeed, it is murder, and, just as naturally as Peters would have it, it is he who is given the responsibility to solve the case and to try to bring about the release of the king.

Brother Cadfael is the former crusader now a Benedictine monk, who specializes in herbal medicines, solving murders, and compassion. Peters (Edith Pargeter) has developed her Cadfael through this series of medieval whodunits into a man of the cloth easily admired and respected. He is a man of firm, and devout, principles; a man who seems to carry the weight of the shire on his own Welch-born shoulders!

Peters has made grand the area of Shropshire, and especially the town of Shrewsbury there on the Welch borders. She has also created an exciting family of literary characters to complement Cadfael: Hugh Beringar (deputy sheriff of the shire and Cadfael's closest friend) and his wife Aline, Abbot Radulfus (the venerable patriarch of the abbey, and other members of the abbey. It is not essential that this series be read from the start (with "A Morbid Taste for Bones"), as this book could easily be read first and it would still hold up as a book on its own; however, readers generally will want to read them in order, as the presentation of character, of historical events, of character-interaction does show development in the series' genealogy. Peters died a few years ago and apparently there are no more Cadfael episodes aside from the twenty or so published, but each of the books extant bring the reader a treasure of reading adventures.

Billyjhobbs@tyler.net

It has been years since I have read one of Ellis Peters' Brother Cadfael mysteries. I had forgotten what a really good writer she was.

I found "The Devil's Novice" an entertaining companion for snowy winter days when I'm at home. The plot is excellent--I was indeed as interested in why the priest was murdered as by whom.

Peters' blending of historical events into her story and her descriptions of the 12th century English countryside are excellent as well.

The love story is rather saccharine however, and more people recover from their injuries than might have been the case in medieval England.

Still, this is a novel and a most enjoyable one. Ellis Peters had a great hero in Brother Cadfael and a marvelous command of the English language. Long may her books live.

The big mystery throughout this eighth of Ellis Peters' Chronicles of Brother Cadfael is not really who, in the depths of the Salop countryside one day in the late summer of the year of Our Lord 1140, committed murder most foul upon the person of Peter Clemence, cleric to Bishop Henry of Bois - but why! And also just what the connection might be between the unfortunate demise of a harmless cleric - seemingly not even relieved of his valuables - and the latest candidate to be accepted into the noviciate of Shrewsbury's abbey of Saint Peter and Saint Paul, the nineteen-year-old, Meriet Aspley. For it is obvious, from the very opening of this book, to both reader and Brother Cadfael alike, that there is some dark secret haunting the latest entrant to the abbey. There is also little doubt that the sad fate of Peter Clemence has some bearing upon it. Equally obvious is that the mediaeval sleuth will need to have not only his wits but also all of his tact about him too, if he is to winkle out the truth behind matters here, both of the circumstances of the cleric's death and of young Meriet Aspley's sudden-found yearning for life within the cloister.

In her usual manner, Ellis Peters drip-feeds her hero and her readers alike with tantalising but measured trickles of information, permitting both to proceed but piecemeal (and at about the same pace as each other) towards the final revelation and the story's sudden resolution. Along the way, we are treated to the author's characteristically over-glamorised view of Mediaeval English life, with her entirely comforting (and rather touching) view of the honest goodness of the (Saxon) poor, as well as the essentially corrupt nature of those who would aspire to power (usually those overbearing Normans, of course).

In common with others of this series, this book presents a mix of romance and murder mystery, all set against a back-drop of political intrigue. In essence, then, we have here another classic from the Cadfael mould - an engaging read that taxes neither imagination nor credulity over much and which provides some fascinating glimpses of how things might have been in twelfth century Salop. It can be recommended to both established Cadfael fans and newcomers alike.

Brother Cadfael befriends a troubled novitiate and gets involved in a very confusing murder. Along the way he is more amused than he should be with Brother Jerome's ill treatment at the hands of the Devil's Novice. This book was as enjoyable as they come. Great characters and a very good mystery.

