Have you ever walked into a bookstore and browsed around the fantasy/sci-fi section only to find yourself convinced that of the 10,000 or so novels adorning countless shelves that only about 10 of them are worth reading? Modern fantasy is chalk full of endless series of Dragonlance spin-offs and 1000 page multi-volume behemoths that somehow manage to say very little. All of this can put one in a predicament: which books are good books? The answer: those that have stood the test of time. So instead of wading through piles of junk trying to find a good read here and there, let's go back to the beginning.

William Morris (according to Lin Carter) is the founder of modern fantasy literature and The Well at the World's End is his masterpiece. And after reading this book and the little that I have about the author I find it odd that his works are not more widely read or discussed in the fantasy literature community. I searched the internet and various bulletin boards and found a few isolated discussions or worthy mentions, but nothing like what this novel or its author deserve. So here I am, giving credit where it's due.

The Well at the World's End employs an archaic style of prose and a clear mastery of the novel form to tell an old fashioned bardic story of an imaginary medieval land. Ralph of Upmeads, the son of a little known King of a northern land, plays our eager adventure-seeking hero. We travel through a host of towns and villages, forests and castles as Ralph seeks the enigmatic Well that everyone has heard about, but only a handful have ever been there or returned alive. At the beginning of the novel Morris' style was a little of a burden for me. There is a quite a bit of archaic vocabulary I had to get used to in addition to the rather formal style. Even through all of the 560 pages I had to read this book more slowly than most books lest I find myself unable to understand the often unfamiliar arrangements of Morris' words into sentences. All of this can get tedious or repetitive at times but at other times I found myself stopping to marvel at a perfectly realized sentence or piece of dialogue. And I have to give Morris credit for the poetry; although less abundant, it is better than Tolkien's.

Tolkien was heavily influenced by Morris, and some of the elements in The Well at the World's End will be curiously familiar to fans of Lord of the Rings. There's a horse named Silverfax, a Fellowship of Champions, a Lord named Gandolf, a rock sea-plain surrounding a volcano (Mordor?), and a scene where the old hiding-under-the-magical-cape-that-looks-like-a-rock trick is employed. Even the ending resembles the scouring of the shire (the hero comes home only to find his homeland in upheaval). But the only vague similarity I could find between Tolkien's Ring and Morris Well is when a certain character references the power of the Well and his unwillingness to use it lest he should abuse it (sounds familiar). Of course, both novels also center around the idea of the heroic quest. The difference is that Morris' story veers toward romance (and indeed it is a romance in its own right) whereas Tolkien strays into more universal issues like divine providence, anti-industrialism/modernism, etc. In this respect Tolkien's story seems to be more applicable to the modern individual.

So now for the big question: is it better than The Lord of the Rings? Well, not exactly. In comparing Tolkien to Morris on the basis of their two masterpieces I would say that Morris displays a more developed sense of the technical side of storytelling but falls short of Tolkien when it comes to world-building, historical authenticity, and emotional involvement of the reader. The Well at the World's End has a very "tight" storyline in that Morris never strays into tangents or gets sidetracked. The entire book is highly linear and chronologically regular (that is the ratio of time passage to a given number of pages remains constant). All this results in what one might call near perfect style but it also means that we miss those interesting quirks that are so abundant in Tolkien's writings. All of those "flaws" (Bombadil) and "overly elaborate" descriptions (just about the whole of LOTR) give Middle Earth a sense of history and the reader a sense of discovery that isn't quite matched by Morris. Of course, Morris wrote as long before Tolkien as Tolkien did before modern authors so the fact that his works stands up in comparison is a tribute to his abilities. Indeed, it is surprising to learn that Morris was not a writer by trade given the quality of this book.

One might say that Tolkien felt a little bewildered by the modern world and wanted to go back to an earlier time when man was not constrained or corrupted by modern devices of his own making. The medieval period of northern Europe was the perfect place for his stories and for the stories of many fantasy authors both before and after him. I felt a similar desire to go back...to the very first of those books that brought us the magic of modern fantasy.

Don't let the dismal fact that this book is twenty-zillionth on the bestseller list discourageth you.... it is well worth orderething.

I first came to this book through the published endorsement (hence, not personal) of the great C.S. Lewis, who made his first reading of the Well in November of 1914. He read it many times thereafter.

In my ONE reading of the two volumes, I can attest to the fact that this is a beautiful story, a rich fantasy, a vibrant fairy-tale with no fairies. Among other things... a love story. Strictly speaking, as regards genre, it is a "romance". The chivalric, bardic story of Ralph of Upmeads, the least likely of the King's four sons, who devotes his life to the quest of the Well at The World's End... a fabled well which promises to reward its discoverer with perpetual youth.

