The subtitle of this book is more informative than the title. The prisoner's dilemma itself is a central point, but this book is more about "John von Neumann, Game Theory, and the Puzzle of the Bomb." In a sense, William Poundstone takes the prisoner's dilemma as a reference point, and looks at its history. As he does so, he provides a brief biography of John von Neumann, discusses the development of game theory by von Neumann, its further development by the other members at the RAND Corporation, and game theory's relevance to the nuclear bomb and the cold war.

As fascinating as all this was (and he tells the story well), I was most interested in the final third of the book which discusses games other than the prisoner's dilemma: chicken, the volunteer's dilemma, deadlock, stag hunt, the largest-number game, and especially the dollar auction. The games are described not just in terms of numerical payouts, but in situations that can be imagined in real life. And Poundstone also mentions game theory in relation to evolution, and tit for tat strategies in iterated prisoner's dilemmas.

This is a book for the general reader. You need not be a mathematician to understand the contents. Indeed, it is a pretty simple book, and you will only learn basic aspects of game theory if you haven't encountered it before. What you can expect is a story about von Neumann and the cold war and the interesting paradoxes that such situations create.

I think Poundstone accomplishes his task of introducing the life and times of John von Neumann, as well as game theory and Cold War strategy (and follies associated with it). Game theory in its original von Neumann/Morgenstern formulation is dauntingly unapproachable. For the layman, Poundstone cuts to the essential meat of the matter. I found the chapters on various game formulations and introductory analysis to be enlightening, as Poundstone does not try to force everything into a game theory solution like many economic texts do- he recognizes and explains the limitations and shortcomings that game theory researchers have discovered over the years. A good read, whether you're a hawk or a dove on arms control issues.

William Poundstone is in his element when he's writing about stuff like this. If you've read his _Labyrinths of Reason_ or _The Recursive Universe_, you already know he's a terrific expositor of the logical and mathematical brain-benders that have driven both mathematics and philosophy for the past century or so. Well, this book really gives him a chance to shine.

You see, it's one big story that consists of several sub-stories. In part it's a biography (intellectual and otherwise) of John von Neumann, one of the greatest mathematicians of the twentieth century. It's also a popular exposition of game theory and some of the decision-theoretic puzzles that arise in it (most obviously the one of the book's title). And it's _also_ a history of the Cold War, at least on its strategic side.

You pretty much have to be William Poundstone to weave all this together into a coherent and readable narrative. Fortunately, William Poundstone _is_ William Poundstone, and he pulls it off with panache.

There's something here for everybody. My favorite parts are the chapters on the various game-theoretic dilemmas (including a _very_ nice exposition of Robert Axelrod's _The Evolution of Cooperation_ that correctly captures what Axelrod did and did not show in his famous computer tournaments). But the biography of von Neumann is fascinating too; great mathematicians tend to be odd and interesting characters, and von Neumann was one of the greatest. And all the Cold War-era history is riveting in its own right, even apart from its relationship to von Neumann (who may have been at least one of the real-life models for Dr. Strangelove).

Poundstone is a fine writer with a real gift for this sort of thing. If even one of the strands in this tale sounds engaging to you, you can rest assured that Poundstone will manage to keep you engaged in the other two as well.

Look for his other books too. I especially recommend _Labyrinths of Reason_.

a good read, but can be confusing for kids. It takes a while to comprehend all of the Shakespearian langauge, but is very interesting. It is boring at parts.

The Winter's Tale is a lot of things: heart-breaking, exhilerating, funny, beautiful, romantic, profound, etc. Yeah, it's all here. This is one of the bard's best plays, and I can't believe they don't teach this in schools. Of course, the ones they teach are excellent, but I can see high school kids enjoying this one a lot more than some of those others (Othello, King Lear).

The story is, of course, brilliant. King Leontes goes into a jealous rage at the beginning against his wife Hermione. Leontes is very mistaken in his actions, and the result is tragic. Shakespeare picks the story back up sixteen years later with the children, and the story works to a really, really surprising end of bittersweet redemption.

This is one of Shakespeare's bests. The first half is a penetrating and devestating, but the second half shows a capacity for salvation from the depths of despair. Also, this being Shakespeare, the blank verse is gorgeous and the characters are well drawn, and the ending is a surprise unparalleled in the rest of his plays. The Winter's Tale is a truly profound and entertaining read.

