Irrational Fears is only another fine work by Bill. I happen to work in the Criminal Justice field and have an understanding how drug and alcohol abuse programs work. He obviously draws from some strong source to write this book, and throws a bit of demonic rage into the mix. It's a great book filled with things you'd never expect. Read it.

The hapless and sometimes hopeless residents of Hurley Memorial Hospital's detox unit include a paranoid possible former spy, an aspiring poet and nihilist 18-year-old beauty, and Jack Lowry, narrator and ex-college professor. Together they battle a hostile counselor, a drug-controlled group of recovery guerrillas called The Clear, and something slimy and tentacled straight from the pages of Lovecraft. Add a man-eating toilet and a telekinetic zombie and you have "Irrational Fears."

Spencer's trademarked blend of horror and humor recalls the Jonathan Carroll of "Outside the Dog Museum" and Joe Lansdale's (also a Texan) Hap and Leonard series. The characters come alive through sparkling and honest dialogue. They are quirky but not cliched, and nearly everyone of them is someone you might meet but probably wouldn't like.

One of Spencer's most brilliant devices is the blend of dream, DTs, and supernatural events that keep both readers and characters guessing as to what is real and what exists only the mind of the recovering alcoholic Lowry. We are drwn into the most surreal occurrences through Lowry's clear and natural voice, and while 1st-person narration takes some of the suspense out of a horror novel, Spencer manages to make us care about the secondary and even tertiary characters enough that we are pulled along to the end. And we want to know what he'll come up with next. Highly recommended.

However, we can proudly witness the maturation of the young King from wild & dissolute young Prince Hal into one of the most revered monarchs in English history, King Henry V. Part II remains an intriguing play due to its paradoxical nature, yet unfortunately rarely acted out today. Now that I have read Henry IV(I&II) for the first time, I gladly move on to one of my personal favorites, Henry V. I recommend both parts(Folger editions) for all Shakespeare enthusiasts - they have given me greater insight into the young Henry V - when he was more concerned with downing a pint of ale rather than downing the French at Agincourt.

2 Magnificent Quotes from Henry IV Part II -
"Uneasy lies the head that wears a crown." - King Henry IV
"He hath eaten me out of house and home." - Mistress Quickly

this is one of shakespeare's best plays. the story of the rebellion is intriguing, and the adventures of hal and falstaff are laugh-out-loud hilarious. the culmination of the two stories in the final battle scene is wonderful. this is a fitting sequel to richard ii.

note that there are some historical inaccuracies and even outright inventions in this play. foremost is the character of falstaff who is pure invention (and genius). the story of hal's adventures stems from his reputation, enhanced by legend, as a playboy. falstaff was the perfect foil for a carousing prince. the biggest inaccuracy is hotspur's age. he was actually of the generation of henry iv, and not as young as he's depicted in the play. shakespeare made him younger to enhance, maybe even create, the rivalry with hal. there are other inaccuracies here, but better for the reader to consult 'shakespeare's kings', an excellent book by saccio that explains the history of the period and the discrepancies in the play.

Surprisingly, Hal, Prince of Wales, (later Henry V) was not even mentioned in this verbose title although many would consider him to be the central character. This play is clearly the dramatization of a struggle for a kingdom, but it is equally the story of Hal's wild and reckless youthful adventures with Falstaff and other disreputable companions.

Shakespeare did not write his plays about English kings in chronological order, but these plays do have a historical unity. It is helpful (but not essential) to read the tetralogy Richard II, Henry IV Part 1 and 2, and Henry V in chronological order. Whatever route you take, I highly recommend buying a companion copy of Peter Saccio's "Shakespeare's English Kings", an engaging look at how Shakespeare revised history to achieve dramatic effect.

A wide selection of Henry IV editions are available, including older editions in used bookstores. I am familiar with a few and have personal favorites:

The New Folger Library Shakespeare is my first choice among the inexpensive editions of Henry IV. "New" replaces the prior version in use for 35 years. It uses "facing page" format with scene summaries, explanations for rare and archaic words and expressions, and Elizabethan drawings located on the left page; the Henry IV text is on the right. I particularly liked the section on "Reading Shakespeare's Language in Henry IV" and Alexander Legget's literary analysis (save this until you have read the play). The fascinating article "Historical Background: Sir John Falstaff and Sir John Oldcastle" adds a religious dimension to the play that I had not previously noted.