About the book

Based on research questioning about 500 executives who took IPOs between 1986 and 1996. So, most IPOs came from companies who had been profitable for a few years. After the collapse of the Internet stocks, the context is similar, but I believe such profit records may not be as important as during 1986-96.

Published in 1999. So, it has comments to imply "being first makes the company valuable without profits".

About the authors and their style

Authors are experienced in their job of bringing IPOs.

This book is not at all in the class of books by Al Ries and Jack Trout, but more like a text book, covering every related point (from text book point of view). There is no prioritization or difference in emphasis of the importance of various issues involved.

Their diagram on cover of book is confusing because they have used 2-dimensions to show a linear 1-dimension process, which essentially are their recommended steps.

Book's Message

1. Define goal/success. IPO may not be the best way to achieve that.

2. Plan and start working on IPO at least one year ahead of the need.

3. Many specific to-do items: ·Revise salaries as variable salaries that include stocks rather than just cash. ·Plan personal estates. Give gifts before IPOs to family members to minimize future tax liability. Hire CPA for this planning. ·Hire Earnst & Young early. ·Clean books of accounts-use GAAP. ·Build strong executive team. ·Start working like a public company at least one year before-that is-create quarter-to-quarter profitability guidance and exceed them. Create reports such as needed by SEC. ·Build external Board. Create committees of Board members.

If you want to read just 7 pages, read these: 25, 37, 56, 65, 74, 108, 170

Aimed at executives considering an IPO, the 'IPO Value Journey' is also of use to staff in pre/post-IPO companies to understand about market perceptions of companies & ideal "success factors".

The lightly referenced, well structured chapters span: the CEO's journey; the journey's early vital steps; chart your transaction strategy; chart your personal strategy; create the winning team; complete your IPO platform; be the public company; the IPO event; and deliver the value. Useful appendices span: outline for a business plan; selecting the stock market; registration exemptions and resale restrictions; overview of the SEC and SEC rules and regulations; simplified registration under the small business disclosure system; and glossary.

Strengths include: the concise factual (dry) writing style; good use of exhibits and checklists; and useful easily-accessible content addressing legal, accounting, reporting, board issues (amongst others).

Weaknesses include: need for more sidebar success story anecdotes (which integrate the steps); mostly US focus; and relatively superficial analysis evidence supporting the success factors and 'journey' metaphor.

Overall, a very useful working book, to be read with something like 'Confessions of a Venture Capitalist' (ISBN 0446526800) or 'E-boys' (ISBN 0812930959), for a fuller life-cycle, energetic view of the IPO journey.

This was a highly readable discussion of the issues most companies will encounter during the 'going public' process. It conveys a lot of the experiences of preparing to go public that are not normally available in one book. Excellent coverage of strategy, accounting and reporting issues, SEC disclosure requirements, and the IPO event. Although the writing is accessible to a non technical reader, highly technical topics are well covered.

Ellis Peters creates a realistic atmosphere of medieval England, circa 1144 AD. What makes this otherwise run of the mill murder mystery with paper thin characterizations worthwhile is Ms. Peters' juxtaposition of religion and civil law to solve the crimes. The story involves the theft of the remains of the Welsh Saint Winifred during a flood and the seemingly related subsequent murder of young Brother Anselm. Law officer Hugh Beringar is very careful not to tread on the religious customs and priorities involved in "the holy theft" of this beloved saint. Hugh leaves it to the brotherhood to mete out the punishment for this type of felony. Otherwise, Brother Cadfael and the other denizens of the abbey at Shrewsbury work hand in hand with the civil authorities to bring the culprits to justice.

Adding to the story element of mystery and mysticism are some of the rituals utilized by the churchmen to help them in solving the crimes. A particularly engaging episode concerns their random selection of passages from the New Testament to guide them in their quest. Ms. Peters also makes colorful reference to blackthorn leaves in Brother Cadfael's efforts to resolve the mystery.

