Although it is difficult for me to select my favorite modern Greek poet since I hold several of them in high esteem, among his peers, Seferis crests the wave of poetic intensity. His poetry is always laden with images often as tragic as they are beautiful. Like Kimon Friar, Edmund Keeley has brought the powerful verse of modern Greeks to the English reader (see the Amazon excerpts of this work). In sum, Seferis' poetic world is enthralling.

...(like myself). Seferis is graceful, erudite, and profound without being pretentious or willfully obscure. His work is lovely and haunting. I first became aware of his poems when Stephen King excerpted bits of them in SALEM'S LOT, which I think says something about how broad an audience Seferis appeals to. His poems tell stories as well as create imagery and mood, which helps make their beauty all the more affecting.

Kavafy is the the perfect guide in our exploration of life. I reccommend this book highly. Edmund Keeley has done a wonderful job in bringing Kavafy's poetry to us.

I thought this book was absolutely fantastic - I would highly recommend this to all my friends!

This book was fantastic. It encompasses everything I wanted and needed to know about cosmetic dermatology. It was easy to read and clearly explained all pertinent topics. I highly reccommened it to both people in the medical profession as well as anyone who wants upto date information about cosmetic dermatology.

This book was helpful by providing definitions at the beginning, then it gave life application tips for anyone wanting to improve their skin. It is a great find.

Though a difficult text to read, it offers a great overview of husserl's phenomenology. should be combined w/ heideggers time and being

This work is better appreciated after one has gained some introduction to HUsserl. I suggest starting off with the Cartesian Meditations, and trying to find a good commentary on them. UNDERSTANDING PHENOMENOLOGY is a fantastic book, albeit unavailable.

Welton's anthology contains essential texts from Husserl's published works, as well as "unknown" selections from the Husserliana series -- selections which have prompted much debate in the scholarship insofar as they require a drastic reconsideration of the traditional interpretation of Husserlian phenomenology. The sections which deal with static and genetic phenomenology are worth the price of purchase alone. Welton's introduction does a fine job of setting up the terrain, as well as discussing the aforementioned debates in the literature. (Although I don't find any real basis in another reviewer's claims about the "homo-eroticism" implicit in Husserl's texts.) Especially given the price of the Kluwer editions of Husserl's works, one simply can't go wrong with this book. For those interested in phenomenology, or 20th Century philosophy in general, Welton's book is indeed essential.

In his play about Galileo, Bertolt Brecht has him say: "Science knows only one commandment: contribute to science." And those who write about science contribute as much as those who do it-and perhaps more, since a discovery not written up is a discovery that might as well not have occurred.

This is a collection of articles and excerpts representing an overview of science writing, from Herodotus speculating on Egyptian geology to George Smoot analyzing the results from COBE. Some of the writers are primarily popularizers (Isaac Asimov, Rachel Carson, Walter Sullivan) and some are scientists who made an especial effort to write for the public (Arthur S. Eddington, Stephen Jay Gould, Carl Sagan), but some of the pieces are by and for scientists, just sufficiently accessible to be included here (as with the articles by Darwin, Wallace, Kepler, and Helmholtz). The pieces run the gamut of the sciences-astronomy, biology, geology, physics-and a gamut of issues relating to the sciences, from the process of discovery (Mach talking about the human sense of position) to philosophy (Bacon and Popper) to observational notes (Darwin on Galapagos finches and Galileo on his first look through a telescope). There are breathtaking excerpts from the moment when a new science is born: Alfred Russel Wallace realizing the concept of natural selection, Lavoisier explaining the new organization of substances he has discovered (and thereby setting the foundations of modern chemistry).

While reading, I somehow found less interesting than I thought I would, but my problem may be that I have a strong background in the history of science and have been exposed to much of this before. That being said, I am finding that this book is sticking with me in ways that few books do. I continue to think about the articles and recall them.

So for anyone who is interested in science or the history of science, who wants to experience science being made, or who just appreciates good, strong writing, this book is highly recommended.