The Winter's Tale contains some of the most technically difficult solutions to telling a story that have ever appeared in a play. If you think you know all about how a play must be constructed, read The Winter's Tale. It will greatly expand your mind.

The play opens near the end of a long visit by Polixenes, the king of Bohemia, to the court of his childhood friend, Leontes, the king of Sicily. Leontes wants his friend to stay one more day. His friend declines. Leontes prevails upon his wife, Hermione, to persuade Polixenes. Hermione does her husband's bidding, having been silent before then. Rather than be pleased that she has succeeded, Leontes goes into a jealous rage in which he doubts her faithfulness. As his jealousy grows, he takes actions to defend his misconceptions of his "abused" honor that in fact abuse all those who have loved him. Unable to control himself, Leontes continues to pursue his folly even when evidence grows that he is wrong. To his great regret, these impulsive acts cost him dearly.

Three particular aspects of the play deserve special mention. The first is the way that Shakespeare ties together actions set 16 years apart in time. Although that sounds like crossing the Grand Canyon in a motorcycle jump, Shakespeare pulls off the jump rather well so that it is not so big a leap. The second is that Shakespeare captures entirely different moods from hilarious good humor to deep depression and remorse closely adjacent to one another. As a result, the audience is able to experience many more emotions than normally are evoked in a single play. Third, the play's final scene is as remarkable a bit of writing as you can imagine. Read it, and marvel!

After you finish reading this play, think about where your own loss of temper has had bad consequences. How can you give yourself time to get under control before acting rashly? How can you learn to be more open to positive interpretations of events, rather than dark and disturbing ones?

Love first, second, and always!

The events that occurred on September 11, 2001, changed the history of the United States forever. No longer are Americans fearless of other world powers, no matter how large or small, but now Americans are to some degree living in fear. Terrorist attacks can happen again today, tomorrow, a month from now or a year from now. There is no way to plan for the unexpected, even though cautionary levels are through the roof. The outcome of that fateful day changed American attitudes. The hatred felt toward the U.S. was overwhelming. I believe that if it would have been possible, there would not be a single American man, woman or child alive to tell the frightening tale. The history of the U.S. changed that day, and luckily, there is people left to tell about it and share stories and emotions.
Following Spetember 11, 2001, there has been numerous literary works that have popped up about the issue. One of these works is by William Heyen and is called September 11, 2001 American Writers Respond. This literary work is an anthology of 127 American writers that responded to the tragedy. The anthology is a collection of fiction writings, essays, and poetry and prose. What is amazing to me is that these writers were able to respond at all. Following the events, there was numbness throughout the U.S. Mass confusion and hysteria was going on. No one knew for sure who was involved, who was killed, or what the meaning behind the event was. It was as if, for Americans, the world had stopped moving for days at a time while they watched over and over again the planes crashing and the towers falling.
For months afterwards, news headlines and magazine covers were filled with pictures and stories of people's experiences and thoughts. This is what September 11, 2001 American Writers Respond is all about-experiences and thoughts. The stories and prose included in the anthology are by various writers throughout the U.S. and vary in length, depth, and character. This may be the only downfall of the anthology. If there was some uniformity to the pieces, I believe, the anthology would be much stronger. Nonetheless, the fact that the writers were able to capture their thoughts and emotions during this chaotic and emotionally charged time is all that matters, because these thoughts and emotions are exactly what everyone in the U.S. wanted, and in some ways needed.
Americans couldn't get enough of others thoughts and were also eager to share their own. Most of the pieces in the anthology explore the meaning behind the events, such as what does this say about humanity, what does this say about everyone's sense of well-being and why is the U.S. so hated. Some explore what should be done as a counterattack, and other simplier pieces, recollect what a particular writer was doing at the time of the incident. The reaction of the people to this tragedy is similar to when Kennedy was shot or when the U.S. first landed on the moon. Everyone talks about what they were doing. Curiosity is great but it is more than simple curiosity. A uniting of the nation came to pass, and the people want to feel as though they belong, as though they all shared a common experience and grew as a result of that experience. This also is what the anthology does for the reader.
One piece that particularly grabbed my attention was by Antler, and was taken from Skyscraper Apocalypse. The lines that made me grasp the events in a different light go as follows:

Have the winds blown enough
that by now all of us have breathed
particles of the burned-up corpese?
Sooner of later all of us will inhale
invisible remains of the incinerated victims...

