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After attending a reading of Richard Kenney at Bennington in 1985 I fell in love with his work and poetry. He was a gentleman with a rural air who moved the crowd but like Al Gore had a distance that was slightly cold. He delves deep into science and history in his poems. In my instruction manual on poetry I have a section under processes; by describing processes poets enrich their lines and can allude to their own work with more force than usual. Processes stir the mind more than most descriptions. Think of the process of beauty aging; the movie that deals with that theme would not be glam, it would have substance.
Richard Kenney's poems are rich in processes of the universe and of the organic world. There are many unwritten works that he should write. Imagine finding out how a brewery makes beer while following around a brewery drunken romantics who stare into the stars and see what's going on in the cosmos as they kiss. Richard Kenney would be the poet to write that book. This book, however, tends to be too scientific, there is too much of the mind, not enough of the more mysterious working of the heart. That's probably why this book is out of print. With an editor or a sensual collaborator Richard Kenney could write the work of the century.
This is a great read anyway, especially for poets who are temporarily tired of the 20th century masters. Just surf the web while being dazzled by his poetic creations and the book will pay for itself in the process of revelation.
Good for the senior resident and junior attending level.
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I categorize TFMM as a book that attempts to place the compositional modernity of the last century into a hyper modern role in the present. By hyper modernity I posit that TFMM supports the Western assumption that the detached theoretical viewpoint is superior to the involved practical viewpoint. Nevertheless, TFMM succeeds in relating the important transitions that classical music has made in the 20th century and is a worthy book to read especially for the classical listener who is not familiar with the advances of composition in this past century.
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This 1995 edition provides a brief history of the QUEEN MARY, including incidents that occurred aboard many believe led to some of its hauntings; primary accounts by people who witnessed its phenomena; the transcript of a séance; photos; and diagrams and sketches to illustrate some of its accounts. This book also has appendixes listing references, selected ghost movies, and "what to do if you see a ghost."
At the ship's pool side, "a young, attractive woman in a miniskirt, is sometimes viewed walking down the stairs leading to the pool, and then vanishing behind a pillar." One employee claims to feel cold spots in the kitchen where there are no drafts or ventilation and another sees a plate fly across the cafeteria. While stopping in the captain's cabin, one tour guest starts feeling seasick--as if the ship is at sea--a sensation that passes as soon as she leaves the room.
Hauntings of major traveling vessels are fairly common. Long voyages and major journeys are frequently stressful to travelers and strong emotions are usually what brings the dead back. Another ship, also permanently docked (but in the docks of the San Francisco Bay Area), where ghosts have been sighted is the USS HORNET. When Flight 401 crashed killing 101 people, Eastern Airlines salvaged undamaged parts of the plane as is the custom in the industry. Apparently, some of the crew's spirits embedded on those parts later reused and have alerted their living counterparts to dangers that helped them save lives.
The number of uncanny encounters on the QUEEN MARY are almost expected when one considers its long years of passenger service were also interrupted for military use during World War II. It transported many enemy POWs during the conflict. Water also affects psychic energy. Learning of the cases in detail is compelling for anyone intrigued by the subject.
The worst criticism this reviewer can make against this book is its poor graphic design and the way it organizes its text. While some publishing traditions become obsolete with modern technology, there are some conventions that confuse the conveying of information when violated. For instance, serif typefaces are more comfortable for long-term reading and recto pages should have odd page numbers. Author biographies and selling info for other books the house sells are usually found at the back of the volume so they don't break the flow of content in the front.
Although this volume is slim, a table of contents would be helpful. It also tends to awkwardly parcel its data. Instead of reporting a fatal incident and all the phenomena that related to it in one place, it separates and classifies the tidbits by on-board deaths and "identified" spirits, verbatim primary accounts from visitors on the ship, then the employee accounts. Although this collection of facts come from different primary sources, sometimes it's a bit repetitive and disorientating bouncing back and forth between the different cases.
For anyone interested in a intensive study on the hauntings aboard the QUEEN MARY, overlook this book's clumsy presentation. A GUIDE TO THE HAUNTED QUEEN MARY is otherwise a fine, in-depth study of a magnificent historical monument's paranormal activity.