If you are in love with Tolkien's The Lord of The Rings (and who isn't) you should definitely consider having an affair with The Well At The World's End. Let me defuse the daunting issue of Morris's use of archaic language. Be ye warned, in every sentence you will constantly encounter words such as forsooth, hitherward, quoth, whither, rideth, erstwhile, deem, draweth, betwixt, and I wot not else. At first I thought this would be really intolerable. But I quickly adapted to it, and even found it kind of "not vile".

Remember... Volume 2 is essential. It's NOT a sequel, it's a conclusion. Get both volumes, and escape the world of car horns and remote control for a bit.

I applaud this new re-issue of what is definitely a fantasy classic. Previously, one had to search a hundred used-book stores to find it. Now it's a click away.

And as regards it's place on the bestseller list? I am reminded of the wise words of the great Henrik Ibsen, who once suggested that "the solid majority is always wrong."

I rank this book up there with the Gormenghast series and the Lord of the Rings. A fantasy masterpiece, it is the precursor for everything that came after. Yes, the archaic medieval language is tough to get into at first, but after ten or twenty pages it becomes natural to the mind and presents no problem. One sees that the language is part of the beauty. Overall, this book is like one of those medieval detailed tapestries, with kings, adventurers, knights and noble women trotting through forests toward distant castles. This is medieval romance at its finest, and because it dates from 1898, it is happily free of the Tolkien imitativeness that has so infected a large portion of modern fantasy. Forget Terry Brooks, read The Well At the World's End.

In the spring of 1982, I borrowed this book. I was in the 9th grade, and had to get a book for my English class. I couldn't put the book down. I was so touched by John Baker and his incredible courage and compassion for others. I soon bought the book and found myself reading it for inspiration when I joined the track team. John showed me something I never had realized--that by doing one's best, one can accomplish amazing things. I soon found myself putting much greater efforts in not only track, but also school and life.

In 1992 I became an elementary teacher. I have read aloud this book to my various classes. I have found my students loving the book. Many tell me it is their new favorite book. Together we come up with service ideas of how we can make our year "A Shining Season". This books reaches right into their hearts and stays there. John Baker is the role model that our children and young adults need. If you only buy one book this year, I recommend highly that "A Shining Season" be the one. I can never express enough how thankful I am for this book.

There are many books out there today about our sport and about people in our sport, but none touch the soul as deep as "A Shining Season." I along with many of the other reviewers read this book for the first time when I was younger and in junior high. This book is a MUST to read, runner or nonrunner this book with touch your heart and motivate you to look at your life and want to live yours in such a way that John would smile from heaven and be proud. As a middle school kid I can remember to this day wanting to call information and ask for John Bakers parents phone # so I could thank them for having such a great son. This book touched my life and I hope it will touch yours as well. God bless John.

An outstanding book.

I'm an emotional sap and cry at the drop of a hat, but if any one can read this book and not go through a few tissues they either have incredible emotional control or are extremely cold. I started this book yesterday after I got home, around lunch time. I finished it (250 pages) last night. I don't think I've ever done that before. It reads fast. It is the tragic, yet wonderful, true story of John Baker - one of American's best milers in 1969. He teaches elementary school kids and truly lives a life of purpose; a life well lived.

Buy this book now and read it, but stock up on the tissues. You'll come away wishing you had known him. This is mostly a book about teaching kids and heroic character and doesn't talk much about running.

The Complete Works of Shakespeare edited by David Bevington

Bevington's edition of Shakespeare's plays is a popular choice, and not without good reason. But that doesn't make an ideal choice. The introduction to this one volume edition is ample with chapters on life in Shakespeare's England, the drama before Shakespeare, Shakespeare's life and work. These are good, but they tend to rely on older scholarship and they may not be current. For example Bevington repeats Hinman's claim that there were 1200 copies of the 1623 Folio printed. However later scholars think the number was quite a bit lower, around 750. It should be said that we don't know for sure how many copies of the 1623 folio were printed and either number could be correct.

Bevington's edition prints the plays by genre. We get a section of Comedies, Histories, Tragedies, Romances and the Poems. He puts "Troilus and Cressida" with the comedies, though we know the play was slated to appear with the tragedies in the 1623 folio. The play was never meant to appear with the comedies, and all the surviving Folios that have the play have it at the beginning of the tragedies.

Let's get down to brass tacks. You are not going to buy an edition of Shakespeare's works because of good introduction. You're going to buy one because the quality of the editing of the plays. Is it reliable? Is it accurate? For the most part this edition is reliable and accurate, but that does not mean it is accurate and reliable in every instance.

Modernized editions of Shakespeare's plays and poems are norm. Since the 18th century (and even before) editors of Shakespeare have modernized and regularized Shakespeare's plays and poems. There are good reasons for this modernization. There is the reader's ease of use and the correcting misprints and mislination. I have no problem with this regularization of spelling or punctuation. But when an editor goes beyond normalizing and modernizing--when an editor interferes with the text then I have a problem.