I had never thought of the events in this light. Living in Wisconsin, and not knowing any victims, made me disengage myself from the tragedy in some ways. My life wasn't changed in a drastic manner so I didn't think about it constantly. However, when I read these lines, and I think that at this very moment I could be breathing someone's remains, makes me look and remember the tragedy in an altered way. This is also a major part of the anthology, looking at others perspectives and making them part of the larger picture. The people that lost their lives were live human beings, and even if I didn't know them, their death does make a difference in my life.
Overall the anthology was well put together. The writers all had something intellectual to contribute and did so in a meaningful manner. It is a mixture of works that makes the reader feel the tragedy all over again yet, at the end there is hope, even though nothing has been resolved at the time the anthology was published. The anthology's greater purpose, I believe, is to console and also to share thoughts and emotions, which at a time like this, as any psychologist would say, is very crucial.

We all know where we were on September 11th, 2001. Some of us were headed to work, others to school, some were with families and some were alone. We all know the thoughts that struck our minds as those airplanes struck those towers. Many of us would like to express the pain and emotion that we felt but are unable to find the words. That is why this book comes in handy.

At about 435 pages, September 11, 2001: American Writers Respond is an anthology featuring 120 writers. Loaded with first hand impressions penned only months within the attack on America, the book is a balanced mix of political response, personal reflection and artistic vision of the day that changed the world forever.

The anthology is Editor, William Heyen's effort to reflect the opinions and experiences of the world's people. It is a balanced representation of ideas, but hardly covers a fraction of the opinions and questions of all affected by the attack. And although it will never answer "why?" What it will do is let us express, empathize and identify with one another, not only as writers, not only as Americans, but as human beings.

September 11, 2001: American Writers Respond is a carefully put together anthology dealing with the attacks on the World Trade Center. This compilation contains pieces written by over 100 different authors and its diverse contents allow it to appeal to a variety of people.
Stylistically it is difficult to describe September 11, 2001: American Writers Respond because the genre is so widespread. The anthology includes poems, essays, short stories, fictional stories, non-fictional stories, letters, and poems-the list could continue. Each author has their own style yet the pieces have a way of fitting together and creating an amazing collection of artist's reactions to the events on September 11th. Authors like Daniela Gioseffi makes the reader laugh because she writes about an entertaining (and touching) conversation she has with a nine year old girl while authors like Fred Moramarco makes the reader cry because the contents of his poem include the final conversations of September 11th victim's lives. The different authors attempt to affect the reader in different ways creating an extremely effective anthology.
The pieces in the compilation of writings are arranged in alphabetical order by the author's last name. This unoriginal organization is actually a very effective technique used by the editor, William Heyen, because it leaves the reader in anticipation of what is left to come. Heyen could have organized the anthology by grouping similar pieces together but this option is undoubtedly inferior to his choice of arrangement. Because every author has a different point of view and style, the reader has no idea what to expect when they begin the next piece in the anthology. The reader may find two poems similar in content back to back, or an essay followed by a memoir with contents differing from one extreme to the next. The anticipation that builds within the reader regarding the content of the upcoming pieces makes September 11, 2001: American Writers Respond a book that people do not want to set down.
It is impossible to read September 11, 2001: American Writers Respond without questioning your own view on the attacks. The anthology represents an abundance of different points of view. From Muslims to Christians, Middle Eastern people to American people, presidential supporters to presidential protestors; every view is represented. One of the most amazing things about this collection of writings is the wide range of feelings it produces. There are pieces like "the window, at the moment of flame", by Alicia Ostriker, that produce feelings of anger and disbelief in many readers because it blames the Americans for the tragedy. There are also pieces like Richard Wilbur's "Letter" that produce nationalistic feelings and recreate a true sense of love and pride for America. A person's opinion of the nation and the attacks prior to reading September 11, 2001: American Writers Respond will definitely be challenged because of this book. Pieces such as "America United", by Ishmael Reed, force even the strongest supporter of the government to reevaluate the strength of our leaders and, consequently, take a second look at their own view on the matter. Initially some of the pieces included in the anthology may produce feelings of rage because the point of view of the reader and the author differ greatly. One of the things that make this anthology as effective as it is, however, is that the differing opinions (regardless of who the reader is) will be retaliated by another piece somewhere in the book. The anthology contains such a large variety of pieces that it is impossible for a person to not be able to identify and agree with at least one of the pieces.
It is inevitable that the attacks on September 11th had an affect on every American, but what is not as certain is the effects that it had on people other than Americans. September 11, 2001: American Writers Respond helps prove that the attacks were not simply an American tragedy, but rather a world tragedy. The anthology contains non-fictional stories such as "Sisters", by Karen Blomain, in which two American sisters are spending an ordinary day shopping in a flea market when the attacks occur. In this story the tragedy brings the American sisters together to mourn with Russians, Koreans, Latinos, and Indians. Many of the authors that are included in the anthology come from different cultures. The ability of this one book to cross cultures and force any reader to see the impact the tragedy had on people other than Americans is simply amazing. After reading this book it is impossible for a person to see the attacks as affecting only Americans, but instead the book forces readers to have feelings of empathy and respect for other cultures.
September 11, 2001: American Writers Respond is one of the most moving and motivational anthologies of today. Although the attacks on the World Trade Center occurred almost two years ago, it is still hard for people to cope with the tragedy. Books like this one help people (both Americans and non-Americans) deal with the truths of the attacks and come to the realization that they are not alone in whatever they are feeling. The amazing thing about September 11, 2001: American Writer's Respond is that it has the capabilities of touching every single person's life because of its diverse content. In a time period as dangerous emotional as this, people need to find a place to turn when they feel that there is nowhere left to go. Thankfully this book can be that place for anyone.

