This is an excellent, fully-illustrated, turn-of-the-century tale about the adventure of a brave fox seeking sanctuary from the hunters and dogs. I have a very old copy that I found at an antique store. If you liked "The Fox and the Hound", "Foxes of Firstdark", "The Running Foxes" or "Biography of a Silver Fox", then you will like this book, I'm sure! (...)

Sam Steele was one of the first three men to join the NWMP in 1873. This book gives the true flavor of the pioneering hardships and adventures of the early RCMP force as they tamed the Canadian west. Numerous archival photographs and maps are integrated with the text -- you feel as if you are getting to know the men exploring the plains; you feel like a participant in their experiences as they endure physical dangers from a harsh, unforgiving climate and work to bring peace and "civilization" to a primitive land. From the first contact with Indian bands, through the building of the transcontinental railway, and the northern gold rush, Sam Steele was involved in every aspect of policing the Canadian west. This book does justice to his indominitable spirit and chronicles his amazing accomplishments, including his later action in the Boer War with the Lord Strathcona Horse and as a Major-General with the Canadian army in England during WWI. It's rare to encounter an accurate history book that is so exciting and so readable.

Set along the Scots/English border during the late sixteenth century, this story is loaded with action. Sir Robert Carey is a cousin of Queen Elizabeth and the new Deputy Warden of the West March, a very rough part of England where family feuds are important and Carey is an outsider with no land and few men to rally for support in a battle. His one asset locally is his sister, Philadelphia, who is married to the influential Lord Scrope. Carey also gets much needed help from Sergeant Henry Dodd. The sergeant has a knack for showing up just in time. Together they make a formidable duo. Carey has birth, influence and the Queen's favor. Dodd has a good solid tower, land at lease and kin who will follow him.

Though he lived over 200 years ago, John Richardson was the first navel surgeon. Way ahead of his time, he performed operations of bellybutton-alteration on such contemporary superstars as Martha Washington and Betsy Ross. That was before the Colonies revolted of course!

It is a very comprehensive guide for scientists, engineers and technologists working with steels. It describes the fundamentals with real-life examples. It is a pleasure to own a copy of this book.

Through the many letters reprinted in this volume, Robert Phillips allows us a glimpse into the world of a writer, who for most of his career suffered the indignity of indifference and the bitterness of rejection; only within the past two decades has Goyen's work received much critical attention. The book is divided into 7 sections, beginning with 1932, when Goyen recieved his B.A. in Literature from Rice Institute, until 1983, when the author died of lymphoma. Each section contains a chronology of letters that at first glance reads like a travelogue, a reflection of Goyen's inability to reconcile with the idea of place. Many of the pages reveal how he would settle somewhere new, begin to write, start to feel hemmed in, and move to another destination. Still, even when in California or New York, he never lost touch with those he most cared for, and he always considered Texas his home. The lyricism that echoes throughout his fiction and poetry is also heard amidst his letters. There are passionate notes to Katherine Anne Porter, whith whom he reportedly had a two-year relationship, comments to novelist Daniel Stern made during the time that Goyen was his editor at McGraw-Hill, as well as evidence of both the creative euphoria and crippling depression that he experienced throughout his life. Due to an estrangement over the publication of his masterpiece, The House of Breath (1950), there is not much correspondence with family members, but perhaps that is just as well since Phillips' aim was to focus on "letters about his writing, the writing of others, and art and literature in general " (xii) . The result then, is an autobiographical picture never before seen within the modest amount of Goyen scholarship that currently exists. We learn of an early military experience that almost cost him his sanity, his resentment at being called a Southern writer, and the writers he considered most influential, including Eliot, Pound, Frost, Welty, Porter, and Flaubert. Robert Phillips has done an amazing job in editing this epistolary volume. He offers us Wiliiam Goyen as friend, lover, and writer, whose raw, human vision is made clearer through his own words. This is an indispensable source for anyone wishing to learn more about a man whose importance to the canon of modern American literature has yet to be realized.

Bob Jones does it again with a compilation of letters which, in no uncertain terms, lets the Kiwis, doubtless the dumbest people on the planet, know exactly what he thinks of them.

And that's not much let me assure you.

Good on you, Bob.

It is hard to write about classics . They are also hard to choose, specially because since most of them are in public domain, several publishing companies publish them.In the case of Sherlock Holmes adventures,this is also true.

The Memoirs of Sherlock Holmes is the collection of stories which its author intended to be the last, where the great detective plunges to apparent death with his arch-enemy, Professor Moriarty. Roughly ten years later the sleuth was resurrected.