Let me give two examples of the editorial interference that I am writing about:

King Lear 2-1-14 (p. 1184)
Bevington has:
Edmund
The Duke be here tonight? The better! Best!
This weaves itself perforce into my business.

The Folio has:
Bast. The Duke be here to night? The better best,
This weaues it selfe perforce into my businesse,

Even allowences made for modernization of punctuation and grammar would not account for Bevington's "The better! Best." Bevington glosses this to mean "so much the better; in fact the best that could happen." Nice try, but "The better best" of the folio is a double comparative, (which is a regular feature of Early Modern English) and not two separate adjectival phrases. Interestingly, the Quarto printing of Lear prints this scene in prose, and there is no punctuation between "better" and "best" in that version either.

A few lines down Lear 2-1-19 Edmund continues
Bevington has:
Brother, a word. Descend. Brother, I say!
Enter Edgar

But Bevington has reversed the order. The Folio has:
Enter Edgar.
Brother, a word, discend; Brother I say,

Bevington does not say why he changed the order, though to be fair other modern editors have done the same thing.

These two changes just a few lines apart go beyond regularization or modernization. They interfere with the text as presented in the 1623 Folio. And Bevington does not explain the changes. So next time you pick up this or any other modernized edition you should ask yourself "am I really sure what I'm reading is what Shakespeare wrote?"

THE COMPLETE WORKS OF SHAKESPEARE. Updated Fourth Edition. Edited by David Bevington. 2000 pp. New York : Longman, 1997. ISBN 0-321-01254-2 (hbk.)

As complete Shakespeares go, the Bevington would seem have everything. Its book-length Introduction covers Life in Shakespeare's England; The Drama Before Shakespeare; London Theaters and Dramatic Companies; Shakespeare's Life and Work; Shakespeare's Language : His Development as Poet and Dramatist; Edition and Editors of Shakespeare; Shakespeare Criticism.

The texts follow in groups : Comedies; Histories; Tragedies; Romances (including 'The Two Noble Kinsmen'); Poems. Each play is given a separate Introduction adequate to the needs of a beginner, and the excellent and helpful brief notes at the bottom of each page, besides explaining individual words and lines, provide stage directions to help readers visualize the plays.

One extremely useful feature of the layout is that instead of being given the usual style of line numbering - 10, 20, 30, etc. - numbers occur _only_ at the end of lines which have been given footnotes - e.g., 9, 12, 16, 18, 32. Why no-one seems to have thought of doing this before I don't know, but it's a wonderful innovation that does away entirely with the tedious and time-wasting hassle of line counting, and the equally time-wasting frustration of searching through footnotes only to find that no note exists. If the line has a note you will know at once, and the notes are easy for the eye to locate as the keywords preceeding notes are in bold type.

The book - which is rounded out with three Appendices, a Royal Genealogy of England, Maps, Bibliography, Suggestions for Reading and Research, Textual Notes, Glossary of common words, and Index - also includes a 16-page section of striking color photographs.

The book is excellently printed in a semi-bold font that is exceptionally sharp, clear, and easy to read despite the show-through of its thin paper. It is a large heavy volume of full quarto size, stitched so that it opens flat, and bound, not with cloth, but with a soft decorative paper which wears out quickly at the edges and corners.

If it had been printed on a slightly better paper and bound in cloth, the Bevington would have been perfect. As it is, it's a fine piece of book-making nevertheless, and has been edited in such a way as to make the reading of Shakespeare as hassle-free and enjoyable an experience as possible. Strongly recommended for students and the general reader.

Last year for Christmas I asked my parents for some William Shakespeare's plays.Boy was I suprised!Not only does it have all of the plays,but also his Sonats,poems,and illistrations.Despite the fact that it's a large valuem and will need quite a bit off book space from you're self.You wont regret getting it.You will never need to get another book on William Shakespeare's plays and everything else ever again.It also has a list of dictonary for understanding the words better.

A first rule of thumb when approaching Cabell's 18-volume opus, the Biography of Manuel; every book will be about Cabell's relationship with his wife. Cabell is obsessed with marriage, and objectifies all of his female characters to fit one of his imagined female roles; nag, whore, or unapproachable beauty. Cabell's characters always return to their nagging wives, for familiarity's sake if nothing else, with never a suggestion that it might be possible to have a long-term relationship between a man and a woman in which both are creators and in which both learn from each other.

The book Jurgen is from the same mold. Jurgen the pawnbroker moves from one of Cabell's stereotypical women to another. The book became well-known because of the godawful sex sequences, in which Cabell archly refers to Jurgen's sword, staff, or stick -- the resulting call for censorship made the book famous, but that doesn't mean it was Cabell's best. I thought The Silver Stallion and, in some respects, even The Cream of the Jest or The High Place to be better examples of Cabell's writing.