Faulkner's novel The Reivers is in my opinion his best work. Unlike many of Faulkner's stories The Reiver's comedic and lighthearted and at the same time it tackles and touches on many of the dark and not so comedic sectors of human nature. The novel is viewed through the lens of a young man named Lucius priest. Lucius accompanies his on an unsanctioned trip to Memphis with two of his fathers employees Boon Hoggenbeck and Ned McCaslin. Putting it lightly Lucius' traveling companions are, "men of the world" that is they protray a great deal of flaws and weaknesses that permiate humanity. They drink, smoke, gamble, steal, and womanize..... As Faulkner puts it they are, "practitioners of non-virtue". As the trip progresses Lucius soon realizes that he too has began down the path of non-virtue. As I said earlier Lucius and party are travelling to Memphis, but in The Reivers it is not the destination that is important to the story it is how they get their. Every leg of the journey find the characters with a new problem to tackle and a new display of what non-virtue is. As with many of his novels Faulkner takes the base human instincts good and bad and portrays them in a believable and poignant manner. The language used in the novels suits its characters and time perfectly and adds to the humor in some instances. The question you should ponder is does Lucius succumb to the non-virtue he is surrounded by in his travels? Read it and find out.

Some fans of Faulkner have bemoaned the fact that his final novel is not a profound summation of his heftier, more philosophical works (as though Faulkner could have foreseen his own death and owed his readers that much). While it is true that The Reivers is a much lighter (and more comical) work than those commonly regarded as Faulkner's "masterpieces," it is still worthy of attention. For one thing, The Reivers is Faulkner at his most entertaining; unburdened by the need to address the darker symptoms of the human condition, he is free to let his imagination run wild: the trials and triumphs of young Lucius Priest and his travelling companions make for some hilarious scenes and leave the reader feeling far more bouyant at the novel's close that, say, at the end of The Sound and the Fury or Absalom, Absalom!. The Reivers also features two additional benefits: the divine Miss Reba (second only to Granny Millard as Faulkner's most entertaining and resourceful female character); and the much-appreciated absence of that nosy and annoying popinjay Gavin Stevens. While one might read The Reivers as a Bildungsroman (Lucius's growth and awakening to the realities of the world around him are clearly underscored throughout the novel), I prefer to see it as a simple, amusing and satisfying story from a man who, by the end of his life, had done more to explore the human condition than most writers ever attempt - and was content to leave it at that.