Ideally, read all the preceding books in the series, in order, before reading this one. At a minimum, first read #1 (_A Morbid Taste for Bones_, the story of how St. Winifred's reliquary came to the abbey) to avoid spoiling the end of that book, and _The Potter's Field_, which introduced the Blounts of Longner. If you're interested in an audio edition, check that you're getting the unabridged recording narrated by Stephen Thorne.

In the summer of 1144, Geoffrey de Mandeville - after more than a year of running the Fens as his own private robber kingdom - was shot almost by accident during a siege, and died from the infected wound. His lengthy death gave him no chance to receive absolution - only the Pope could have absolved one guilty of the seizure of the abbey of Ramsey - but Geoffrey's followers did what they could for him, restoring the despoiled abbey to its scattered monks. Thus the abbey of St. Peter and St. Paul receives two guests of their own order from Ramsey - grim subprior Herluin and his appealing assistant Tutilo - asking leave to preach. Ramsey needs money, materials, and labour to undo the damage left by Geoffrey's marauders.

Herluin guided their footsteps to Shrewsbury not only to request assistance, but to recall Sulien Blount of Longner, sometime novice of Ramsey, who was sent home to reconsider his vocation. (See _The Potter's Field_ for details.) Cadfael, therefore, accompanies Herluin and his young companion Tutilo to Longner to speak with Sulien - and appeal for the Blounts' generosity toward Ramsey. While Herluin pursues his errand, Cadfael introduces Tutilo to Sulien's dying mother, the formidable Donata, who is more than happy to welcome a bard, even if he's now a novice monk. (Their friendship, brief as it is, is touching.) Young Tutilo is what would now be called a renaissance man, and would be wasted as a monk - if he ever gets that far after meeting the Irish girl Daalny, slave to the Provencal troubadour staying at the abbey guesthouse. Daalny's voice is such as to attract any musician - part of the troubadour's stock in trade. Nevertheless, Tutilo seems passionate enough on Ramsey's behalf.

Unfortunately, someone appears to have been a little *too* enthusiastic for Ramsey's sake - while preparing for a flood, someone stole St. Winifred's relics, and the chief suspects are the brothers of Ramsey. How, after all, could anyone steal the reliquary if the saint didn't *want* to go elsewhere? To further complicate the ensuing dispute over the saint's wishes, the reliquary comes into the hands of Earl Robert "Bossu" Beaumont, a brilliant man with a sly sense of humor who decides to further complicate matters by pointing out that the saint came to rest in *his* care and seems content to stay there. (Robert - who was a real person, incidentally - here makes his debut in the series as a very impressive figure; the crooked back that gave him his nickname doesn't hinder him at all.) Only Brother Cadfael and his confidant Hugh Beringar know just how complicated this situation really is - before a man on the fringes of the quarrel is murdered on a dark night. But was he killed for himself - or because he was mistaken for one of the disputants?

Very nicely ties up some loose ends from _The Potter's Field_, while raking up the old problem of the reliquary very creatively. Robert Bossu alone would be worth the price of admission. :)

It goes without saying that stealing is one of the sins in life--and with her usual characteristic zeal, author Ellis Peters adds murder to that list!

In "The Holy Thief," the 19th chronicle of Brother Cadfael, Peters continues her top-flight form of the medieval whodunnit and, as usual, her protagonist, the good Benedictine monk, rides to the rescue and solution.

The year is 1144--and still King Stephen and Empress Maud are struggling in an interminable civil war, with no solution in sight. However, that historical fact is mere backdrop--as it usually is--to a more local concern. A renowned earl (Essex) is killed by an arrow, but not before he tries to make amends with Heaven by restoring some of the properties he had earlier "gained." This includes the abbey of Ramsey, a run-down site badly in need of more worldly help. The abbey sends envoys out, and one such envoy arrives in Shrewsbury, at the abbey of Saint Peter and Saint Paul, Cadfael's domain. The envoy includes Brother Herluin and his young novice Tutilo, who possesses a great singing voice along with other musical skills. In Shrewsbury is also, as the plot would have it, a beautiful slave girl (also a singer) named Daalny.