The Bedford Shakespeare Series provides an excellent study text (edited by Barbara Hodgdon) titled "The First Part of King Henry the Fourth". It is a little more expensive, is about 400 pages, and provides a broad range of source and context documentation. It would be excellent for an upper level course in Shakespeare. The context documentation is fascinating and informative; it ranges from the Holinshed Chronicles to Elizabethan writing on Civic Order to detailed cultural studies of London's diverse populous. Other chapters address the OldCastle controversy and the "Education of a Prince".

I also like the Norton Critical edition (edited by James Sanderson), "Henry the Fourth, Part 1", particularly for its extensive collection of literary criticism. The essays are divided into two parts: 1) the theme, characters, structure, and style of the play and 2) a wide variety of interpretation directed toward that roguish character, Sir John Falstaff.

The main character is Philip (what a giveaway, eh?) who works at Ralph's One-Day Resumes in Austin, Texas. He moved there to find his girlfriend Amelia, who ran away from the high-tech company Micromeg that they had both worked at previously because of an accident which Philip crazily attributes to the workings of the Great Old Ones. Amelia attributes insanity to Philip, likely brought on by his obsession with the characters of H.P. Lovecraft, and manifested in the magnum opus of a novel that Philip is constantly revising entitled The Despicable Quest. Philip claims that the novel is the only thing keeping Yog-Sothoth at bay.

Is Resume with Monsters funny? Yes, but it is in its incongruities, the warped reality of what Philip sees and how others react. The strength of the novel is wrapped up in the ambiguity of Philip--we recognize him as an unreliable narrator, but, as in Philip K. Dick's novel, the question is not whether to trust the narrator, but how much one can trust the world. Spencer handles this well, and there are quite a few plot twists to make things interesting, including having Philip's consciousness flung back in time to relive the Micromeg incident, the zombie co-workers, and a management recruitment program straight out of Dilbert (well, if Scott Adams worked for Nyarlathotep, Inc.). Resume with Monsters is not as well done as Spencer's latest, Zod Wallop, but is well worth checking out, especially for fans of both Dick and Lovecraft.

Philip has a big problem. He sees monsters at work, behind every filing cabinet, around every corner, in the eyes of his fellow co-workers, and in motivational pamphlets handed out in his paycheck envelope. In order to maintain his slipping sanity, Philip spends his free time constantly rewriting his sprawling 2000 page book called "The Despicable Quest," a Lovecraftian tome full of references to Azathoth, Yog-Sathoth, and other unpleasant beings from beyond space and time. Philip is aware that spouting off about monsters from dimensions beyond our own tends to alarm people, which brings in Lily, an aging psychologist who promises Philip she can help him through his troubles.

Philip probably would not have many problems with his demons if he gave up trying to save his ex-girlfriend Amelia. Philip's relentless quest to expose the monsters coupled with the undying devotion to his book infuriated Amelia, spurring a rancorous split. When she moves to Texas Philip follows her, desperate to convince Amelia that he once saved her from eternal doom when the two worked at MicroMeg, a giant international corporation (the details of which can be found in the section of the book hilariously entitled, "The Doom that Came to MicroMeg). Philip drifts from one low paying job to another, always on the lookout for the reemergence of the evil ones. Not only does Philip see potential evil at his own jobs, there seems to be something seriously astray at Pelidyne, a big company where Amelia just started a new job. It looks like Philip will have to return once again into the belly of the beast.

Spencer really has a grasp of Lovecraft's horrific intentions. His style does not reflect Lovecraft's ornate use of the English language, but many of the adventures Philip embarks on mirror a trip through a Lovecraft novel: the weird bending of time and space, the strange rituals of the Old Ones, and the feeling of helplessness one gets when confronting an evil beyond the comprehension of the human mind.