The first time I purchased a Sherlock Holmes collection it was the Wordsworth edition. Very amusing, since they are the facsimile of the original Strand Magazine editions. On the other hand, the print is terribly small and difficult to read.

I was preparing my thesis when I found this edition of The Memoirs of Sherlock Holmes. It was edited by Christopher Roden,a specialist in Sir Arthur Conan Doyle. It has a very comprehensive introduction and liner notes which make the book very understandable, specially if you are not British.This edition is a very helpful one not only for the student, but also to the reader who is not familiar with Victorian times.

Bottom line: If you are a serious reader of Sherlock Holmes, this book should be part of your collection.

This is a good collection of Sherlock Holmes shorts. The first offering is what is generally considered one of the best stories in the entire Holmes canon: Silver Blaze. "The Musgrave Ritual" is very cool also, but of course, they're all good. This collection also houses the infamous short "The Final Problem" where Doyle originally tried to kill Holmes. So popular a character was Holmes (even then) that after the story was released there was a riot in the streets of London, so mad were the people at Holmes's death. Needless to say, Doyle brought Holmes back. Imagine if he hadn't...

This is the perfect follow up to Klinger's annotated "Adventures of Sherlock Holmes." It is exhaustively researched, beautifully printed, and tastefully illustrated. The scope of the annotations are awesome, and truly enhance the appreciation of the Sherlock Holmes stories. Both die-hard fans and casual readers will absolutely love this book!

The tales of King Arthur and of the knights of the Round Table are well-known and have been the subject of many books, poems (Tennyson), at least two musical works (Purcell's "King Arthur", and the famous Broadway musical, "Camelot"), and films ("Camelot", based on the musical, and "Excalibur"). The most famous English-language book version of these tales is this version by Sir Thomas Malory, yet this is not easily readable, even in modern prose. The modern English rendition by Keith Baines is excellent, for it allows those of us who do not have Ph.D's in English literature to get an idea of what the original was like, but the book itself is tedious in its very nature.

What you should expect with this book is a very good beginning and ending, and a "will it ever end ?" middle. Arthur himself cannot be called the central character, for he is virtually absent, except in the first tale of the book, which deals with his coming to power, and the last one, about his death. The rest of this book is concerned with jousting and tournaments, so much that in the end one gets bored with this never-ending succession of fights with knights whose names you'll only read once and which have no consequence on what is supposed to be the larger plot (such as the quest for the Holy Grail, or the famous Tristram and Iseult tale). Of course, the better-known knights of the Round Table, such as Launcelot, Tristram, and Percivale, are present, but only from time to time, and narration often shifts from one to the other for no reason.

What this book lacks most is continuity. Apart from the first and last tales, everything in between is not in chronological order, which gets confusing. In one tale one character is dead and another is well-known; in the next tale the first character is living and the second one is unknown (just take the example of King Pellinore and Sir Percivale). All tales were obviously separate ones, and the reader, at some point, will simply stop trying to understand how Malory ever came up with such an order for his tales. If Malory (or his original publishers) had any idea in mind when they chose this setup of the tales, it will appear unclear to most readers.

One of the few good points of this book is that, since it was written in the late Middle Ages, it avoids to a certain extent the over-romanticization of the Middle Ages, which is what later authors, such as Sir Walter Scott, did to such an extent that even today we cannot think of the Middle Ages without having in mind the picture-perfect version of it (which I will not delve into -- I'm sure you know what I have in mind). Even though chivalry as described in the book has some romantic elements attached to it, it is never fully exploited, and "Le Morte d'Arthur" certainly does not fit the requirements to be classified into the romantic genre (which was not fully described until the nineteenth century). This book therefore does not use romanticism as we now know it. But this good point may also be one of the book's weaknesses, because the topic is a legend, and not fact. Because this subject is not historically accurate (and some parts of the book are hilariously improbable), Malory could not use realism to replace romanticism, and I believe that if he had used more romanticism in his book it would only have made it better. In the end, Malory used neither style, and this makes his writing style very dry. His characters are mere fighting machines with no emotional depth, his narration is action, action, and action: no description, either of his own characters or of the scenery (a castle is a castle, nothing more). The scenes he depicts cannot be located, for the setting is never described. Malory, above all, was an awful storyteller. He could only describe his characters jousting and fighting, and since this had nothing to do with the larger plot, this only lengthens the book for no reason. (If you want a modern comparison, just think of a public orator who just tells personal anecdotes that are not related to his topic.)