Suffice it to say, Peters lays a solid romantic setting. But the rains come, so much so that much of the abbey's possessions, including the holy relics, must be moved to safety. But not so safely after all, as a theft is discovered. And this soon leads to--you have it--a murder.

And Cadfael takes over. Using not only his brilliance, but his skills as the abbey's herbalist, Cadfael wastes no time in carefully solving the crime. Of course, as in all the Cadfael adventures, the murder is solved. The solution rarely comes easily for this ex-crusader, nor should it. Peters does not rush into her novels, which are characterized by logic and sound research.

Peters' very successful series has been adapted to TV, and while the episodes are generally very good, the televised portrayal of both Cadfael and the story line leaves quite a bit to be desired, as good as they are. The books are the better choice. I have never been disappointed and "The Holy Thief" is no exception.

Ellis Peters' "The Leper of St. Giles" starts off as, and continues to be, more of a pure love story than any of its predecessors. Since it is a Cadfael story, murder and mystery do indeed rear their ugly heads. Once more, Cadfael is called (with the support of his nifty new abbot) to do more than mix herbs.

Cadfael's former apprentice Brother Mark has left the nest as the story begins. One of the great joys in this book is to see the continued growth of Mark as a minister. In fact it is Mark, more so than Cadfael, who finds himself in the center of the action in "The Leper of Saint Giles."

This is a story that has a lot to do with the meaning of identity and the impact of deception. The basic plot revolves around a lowly squire who loves a wealthy heiress. The problem is, the heiress' wretched relations are intent on marrying her off for financial gain. From this rather nasty situation springs murder and false accusation. It is the job of Cadfael and Mark to make things right.

The more I read of Ellis Peters, the more I admire her work. She had a unique literary voice. So much wisdom is imparted in each story. This is doubly true in "The Leper of St. Giles." The reader is left questioning the actions of Cadfael and pondering the meaning of Justice.

While I am left with many questions and I missed Cadfael's old buddy Hugh, I found this book to be one of the more satisfying Cadfael stories. I highly recommend "The Leper of St. Giles."

In many ways this is a classic in the Cadfael series. I say that in the sense that this book puts forth most of the best elements that are found (more or less) in every book in this series.

There is the sense of place. In this case, the book lets the reader into the world of the lepers. Set aside by humanity, the leper colony of St. Giles proves a multi-dimensional world with an integral role in the plot.

There is romance. As in most of the books in this series, Cadfael lends a sympathetic ear to a smitten pair. In this case, their obstacles are many and it's a fun read as things are unraveled.

And then there is Cadfael seeing what others miss. It is Cadfael that notices a twig of a rare flower near the dead body. Likewise, Cadfael sees some bruising on the body that could only be caused by a certain ring. And more than once, Cadfael simply applies his experiences to discern what human nature is most likely to do.

My gripes with the book are worth a point off. Foremost, the author seems to have forgotten rule number one of detection (surely as applicable then as now) - who would benefit financially from the death? I also missed Hugh's presence. And a most minor quandry -- were they really able to tell time to the point of distinguishing between 6:15 and 6:20 back then???

Bottom-line: a very solid and pleasant read for fans of historical mysteries. Reading of earlier books in the series would be helpful but isn't necessary.

The Leper of Saint Giles the fifth book in Ellis Peters' Brother Cadfael series, exemplifies everything which is laudable in her series. Peters' shines in creating characters who we love, and excels in the ability to set the stage in the medieval world. Balancing mystery with romance is never an easy matter and Ellis Peters has created an entire series where this is her forte. In addition this series does not cling to the traditional sense of justice found in many other mysteries.

Brother Cadfael is at his best. He is both a spiritual being and a worldly one. He is as comfortable in the church as he is talking with a knights mistress. Cadfael has an innate ability to sense what is good in true in a person and works actively to support those with just causes. In the instance of this novel it is a young squire, Joss and a wealthy heiress Iveta. Iveta is a pawn of her aunt and uncle who plan to marry her to an aging knight and divide her land between them. Joss loves Iveta and plans on finding away to protect her. when a murder halts the marriage, Joss is the first suspect.