I would recommend that anyone who likes fantasy read at least one of Cabell's books, because he writes like no one else. This book had the usual Cabell wittiness and sardonic feel, so if it's the only one you can find, certainly try it.

Early in his journey, Cabell's Jurgen comes to a place known as 'The Garden Between Dawn and Sunrise.' In the garden live all the imaginary creatures that humankind has ever created: centaurs and sphinxes, fairies, valkyries, and baba-yagas. Jurgen is surprised when he sees his first-love wandering around the garden, but his guide replies "Why, all the women that man has ever loved live here...for very obvious reasons."

Moments like this, simultaneously jaded and genuine, sentimental and cynical, are the most delightful parts of 'Jurgen: A Comedy of Justice.' Nominally the story of a medieval pawnbroker's quest to find his lost wife, 'Jurgen' becomes a bildungsroman in reverse as, on the way, its hero regains his youth and visits the lands of European myth, from Camelot to Cocaigne (the land of pleasure) -- each land shows Jurgen a way of life, and he rejects each in favor of his own sardonic stoicism, for he is, after all, a "monstrously clever fellow."

That phrase describes Cabell as much as it does Jurgen: the author is remarkably erudite, and, like a doting parent hiding easter eggs, drops in-jokes through the book on subjects as far-ranging as troubadour poetry and tantric sex. Cabell corresponded with Aleister Crowley in his day, and, in ours, is an influence on Neil Gaiman ('The Sandman,' 'Neverwhere,' etc.). The book itself caused quite a splash when it became the centerpiece of one of the biggest censorship trials of the early 20th century: something to do with Jurgen's very large *ahem* sword.

Social satire and an idiosyncratic cynicism in the guise of a scholarly romance-fantasy, 'Jurgen' is what would have happened if J.R.R. Tolkien and Dorothy Parker had gotten together to write a book.

In the 1920s, James Branch Cabell (rhymes with "rabble") was considered by many to be one of the greatest American writers, based on this novel. Tastes changed with the coming of the Great Depression; worse, Cabell never again came close to writing a book of this quality, despite his many attempts. Whether or not Cabell is a great writer (and I incline to the view that writers should be judged by their best rather than their mediocre works), Jurgen is a great book, full of insight and a joy to read. The eponymous protagonist is a middle-aged pawnbroker who is given an opportunity to relive his youth. In his travels he encounters, among others, Guenevere, the Master Philologist, the Philistines, his father's Hell, and his grandmother's Heaven. In the end he has an opportunity to question Koshchei who made all things as they are. I heartily recommend this novel. Although it is in an older fantasy tradition, it is at least as readable and enjoyable as the best contemporary fantasy, and its literary quality is far greater. I have re-read it many times.

Miller presents a detailed history of a remarkable period in U.S. Congressional history leading up to the Civil War. Miller describes the battle waged in the U.S. House of Representatives, led by John Quincy Adams, to preserve the right of citizens to petition their government, and his efforts to keep the issue of slavery before the House. I finally saw one of the important effects of the infamous 3/5's rule, which was to create a power imbalance in Congress in which slave holding states dominated the House due to the additional Congressional Reps. they gained by virtue of their large slave populations. It was this imbalance that hindered Congress from a full debate regarding the abolition of slavery. Extremely informative, very well researched and documented, and Miller weaves a witty commentary throughout that is most enjoyable. This is a book that should be read in every high school American History class. It is at times dry (big surprise as Miller details Congressional proceedings) but nonetheless fascinating. I have a new appreciation of the contribution of Adams to the battle against slavery.

This book deals with events from 1835 to 1845 and is principally concerned with John Quincy Adams' fight over the House rule which forbad the reception of petitions about slavery. This may seem like a narrow issue to be the subject of a 556 page book, but this book is flawlessly written, and has great humor--exposing the idiocy of the slavery upholders--and at times brought tears to my eyes. A dropback to the stirring events of 1775 and 1776, found on pages 155 to 157, is as good a writing as I have ever seen evoking the sheer drama of those days. This is a nigh flawless book for one as interested as I am in congressional history and the years before the Civil War.

Try discussing the relative role of slavery in the American Civil War, and the discussion will likely turn on its ear quickly, with little generated other than heated words. So often, it seems, we cannot discuss this subject except with anesthetic prose, or highly spirited points of view. Not so with William Lee Miller's Arguing About Slavery. The author, Thomas C. Sorensen Professor Political and Social Thought at the University of Virginia, has crafted a wonderfully expressed story of the battle over slavery in the 1830s and 1840s on the floor of Congress.