Have you ever read a novel or a short story and felt an urgency to finish it but also an urgency to never finish? That's how I felt while reading Faulkner's The Reivers. This Pulitzer prize novel concerns one eleven-year-old white boy named Lucius Priest. Through the mediation of his father's underlings--Boon Hoggenbeck and Ned McCaslin--Lucius comes of age in the art of non-virtue. While Lucius's grandfather is away, the three of them "borrow" the old man's automobile and embark on a bumpy journey to Memphis. On the trip, Lucius sees it all--whoredom, lust, theft, profanity, gambling--and struggles with these things in the context of a southern religious tradition. Though he has every opportunity to turn back and forgo the trip, he presses on and convinces himself that it's all too late. Non-virtue has already embraced him. On the other hand, Boon and Ned have no doubts of their lack of virtue, and when they see Lucius drinking from evil's muddy waters, they just nod their heads (don't think that the story is grim, for it's down right funny at times). The story is addictive, even though the language is rocky and convoluted at times. Faulker was no Raymond Carver or Ernest Hemingway; conversely, he was the ultimate practitioner of the compound-complex sentence. The dialogue was so real, especially with Ned and other black folks. I felt as though I were standing around the campfire chewing tobacco and thumbing my suspenders and talking about horse racing. No wonder this novel hooked the Pulitzer. It's quality stuff.

the Oxford Shakespeare has been touted as 'a new conception' of Shakespeare, but is in fact merely an update of the cumbersome old Arden editions. Like these, 'King John' begins with a 100-page introduction, divided into 'Dates and Sources' (full of what even the editor admits is 'tedious' nit-picking of documentary evidence); 'The Text' (the usual patronising conjecture about misprints in the Folio edition and illiterate copyists); 'A Critical Introduction', giving a conventional, but illuminating guide to the drama, its status as a political play dealing with the thorny problem of royal succession, the contemporary legal ambiguities surrounding inheritance, the patterning of characters, the use of language (by characters as political manoeuvring, by Shakespeare to subvert them); and an account of 'King John' 'In the Theatre', its former popularity in the 18th and 19th century as a spectacular pageant, the play distorted for patriotic purposes, and its subsequent decline, presumably for the same reasons. The text itself is full of stumbling, often unhelpful endnotes - what students surely want are explanations of difficult words and figures, not a history of scholarly pedantry. The edition concludes with textual appendices.
The play itself, as with most of Shakespeare's histories, is verbose, static and often dull. Too many scenes feature characters standing in a rigid tableau debating, with infinite hair-cavilling, issues such as the legitimacy to rule, the conjunction between the monarch's person and the country he rules; the finer points of loyalty. Most of the action takes place off stage, and the two reasons we remember King John (Robin Hood and the Magna Carta) don't feature at all. This doesn't usually matter in Shakespeare, the movement and interest arising from the development of the figurative language; but too often in 'King John', this is more bound up with sterile ideas of politics and history, than actual human truths. Characterisation and motivation are minimal; the conflations of history results in a choppy narrative. There are some startling moments, such as the description of a potential blood wedding, or the account of England's populace 'strangely fantasied/Possessed with rumours, full of idle dreams/Not knowing what they fear, but full of fear'. The decline of the king himself, from self-confident warrior to hallucinating madman, anticipates 'King Lear', while the scene where John's henchman sets out to brand the eyes of the pubescent Pretender, is is full of awful tension.
P.S. Maybe I'm missing something, but could someone tell me why this page on 'King John' has three reviews of 'Timon of Athens'? Is somebody having a laugh?

Many people feel that this play of Shakespeare's is either unfinished or a poor effort. But I do not think this is accurate or fair. The reality is that many people can never find a middle ground. It is actually (in my opinion) quite common for people to only be able to see things from one extreme or the other. Despite Apemantus' cynical nature, there is no denying that whatever his faults are, HE DOES HAVE RIGHT ON HIS SIDE when he tells Timon: "The middle of humanity thou never knewest,/ but the extremity of both ends...." (4.3.342-343). Critics also tend to think Apemantus is unlikable, but are we missing a crucial point? I can not help but think Shakespeare is commenting on the fact that more people DON'T have a concept of reality. Apemantus refuses to join in the delight when Timon thinks highly of his false friends. Apemantus is aware of reality and no one wants to hear it. In my opinion Timon and Apemantus are VERY TRUE to life. In addition, the roll of Flavius is very touching. He can not dessert his master even when he knows (or thinks) Timon has nothing. Finally, I can not over estimate the mastery of Shakespeare when first Timon has money, he can not do enough for his so called friends and when he has nothing they dessert him. When Timon through fate gains a second fortune, he does not turn back into what he was, but rather he uses his 2nd fortune to destroy Athens. It is interesting that Shakespeare derived this play on the legend of 'Timon the Manhater,' and decides to take it a step further and show how he got there. And how much more realistic could Shakespeare have made this than by first showing Timon as a 'manlover?' Many people feel Timon should have somehow found the middle of humanity, but if he had, that would have defeated the whole purpose of this excellent play.

