Fairy godmothers and guardian angels protect. They bring "their" loved ones into a safe world where only good things happen - or where bad things turn to good. In I Want this World, good and bad things happen - and are turned into poems. The perceptions that Margaret Szumowski brings takes the reader into a variety of worlds that are each real, sometimes painful, always vibrant, and often joyful. I once took a class on antiques. Our instructor told us that to recognize antiques, we had to remember everything we had ever seen. In I Want this World we see a master remember everything that has ever had an emotional effect on her. She is willing and happy to share these memories with us - to extend her experiences into our lives. Equally, she is able to weave her memories into an imaginary universe, to take from reality and make Ruby, a recurrent alternate voice in this book, emerge whole, with an emotional present and a tangible life.

I Want this World offers character and plot. When I read it, I worried that someone would try to make a movie of some of the poems. I have trouble with that. Poems are events and the images that make them up fill this collection. I envision the people with whom I am sharing the moment. The poems help me recognize them - not always as themselves, but in their qualities, motivations, pain, and joy. I see these people as they move throughout the book, sometimes starring in a stanza, a whole poem, or several poems, and in other cases having a supporting role. Some characters exist only as referred-to names. Each of these people lives in my imagination. The houses, roads, towns, rivers, beaches and markets that we visit are real and vital, too. These people continue to live outside the lines of the poem. Their world is mine to understand and visit.

Place is important to Margaret Szumowski. In I Want This World, she shares her travels to Africa, and a past and present Poland. She takes us to the banks of rivers, along hot dirt roads with dusty borders and to the American Southwest. She allows us to BE her for the moments of her poems. The sounds, the sights, the tastes and the rhythms of experience inform her verse, and we get to partake. We eat tomatoes, cabbage, coffee, bagels, pick apples, make applesauce, watch fruit crops ripen, value potatoes in new ways, learn about the birthright of mushroom knowledge.

She gives us the gifts of colors and textures, shows us light everywhere - in Poland, like a verbal Canaletto, in her own experience and in parental memory. Light happens in Africa, in West Texas, on Cape Cod, and in her childhood. She shares sweat, pain, helps us taste foods familiar and foreign. In "The Fish at Vista" beliefs sing throughout, taking us from experience to decision. The chosen path may not be everyone's. In "Take Any Light You Can" she shows us Race Point Beach on Cape Cod telling us about wind and light and strength. In that same poem (in fact, in that same stanza) she talks to her daughter. She reminds us that we move through time and space and light and that movement changes us and keeps us the same.

" the wind at Race Point is so strong,
it can lift a human from the ground,
and I want to be lifted in the wind.
You, too, my dancer.
I love to see you leap as if lifted by the wind."

She goes on to share with her own need for light, advising her daughter;

"One night in childhood I seized a flashlight and was punished.
Take a flashlight, a lantern, take any light you can."

She tells us in "Going Out to Greet Whatever Lives," how that same daughter as a young child caught fireflies, was a safe haven for small living creatures, and, swinging high at night, touched her toes to the moon.

In "Starry Night" we share space in all its connotations, and, again, light.

"stars magnified until we are thousands of years
closer to them than we have ever been before.

The whirling, spinning stars we ached for are
now close enough to burn us.

I did not know the cost,
night at its peak, excruciating light,
all of us humans, awake, awake."

Watch, also, her use of space on the page. Words flow through the pages of I Want this World carefully measured against the beige frame of paper. Again, the need for light - and the needs of light, come through to the reader.

Some poems, like "Under a Hazy Halfmoon," make us, along with Szumowski and her mother, wait for night vision to bring back the body's memory of how things were in childhood. Preparing to go down a remembered path in the dark, we find that;

"By daylight we wandered this forest
from the little tree house overlooking the river-
marsh birds and gold leaves-
it shook with our weight."

The poem on the page sparkles with lightness, with spaces between lines, between stanzas of varying lengths.

The poetry about her father moved me deeply. His travels through memory, his courage in finding something to come to in a new country, his comfort in comparing old to new and seeing value in each are great gifts. He shares with his grandson the joys of the stamp collector. The great thing is promise: "we promised never to lose, never to tear those stamps." There are promises to the reader, to the future and to the past.

Margaret Szumowski gives us the gift of her experience as it blends with her vision. I Want this World is our world and her world in a very short book. We visit throughout time and space with her, with her family and with her imagination.