I now have a new appreciation for Science all because of this book! Reading this was very touching and helped me understand why science is so important to our lives. They even got essay's done by some scientist you have never heard about that are totally irrelevant to what you hear everyday at school, at work, or just walking around. My favorite writings were of Course Galileo's beatiful description of the stars and Jupiter. GREAT BOOK! BUY IT NOW!

Bolles has collected an assortment of what he describes as "great" scientific writings. Great in this context refers to writings that, in Bolles' subjective analysis, are among the best scientific literature has to offer. As a result, what appear in this anthology are not always landmark papers that advanced a particular branch of science or introduced a new theory. They are, however, a fascinating collection, dating back to the dawn of science and provide a wonderful sense of perspective on the slow and steady progress of natural philosophy.

"A tremendously exciting read" Judge Sanford M. Brook

Patricia Williams, Acting Justice of N.Y. Supreme Court says about Gun Crazy: "I truly enjoyed Mr. Booker's writing. He knows the secret of making you want to actually visit the scenes he describes so well. . . Mr. Booker's book is different than others, because it deals with the many different aspects of a real trial. Hence, the characters are drawn with detail and care."

Warren Burnett said: "Superbly, writer Booker honors his craft in this story of a courtroom trimph made possible by the grit and grace of Kerrville's Scott Stehling, a true examply of the decent and talented lawyer."

"Love Lies Bleeding" (1948) is the fifth of the Professor Fen mysteries, falling between "Swan Song" (1947) and "Buried for Pleasure" (1948). It involves foul play at the Castrevenford School for Boys, the second of Crispin's mysteries to take place outside of Fen's usual haunts in Oxford.

From 1943 to 1945 the author, Bruce Montgomery a.k.a. Edmund Crispin worked as an assistant master at Schrewsbury School, and he attributes his "knowledge of the criminal in human nature" to this experience. I'm certain the fictional Castrevenford School and its inhabitants bear a close resemblance to Schrewsbury School and its inhabitants. In fact, my Penguin edition of "Love Lies Bleeding" does not include the usual disclaimer about 'work of fiction whose characters bear no resemblance, etc. etc...'

Hopefully, there weren't quite as many homicides at Schrewsbury.

One of my favorite characters in the Fen mysteries, the ancient and possibly senile Professor Wilkes, is missing from "Love Lies Bleeding." However at Castrevenford, Professor Wilkes has an eerie alter-ego in the ancient and possibly senile mixed Bloodhound, Mr. Merrythought. In fact, the dog almost steals the stage from Fen:

"'Good God,' said Fen in a muffled voice.

"The dog was a large, forbidding bloodhound, on whose aboriginal color and shape one or two other breeds had been more or less successfully superimposed. He stood just inside the doorway, unnervingly immobile, and fixed Fen with a malevolent and hypnotic stare....

"'He ought to be put away, really,' said the headmaster, regarding Mr. Merrythought with considerable distaste. 'The trouble is, you see, that he's liable to homicidal fits.'

"'Oh,' said Fen. 'Oh.'"

Mr. Merrythought turns out to be a hero, not a murderer although there are plenty of those to go around. Fen is invited to Castrevenford by his old friend the Headmaster, as a last-minute substitute to give out the prizes on Speech Day. By the time Fen arrives, a student from the nearby Castrevenford Girls' High School has gone missing. By the end of the day, two of the teachers at Castrevenford School for Boys are dead.

"Love Lies Bleeding" is less farcical than many of the Fen mysteries. The school setting and its characters are marvelously depicted, without the exaggeration that Crispin sometimes used in his other books. If it weren't for the murders, "Love Lies Bleeding" could be classified as a minor gem of an English pastoral. It's my favorite Fen.

Of course, no Fen mystery is complete without a thicket of literary allusions. If you are familiar with Wordsworth's poem, "Love lies bleeding," then you may be able to guess the fate of the missing schoolgirl:

"You call it, "Love lies bleeding,"--so you may,/ Though the red Flower, not prostrate, only droops,/ As we have seen it here from day to day,/ From month to month, life passing not away:/ A flower how rich in sadness!..." (William Wordsworth)

"Love Lies Bleeding" (1948) is the fifth of the Professor Fen mysteries, falling between "Swan Song" (1947) and "Buried for Pleasure" (1948). It involves foul play at the Castrevenford School for Boys, the second of Crispin's mysteries to take place outside of Fen's usual haunts in Oxford.