I suspect there is a lot of the author in this story. My copy has a painting on the front cover of a man who looks suspiciously like the picture of Browning on the back cover. The detailed descriptions of corporate stupidity and the shrieking mindlessness of working a low paying job tell me that the author spent many years working in the same type of jobs as Philip does in the novel. Anyone who has ever worked in a boring job with high pressure jerks as bosses will recognize and sympathize with Philip's plight. Ultimately, that is the greatest horror in "Resume with Monsters": the pressures of a job in today's world are worse than seeing monsters with dripping scales falling out of a time rip in the ceiling.

The comical aspects of the book abound throughout the story. Everything from Philip's confessions about the evil ones to the motivational pamphlets is gut bustingly funny. Be sure and pay attention to the group sessions during Philip's stay in the mental hospital. These scenes are some of the funniest in the book.

"Resume with Monsters" is essential reading for Lovecraft fans. Those who are unfamiliar with Lovecraft may want to read at least one collection of his stories before settling into this book because the references to particular entities are meaningless unless you understand the mythos. I am placing Spencer's book in my top five list of books read this year, and I hope you will too.

The play opens near the end of a long visit by Polixenes, the king of Bohemia, to the court of his childhood friend, Leontes, the king of Sicily. Leontes wants his friend to stay one more day. His friend declines. Leontes prevails upon his wife, Hermione, to persuade Polixenes. Hermione does her husband's bidding, having been silent before then. Rather than be pleased that she has succeeded, Leontes goes into a jealous rage in which he doubts her faithfulness. As his jealousy grows, he takes actions to defend his misconceptions of his "abused" honor that in fact abuse all those who have loved him. Unable to control himself, Leontes continues to pursue his folly even when evidence grows that he is wrong. To his great regret, these impulsive acts cost him dearly.

Three particular aspects of the play deserve special mention. The first is the way that Shakespeare ties together actions set 16 years apart in time. Although that sounds like crossing the Grand Canyon in a motorcycle jump, Shakespeare pulls off the jump rather well so that it is not so big a leap. The second is that Shakespeare captures entirely different moods from hilarious good humor to deep depression and remorse closely adjacent to one another. As a result, the audience is able to experience many more emotions than normally are evoked in a single play. Third, the play's final scene is as remarkable a bit of writing as you can imagine. Read it, and marvel!

After you finish reading this play, think about where your own loss of temper has had bad consequences. How can you give yourself time to get under control before acting rashly? How can you learn to be more open to positive interpretations of events, rather than dark and disturbing ones?

Love first, second, and always!

The story is, of course, brilliant. King Leontes goes into a jealous rage at the beginning against his wife Hermione. Leontes is very mistaken in his actions, and the result is tragic. Shakespeare picks the story back up sixteen years later with the children, and the story works to a really, really surprising end of bittersweet redemption.

This is one of Shakespeare's bests. The first half is a penetrating and devestating, but the second half shows a capacity for salvation from the depths of despair. Also, this being Shakespeare, the blank verse is gorgeous and the characters are well drawn, and the ending is a surprise unparalleled in the rest of his plays. The Winter's Tale is a truly profound and entertaining read.

Contrary to popular belief, I'm fast coming round to the idea that Williams was a *philosophical* writer rather than a *religious* writer. And not only because he himself described his seven novels as "metaphysical thrillers".

Unlike "Descent into Hell" - which is quite frankly an overwrought gothic monstrosity - "Many Dimensions" is a 'typical' Williams story, with standard English prose (standard for the 1930s, that is), a straightforward plotline and plenty of pace. In fact you could put "Many Dimensions" up against later fiction of a similar tone - like Dennis Wheatley, for example (not very well-known now, but immensely popular in the 50s and 60s) - and be hard put to pick a winner.

So where does the philosophy come in?
Primarily in the form of a series of very basic, but also very important, questions that lie just below the surface of the story - and sometimes not even below the surface.

Questions like: "If you can restore all of the people in group A to health, but in the process throw at least an equal number of people in group B out of work - at a time when work isn't that easy to come by in the first place - which group should take priority?"