A science fiction short story I read many years ago postulates a highly specialized world at war, where hospitalized soldiers are in comas. Some soldiers, though catatonic, manage to go to imagined pasts where poorly remembered knowledge combines with dreams. The commanding general wants to know more. An expert suggests that a poet would understand. Sadly, though, in that world, there are no poets left.

Today, perhaps more than ever, our poets need to be protected from this philistine reality. Let's start by preserving Margaret Szumowski.

Human spirit observations in relation to potent generational situations are transformed through beautifully written prose that reverberate in my head long after the initial encounter. Szumowski's description of "the white church of their insides," when detailing a particular experience continues to accompany me, much like George Orwell's description of a Burmese man about to be hung, who had, "vague liquid eyes." The latter phrase was the catalyst for my own life writing, much as I expect phrases from, "I Want This World," to inspire others to reflection, admiration and profound satisfaction.

This is a beautifully-written book of poetry that explores many aspects of human relationships. I am not an avid poetry reader and I loved it!

I loved this book as a child. Unfortunately my copy was lost, but a family member who had received the same book gave hers to my son. Reading through the book has brought back many happy memories-- I hadn't looked at the illustrations or read many of the stories in over 20 years, but I still remember them. I look forward to years of reading this book with my son and am thrilled the book is still available so that I can buy it for friends and family.

I loved this book so much as a child (of the 1970's) that I had the foresight to save it for my own children. It is one of three books I saved, the other two being "A Child's Garden of Verse" by Robert Louis Stevenson, and D'aulaire's "Greek Myths". These are classic stories that have not been softened and dumbed down or made politically correct like so many modern children's books. They really pack a punch and evoke thought, and the illustrations are gorgeous.

I have become the keeper of the family copy of this wonderful book. It is filled with some of the greatest fables and stories that you'll want to share with your child. I'm trying to find a new copy for my daughter to keep for the rest of her life. Meanwhile, I'm going to have the one we have rebound. < a native New Englander >

The Story of Jackie Robinson: Bravest Man in Baseball is about the struggles of one black man who made a big difference. Jackie Robinson was a great athlete in college but was not let into the Major Leagues because his skin was black. Robinson played on the Brooklyn Dodgers in the "Noble Experiment" which was meant Jackie being the first black on a white team. His team looked down on him because of the color of his skin. When the fans yelled slurs at him and other teams yelled at him it overwhelmed the Dodgers. They finally stood up for Robinson. I recommend this wonderful book, Jackie Robinson: Bravest Man in Baseball because it has a lot of action and emotion.

The Story of Jackie Robinson, Bravest Man in Baseball is about the struggles of one black man who never gave up. Jackie Robinson was a great athlete in college but he couldn't play Major League baseball because of the color of his skin. When Jackie Robinson played on the Brooklyn Dodgers he was part of the "Noble Experiment" and his teammates were unfriendly. Also fans yelled slurs at Jackie. In 1947 Jackie Robinson won Rookie of the year and the admiration of the American people. I recommend this book because it tells how Jackie Robinson was a great athlete and a brave person.

The Story of Jackie Robinson: Bravest Man in Baseball is about the struggles of one black man who never gave up. Jackie Robinson was a great athlete in college and wanted to go to the Major's but they wouldn't let him because he was black. The general manager of the Brooklyn Dodgers, Branch Rickey took a chance on Jackie. Rickey said would let him play if he didn't fight back over racial slurs and attacks. This was known as the "Noble Experiment". Jackie's team looked down on him and fans harassed him because of the color of his skin. At last everybody realized Robinson was a great guy and that the color of a person's skin doesn't mater. In the end Jackie Robinson won the admiration of all American people. I think that you should read this book because it shows someone with great courage.

Cold Sassy Tree fans have a treat in store. Louise Shaffer's Miss Margarets offers the strong narrative and intriguing characters that have made Olive Burns' novel a perennial favorite. This is one of those books you force yourself to read slowly because you don't want it to end. Pray for a sequel, and in the meantime give this book to friends--or those whom you wish were friends.(They will be after they read it!)

I loved this book, could hardly put it down.

It is about three elderly women who have a dark secret they were all involved in from the past. It takes place in Georgia and involves racism, murder, homosexuality, poor people, rich people, single mothers....... Once you start reading you won't want to put it down until the final surprise ending.