To those of us in the late twentieth century, the idea of petitioning to consider a prayer for action, the Constitutional sanctity of the act, and the relative abuse of the privilege by Congressmen both North and South seems the actions of an almost foreign government. The nearly maniacal desire of Congress to avoid any discussion of slavery in toto also seems incredible in light of government today. Using Congressional records to retell the story in the words of the participants, Miller weaves a fascinating tale as forces in the North try to ensure the rights of their petitioners, as well as deal with continued efforts to stop them dead in their tracks.

There are three major areas to the book: the opening of the slavery issues in Congress, with the presentation and fights by Southern radicals to keep any admittance of them from even appearing in Congress, the development and passage of the "gag rule," in which any attempt to place a petition in front of Congress regarding slavery was "gagged," and finally, the story of former President John Quincy Adams in these fights, and his efforts to support the rights of American constituents in these battles.

The story of Adams is the centerpiece of the book. In laying out the man who would not back down to both Southern and Northern Democratic interests, Miller brings back to life an American figure who is likely lost to many of our generation. Adams, already in his sixties as the slavery battles began, was an unlikely hero. Having served in nearly every capacity he could prior to agreeing to run for Congress after his presidential term, he brought a dogged determination to duty that is hardly recognizable in today's terms. Adams was not an abolitionist, but he was determined that the voices of his constituents, should they be of an abolition ideal, should be heard in the halls of Congress. To that end, he battled for a decade to make those voices heard.

Making use of Adams's massive personal diary, historical context, as well as the Congressional Globe coverage of the proceedings of Congress, Miller delivers the story of these battles in the words of those who were there. Thus, we can see the fanatical words of South Carolinian planter James Henry Hammond: "And I warn the abolitionists, ignorant, infatuated, barbarians that they are, that if chance shall throw any of them into our hands he may expect a felon's death," and Waddy Thompson, Jr.: "In my opinion nothing will satisfy the excited, the almost frenzied South, but an indignant rejection of these petitions [calling for the end of slavery in the District of Columbia]; such a rejection as will at the same time that it respects the right of petitioning, express the predetermination, the foregone conclusion of the House on the subject -- a rejection, sir, that will satisfy the South, and serve as an indignant rebuke to the fanatics of the North." And finally, we see and hear in our minds eye the torture of Adams as he struggles to balance his personal devotion to his country (he was a strong Unionist) with his obligations and duties to his office. Looking at war as a possibility between the two sides of the Union, he concludes in his diary: "It seems to me that its result [that of war] might be the extirpation of slavery from this whole continent; and, calamitous and desolating as this course of events in its progress must be, so glorious would be its final issue, that, as God shall judge me, I dare not say that it is not to be desired."

Much more than just a chronological narration of events, Miller weaves in background of the events and personalities in order to make his subject come alive. Arguing About Slavery is a book outside the mainstream of standard Civil War book fare, but a must if you have any desire to understand the people, events, and stories that led to the great conflict beginning in 1861.

This is the greatest book anyone an possibly buy on hitting. It is written by one of the top 3 hitters in baseball history, Ted Williams, and he definitely knows what he's talking about. Take it from me, I know. Im a 15 year old baseball player, whenever I get into a slump I can read this book and it will automatically get me out of it. If you read this at the beggining of a season it's possible your batting average could at least increase by .200, depending on how good you are. He explains the importance of having a good swing, stride, and everything essential to being a good hitter. This is a must have for every little leaguer.

In the past 2 years I have read EVERYTHING there is to read on the subject of hitting preperatory to teaching my gifted 8 year old son and while I tell you that in virtually each and every book there exists some gem that you can apply to help increase chances of success THIS BOOK is the definative work on hitting.

What amazes me the most is that Williams, only a HS graduate, but yet possessing of an incredibly gifted intellect, as is exhibited by his becoming a fighter pilot etc, taught himself through trial, error and DETAILED analysis what the incredibly complex physics of the swing are. Recently, with the publication of Rob't K Adair's THE PHYSICS OF THE SWING we have the definitive confirmation of what Williams came to understand himself but now from a scientific and scholarly source. Williams doesn't articulate it in his book but he employed a law of physics called The Law of Conservation of Angular Momentum. Simply stated as it applies here it means that when you hold the arms close to the body and start the swing with your hips rather than your arms you will generate greater bat speed. Williams stated this simply in his book when he talks about starting the swing with the hips and holding the hands back as long as you can.... the farther the hands get away from the body the slower the bat speed. It's a law of physics that simply cannot be overcome. The hands, wrists and arms add nothing to the speed of the bat. They are mere conduits through which the power which is generated by the legs and the torso are transferred to the bat. Williams was intelligent enough to figure this one out on his own. Well, as he stated in his book, Rogers Hornsby's immortal words: "great hitters are not born, they are CREATED by study, hard work and fault correction" probably provided him with the spark he needed.

He was an amazing man who had problems with his pears when he played as super intelligent people often do. Fortunately now he is getting his just due and respect.

