I think this book should be burned. It sucked

I really enjoyed reading this book (it was a good exercise in my vocabulary!), but it made no sense!! How can a gypsy boy be soulmates with a young patrician girl? Why doesn't he succeed? What is Bronte trying to tell us? Frankly, I was frustrated trying to decipher the meaning of this novel. I was required to read it for an English course, and I would not read it again because it is so frustrating!

This book is so very dark,Emily sure chose the moors as a suitable place for so much heavy brooding and deep-seated violence. I feel she was ahead of her time as the first classic tale of child abuse and domestic violence. That the children and women in this tale have no recourse for justice,that other characters are content to sit back and watch the unfolding tragedies is a reflection,not only of her society,but of our own today. I loved it! Her imagery is enough to let you feel the cold,cruel wind and the bitter,twisted hearts that do as they must. The violence is perpetuated as we see,down through the generations. Still,the blame must lay with the old Mr.Earnshaw. Wish Emily had enlightened us a little more about his relationship with his wife,whether he beat her,too or simply the children. God forbid that children were raised like that as a common day occurrence!

Leonard Warren was certainly one of America's greatest singers, ranking only after Merrill & Tibbett when it comes to baritones. In the 40 years since his death on stage at the Met during a performance of LA FORZA DEL DESTINO this is the first full-length biography devoted to him. Unfortunately, he deserves better. Much better.

After having read other books by the author, I was surprised at the ill-flowing, disjointed narrative here. She relies far too much on family recollections instead of objectivity. She repeats the story of Jan Peerce's anger at Warren's cobersion to Catholicism far too often as well as relying on Warren's sister. The recollections of fellow artists are few, of little importance, and were made mostly in conjunction with articles written decades ago. Except for some anonymous recording sessions in 1940, early in Warren's career, there is nothing about later sessions when he made his complete operas. Did he just show up, sing, and go home? Usually there are interesting stories to repeat (they could have at least borrowed Culshaw's about the GIOCONDA sessions). Likewise, there is no comment on why Warren was used only once by Toscanini. Did something happen? Were Valdengo or Merrill easier to work with than Warren? The author is silent. She also spends an inordinate amount of paper and ink huffily asking why Warren didn't progress faster to stardom at the Met - then answers he own questions by telling about other (and far more seasoned) artists like Tibbett & Bonelli, both of whom had senority over the newcomer Warren.

The index is worthless since there are no references to any of Warren's roles or even an entry for "Warren, Leonard." Are researchers expected to plow through this badly-written book for themselves?

The discography is also poorly organized and touts commercial releases plus those sponsored by the Warren Foundation, a release of VAI from the 1940 sessions and their own 2-CD set. Other issues, especially a superb 2-CD set on Romophone or a competing CD of the 1940 sessions on Minerva, are ignored or merely mentioned in passing.

By the way, anyone interested in the 2-CD Warren Foundation set might first look on their shelves. Except for 4 tracks, everything is already available elsewhere. They missed an excellent chance to use live material.

It may be a long time before we get anotehr Warren biography but this one isn't worth the time or effort.

It seems American publishers today are reluctant to touch any opera singers aside from three aging tenors. Amadeus Press is the notable exception. Stars such as Astrid Varnay, Martha Modl, Hans Hotter, and James King have had to turn to German publishers. In that atmosphere we opera fans should be happy to get ANY biographies of great singers. And, regrettably, this is probably the only biography of Leonard Warren we are likely to get for some time.

I use the term "regret" because Warren deserves a biography worthy of his stature as one of the finest singers America has produced. This isn't it. The writing style is more appropriate to a series of magazine articles than a smooth-flowing narrative. The content smacks more of a fan than an objective author. Too often we are bombarded by phrases from reviews and family memoirs. Why quote a family "review" of a Met performance that had Met manager Edward Johnson "almost falling out of his box" and a "five-minute ovation" when the newspapers presented a more restrained demonstration? The author also takes many pains to ask why Warren wasn't given starring roles earlier in his career when a more objective author would have been aware of the serious competition at the Met with Tibbett having considerable seniority as well as popularity. There are many aspects of Warren's career that the auhtor ignores (presumably because there was no family member present) such as the one concert with Toscanini and why Warren was never used again by Toscanini. Was Warren's arrogance at fault there as well? Recording sessions are ignored except for the first anonymous 1940 sessions. The index is terrible and almost useless. Entries are confined to names only, no works - and there is no entry for "Warren, Leonard" which limits this book as a reference. How are researchers to look up specifics about his life or career? They can't. Very lazy! The discography is equally difficult with such tables as combinations of studio plus "selected" live performances and studio sessions that include not only the complete operas but every time these were used in excerpts. The discography also fails to include several CDs of Warren's material (such as Minerva and Romophone that apparently compete with the 2-CD set from the Leonard Warren Foundation).