The setting is once again the Benedictine Abbey of Saint Peter and Saint Paul in Shrewsbury, but this time it also includes the leper colony of Saint Giles. the reader is introduced to some of the horrors and indignities which the lepers lived through. Brother Mark works among them and recognizes the dignity of the human spirit.

I suggest this book as reading for those who love medieval mysteries.

Did you ever wonder just how the soldier, Crusader, and lover of the pleasures of life became the Benedictine monk known as Brother Cadfael? In this wonderful collection of short stories, you will discover the answer to your question. (In fact, the spiritual journey of the good brother will not be totally alien to those in the 21st century who find themselves searching for fulfillment in a materialistic world. But I digress.)

Although not as deep or complex as the full-length novels, "A Rare Benedictine" will serve as a welcome addition for those already addicted to Brother Cadfael.

Four Stars.

In 1120, Cadfael saw "A Light on the Road to Woodstock". Roger Mauduit's father deeded a manor to the abbey of Shrewsbury, which granted it back to him as a life tenant. The old man and Abbot Fulchered trusted one another, and were careless with the charter's actual wording. Now that both principals and all the witnesses have passed away, Roger has brought suit against the abbey that the tenancy is hereditary, and should remain with him, so Mauduit and the abbey's representative, Prior Heribert, are bringing the case before King Henry at Woodstock. Prior Heribert is armed with the abbey's correspondence with old man Mauduit as proof of intent.

Unfortunately, Mauduit knows his only hope is to keep Heribert from appearing in court, so the King will find for Mauduit in default. When 'footpads in the forest' kidnap Heribert, Cadfael (a Welsh armsman temporarily in Mauduit's employ) becomes suspicious. (This story also describes the first few stones that grew into the avalanche of the civil war between the Empress Maud (the King's daughter) and King Stephen.)

"The Price of Light" In 1135, Hamo FitzHamon, a harsh, self-indulgent lord of 2 manors, takes thought for his soul, when his sixtieth year greets him with a mild seizure. On the theory that the prayers of the brothers carry more weight with Heaven than those of ordinary recipients of charity, he has arrived at Shrewsbury for Christmas with his young wife, to conclude a charter arranging payment for the lighting of Mary's altar, and to gift the altar with 2 exquisite silver candlesticks (despite the custodian's opinion that the value of the candlesticks would be better sent to the almoner in this harsh winter). When the candlesticks disappear from the altar, half-blind Brother Jordan, who knows the value of light better than anyone, says that he has witnessed a miracle, of which he may not speak for 3 days.

"Eye Witness" A few days before the abbey's annual rents fall due, poor Brother Ambrose has fallen ill, and the abbey has had to hire a lay clerk to handle the paperwork. Master William, the abbey's steward, takes Ambrose's illness as almost a personal insult, but he's a complaining sort of man, whose worst cross to bear is his wild, continually-in-debt son. The day that Master William collects the rents, Madog of the Dead Boat fishes him out of the river - knocked out from behind, robbed, and thrown into the river for dead, but rescued just short of drowning. Cadfael, knowing that the church attic overlooks the scene of the attack, persuades old Rhodri the beggar (who sleeps up there) to help him bait a trap for the thief.

I spoke with a woman recently who visited Shrewsbury, England and toured the 'Brother Cadfael' sites. The tour guide mentioned that one of the most common questions she gets is 'Where is Brother Cadfael buried?' The answer of course is in Ellis Peters' novels. A combination of murder mystery, Benedictine spirituality, and English 12th century life-history-culture make Peters' novels my favorite series of the many English mystery writers. For other titles on Benedictine spirituality in the daily life of 21st century non-monastics look at these books:

The Family Cloister: Benedictine Wisdom for the Home, by David Robinson (NY: Crossroad, 2000); Wisdom Distilled from the Daily: Living the Rule of St. Benedict Today, Joan Chittister (OSB).