Thank you and rest in peace Teddy Ballgame!

This book is great for anyone who wants to learn the intricacies of hitting a baseball well, and also learning which balls to hit. Ted Williams probably knows more about hitting than any man alive, and the only subject he says he enjoys talking about as much as hitting is fishing. If you read this book you will quickly realize he is telling the truth; his enthusiasm jumps out at you from the pages.

Written by Shakespeare for Queen Elizabeth I amidst a time of Irish rebellion, Henry V more than adequately serves its intended purpose of galvanizing nationalistic fervor. It proved itself to be an unwavering and unfaltering impetus of patriotism in Shakespeare's day, during WWII, and still today it continues to resonate and reverberate this provocatively telling tale of the most gloriously revered monarch in English history.

Henry V's stirring orations prior to the victorious battles of Harfleur("Once more unto the breach") and Agincourt("We few, we happy few, we band of brothers") astonish and inspire me every time I read them. Simply amazing. Having read Henry IV Parts I&II beforehand, I was surprised Shakespeare failed to live up to his word in the Epilogue of Part II in which he promised to "continue the story, with Sir John in it." The continuing follies of the conniving Bardolph, Nym, & Pistol and their ignominious thieving prove to be somewhat of a depricating underplot which nevertheless proves to act as a succinct metaphor for King Harry's "taking" of France.

Powerful and vibrant, the character of Henry V evokes passion and unadulterated admiration through his incredible valor & strength of conviction in a time of utter despondency. It is this conviction and passion which transcends time, and moreover, the very pages that Shakespeare's words are written upon. I find it impossible to overstate the absolute and impregnable puissance of Henry V, a play which I undoubtedly rate as the obligatory cream of the crop of Shakespeare's Histories. I recommend reading Henry IV I&II prior to Henry V as well as viewing Kenneth Branagh's masterpiece film subsequent to reading the equally moving work.

I looked long and hard (and asked many a scholar) for the "perfect" Shakespeare publication that I might purchase to study "King Henry V" (for a experiential education requirement, I had undertaken the translation of Henry V into American Sign Language). The Arden Shakespeare came highly recommended by everyone, and has lived up entirely to all its rave reviews.

I will never buy Shakespeare from another publisher. While these books may be slightly more expensive than a "mass market" edition, I believe that if you are going to take the time to read and understand Shakespeare, it is well worth the extra dollar or two. The Introduction, the images, and plethora of footnotes are irreplaceable and nearly neccessary for a full understanding of the play (for those of us who are not scholars already). The photocopy of the original Quatro text in the appendix is also very interesting.

All in all, well worth it! I recommend that you buy ALL of Shakespeare's work from Arden's critical editions.

On D-Day British officers read Henry's famous words to their men as they approached the beach. When Churchill needed material for his famous "Few" speech, his thoughts turned to the pages of Henry V. From "once more into the breach" to "we happy few, we band of brothers" this play resonates with Shakespeare's paen to England's warrior king. Oh, you'll be a bit confused at the start if you haven't read Henry IV parts 1 and 2, but this is primarily the story of Henry V's victory at Agincourt. Whether the play glorifies war or just Henry you will have to decide. There is much food for thought here for the perceptive reader. But then Shakespeare is always provocative.

A story about a superintelligent talking dog? It sounds terrible, like something out of a twee Disney film, but in actual fact Stapledon manages to avoid anything like that, and has written an incredible, touching story. It reminds me of "Call of the Wild" and "White Fang", and doesn't avoid the dark side of Sirius' nature... there are a couple of particularly savage passages where Sirius kills a sadistic farmer, and also "murders" a horse just to indulge his canine instincts.

Sirius ends up seeing the full range of human life, from bad to good, and more. He is also not a true dog, and finds himself not only alienated from human beings who cannot accept him fully (with a handful of exceptions), but other dogs who are like cretins to him especially his "lovers" (as the book puts it). Despite having difficulty speaking and writing (he devises ways to get around that), Sirius has an advantage over other dogs through his intelligence, and over humans in his hearing, sense of smell etc. What we get is not only a satire on English life during WWII, but an almost autistic view of the world, seeing everything but not able to integrate oneself into it.

Of course some of the writing is dated, and Stapledon at times takes a very colonial view of the Welsh and their language (Sirius is originally brought up on a Welsh farm by English academics). Some of the style is very dry and typical of the period (for example when Sirius spots a holy roller farmboy pleasuring himself, Stapledon calls it "something unspeakable". Fortunately Victorian hangovers like these are not common).

Never before have I read such a book that encompasses so much, in such a wonderful way. I've only read the second half of the volume, the strange, coldly scientific fairy tale of Sirius. After what I've read there, I'm not quite sure I'm ready to read Odd John. In due time I shall, but for now, I'll have to be contented with mulling over the life of Sirius, sitting, thinking, reflecting on its harsh mysticism.