For most fans, this disappointing book will be self-recommending simply because there are no other Warren bios and none on the horizon. I'd put this on a par with the superficial Emmons treatment of Lauritz Melchior.

This volume contains lectures which Thomas Merton gave to nuns of the Loretto community during late 1967 and early 1968. He manages to say almost nothing of substance, except that "contemplation" (however we define it) is good, and that authoritarian structures are bad. Only the most fervent devotees of the somewhat trendy Trappist would find this book ineluctable; the rest of us can profit by avoiding it. We look to his earlier work for nourishment: Thoughts in Solitude (1958), New Seeds of Contemplation (1961), and many of his poems and journals. THE SPRINGS OF CONTEMPLATION strikes this reader as needless chit-chat about silence. We do not find God in the book, but a tired talkative Merton who is a bit too convinced of his own sagacity. Alas.

Its odd, how things work out. In his Journals, Merton was ENTHRALLED by this reterat. He spoke in glowing terms of the participants,and praised the intamcy achieved. He states, flatly"this is the best reterat of my life." Yet none of that comes forth in this collection, which is more the pity. Of course, some of this is indeed dated[the world is radically changed in 33+ years]and perhaps, as it seems Fr. Merton was wont to do, he gets overly enthusiastic about something before he has completely immersed himself.Still, second level Merton is better then just about top shelf from anyone else.Some nuggets on prayer left me thinking that perhaps the great moments of this retreat were the celebration of the Mass that were held each day. In that silence was perhaps that ineffable moment that cannot be heard nor touched that Merton groped for so in his life and writings. So, in all not great Thomas Merton, thjough still necessary to see the entire picture of this good great man.

This books should be called "I want an alternate income to support my family, so I wrote a book!". The recipes are too simplistic, not to mention questionably balanced. The author appears to rely heavily on convenience foods rather than real meals and the shopping list prices for this consumer are questionable. I don't know where she's shopping at, but at those prices, the store won't be open long!

Horrible book -- don't waste your money.

This is an all around GREAT basic guide to feeding a family. I'm a professional mom who has relied too many years on eating out and convenience foods due to lack of time and picky eaters. Other cookbooks I tried were filled with recipes my family didn't like and ingredients that were sometimes hard to find. Most everything in THIS book, my family WILL eat and I CAN cook, plus there is the money saving feature. There are plenty of good ideas to answer that nagging question of what to cook. I made a shopping checklist on my computer based on the pantry item list in the introduction of the book. The shopping list helps me insure that I will most likely have on hand whatever I need for last minute cooking needs.
Since the book covers everything the authors feed their family, a few extremely basic recipes are properly included; but this is not the rule and definitely not a reason to discredit the book.

I first read about this family in a women's magazine. There have been some disappointing reviews written in regards to this book but I have to stand up and say congratulations to this brave family! I enjoy collecting cookbooks on frugal cooking. This, I must say, was one of the best. Other frugal cookbooks have recipes that must be improvised in order to make a good recipe, have recipes repeated in their menus either too often to appeal, or plan unhealthy menus. I am not a health food junky nor a meat-and-potatoes-nightly mom! This book finds a healthy balance between both worlds. That is what I especially appreciate. In regards to including simple recipes, it is astonishing how many young families do not know how to cook at all. While some recipes may seem too simple for those who are experienced in the kitchen, including these is a must for those just starting at an entry level with a desire to save money. I have a family of six and have been cooking frugally for years. Having new recipes to include in our meal planning is a joy. I also commend this family for taking on a large family and evening putting away money for higher learning. Their basic, simple approach may seem simplistic to those who are involved in the world of living simply, but their desire to share their lifestyle with others in the hope of aiding others is commendable. I highly recommend their book. My family has found all of their recipes very delicious. And yes, you will definitely feed a large family for $50 a week. In fact, I plan to send a copy back to college with my son. Just think how long a college student can stretch that $50 cooking just for himself!