Furthermore, anyone interested in the Middle Ages has nothing to gain from reading this book. It holds no historical interest (apart from a study of the English language, but then I would not go for this modern rendition) for the reason that its subject is not based on fact and its description of society in the early Middle Ages is simplistic. This book is certainly no "Canterbury Tales", in which a lot can be learned about what was life during the Middle Ages. So if you are mainly interested in history I'd skip "Le Morte d'Arthur" and I'd go for "The Canterbury Tales" instead.

In conclusion, "Le Morte d'Arthur" is worth reading only if you have the patience to go through it, for this book is overlong and repetitive. Keith Baines's rendition makes this task easier, and his appendix on the main characters is very helpful if you intend to skip parts (which you should not do because the whole is chronologically inaccurate).

Quite possibly the finest piece of
prose available to the modern world
(or at least the finest I have come
across). Absolutely no library
(neither home nor public) would be
complete, or dare I say, worth a
damn, without an unabridged copy of
Malory's insightful retelling of
many of the greatest Arthurian
romances (hundreds of years old at
the time Malory set them to paper in
the fifteenth century) all woven
together to form an eloquent vision
of chivalry, romance, and adventure
the likes of which all great epics,
before or since, pale in comparison.
No wonder this book has survived
five hundred years and longer. It's
all here: the most powerful
characters to ever grace the pages
of literary fiction, Arthur,
Guinevere, Mordred, Launcelot,
Merlin, Tristram, etc.; timeless
tales of honor, knights-errant (in
shining armor no less), fobidden
love, fair maidens, et al. Told
here in its most gimmering light are
the search for the Sangreal (Holy
Grail), the love triangle of Arthur,
Guinevere, and Launcelot, the
betrayal of Mordred, the wisdom of
Merlin, the restoration and eventual
demise of christian Britain, and the
tragic love of Tristram and Isould.
We all know these stories. We all
know of the sword Excalibur. We all
know of glorious Camelot. So what
makes these tales stand above all
else? We all long for what we
cannot have. Is there a man alive
who isn't seeking a true lover as
Guinevere? Is there an ignorant
fool among us who doesn't desire
peace or true love or fulfillment of
the soul? The Holy Grail, as we say?
Or Paradise? Isn't that what Dante
was searching for? And Milton? And
wouldn't it have been easier for
Odysses to, just give up? Today,
yes. Oh if only we could learn to
believe in a greater existence as
our ancestors did. What a better
people we would be. Not that
A! rthur's Britain was without its
problems. Quite the opposite,
actually. The difference between
Arthur's Camelot and our world:
Arthur's knights, Bors, Percivale,
and Galahad in particular, searched
for a remedy. No obstacle was too
difficult, no challenge too great,
as to prevent these valorous knights
from achieving their quest of
finding their prize, the existential
Holy Grail. Today, we search for
the best program on television, or
the fastest way to make french
fries. At that, only if it's
convenient. We could all learn from
Malory's tales (and I realize this
is simply my opinion). Le Morte D'
Arthur should be in every household
to share, and to enjoy, and to learn
from. It is a sensational book
(sectioned into either eight or
twenty one books, depending upon the
source) for all members of the
family. It should be read, and
reread often. Here I must voice my
strong opinion that this a book not
meant to be read in modern English.
Keith Baines' modern interpretation
of Malory's book is a wonderful
companion volume to the middle
English prose, but should not be
used as a substitute. Any reader
who chooses so is missing out on a
fantastic experience. It is not
that difficult to comprehend. To
read a modern rendition, instead of
one in Malory's elegant language, is
like reading the Bible in modern
English. Sure, the point is clear,
but a piece of the art has been
tainted. I also recommend picking
up a volume of Aubrey Beardsley's
art, which compliments Le Morte
D'Arthur very nicely. Also, I want
to mention that Malory's Le Morte
D'Arthur is the best amd most
complete of all Arthurian
collections, although there a large
number of great stories that should
not be ignored, some of which
include, Alfred Lord Tennyson's
Idylls of the King, T.H. White's
Once and Future King, and some
me! dieval works which predate
Malory's masterpiece, including,
Geoffrey of Monmouth's The History of the Kings of Britain, and four poems (authors unknown), Sir Gawain and the Green Knight, La Mort le Roi
Artu, Morte Arthure, and Le Morte
Arthur. Even Mark Twain (arguably
one of the greatest, if not the
greatest, of all English writers)
could not resist creating a story
using Malory's fascinating
characters as the centerpiece, albeit in a comical, yet enchanting, way. I welcome all comments and am anxious to speak with others who agree with my strong words and with those who choose to call me fool, I am happy to debate my opinion. Thank you for taking the time to share my world.

