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've been interested in the history of fantasy for a while, and I was definately intrigued when I happened upon this title. I immediately ordered it and read it. The Well at the World's End is marvelous. Every once in a while I start wanting to read a romance, and this is a good romance. The story is pretty original and was very different for its time. The story follows Ralph as he searches for the WELL AT THE WORLD'S END. He has enemies and intrigued galor to fight through. Along the way, there is also a love story, too.

The Well at the World's End is a good read even for modern readers. It is an excellent example of "romance." It is also good just as a curiosity read. Fans of Tolkien, Lewis, and Eliot should visit William Morris's writings. Personally, my favorite thing about the book was the archaic prose. For the first twenty pages I thought it would be bothersome. After that, I was used to it and the book flowed nicely. It is sad that few people read William Morris today.

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.

I cannot put in words how much I enjoyed this book! I loved it! When John died at the end I cried. I literally had to put the book down to control myself. This is one of the best written books I have ever read! The part of the book that really touched my heart is when John was about to die. This book inspired me. That doesn't happen very often. I will keep this book close to my heart forever. Thank You.

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.

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.

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.

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.

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.

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.

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 and Robert Adair's _The_Physics_of_Baseball_ are essential to being the best player, executive, or fan possible. This book is timeless, and focuses on the 'real playing field' of baseball -- the strike zone where the hitter and pitcher battle it out. This book covers technique well, but more importantly, it teaches approach, and the earlier in your life you can learn that, the better you will be.

Williams' emphasis on plate discipline and mental approach, combined with his teaching of how to analyze your own swing gives you the basic tools you need to be an excellent offensive player. For pitchers, this book is a must to understand the weapons available to the batter.

For fans, this book will help you understand what's important and what's just filler by the broadcast team. If you're under 14 years old, buy this book, or go get from your local library, and study it on a field with a tee and a bag of balls. Then read it every day before you do your hitting reps.

This book turns bad hitters fair, and good hitters great. You just need to put in the work.

This book is perfect for anyone looking to expand their knowledge on how to hit a baseball. Everything from pitch recognition to a smooth swing are discussed and analyzed. Ted Williams also includes some of his stories from when baseball was a lifestyle. This book allows anyone to see the time and hard work that must go into becoming a good hitter. Becoming a good hitter does not mean picking up a bat and taking a few swings. It starts before you ever get to the ballpark. He walks you through ways to pick up pitcher tendencies, and stresses patience at the plate. This book provides helpful diagrams, which show what pitches are good ones to take a swing at. But he doesn't stop there, he goes into great detail about what you should try and do with that pitch that is in the zone. Also included are tips for making your stance comfortable yet effective, grip on the bat, and improving your power for maximum effectiveness in every at bat. Ted Williams also provides insight on knowing the situation, and doing what is best for your team. A must read for players of all skill levels. This book will grow with you as your hitting experiences expand. Ted Williams deserves more stars than I am allowed to give him for this book.

Required to read Henry for my AP English Language class, I came into the play with a bias. I honestly felt that it would be a boring political play. I was utterly wrong! A huge fan of Shakespeare, I found Henry V to be a formidable match for the Bard's more critically acclaimed plays, such as Hamlet and Macbeth. Henry has it all! Shakespeare's attitude toward Henry the King is certainly one of admiration. By communicating the fact that an effective monarch must have a complete understanding of the common subjects (Pistol and Bardolph and Quickly), Shakespeare sets up Henry to be the ideal Christian king. The controlled language of Henry's speeches, particularly his response to the Dauphin's idiotic insult, also glorifies Henry. I certainly recommend this play to anyone, fan of Shakespeare or not.

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.

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.

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. ...

John Poole continues to do our nation and the military great service. Phantom Soldier is the third in an evolution of books--Last Hundred Yards, One More Bridge to Cross--that gets it right on future battlefield tactics. This book must be read and implemented.

What if there was no Northern Alliance to provide ground forces in the current war in Afganistan? If the U.S. does not commit ground forces to provide the necessary dimension, to force an enemy to look two ways, then the scenario in the future would be like the 99 war in Kosovo. Here, a Serbian Army withdrew unscathed from the area of operations, despite three months of constant bombing. Poole's book provides the blue print to reforming the U.S. ground forces that has to be a necessary part of the 21st Century "Transformation." We will pay with lives if we do not reform our military from a Second Generation warfare force to one that can deal with threats in the 3rd and 4th Generation (...) (...).

Phantom Soldier is the natural follow-up to John Poole's book "Another Bridge to Cross".
In Phantom Soldier he continuous his effort to explain the right way to fight - this time with more clarity and easy-to-read style. I find the way he mixes the old, and still true, theories of war fighting with real world examples to be most helpful.

Every person slightest interested in learning the ways of war is probably familiar with Sun-Tzu, but in this book the author also introduces us to some of the less know Asian theorists like Sun Bin. For the uninitiated "The Art of War" by Sun-Wu (or Sun-Zi) seams to be the reference work to read, but the truth is that "The Art of War" is only one in the ancient collection "Seven books of war". A less well-known work, the Liu Tao, or Six Strategies for War, was also highly regarded by rulers of ancient China. The six strategies (Civil, Military, Dragon, Tiger, Leopard, and Hound) each deal with a different subject and corresponding plan for success.

In Phantom Soldier the Battle Arrays of Sun Bin are explained so they are applicable to modern units right now.

I don't agree with J R Dunn on his critic on John Poole's writing. J R Dunn referrers to him self as a military historian, if he really is this, he should know better than to confuse efforts that use history as example with absolute truths. I doubt that Mr. Dunn ever participated in a battle or even a fire-fight. If he had he would know that fighting is complex and very fluid, you cannot make science of art. What John Poole really does is to try and make use think the right way.

If a force with all its modern weapons, support, intelligence assets and the overall technological superiority would be able to adopt this way of thinking it would be unstoppable.

If you keep one eye on history and the other on the future - you will be blind on one eye.
If you keep two eyes on the future you will be blind on both.

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.

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

Upon seeing all the excellent reviews on amazon.com I decided to give William Boyd and his 'Brazzaville Beach' a try. I'd like to thank all these reviewers for informing me about such a wonderful book. Why isn't 'Brazzaville Beach' better known?

'Brazzaville Beach' is a story about a young British woman studying primate behaviour in Africa. William Boyd deftly weaves the story by including flashbacks of her life before Africa (and her failed marriage in England), and by describing the present state of the war-torn African country where she resides. When the primates (chimps) she studies start behaving unusually her life, and those of her fellow researchers, turns upside-down, and she starts questioning the behavior of herself and mankind in general.

In addition to being a mature, absorbing story, 'Brazzaville Beach' is written with intelligence. The characterizations are well-drawn without be overly elaborate. The story is thought-provoking without being too preachy. I should think secondary schools and universities should include 'Brazzaville Beach' in their curricula as part of a social sciences program. It is *that* good.

Bottom line: simply terrific. Don't hesitate from putting it on your 'must read' list.