Timon of Athens has often been thought the work of a madman. Disjointed, polemical, irrational, and downright inelegant, many have thought that Shakespeare (or whosoever it may be) suffered a mental breakdown. This and more surrounds what I believe to be a tragic under-appreciation of this play. This play is NOT the story of a naively generous soul who eventually "faces reality". This is instead the story of a glorious Dionysian self-expender, who, upon realizing the cowardly conservatism of his so-called "peers", runs off to the wilds, to continue expending himself in body and soul. He dies on a curse, the climax of all the "evil wind" he has been sending out, the ultimate self-expension, his ultimate glory. The "tragedy" is the stone cold tablet that lies atop his corpse at the end, and the message of frugality it seems to send out, which is all too easily accepted by fatally declining cultures.

Having watched Mr Gildea's interview on Booknotes with Brian Lamb (CSPAN), I was immediately interested in the subject matter. Being a hoosier heightened my interest.

Mr Gildea takes the reader on a magical journey through what was Hoosier Hysteria at tournament time. He captured the true spirit of Indiana High School basketball with his vivid descriptions of the gymnasiums and people, past and present, that are Indiana ledgond.

A thoroughly delightfull read. My only dissappointment, and it is minor at best, is that he didn't focus on any of my town's schools and their brushes with the coveted championship. I say this tongue in cheek of course. I wouldn't be a true hoosier otherwise.

Thank you Mr Gildea!!!

I LOVED this book! I thought it was one of the best basketball books ever written. It's especially different for me to read because I am from Florida and like my mom says, "bball just isn't the same down here as it is up there". It sounds much more exciting and the fans actually get into it. I'm a diehard Hoosier fan and this book helped alot! I really LOVED the pictures of Luke Recker!

I am a Hoosier from Anderson Indiana and I really enjoyed the book,it captured the flavor of Indiana non-class basketball. The glow of what might be was forever taken from the game when class basketball was brought into play. I attended a small school and I remember the hope of this might be the year when tourney time rolled around. I was working in the food service at Anderson High School during the 96-97 season and Mr. Gildea captured the spirit of the coach and players of that year. This book is a good read for those outsiders who cannot understand the importance of basketball in Indiana.

I bought this web design book 2 weeks ago based on the reviews ... . It was actually a disappointment. Upon completion of the book I had seen a lot of nice web designs by Robin Williams' design firm but I still didn't know how to even begin my own design except that I needed to shell out [money] for Dreamweaver or GoLive. The attitude of the authors appeared to be "good web design takes years to learn so why don't you just hire us to do it for you" instead of actually teaching the reader. If you're a beginner like me, try "Learning Web Design" by Jennifer Niederst instead. I learned more in the first 25 pages of it than in the whole Williams book.

I'm an intermediate web designer. I have technical knowledge but not a lot of original design sense. This book, in conjunction with Robin Williams Design Workshop, has provided me with a lot of inspiration and insight. Now I KNOW how to make sophisticated, classy web pages. Some of the stuff I knew, a lot of it not in the depth covered in this book; but some of it was really new and eye-opening. I can't help but believe that most web designers, whatever their level, would benefit from this book.

I bought this book recently. I study at Sessions, a great site for learning design and I wanted to increase my web design basis. I'm fascinated with the simple but deep style of sharing knowledge by the author. It covers all aspects of web design: planning, dealing with clients, layout, composition, tools, etc. Is really a bargain! The real life examples motivate you to run to your computer to start designing new sites. Now I need time to redesign my site...with some new ideas inspired by the book. I love it!

This is an interesting book, about the type of truly eccentric and driven man that can only have been produced by the Victorian aristocracy. It is an interesting mixture of the main character's journal (which is by far the majority of the text) and the observations of the local people and staff on his estate.

It is certainly a fascinating and richly detailed account of what would be considered at any time chronic eccentricity bordering on madness - the endless underground tunnels and odd eating habits alone are enough to convince you of this, but what I feel is a small weakness of the novel is that there is simply not enough external observations of the Duke. Those observations by the house-keeper and the footman etc are little gems of insight, but they are too few.

The prose itself is beautiful, and once again invokes the feeling of the time wonderfully. It is a fine novel, well worth a read.