This cookbook contains recipes with very high carbohydrate counts. I follow a low-carb diet for health reasons (not vanity), and I could never eat any of the items in this cookbook. I am an excellent cook, and I've come up with some wonderful low-carb desserts; but I was hoping for something original. Instead, I found too, too, too many carbs! People with diabetes may also have carbohydrate intolerance, and they should be careful of what they eat in terms of carbs. Even their doctors may not advise them of this problem since many diabetic diets still recommend a high percentage of daily intake be in the form of complex carbohydrates. I did not prepare any of the recipes, so I can't comment on the results. I returned the book.

I tried two recipes in this book, Creamy Chocolate Mousse. p 96 and Butterscotch-Chocolate Fudge, p 24.

The mousse is the worst thing to ever have passed my lips. I don't know why all those ingredients were wasted in this recipe; because the only thing I tasted was the cream cheese and the instant coffee. It is reprehensible that one could taste this concoction and still place in a recipe book to make others ill.

The "fudge" is anything but. It never attains the consistency of fudge, turning instead, to a gellatenous mess that can't even be washed down the drain. It must be thrown in the garbage - OUTSIDE - so that it does not stink up the house.

I think Ms. Finsand, and all those who contributed to this book should be required to spend the rest of their lives eating nothing but the recipes in this book. She should at least taste every recipe in the book before publishing it.

Having just been diagnosed with Diabetes I thought my life was over until I found this cookbook. It has been a lifesaver! The receipes are easy to follow and most ingredients you already have at home. I'm now purchasing for others in my family so they can enjoy it as much as I do. The layout of the book is easy to follow and very user friendly. I've thoroughly enjoyed this cookbook. I would recommend it to anyone - Diabetic or not. It's a healthier way to live and you'll feel great!

Very colorful if this was a fiction format. This book is not for anyone who wishes to review the literay remains of Lady Jane Grey or relevant information. Several pieces of information are inaccurate. A great use of embellishments nonetheless.

Wonderful storytelling embellishing a few well known facts. No new material. More questions arise as a result of this book than are answered.

This account of Jane's life if moving to tears. It traces her life from an abused childhood in a world where few understand her devotion to knowledge and to God, to the Sovereign queen of England, and then to her demise by her own family. The first chapter of the book is to get the reader aquainted with all of the characters in the story, and should not intimidate the reader, as the story unravels quite easily from chapter two on. This is a book written about a figure in history that others have tried to blot from memory, but, as Nine Days Queen reveals to the reader, Lady Jane, in all of her humility and gentleness, will be remembered for her bold and courageous heart, and passion for her faith.

Mary Beard's The Invention of Jane Harrison (Revealing Antiquity 14) perfectly illustrates the frightening, hilarious, and absurd situation occurring the world over in academia today. And the book's publisher is none less than Harvard University Press. Beard clearly has connections in high places.

Beard has unearthed-I use 'unearthed' here in its figurative sense-a lot of 'new'--or, 'recent,' 'current'--'information'--by which I hope to suggest 'information' as a new paradigm in the process of 'evolution'---about Harrison-by which I purposely refer to not 'Jane Harrison' 'herself' but to the constellation of thoughts, theories, and 'historical' ideas which we generally assume to be 'identical' with its 'subject'-by this I am suggesting that the unconscious 'assumption' of a biographical 'subject' by both 'author' and the 'assumed' reader is a fallacy--by 'fallacy,' I suggest not its 'original' meaning of 'guile' or 'trickery' but its present-day usage of a plausible 'idea' based around-I use 'around' in the figurative sense in this case--a false inference-with which 'she,'-- by which I refer to 'Beard'-who is not 'identical' to a living person but an abstract idea we agree to refer to as 'Mary Beard'--could have made remarkable use.

As 'Beard'-not the facial hair worn by men but the 'author'-is an Cambridge 'scholar'-in itself an 'elitist' conception worth challenging-'she,' by which I hope to suggest to the 'reader' 'author' 'Beard,' and not the conceptual formation which 'we' are using as our 'subject' and calling 'Jane Harrison'-might have made better use of if 'turned over'-in the figurative sense-her 'findings'-by which I intend to suggest that elements of existence-by 'existence' I do not make use of Sartre's conception of 'such' or imply an 'existential' 'imperative'-can be 'lost' and 'recovered' though perhaps, as man--men and women inclusive--are limited to five (5) 'senses'-'senses' being an idea formation worth 'investigating'--have always been, in 'fact' present but not until 'now'-not the moment I am writing, creating, and 'thinking' this--but the moment it is conceivably 'perpetually'--that is to say, 'infinite' but not in the theological sense--being absorbed in the literal--I use 'literal' literally here--sense--not to be mistaken for 'senses' above--by its presumed 'reader'-or 'readers'--