Highbridge Classics' "Le Morte d'Arthur,"as read by legendary British thespian Derek Jacobi, is a great adaptation of Thomas Malory's quintessential Arthurian tome. Newcomers to Malory will find the audio book more accessible than the beautiful but often enigmatic source volume, while long-time Malory devotees will discover fresh nuances in Jacobi's authoritative rendition. Necessarily, some significant abridgements have been made, but at six audiocassettes this production still captures much of the Arthurian world's enormous scope. Featured storylines include Arthur's rise to the throne and his claiming of Excalibur, the epic search for the Holy Grail, the doomed love between Lancelot and Guenever, and the tragic final battle between Arthur and his ill-begotten son, Mordred. Jacobi conveys all the glory of Malory's prose style, while nonetheless cleaning up the diction a bit for modern ears. Finally, Ruth Morse's concise text introduction provides some keen observations on the big picture of the Arthurian myth. A magnificent version of Malory that no lover of Camelot should be without.

The setting is the Northern border of England. Our hero is Robert Carey, the son of Lord Hundson, Queen Elizabeth's Lord Chamberlain and her first cousin through their mothers', Mary and Ann Boleyn. Hundson is also, however, in this novel, historically he may not have been, the bastard son of Henry VIII. So Robert Carey, new deputy warden, more like sheriff really, of one the two main border keeps, is the grandson of the late great Tudor king himself. Unfortunately, Carey's noble bloodlines and his courtier experience is not going to matter a jot to the rough hewn Scottish and English clans around the border. Their main interests are feuding, cattle and horse "reiving," an old word for rustling, and occasionally killing each other. Carey's brother-in-law, Lord Scrope has just become Warden of the March after the death of his father. Unfortunately for everyone Lord Scrope is not exactly brilliant, even if his wife, Carey's sister, Lady Philadelphia, is plenty smart. Meanwhile, the dead body of Sweetmilk Graham, favorite son of one of the leading clan chiefs, Jock of Peartree, has just been discovered on an old battlefield. Jock thinks he knows who did it and wants to pursue a vendetta against Carey's new local man, Seargent Dodd, while Carey isn't so sure, and would like to introduce the concept of Justice to the lawless frontier. Not that anyone on the lawless frontier cares. Carey is willing to go to great lengths and place himself in the middle of a mysterious anti-royal plot to prove his mettle, solve the mystery of Sweetmilk's murder, bring the murderer to Justice, and incidentally find out why all the horses south of the border have suddenly disappeared. But his love, Lady Elizabeth Widdrington, is the real reason he's turned up in these parts. And she's very concerned about his predilection for adventure, a little bit less concerned about her husband. It's an entertaining story, with fun yet believable characters, and even the hero makes human sometimes stupid and serious mistakes. The dialect reads beautifully, though I was occasionally confused as to where exactly the different "Marches" or border forts were.

Here is a very enjoyable book, set on the 16th-century Scottish border and written in a stark, clear style. Readers of Barbara Hambly's work may well appreciate this.

Chisholm's differences from the standard run of historical mystery authors start with her (?) writing style, which is spare, and reminds me of that of Cecelia Holland. It is also not devoid of humor, and the dialogue crackles along.

The setting is wonderful: very different from the norm, but extremely lawless and full of potential pitfalls for the characters. As a nonspecialist in the Renaissance, I didn't find any particular historical errors, though some readers may be confused by the references to the two separate courts, the Scottish one of which was headed by the man who would soon become James I of England. The women are perhaps a little independent for the time period, but it seems plausible enough given the setting.

Characters here stand out. I particularly liked the lugubrious Sergeant Dodd and his fiery wife, but Robert Carey, perhaps the only man on the Border with a concept of impartial justice, is also appealing. Assorted hard cases and Border ruffians fill out an entertaining cast. Chisholm's names for characters are wonderful.

The plot is an exciting one, involving murder, horse theft, kingnapping schemes, and assorted brawls. Though the larger themes have a certain implausibility about them, and some of the elements could be better described, there's little real cause for complaint.

This is entertainment at its best. This book features authentic history and period detail cloaked in a rollicking story about wonderful characters. It is funny, touching and full of adventure. You'll love the hero (based on a real person), and the rest of the cast of characters are equally entertaining.

The writing throughout is excellent, with sparkling dialogue and just enough period descritpion that you'll swear you are actually there in Carlisle in 1592.

It is billed as a mystery, which is a little of a misnomer. There is a dead body and a search for the killer, but that is just one element among many. This book is hard to characterize; maybe "period adventure" fits it best. But even at its most exciting, it remains light-hearted.

Highly recommended.