In spite of the fact these three ladies are involved in something as horrible as murder, you like them. There is also the young Laurel, 20 something, tough and hurt badly by her alcholic mother, who begins to realize these three old ladies have information that will set her free from her past.

Get it, read it, you won't regret it.

I heard Ms Shaffer on NPR recently and bought her book. What an outstanding novel. I can't say enough, hopefully someone will make a film of THE THREE MISS MARGARETS.

I stumbled on this book in my elementary school library when I was in 4th grade. The book was already out of print at the time, but I loved it.
It was one of the first books that actually caught my attention long enough for me to read it all the way through. Before this book I had regulated myself to the ranks of Sweet Valley Twins books, and the slightly higher quality Baby Sitters Club series. I might go so far as to credit this book as turning me into an avid reader that has resulted in my being an English major today.
This was just such a touching and magical story. I wish they would re-release it so that someday I can share it with my children.

My gosh! I also read this book as a child and it has stayed with me all these years. I am 36, and I've been looking for this book for years. I thought I had the name wrong, I have also thought maybe I dreamt it! I can't believe this book has astounded so many people, yet remains so elusive! Let's all write the Publisher and get this book back in the public again! Our children should be able to get the pleasure we've received from this book. They too would check it out again and again from the library! It feels good to finally find the author and verify the name of this book at least!

My school librarian recommended this book to me when I was in fifth grade, and like others have said, I checked it out over and over again. I just fell in love with it. It was so magical and mysterious and moving. I felt like I was transported every time I read it.
I'd been trying for years to find it so that I could finally have my own copy. I always checked any book store or website I found to see if they had it, but they never did. Then, this Christmas my aunt gave me the best present I've ever received--my very own copy of To Nowhere and Back! She was able to locate it through Amazon.[com.] I was so happy, I literally cried!
I just finished reading it again, and it was just as wonderful as I remembered. It was just as magical, and even better, this time it reminded me of how it felt to be ten years old. The twenty year search was definitely worth it!

Cultivating Wholeness by Margaret Kornfeld
New York: The Continuum International Publishing Group Inc., 2001
A Review by Eric F. Newell
April 13, 2002

Seeking wholeness through community care facilitates change. In contrast to "brief" counseling, or that done with a professional counselor, Cultivating Wholeness proposes the healing that comes and as the community works together. Each part of the body contributing from his/her own frame of reference enables one to gain insight from a variety of sources. The analogy of the gardener is used for the way that one is to care for the community. Keeping in mind the aspects of balance and change, one is able to work with those around them. Balance helps one to be looking both within and without. Change then is the desire to be flexible with the desire of staying in harmony with one's surrounding.

Kornfeld balances the concern for the community or the one facing or needing change, with the facilitator or change agent. It is necessary to know situations and circumstances surrounding those in the midst of change. Just as important is the facilitator's understanding of his/her own circumstances. At times it would seem good to be able to use personal experiences for the sake of identifying with others. This should only be done as the facilitator has come to terms with the issues in his/her own life. A concern arises when the therapist personally identifies with the situation of a counselee if the counselee projects a problem on someone or some situation other than him/herself, thereby masking the real problem.

The solution-focused approach discussed is helpful for assisting the person in working toward their answer. The solution-focused therapist recognizes the possibility for change as one comes complaining about the situation as it is projected onto another person. By listening to this complainant telling of some else's problem, the therapist listens and works with the complainant as he/she discusses the "other" person. By listening and working through the solution in this projected situation, the therapist builds a relationship with the counselee. Having built this relation, the therapist is able to help the complainant develop goals for this troubling situation.

Being in community, specifically as related to a pastor and the congregation, Kornfeld speaks of the different opportunities that the minister has of seeing persons as they experience the changes in life. More than a counseling concern, the author's concern seems to be that of support to be offered as one finds the answers to their own questions. While this lends itself to helping persons to work to find solutions, there is something within me that seeks for a more purposeful direction for the questions of life.

In Appendix B, the "Wholeness Membership Network" inventory is a good concept. The networking of the different abilities and strengths within the community is a good resource. The form by itself leaves several questions. It does not seem to give space for

those who have other abilities, to share how they can be a resource. Also it would have been helpful to have a place where the one answering the inventory, though they might not have the skills requested, would be able to list other known resources.