Never before have I read such a book that encompasses so much, in such a wonderful way. I've only read the second half of the volume, the strange, coldly scientific fairy tale of Sirius. After what I've read there, I'm not quite sure I'm ready to read Odd John. In due time I shall, but for now, I'll have to be contented with mulling over the life of Sirius, sitting, thinking, reflecting on its harsh mysticism.

A "must-read" for anyone who truly wants to understand small unit tactics. Studying the western way of war is only half of the equation. Reading and absorbing the lessons in this book is the other half - the most important half.

This well-written and well-researched book is sorely needed in today's U.S. military. To all those blinded by the technologies involved in transforming the U.S. military, or the so-called "revolution in military affairs," this book should serve as a 'reality check.' Poole repeatedly shows how the Western over-reliance on ordnance and technological superiority was effectively countered by adversaries who recognized the West's strengths and consciously decided to focus on small unit tactics and training.

Poole's message (some may call it a warning) is clear: the West will never live up to its military potential (or up to its over-inflated militarily superior opinion of itself) if it continues to ignore pursuing the tactical excellence needed to complement its unquestioned technological superiority. The real transformation or revolution in military affairs should be the paradigm shift to ensuring that our individuals and small units are as tactically proficient as they are technologically advanced.

This book can help all Western military decision-makers think differently about warfighting and can help save lives on the battlefield.

Retired Marine Lieutenant Colonel John Poole has written a timely book to help soldiers understand the enemy and to learn how to fight in the post-911 wars. Based on ancient Chinese writings, some only recently made available, historical example, and his own experiences, Poole takes away a large part of the mysticism surrounding the tactics and thinking of the armies of the shadows. Further, he has the audacity to suggest that the American combat forces adapt to, if not adopt, many of these ideas.

One of the most chilling passages in Poole's book is a reflection from the 36 Stratagems, a Chinese work relatively new to the West, which translates to: "Kill with a borrowed knife or sword". Further, it is not a big stretch to link the Japanese Kamikazes in World War II to the terrorists' crashing of airliners into buildings at the beginning of this new war.

This is not a book for the advocates of the Revolution in Military Affairs. While Poole does not reject the RMA, he is clearly down in the weeds where the American fighting man will be. Nor will this book please the cognoscenti who have never seen the face of war, but this is a book that will save American lives.

How can these third world armies of the night stand up to the might of the American military machine? Poole's answer is that by using maneuver against an attrition-oriented army, these enemies have been able to wreak havoc. The focus of our asymmetric enemies is squad level tactics and low tech weapons. American Special Forces in Afghanistan have perhaps taken a page from Poole's book in applying the American Way of War asymmetrically to the elusive Taliban and Al Qaeda enemies. Operating from the ground and with indiginous forces, the Special Operations teams adapted to the environment, advised alliance forces, and provided timely direction of some very effective precision air power enabling the ground war to succeed. Clearly, however, as Poole warns, the illusive enemy is still underground, both literally and figuratively, and this is but Phase I of a long war.

It is time to revisit the long-enduring fascination with Clausewitz. The new face of war has little relation to Clausewitz, but there are many parallels with Sun Tsu. Before we can begin to fathom the terrorist or the Eastern way of war, we should be compelled to learn more about Sun Tsu and his progenies. Poole points out the major differences between the Sun Tsu and Clausewitz approaches: "While the Eastern commander avoids combat wherever possible, his Western counterpart seeks it". Moreover, the reader is led into a practical description of the Eastern philosophy of the I Ching (Book of Changes), and how it applies to Eastern tactics in a way that is easily understood by the average Joe.

Lieutenant Colonel Poole is clearly in the maneuver warfare camp. His mentors include the late Colonel John Boyd, USAF of OODA Loop fame, William S. Lind, author of The Maneuver Warfare Handbook, and Colonel David Hackworth USA (Ret). Lieutenant Colonel Poole's experience includes both enlisted and officer service in the USMC in war and peace. Whatever one's predilections for or against the philosophy of maneuver warfare, this book illuminates many perceptions and practices of the Eastern fighter. This affordable book needs to be read by all combat arms soldiers, all special operators, and all generals as a companion piece to William S. Lind's Maneuver Warfare Handbook for an appreciation of this new, and yet old, face of war and how to fight it.

H. John Poole's first two books were profoundly valuable. The first was a handbook of high-skill small unit infantry technique. The second was his ethical and religious philosophy of warfighting, in which he points out that the ethical point in a just fight is to *win*, not simply to kill. The only key to winning without excessive killing is *skill*, not technology, although appropriate technology supplements skill.