This question, and others closely related, run all through the story yet, due to Williams' writing skill, they do nothing to impede the plot unless the reader actively chooses to think them through.

The final answer Williams gives, I *think*, is that there is no *easy* answer. Only he frames his conclusion far more lucid and impactful manner than that last observation might suggest.

In short, this writing has the power to enthrall and satisfy a wide range of readers.
The only reason I don't give it five stars is because the literary style is typical of British writing in the 1930s, which I guess won't necessarily be to everyone's taste.
Having said which, I really do recommend the majority of Williams' novels as a taste worth acquiring.

Oh yes, why did I give this review the title "Does God Play Dice?"? When you read the book I think you'll know exactly why.
Good reading!

Williams combines an ultimately serious theme with high poetry, good plot and characters, and his highly individual treatment of the supernatural and mysticism for a very satisfying read (and re-read).

It's a short book, beautifully illustrated with paint-by-number paintings on almost every page (including paintings completed by J. Edgar Hoover, Nelson Rockefeller, Ethel Merman, and others). There are also lots of photos of advertisements, packaging and promotional displays used to sell the kits. The author discusses Max Klein & Dan Robbins, the men who started the paint-by-number "craze", and some of the other artists who worked on the kits. Despite heavy criticism from the art community, the kits were enormously popular in many countries.

I used to love doing these kits when I was a kid in the '60's and '70's. It may not be "art" but if nothing else I think people learn a little something about colors, shading and composition while working on these kits.

There is an exhibition related to the book at Kenwood House, Hampstead Lane, london, NW6

23rd July- 26th September 1999 Telephone 0181 348 1286

This book overflows with beautiful illustrations, but it doesn't stop at images: each painting depicted is accompanied by a bit of history about the artist AND the model and the way in which this example illustrates each author's premise. This is a wise, informed, and thouroughly entertaining book that deserves greater attention.

Quote: "Condemn the fault, and not the actor of it?
Why, every fault's condemned ere it be done.
Mine were the very cipher of a function,
To fine the faults whose fine stands in record,
And let go by the actor." (II.ii.38-42)

I see Measure for Measure as closest to The Merchant of Venice in its themes. Of the two plays, I prefer Measure for Measure for its unremitting look at the arbitrariness of laws, public hypocrisy and private venality, support for virtue, and encouragement of tempering public justice with common sense and mercy.

The play opens with Duke Vincentio turning over his authority to his deputy, Angelo. But while the duke says he is leaving for Poland, he in fact remains in Vienna posing as a friar. Angelo begins meting out justice according to the letter of the law. His first act is to condemn Claudio to death for impregnating Juliet. The two are willing to marry, but Angelo is not interested in finding a solution. In despair, Claudio gets word to his sister, the beautiful Isabella, that he is to be executed and prays that she will beg for mercy. Despite knowing that Isabella is a virgin novice who is about to take her vows, Angelo cruelly offers to release Claudio of Isabella will make herself sexually available to Angelo. The Duke works his influence behind the scenes to help create justice.

Although this play is a "comedy" in Shakespearean terms, the tension throughout is much more like a tragedy. In fact, there are powerful scenes where Shakespeare draws on foolish servants of the law to make his points clear. These serve a similar role of lessening the darkness to that of the gravediggers in Hamlet.

One of the things I like best about Measure for Measure is that the resolution is kept hidden better than in most of the comedies. As a result, the heavy and rising tension is only relieved right at the end. The relief you will feel at the end of act five will be very great, if you are like me.

After you read this play, I suggest that you compare Isabella and Portia. Why did Shakespeare choose two such strong women to be placed at the center of establishing justice? Could it have anything to do with wanting to establish the rightness of the heart? If you think so, reflect that both Isabella and Portia are tough in demanding that what is right be done. After you finish thinking about those two characters, you may also enjoy comparing King Lear and Claudio. What was their fault? What was their salvation? Why? What point is Shakespeare making? Finally, think about Angelo. Is he the norm or the exception in society? What makes someone act like Angelo does here? What is a person naturally going to do in his situation?

Look for fairness in all that you say and do!