From 1943 to 1945 the author, Bruce Montgomery a.k.a. Edmund Crispin worked as an assistant master at Schrewsbury School, and he attributes his "knowledge of the criminal in human nature" to this experience. I'm certain the fictional Castrevenford School and its inhabitants bear a close resemblance to Schrewsbury School and its inhabitants. In fact, my Penguin edition of "Love Lies Bleeding" does not include the usual disclaimer about 'work of fiction whose characters bear no resemblance, etc. etc...'

Hopefully, there weren't quite as many homicides at Schrewsbury.

One of my favorite characters in the Fen mysteries, the ancient and possibly senile Professor Wilkes, is missing from "Love Lies Bleeding." However at Castrevenford, Professor Wilkes has an eerie alter-ego in the ancient and possibly senile mixed Bloodhound, Mr. Merrythought. In fact, the dog almost steals the stage from Fen:

"'Good God,' said Fen in a muffled voice.

"The dog was a large, forbidding bloodhound, on whose aboriginal color and shape one or two other breeds had been more or less successfully superimposed. He stood just inside the doorway, unnervingly immobile, and fixed Fen with a malevolent and hypnotic stare....

"'He ought to be put away, really,' said the headmaster, regarding Mr. Merrythought with considerable distaste. 'The trouble is, you see, that he's liable to homicidal fits.'

"'Oh,' said Fen. 'Oh.'"

Mr. Merrythought turns out to be a hero, not a murderer although there are plenty of those to go around. Fen is invited to Castrevenford by his old friend the Headmaster, as a last-minute substitute to give out the prizes on Speech Day. By the time Fen arrives, a student from the nearby Castrevenford Girls' High School has gone missing. By the end of the day, two of the teachers at Castrevenford School for Boys are dead.

"Love Lies Bleeding" is less farcical than many of the Fen mysteries. The school setting and its characters are marvelously depicted, without the exaggeration that Crispin sometimes used in his other books. If it weren't for the murders, "Love Lies Bleeding" could be classified as a minor gem of an English pastoral. It's my favorite Fen.

Of course, no Fen mystery is complete without a thicket of literary allusions. If you are familiar with Wordsworth's poem, "Love lies bleeding," then you may be able to guess the fate of the missing schoolgirl:

"You call it, 'Love lies bleeding,'--so you may,/ Though the red Flower, not prostrate, only droops,/ As we have seen it here from day to day,/ From month to month, life passing not away:/ A flower how rich in sadness!..." (William Wordsworth)

This is a literate British cozy that takes place in a school setting. The mystery begins with a missing schoolgirl, the murder of two faculty members, and a theft from the chemistry lab. Eccentric characters include the amateur detective, Oxford English professor Gervase Fen; a rustic innkeeper; a ponderously Johnsonian carpenter/lay preacher and his obsequious assistant; and an elderly bloodhound mix, Mr. Merrythought, an unlikely hero who saves the day. Well written, with a light touch, "Love Lies Bleeding" is full of literary allusions and plenty of humor. If you like Michael Innes' mysteries, there's a good chance you'll like Edmund Crispin's too.

An excellent book to get you started with capturing little pieces of nature to bring indoors with you. Truly helps diminish the "Oh, I can't do that" syndrome. Take the kids with you and make a project of it. You'll find it's easy and fun too.

This book was recommended in our homeschool loop. I bought the book hoping for some ideas to get me started, always wanted to start but felt uncomfortable about just doing it. The book will end all your worries! I was very impressed by the books contents and how easy it was to get started. My 5 1/2 year old daughter and I have started with the very basics as part of our daily school lessons and I plan to add more as we progress. You do not have to be an artist to do this! This is your journal and you do what you want in it, nobody needs to see it unless you want to share it. It will make you become more observant to your surroundings and the way things are constantly changing. A great base for any homeschool program.