Kornfeld has written an excellent resource not just for clergy, but also for anyone in the helping professions, including mental health professionals. This is a work that can be used repeatedly, as it includes the specific topics and areas of concern, that healers (i.e., clergy, pastors, counselors, caregivers, etc.) need to be addressing within their communities.
Kornfeld's uses the metaphor of a Cultivator and a Gardener brilliantly to describe the caregiver and counselor who toil in "the soil community" (12). This metaphor is descriptive of a gardener testing the soil and nurturing it to produce a healthy crop. Similarly the clergy or pastor longs to have the healthiest flock and shepherds the flock in order to produce this health.
To Kornfeld one of the necessary points is "that you wait for people to ask for help" (77). This is called 'earning the right to suggest' by many professionals in the mental health field. This is so important for those who come just to be heard. In our fast paced society, so many people do not feel "heard" and long to "be heard." Therefore, this is an excellent point, not just for clergy, but also for counselors or those in professional mental health career positions (i.e., social workers, school counselors, marriage and family therapists) or any one want to assist the hurting individual.
Kornfeld refers to the act of listening as "holy listening," (61) the most important act that can be done for the walking wounded.
In chapter five, the author articulates what I believe is the function of a counseling ministry. She writes, "Referral counseling is a ministry of holism. When you refer to those who are specialists in healing the body or the mind, you are acknowledging the mind-body-soul-team of which you are a member"(111). Doctors, psychologists, and psychiatrists are finally starting to recognize the role of religion and spirituality in healing. Pastors in the communities have not acknowledged the help available from the medical and psychology communities. Meanwhile members of congregations have suffered needlessly, because of this opposition. In addition, Kornfeld insists that counselors should be staying abreast of new information so that they will have "a working knowledge of the current world of mental health" (112).
Furthermore, I found it interesting and scripturally sound that "the solution-focused method is discernment" (142). Usually, within the context of denominations, especially charismatic and/or Pentecostal traditions, only the counselor is empowered with that supernatural gift. Yet, Kornfeld states that it is both, the counselor and the counselee, "who are being given new perception" (142) as they are becoming more aware of the Presence of God.
In chapter ten Kornfeld discusses the one issue that is seen so much in our pulpits, congregations and society today-burnout. Kornfeld give clear, concise and practical steps to tending to oneself. She states that those who "do not believe they have the right to be filled," continue on empty until they realize that "position and status do not feed the soul" (282). She describes burnout as "spiritual malaise" which she believes can be treated only by not doing more of the same, and by recognizing that burnout is a form of self-abuse, related to acting out of one's past.
The healing comes as people will "let themselves be found by sitting still," instead of going "off in all directions" to alleviate the panicky feelings that are driving them. The key is to be still and listen to God as God finds and embraces you in the process of self-disclosure. Healing happens in the discovery of your own dreams, as you revise and live them out (284).
Kornfeld recommends a system that clergy, lay ministers, and counselors can put in place for support, protection, and nurture. This system consists of feeding your soul, finding others to observe you and your work, shifting your focus to home and your personal life, finding a balance of work, play, rest, and relationship, being connected to your body, as you learn to care for it; and asking yourself a Miracle question.
Lastly, Kornfeld makes a critical point for clergywomen when she writes, "Ministry should not be a 'battlefield' where women are wounded in the course of action and must continue to work in a state of acute stress disorder" (299). For men as well as women "those who thrive in ministry stay out of power struggles with themselves and others" (303).