The book is based on the life of William John Cavendish Bentinck-Scott, the Duke of Portland and a resident of Nottinghamshire, England. The Duke of Portland was one of Victorian England's most famous eccentrics, who built a series of underground tunnels large enough for carriages and horses, that enabled him to move around his vast property. Although some of the book is based on facts, Mick Jackson admitted to have taken downright liberties in writing it.

The novel enfolds in the form of journal entries by the duke himself, and is supplement of various neighbours, servants and service men's accounts of Your Grace. The plot develops around the Duke's observations of the world around him, his somewhat hypochondriac obsession with his body, the steadily degeneration of his mind and his search for something missing in his life. It is drawn to a shocking and somewhat bizarre climax in the end of the novel.

It is beautifully written tragic and comic novel, with a character and plot that won't easily be forgetten.

Mr Jackson has given his main character a startling and original voice--follow along as the Duke ruminates about everything--the stars, his bowels, his parents's tombs, and the strange floating boy who dogs his footsteps. Interwoven with the Duke's narration are first person accounts from people who interact with him; most of these succeed, but not all of them are completely believable. Still, they give an important counterweight so that the reader isn't completely enclosed in the Duke's strange world. I do feel that the Duke's realization of the identity of the floating boy to be a little obvious and down to earth for a book that is none of these things, but that's a minor point. Can a book be both pathetic and hilarious? Sure it can, in Mr. Jackson's capable hands.

The physics is fine but this is an autobiography. What kind of a man is Wheeler? I got the impression he spent as much time avoiding offending anybody important as he did on physics. He sounds like an amiable sycophant.

Having noticed over the years that Prof. John Archibald Wheeler's name turns up in an amazing variety of physics-related articles and anecdotes, I was particularly primed to read his autobiography. The book doesn't follow a simple from-birth chronology, but rather begins with Wheeler teaching at Princeton and volunteering to meet the ship carrying his mentor, Niels Bohr, at a New York City dock in January of 1939. From that pivotal moment at the brink of World War II, Wheeler fills out his story by reaching back to childhood and forward to his long career in teaching, research, and national service. We learn of his brother Joe, whose body lay in a foxhole on an Italian hillside until it was reduced to bones. Wheeler reminds us that if the Manhattan Project had geared up one year earlier, the lives of his brother and many others might have been spared.

Wheeler's remarkable character pervades the book and helps make it unique and interesting. In a profession legendary for strong intellects and egos, he has achieved and maintained a pomposity coefficient of zero. His judgments of other people are unfailingly generous, but also astute enough to be interesting and revealing. He provides candid firsthand impressions of legendary figures such as Bohr, Einstein, Oppenheimer, Teller, Ulam, Heisenberg, Fermi, Szilard and Feynman . We also learn about many less well-known colleagues, friends and students whom he finds memorable for various reasons. In contrast to the eminent-scientist stereotype, Wheeler has always enjoyed teaching undergraduates and is genuinely interested in the problems and aspirations of the young people entrusted to his care.

Like the brilliant George Gamow, Wheeler has a talent for explaining difficult concepts and illustrating them with whimsically inventive diagrams. The book's autobiographical threads are interwoven with a rich tapestry of subtle but plainly-spoken physical insights on dozens of topics, some arcane enough to leave even the author slightly bemused. I believe anyone interested in physics will find a personal revelation or two among Wheeler's lucid, informal scientific explanations. There are touches of Gamowesque humor too, such as his theory that the fates somehow conspired to entangle him with a string of Hungarian emigres.

The title concepts of the book -- Geons, Black Holes and Quantum Foam -- were all named by Wheeler himself. He began his career at the minute scale of particle physics, moved on to the grand sweep of relativistic cosmology, and finally circled back to the hyperminuteness of quantum foam. Of course there is nothing really disjointed about such a journey, since connections among the nested scales of nature constitute one of the grand unifying themes of physics.

During his tenure at Princeton university, John Archibald Wheeler has served as the mentor to such outstanding physicists as Richard P. Feynman, Kip Thorne and Hugh Everett. He was also great friends with such individuals as Albert Einstein & Niels Bohr. In short, his contributions to physics have been indispensable.