If you're into nature and you haven't lost touch with a child's wonder, you will enjoy Nature Journaling. A great book for families who like to wander together or for adults who want to reconnect with their natural surroundings.

Put on some cool white linens, open an excellent bottle of red wine and lounge on your chez in the garden, or in your conservatory: This and 4 hours time are the ingredients you need to read or re-read this jewel of a novelette. Seldom has a book so resembled a piece of music, as this does. Clear your mind and let it in - this epic poem - this little night music. I have never stopped thanking Edmund White in my prayers for giving the world this piece of beauty. Enjoy!

This book, in order to be fully experienced, should be read very slowly. White is a master of sensual description. You should visualize the images and forget about plot and character.If you let your mind linger over the words you can experience the novel with all of your senses. The atmosphere is almost tangible. The variations are stunning.I must say that reading this book after having read 4 other White novels I was prepared. If you jump right in you can easily become lost or disoriented. Maybe that is part of the author's wishes. I read an interview where he commented that unlike the 19th Century novel where the reader is given a roadmap and a clear view, this book requires the reader to work and make connections. If you do persevere you will be rewarded with a haunting series of visions that will not readily be forgotten.

When I asked Ed White what his favorite output was I hoped that he would say "Nocturnes For The King Of Naples." He did. When I asked Ed White what he regretted about his career, he did not mention this book. It is short and easily readable in a single patient sitting: I read it on a flight from Boston to Salt Lake City that was ten hours from start to finish. I was mesmerized and I wept as I read: because these words meant so much to my own life, because I thought to myself that I would never have the godsend inspiration to produce a novel with so much self examination, so much poetry, so much questioning of God. Along with "The Little Prince" it is among my most favorite books.

Edmund White writes novels that tell of the world he lives in in New York and in Paris, and he has been heralded world wide for his talent. He advocates an unbridled sexuality. We have fought over this point and I love his writing despite his stance. Despite all his free love manifestos, he wrote a book that details that passion he felt for his past, for his past lovers and for his father. This is it and you wil never find a more engaging, moving tale of the search for love and affection.

This is a wonderful artist and a wonderful book. It was reprinted in 1998. I found a copy at the San Diego Museum of Art. This fabulous book would be of benefit to any portrait painter or plein air painter.

I'm a third year art student with an enthusiastic appreciation for sorolla and his ability to handle painting the natural light of spain. I have this book by luck from a relative who searched high and low all over madrid, and came up with it from some obscure book seller, who had only two copies. The sorolla museum "when its open" never has this book. Good luck searching.

Sorolla is an outstanding painter of light and all of the above. His oils are so fresh and alive, it makes me salivate. When I read this out-of-print from my art teachers library I was in awe. He is a great painter and you will identify with him if you're interested in : life drawing/painting, John Singer Sargent, and Zornes. It is sad that this book is out of print. You might be able to find it at certain art galleries that might exhibit this kind of work. Or you can always visit his museum in Madrid.

"Father and Son" is widely reckoned as the most brilliant work of Edmund Gosse whose delicate use of English, no doubt, partly accounted for his literary success. To attach too much literary importance to the book may, however, obscure its main purpose, which is an attempt of the writer to vindicate his attitude towards his father. The attempt failed, to put it mildly.

Gosse lived in an age when people held very high standard of propriety; any departure from rules of behaviour would be seen as an offence. But conflicts between fathers and sons, or between their respective thoughts, are as common nowadays as they were in ancient times. Gosse revealed in his book the differences between his father and himself mainly in their beliefs as to how life should be lived. The book caused a sensation upon release not because of the revelation but because of the daring publication of the differences - Gosse did as people at that time were not bold enough to do. As such differences were common, though they might not be voiced, many people shared the writer's experience and the book became instantly popular.