Truth, power, and reality characterize Cultivating Wholeness, by Margaret Kornfield. She said that she constructed the book like a gardener's manual for those who counsel and care for souls (12). Theory and suggestions, bibliographical information, and other additional resources are included. Changing forces that surround people affect them physically, emotionally and spiritually. The reality is that people must deal with change throughout their lives. It is better to prepare oneself to meet those challenges, than not to do so. Kornfield's attention is focused on the role faith communities' can play in assisting people with significant life changes. Entrances and exits, beginnings and endings need to be embraced, not fearfully, but prayerfully and practically.
Truth lies in applying new insights into old ideas. Kornfield wrote: "Jesus taught that there can be no significant change in the human spirit without changing the world around us: a radical paradigm shift" (7). Where there is no justice in the community, there can be no peace for the individual. The paradox in the paradigm shift is expressed by the lyric: "Let there be peace on earth, and let it begin with me." The implication is that we, the people, are responsible for seeking justice, loving mercy, and seeking God's will with humble and contrite hearts. Grief and loss, death, divorce, and other adverse changes in social, economic, and personal circumstances are identifiable times for critical change. People gravitate together for prayer, for help, and for healing when such conditions arise.
Power lies in empowerment. Clergy and specifically gifted laypersons within the faith community are recognized as spiritual resources for healing. Kornfield recognized that Socrates dictum, "Know thyself," is critical to the care and counseling process. She said: "painful experiences when seen in a new light, can be gifts that help you (the caregiver) to be more understanding and less judgmental" (48). We are all on journeys to wholeness; therefore, our ability to do "holy listening"(61) is important. "Holy listening" is not just reserved for an encounter with God, but is integral to our encounter with others. The faith community is healthy and safe insofar as individuals are known and feel free to reveal themselves to others (85). Ultimately, real power is a gift from God.
Kornfield's research is grounded in reality. There is the reality that clients face when life's changes impact upon them. Another reality is that caregivers may find themselves, not only in positions of privilege, but also in circumstances of temptation. Kornfield's not so subtle alert to the caregiver is that in order to help a client develop good health, the counselor and client must be clear about the professional boundary issues surrounding confidentiality and sexuality. The caregiver needs to be a non-anxious presence and not exacerbate a client's situation!
Kornfield's use of the Bible, her philosophic attitude, her examination of case studies, her creative use of anecdote, and her practical instructions expand the valuable resources available in the literature of pastoral care and counseling. Cultivating Wholeness is a vital read for caregivers in particular, and anyone else for that matter, who wishes to grow in grace.

S.J. Hill has written an extremely relevant book in Enjoying God. He writes as if he is sitting in your living room talking to you. Though easy to read and understand, Hill incitefully discusses the often "hard-to-grasp" concept of a loving, romantic God who pursues us - His bride. This book is highly recommended to all.

This book has helped bring me closer to a personal understanding of God's love for me than any book except the Bible. The very keen spiritual diagnostics really help a person who has been hurt or who has just not broken through to the joy of knowing that God really, really loves ME! I am buying it for friends and family.

Enjoying God was so good I couldn't put the book down. It spoke into me the relationship that we strive to have with our Father and don't really know how to acheive it. S.J. has broken this down in simple understanding that we will know how to get the relationship we want, just being quiet and listening to Him instead of a work metality or look at me attitude. Nothing we can do, say or pray can make the Father love us more. It is a must read book for anyone wanting a closer walk with God, and understanding His unconditional Love for us. Thanks to S.J.for this book.

The recipes are indeed sweet, as are the pictures. .. but unfortunate Marsha's got the same bland happy expression in almost every illustration.

An unusual book that combines great recipes with incredible anthropomorphic artwork. It would be worth the price for either let alone both. If you like furries or sweet dishes, this book is for you!

This book has a good collection of "international" recipes that are easy to follow with tasty results. The artwork is inspiring for budding artists as it includes a couple rough sketches on the opening page to show the images in the early stage.

Juan Pablo Castel is a tormented and insane painter who falls for Maria, a woman he meets at an art exhibition. She is married to a blind man -the subject of Sabato and Saramago's obsession- and has a house in the countryside. She is also the mistress of her own cousin. Castel discovers this and goes mad with jealousy. We have no way to know the truth, because everything in the novel happens inside Castel's mind.

When I first read the novel, in 1989, I thought it was a great psychological thriller, a true gem of existentialism. My praise for it has diminished, though, as I have come to dislike the guy. On a superficial level, it's just about the mad obsession of a lonely and depressive loser who is unable to cope with his passion and that leads him to commit a crime. If you find it profound and revealing, then enjoy it.

juan pablo castel is the mind of men who strive to find a meaning to their existence. juan pablo's mind is a world of fanatasies that puts him on the verge of reality. here we have to examine the labyrinth of his mind and find that all he was searching for is merely the return to his infancy. we shouldnt be surprised that every men with an extraordinary intelligence, finds himself trapped in this purposeless universe. when men discover that they're left alone responsible for their actions, they seek nourishment from an idealized concept. in this case, this concept is maria iribarne. knowing that god doesn't exist (at least in the way we wish to beleive) juan pablo travels backwards in time to the origin with the hope of understanding his chaotic existence. this is where juan pablo becomes an existentialistic individual who simply wishes to be non-existential. the tunnel here refers simply to his mind. castel finds himself in the middle of nowhere, with no purpose at all. the paint refers to the door that will open his mind to maria that represents an illogical mind. though from the surface, we might think that it is castel's mind that's twisted, unpredictable and perhaps deviant, i must say that there exist order, pattern, and lucidity. it is maria's mind that is illogical with a lack of sense of the world that surrounds her. castel is the only victim of a cruel and insensible game that leads him to the deepest state of mind that could be nearly impossible to recover from.