This present work of his traces his life, a life that is (as the cover says) one of science. However, one of the nice facets of this book is that it goes beyond just the laboratory & reveals the personal life of this great man. We learn of the moving death of his brother in WWII, his worries and concerns over nuclear war (as well as the grapples with his conscience that he endured over the invention of the hydrogen bomb) and many other aspects of his life. He also tells stories of some of his most memorable students; not all of these were necessarily his most gifted pupils. Above all, Wheeler reveals a genuine human passion that has characterized his approach to science over the greater part of this century. One of the best biographies of a scientist I have ever read.

this is a comedy only in the sense that the play ends well - ie, noone dies, most everyone is happy. else, there's little humor in this comedy, save for the knave, lucio. like others here have pointed out, this is actually a pretty serious play that takes a pretty hard look at human weakness, particularly lust. there are some fine, impassioned speeches by claudio and his sister, who pleads for his life. worth a read. but don't expect any laughs.

One of Shakespeare's lesser read and lesser performed plays, Measure for Measure profoundly explores the themes of justice and mercy. This exploration compensates for the defects of the play: the unbelievable resolution, the Duke's refusal to interfere early on (which causes pain to the characters), the inconsistency in the application of morality (Isabella considers it wrong for the betrothed Claudio and Juliet to have sex but justifies--and even helps to arrange--it between Angelo and Mariana), and the unexpected suddenness of the Duke's proposal to Isabella. The play seriously weighs the concerns of justice and mercy, and although it ultimately favors mercy, it recognizes the complexity of the issue. How can one practice mercy and yet restrain vice? How can one "hate the sin" yet "love the sinner?" Mercy seems to be the necessary choice over justice because man is too fallen to bear the brunt of justice. "Judge not lest ye be judged. For with what measure you mete," said Christ, "it shall be measured unto you." If you hold a high standard for others (as does Angelo for Claudio) and yet fall short of it yourself, you will be judged by the same standard. Since we seem destined to fall short of righteousness, it is best to practice forgiveness, so that we too may be judged lightly. And yet there is a concern that such practice of forgiveness will lead to a laxity that permits vice to flourish (which is the reason the Duke leaves Angelo in charge in the first place). Though mercy and forgiveness are favored, the arguments in favor of justice are not simply dismissed.

Quote: "Condemn the fault, and not the actor of it?
Why, every fault's condemned ere it be done.
Mine were the very cipher of a function,
To fine the faults whose fine stands in record,
And let go by the actor." (II.ii.38-42)

Measure for Measure is seldom read, and not often performed in the United States. Why? Although many of Shakespeare's plays deal bluntly with sexual issues, Measure for Measure does so in an unusually ugly and disgusting way for Shakespeare. This play is probably best suited for adults, as a result.

I see Measure for Measure as closest to The Merchant of Venice in its themes. Of the two plays, I prefer Measure for Measure for its unremitting look at the arbitrariness of laws, public hypocrisy and private venality, support for virtue, and encouragement of tempering public justice with common sense and mercy.

The play opens with Duke Vincentio turning over his authority to his deputy, Angelo. But while the duke says he is leaving for Poland, he in fact remains in Vienna posing as a friar. Angelo begins meting out justice according to the letter of the law. His first act is to condemn Claudio to death for impregnating Juliet. The two are willing to marry, but Angelo is not interested in finding a solution. In despair, Claudio gets word to his sister, the beautiful Isabella, that he is to be executed and prays that she will beg for mercy. Despite knowing that Isabella is a virgin novice who is about to take her vows, Angelo cruelly offers to release Claudio of Isabella will make herself sexually available to Angelo. The Duke works his influence behind the scenes to help create justice.

Although this play is a "comedy" in Shakespearean terms, the tension throughout is much more like a tragedy. In fact, there are powerful scenes where Shakespeare draws on foolish servants of the law to make his points clear. These serve a similar role of lessening the darkness to that of the gravediggers in Hamlet.

One of the things I like best about Measure for Measure is that the resolution is kept hidden better than in most of the comedies. As a result, the heavy and rising tension is only relieved right at the end. The relief you will feel at the end of act five will be very great, if you are like me.

After you read this play, I suggest that you compare Isabella and Portia. Why did Shakespeare choose two such strong women to be placed at the center of establishing justice? Could it have anything to do with wanting to establish the rightness of the heart? If you think so, reflect that both Isabella and Portia are tough in demanding that what is right be done. After you finish thinking about those two characters, you may also enjoy comparing King Lear and Claudio. What was their fault? What was their salvation? Why? What point is Shakespeare making? Finally, think about Angelo. Is he the norm or the exception in society? What makes someone act like Angelo does here? What is a person naturally going to do in his situation?

Look for fairness in all that you say and do!