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Examples of this include the chapter on Disk Administrator, which stands out as a sterling example of technical reference. Clear, concise and revealing, it is a pleasure to read.
The command-line technical reference is also stunning in its depth, and often reveals more items than digging through the manuals.
In all, an excellent volume.
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William O'Daly has translated Neruda's Spanish into a simple but sensuous English free verse. In this bilingual edition, Neruda's poems stand side-by-side with O'Daly's excellent tranlations, making the book especially useful to English-speaking students of Spanish (or Spanish-speaking students of English). O'Daly's excellent introduction discusses the history and culture of Rapanui, and also discusses the background of Neruda's poetic interpretation of the island.
Neruda's poetry in "The Separate Rose" skillfully captures the complexity of the world of Rapanui. The poet's generous vision takes in both the motley tourists and the monumental stone sculptures that have made the island famous. In some of the book's most powerful poems, Neruda reflects on Lord Wind, the ancient deity said to have reigned over Rapanui.
And as always, Neruda demonstrates his command of poetic language. Whether describing airplanes as "enormous aluminum geese" (p. 15), reflecting on his own heritage as "apprentice to volcanoes" (p. 19), or addressing Rapanui as "cry / of the mourning petrel, tooth of the sea" (p. 51), Neruda always uses the tools of language in thought-provoking ways.
"The Separate Rose" is more than just an important part of a great poet's canon of writings; it is a moving reflection on a unique and timeless land.
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Sweey Bird of Youth is blessed with perhaps the finest epitaph ever in a modern drama, when the play's main character emanates Williams's legendary compassion with the concluding line, "all I ask is for the recognition of me in you, and time, the enemy, in us all." Shakespeare would have salivated.
Both the Rose Tattoo and Night of the Iguana exhibit Ibsen's impression upon Williams, as Williams incorporates brilliant metaphor's that wrap around both plays like knotted ribbons, but Williams's poetic language in each surpasses that of Ibsen by eons. Much in the vein of Ibsen's The Wild Duck or Chekov's The Seagull, Williams gives us a lesson in fate, freedom and human desire with his Iguana, tied to a post by a rope and struggling to escape, waiting to be killed as food, and he walks us through a world of intense nostalgia and heartbreak with the Rose Tattoo marking the chests of Serafina's lovers.
Even O'Neil, lauded by most as our finest American playwright, never quite matched the powerful language of the heart that saturates these three works of gritty, raw desire and nostalgia. Both of which, as Williams insists, take up plenty of space in the hearts of all.