Ernesto Sabato is best known for the second of his three novels, ''On Heroes and Tombs,'' a massive, intricate chronicle of murder and passion set in the Argentina of the 1950's. In his 1948 debut novel, ''The Tunnel,'' these themes are already on display, but in a simplified, almost fabulistic form. Mr. Sabato's narrator introduces himself, his crime and the object of his passion in the very first sentence: ''It should be sufficient to say that I am Juan Pablo Castel, the painter who killed Maria Iribarne.'' He then launches into an account of his affair with Maria, a married woman who first draws his attention at an art exhibit. Once their affair begins, however, her elusiveness provokes his jealousy, plunging him into a ''personal hell of analyzing and imagining.'' Does she see other men? Does she actually love her frail, blind husband? Does she love Castel himself? His attempts to answer these questions grow increasingly contorted and obsessive; finally, his crazed solipsism displaces romantic passion as the real subject of the novel. While Castel crouches, knife in hand, in the shrubbery outside Maria's weekend retreat, he makes his condition explicit: ''After all there was only one tunnel, dark and solitary: mine, the tunnel in which I had spent my childhood, my youth, my entire life.'' When it was first published in Spanish, ''The Tunnel'' won the applause of Thomas Mann and Albert Camus and was described as an existentialist classic. Still, in this fine new translation by Margaret Sayers Peden, Mr. Sabato's novel retains a chilling, memorable power.

"The Decapitated Chicken & Other Stories," by Horacio Quiroga, is a remarkable collection of short stories. Quiroga (1878-1937) was born in Uruguay and ended his life in Argentina. The stories have been translated into English by Margaret Sayers Peden.

These are stories of death, violence, horror, adventure, talking animals, and magical transformation. There are a number of grotesque flourishes, especially in the disturbing title story. As a storyteller, Quiroga is comparable to Edgar Allan Poe of the U.S., although I believe his nearest Latin American soulmate is Virgilio Pinera of Cuba.

Some of the best tales in this collection include with the already mentioned title story; "Juan Darien," a magical story which begins "Herein is the tale of a tiger who was raised and educated among men. . ."; and "The Incense Tree Roof," an ironic tale about a beleaguered civil servant. Essential reading for those with a serious interest in Latin American fiction.

Belatedly acknowledged as a masterful storyteller, Horacio Quiroga lived a life not a whit less tragical and colorful than those of his characters. From the beginning, his life was punctuated by tragedy and death, culminating in his suicide (he took cyanide). When still a teenager, he accidentally shot his best friend while showing him how to clean a gun. As an adult, he settled in the Misiones jungle, where he built a house with his own hands and tried to wring a living out of a farm. The life of hardship he endured there is masterfully reflected in some of his short stories, as are his lifelong obsessions, death and frustrated love. Quiroga was an admirer of Poe, and some of his early stories try to emulate the writer from Baltimore, but eventually he developed his own style, which is, I believe, even more accomplished than Poe's. In Quiroga's case, as has happened with many other writers, the life has obscured the works. Whenever he is mentioned, most people will tell you "ah, yes, poor guy - everybody in his family killed themselves". But his short stories, with the exception of a few very famous ones that are taught in high school, are not so widely read. As you will find when reading this collection, he has an unique way of creating oppressive scenarios, charged with fear, tension, and the unseen presence of evil, which eventually leads to unexpected and fearsome climaxes. Yes, he is macabre, and yes, there is a very nasty streak running through some of these stories - but he is also a highly intelligent, resourceful and accomplished writer, and one you shouldn't miss for the world.

The Great German poet Hersonlog Breich said of this work, "One of the most stunning arts of expression in modern times". Of course he was writing in 1941, but the statement still stands the test of time...