Nevertheless, to explain the success of the book in so few words as those said above will not do justice to Gosse. It is, in Bernard Shaw's words, one of those immortal pages in English literature. These might be extravagant words. Even so, Gosse, indeed, earned himself a place in English literature by such a bold attempt as mentioned earlier. But the attempt need not have been made - two men of widely different ages look at each other from different angles; the gap between them is only natural; it need not be alluded to nor elucidated. Any attempt which need not have been made cannot succeed.

Edmund Gosse's FATHER AND SON is legitimately considered one of the highpoints of Victorian autobiography. As has been noted by others, the book recounts the relationship between Edmund Gosse and his father, a member of the Christian sect generally known as Plymouth Brethren, but who was also a member of the Royal Society and one of the foremost marine biologists of his time. The narrative tends to break down into a number of definite segments: the author's birth until the death of his mother; life with his father until the time of the publishing of Darwin's THE ORIGIN OF SPECIES; the move of the Gosses to the coast of England; and young Gosse's schooling and gradual growth away from the religious teachings and expectations he had received from his parents.

A number of powerful impressions evolve over the course of the telling. First and foremost, one is left with an impression of how overwhelmingly Gosse's childhood was stripped of nearly all fun by his parents' puritanical and stern religion. Gosse's father is presented not as a cruel, vicious, and hypocritical. Instead, he is shown as a caring parent, a completely earnest practitioner of his religion, but fanatically concerned to eliminate all activities that do not lead to increased religious devotion and moral seriousness. Unfortunately, this resulted for Gosse in a childhood from which all possibility of play and fun and delight had been eliminated. Near the end of the book, I was left wondering if Gosse would have been inclined to leave Christianity if he had just had more fun as a kid.

The section of the book dealing with his father's reaction to Darwin's ORIGIN OF SPECIES was for me the most interesting part of the book. His father's scientific standing was such that Darwin actually contacted him before the publication of his theories, and asked his response. Gosse notes that his father instantly understood that the scientific evidence clearly supported Darwin's theory. His reading of Genesis, however, indicated to him that the world was created in six days, which precluded the scenario articulated by Darwin. He therefore concluded that god created the earth in six days, but in so doing implanted fossils and geologic strata into the earth. In this way, his father was able to explain both the apparent evidence for eons long development of the earth and homo sapiens and yet retain his belief in the belief that Genesis taught a six day literal creation.

There are any of a number of reasons to read this work. It is a classic autobiography, an important source for one response to the reception of Darwin, and a magnificent evocation of puritanical religious life during the Victorian age. Most of all, it is a disturbing account of the distortive effect that intolerant and narrow-minded religious upbringing can have on an individual.

There are few works of autobiography that lay bare the author's soul as convincingly and seeringly as this. In an astonishing tour de force Edmund Gosse, by then a substantial Edwardian homme des lettres, remembers his childhood and adolescence in his father's house and his indoctrination into a Victorian, evangelical, creationist, scientific, wilfully unliterary way of life and his growth out of this via Shakespeare, Marlowe and some decidedly morbid poems. What is so astounding about this book is the kindness with which Gosse remembers his past which is always present and never tempered with dishonesty. There are moments when we cannot but find fault with Gosse senior (when he writes to his son in London invoking his mother's memory to try and force him back to the brethren) but with the Edmund Gosse painting so loving a picture of him we could never see him as, for example, the father of Samuel Butler's "The Way of All Flesh" (a great and loosely autobiographical novel which is often metioned alongside "Father and Son" as expressing the same painful differences between the evagelical Victorians and their children) - that is desicated, corrupted, and malicious. There is one killingly funny moment where Edmund Gosse reads from Marlowe's "Hero and Leander" to his stepmother and the idea of the straight laced little saint reading aloud about Leander "His bodie was as straight as Circes wand,/ Jove might have sipt out Nectar from his hand./ Even as delicious meat is to the tast,/ So was his necke in touching, and surpast/ The white of Pelops shoulder." to the god fearing wife of his god fearing father, minister to the brethren, and not expecting a strange reaction, is as bizarre as it is amusing. A most endearingly human work most warmly recommended.