If the reader can stomach 150 very small pages (the rest is documentation) of useless, loopy backtracking, second-guessing text, and Beard's inability to write a straight sentence without multiple unnecessary qualifications, then this book, which can confidently assume nothing and finds its style clearly necessary and delightful, might find an audience, if said readers are willing to push through and come out the other side exhausted, none the wiser, and empty handed.

The Invention of Jane Harrison is primarily about Mary Beard and her thought processes, and presents Harrison--when it finally forgets itself and remembers to deliver her up-as a kind of stuffed partridge in an Edwardian museum display case. Pretentious, smug, and yet so nice and gentile, this book rightly belongs on no one's shelf. By taking on such an eminent subject, Beard mortally underscores her vacuity as a writer and thinker. ...Forget the logrolling praise this project has received. For cynical careerists only. Everyone else, run for the hills.

Jane Ellen Harrison, a pioneer for women in classical studies in British academic circles, has had a fluctuating reputation in and out of her profession. Her "Prolegomena" had a good reception among the scholars who dominated work in ancient Greek religion in the first half of the twentieth century, but its sequel, "Themis," had to wait decades for appreciation, by which time its use of social anthropology was beginning to show its age. Awareness of her work may be strongest among: (a) feminists; and (b) those interested in the myth-and-ritual "school" with which, along with Gilbert Murray and F. M. Cornford, she is generally associated.

A biography was announced not long after her death in 1928, but a full treatment had to wait for Sandra J. Peacock's "Jane Ellen Harrison: The Mask and the Self," in 1988, which revealed a good deal more than earlier sketches. These tended to be laudatory, or else dismissive remarks on the obsolete views of a dead colleague. (She had left no students in professional posts to defend their teacher, her male proteges having been part of the generation lost to World War I).

Beard attempts a re-evaluation of Harrison's life, career, and place in the history of classical studies. Parts of her presentation of academic infighting and jealousies will fascinate those already familiar with players, or interested in group dynamics, and evidently bore others, but these accounts, based on ample documentation, seem more solid than her speculations about Harrison's closely-guarded inner life. Beard's reflections on the muddled evidence and the myth-making process at work in official biographies will be of interest mostly to those already acquainted with the literature.

A major problem with Beard's argument is that so much of Harrison's posthumous reputation rests on people and movements outside the circle of professional classicists. E. S. Strong, her preferred rival for Harrison's position as a leading woman in the academic world of the time, was a hard-working archeologist specializing in early Italy. Besides the problem of associating with the Fascist regime during the years in which Harrison's posthumous public reputation was being promoted by her friends, Strong was not dealing with matters of great interest to a wide public. Harrison, with her analysis of Greek myth and religion in terms of basic human needs and anxieties, and her use of ancient popular culture and superstitions to re-interpret familiar classics, was surely a better candidate as a heroine whose work, while sometimes difficult to follow, was often exciting. I found Beard's work informative, and frequently very interesting, but too narrowly focussed to explain Harrison's continuing prestige.

I'm reading through the 20 sample pages of the book. The first thing that pops up in my mind is, why do they call the Seguin family by their titles rather than their names. One gets the impression that the writers think the names are "Don" Seguin and "Dona" Seguin. Hey, there, Don, what's for dinner? I wonder if they realize this.

Next, the tamale recipe. It calls for masa harina, so I am guessing it is an adaptation of an old recipe. Why then, do they just call for "chili pods" instead of giving a quantity or weight, and defining whether they mean ancho (which they probably do), pasilla, guajillo or a combination of the three.

If my comments are valid, this indicates that there is some very sloppy journalism at work here.

Clearly the writers meant readers to have fun with
this cookbook. It would be fairly hard to catch
a bear for the bear grease. But interesting and
tied into Texas history, including special
menus for various Texas heroes. Worth the time.

I wonder how the author decides on an items worth. Could it be how many of that particular item he owns, or is looking to purchase? Otherwise somewhat informative.

The text is comprehensive but it consistently takes too long to get to the point. Furthermore, many application sections are scattered throughout the book and seem to be poorly placed (would be better off placing them in a separate section.)