Now comes _Phantom Soldier: The Enemy's Answer to US Firepower_. We owe it to our military service members to study and absorb this book in ALL services and ALL military and civilian levels, even if it means that readers in sea and air forces, and in diplomacy and economic warfare have to make their own translations from ground combat. _Phantom Soldier_ shows that skill has trumped technology-our technology-in the wars of the 20th century. Specific, detailed, professional analyses of the Japanese defense of Iwo Jima, the Chinese at the Chosin Reservoir, the Vietnamese against landing U.S. Marines at Than Tham Khe in late December 1967, illustrate many of the maxims of the ancient Chinese military philosopher Sun Tzu [lucidly summarized and explained in the Appendix] and show how again and again, Americans attempt to substitute technology for skill, shedding rivers of American blood in the process.

This is the most lucid and enlightening readily-available account of Sun Tzu's and his disciples' military philosophy, and will generate one "ah-ha!" experience after another, in understanding both maneuver warfare, and 4th generation or "asymmetric" warfare, such as the attack launched against us in September, 2001.

It is our duty as a nation to only send Americans into fights in cohesive, *skilled* units, led by practiced, competent leaders, because only this wins the fights, sparing their lives and spirits.

Devour this book and then give copies to all your friends. ...

This is a brilliantly written book which tells a good story, but in a way that demonstrates the technical excellence of the writer.

The tale of the Heroine, Hope Clearwater, is told retrospectively by herself. Boyd cleverly puts himself into the first person so that he is believable as Hope herself. Then he has Hope speak of herself in first and third person, which creates an interesting effect. On the one hand you are viewing a narrative account of her story, but then you easily slip into her mind and listen to her thoughts. This makes the story very personal, and brings you close to Hope's character in an empathic way.

The story moves from College in England, to research in the downs of Southern England, before it leaps to Africa where things really hot up. Relationships move from civilised distraction to out and out bloodletting.

Boyd weaves in themes familiar from Jane Goodall and Diane Fossey's primate studies. He makes mathematics and research into interesting subjects, and is guaranteed to have you reaching for the dictionary to understand some of the obscure terminology of medieval english architecture. Over all of this he lays a central african civil war, academic cloak and dagger politics and some complex human and chimp relations.

Two love affairs that seem doomed, sexual politics in the bush and a shifting and uncertain movement of grant aid and civil war add to the complexity. A rebel army formed from a volleyball team, an egyptian cosmonaut, a half built hotel and the smallest model aircraft in the world inject the sense of ridiculous that is part of Africa.

A highly intelligent and enjoyable read.

"Brazzaville Beach" is a very well constructed novel weaving together two stories from the life of Hope, the heroine: in Africa, her work at a chimpanzee research center in a country in the midst of a civil war, where she makes a discovery that is "inconvenient" for the center's alpha male director; and in England, her doomed marriage to a brilliant but frustrated mathematician. There's lots in this book: love, sex, ego, war. Boyd very effectively portrays both the sciences and the scientists of primate research and advanced mathematics, as Hope learns what humans and chimpanzees have in common.

Hope Clearwater sits on Brazzaville Beach, contemplates her past, and narrates the events of this novel. One strain of the story concerns her failed marriage to a mathematician whose unquenched thirst for revolutionary discoveries and their attendant fame drove him to madness. The second strain concerns the animal research that Hope had fled to Africa to participate in. Grosso Arvore Research Center is run by the renowned chimpanzee expert Eugene Mallabar, who was just putting the finishing touches on his master work, describing the peaceful ways of our close animal relatives, when Hope's own observations seemed to indicate that all was not quite as idyllic as had previously been supposed among these primates. But the evidence of aggression that she finds between two competing colonies of chimps threatens the carefully constructed image that Mallabar has built up over the years, and, most importantly, threatens to make the animals less attractive to charitable organizations which fund the project. Meanwhile, thrumming in the background is a guerilla war which threatens to swamp this African nation at any moment.

William Boyd takes these various threads and weaves them together, along with a variety of brief comments on scientific and mathematical ideas and issues, into an exciting and intellectually compelling novel. With its Edenic setting and themes of Man's search for knowledge--and the madness the search can bring--the book taps into our primordial myths and some of the core questions of our existence. If it sometimes seems to be almost too consciously striving to be a serious novel of ideas, that ambition is justified, if not always realized, and the philosophical failures are more than offset by the good old-fashioned African adventure story that unfolds simultaneously.

The shelves fairly groan beneath the weight of books warning that when a little of the veneer of civilization gets stripped away in the jungle, Man must face the fact that he has a dark heart. And there are elements of that here, particularly in the way that Mallabar treats Hope and her discovery, but Boyd has much more to say besides just this. Perhaps the most exciting message of the book lies in the contrarian stance it takes to the modern age's tendency to romanticize Nature. It is always well to recall Thomas Hobbes's famous description of Nature as "red in tooth and claw." The reader of this book will not soon forget it.

GRADE : A