Herman Melville spins a great tale that's easy to read. It's a story about five men, and the main character is just as much the narrator as it is Bartleby. The narrator is an attorney who hires three people to work for him, and each one is a real character. All the men are described in great detail, and they are terrific thumbnail character sketches that will stay in your memory bank for years to come! The last man employed is Bartleby, and he is really a strange duck! Bartleby is an excellent copier of legal documents, and initially he does a fine job. However, as the story progresses Barleby acts very strange. He responds with the words, "I'd prefer not to," when asked to proof-read manuscripts, and this response continues whenever the narrator, his boss, asks him perform the ususal office tasks such as going the the post office or doing small errands. The climax of the story comes when the narrator finds Bartleby in the law office getting dressed one Sunday morning. It appears that Bartleby is using the office for his lodging, and the narrator later comes across his personal belongings and shaving kit. As the story progresses, Bartleby does less and less work, and soon he's nothing more than a fixture in the law offices. When the narrator dismisses him and pays him a salary plus a tip, Bartlby refuses to leave. Finally, the narrator is about ready to go crazy -- the man won't leave. So, the narrator moves his law practice to another location and leaves Bartleby at the former work site. The end of the story describes Bartleby in the Tomb, and asylum. Rumor has it that Bartleby was once employed as a clerk in a Dead Letter Office, and this seems to explain his forlon state. Melville explains that a dead letter office is a terrible place to work; no doubt Bartleby was depressed being surrounded with letters that never made their intended destination. These letters could have contained money, promises, stories about weddings, happy tales written to people who failed to receive them. The symbolism in the story is interesting. Bartleby, like the narrator, live in a cold, impersonal world, set off by a series of walls and dark buildings. The symbol of walls without windows are the boundaries for the disconnected solitary work the five men face. Like hermits, each one rarely interacts with the other, and Melville shows the awful effects of a compartmentalized modern society. What would he think of Americans today who sit at computers and interact only by e-mail? What sad, solitary lives have we wrought? This story is rich with details, and I think you'll enjoy it!

I must respectfully disagree with the Boston reader who asserts that Bartleby is "a case study in clinical depression." That's definitely one way to interpret the story, but it defuses a great deal of the tale's power. If we believe that Bartleby is simply a victim of mental illness, we might begin to believe that if only doctors had Prozac in the 19th Century, poor old Bartleby would have chippered up and gone home dancing.

Bartleby's refusal, his famous "I prefer not to," seems more like a deliberate and sane NO. People did know what depression was back then (though it was generally called melancholia, instead). Bartleby's condition (our condition?) is something much deeper, much more terrifying-- the possibility that one can observe the world from a completely rational mind and decide that participation is not worth it.

If we decide that Bartleby's problem was depression, must we call Kurtz a paranoid schizophrenic? All of Beckett's characters could use a Xanax prescription, because they seem pretty bleak, too.

Bartleby is fascinating because of what we don't know; Melville is the great American exploiter of Negative Capability, Keats's term, defined as "when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason."

It is because Melville is willing to refrain from that "irritable reaching after fact and reason" that Bartleby (and Benito Cereno and Moby-Dick) is a story that lingers in the imagination. If we knew why the man simply quit the business of life, if we knew it was a deficiency of chemicals in his brain or whatever, we would not be so haunted by his fate.

These two tales are very different, but both of them are deep and acute penetrations into the human psyche. The first one, "Benito Cereno" is about a mutiny on board of a ship. This ship is navigating astray, off the coast of Chile (which is NOT in Central America, as other reviewers have embarrasingly said), when Captain Delano, an American sailor, observes it. He gets near the suspicious ship, gets on board of it, and finds an extremely tense and enigmatic situation. Wonderfully, Melville chose to describe the situation only through the senses of Captain Delano. As the narrator is not omniscient, we only know what Delano knows, so we understand his confusion and amazement at the strange facts he observes. We share his vacilations, speculations and changes of opinion before the disconcerting behavior of Captain Benito Cereno. This makes the reader stay interested all through the story, like he was there being part of it. The unexpected ending will solve the mystery, but only partially.

What's best about this story, even more than the smart plot, is the author's technique. He puts the reader right in the middle of the action. Just like in life, where we have no narrator telling us what the rest of the characters are doing "meanwhile". We only know what we learn from our senses, hopefully processed through reason.

The second tale, "Bartleby the scrivener" follows a technique similar to that of "Benito Cereno", but within a very different context and plot. It's narrated in first person by a good-hearted and charitable Wall Street lawyer (I guess times have changed)who hires a young and silent man as a copyist (that is, before Xerox, the guy who made manual copies of legal documents). Bartleby sets to do his work, copying page after page, but he refuses to do anything else, with the words: "I would rather not" as an answer to every order, instruction or request to do something. Tenaciously, Bartleby resists to any action. It's a pathological portrait of indifference and apathy, taken to the extreme. As in "Benito Cereno", we receive no additional explanations or background to his behavior. We are exactly where Bartleby's boss is: confounded. We are invited to witness a unique form of behavior and attitude towards life. The naration jumps continuously from drama to humor, with great fluidity and fine irony. Haunting and intriguing, this is a masterpiece of storytelling.

Inspired by The Greek Anthology, a collection of brief poems from the Hellenistic World including epitaphs written from the perspective of the deceased, Edgar Lee Masters wrote a series of monologues spoken by dead townspeople (some more fictional than others) who inhabited Spoon River, the area in Illinois where Abe Lincoln once lived. Real people include Anne Rutledge (Abe's first girlfriend) and Fiddler Jones, who worked in Lincoln's general store as a boy.

But this book isn't about Abraham Lincoln. It's about the trait that we will all, both saints and sinners, one day have in common: death. And it is about the small triumphs of life that the dead remember. Just as William Carlos Williams was a doctor, and his poetry was informed by his contact with everyday people, so too Masters. He was a lawyer and a keen observationist. He writes directly and frankly, especially about male-female relations, which earned this book a bit of a scandalous reputation in its time. Of course, it is mild enough today that the book is assigned reading in junior highs, even in the South.

I've read this book three times through, and often re-read individual favorites. And I have it in easy reach on my shelf because I plan to keep re-reading it. There is something about the people of Spoon River and their sentiments that keeps me coming back. As May Swenson says, in her introduction to this edition, Masters "bequeathed to us a world in microcosm." A world, in my opinion, worth exploring again and again.

There is no Spoon River, IL. Check your map. Several towns argue that they stake their claim in being what Masters asserted to be this mythical town. Petersburg and Lewistown, two towns of otherwise minor repute seem closest... but it is so much better we haven't an actual town... Spoon River's residents are our next door neighbors, whether we live in Central Illinois or Central Florida, or southern Alaska.

Masters has written not fables, but the essence of American life. He hasn't captured the life and times of 1915, but has instead recorded in 1915 the life and times of our present day America.

The same reason the paintings of Norman Rockwell makes sense is why Edgar Lee Masters poetry makes sense. To read the quick messages on the gravestone of one man, learning a little bit him, and something about a neighbor or two, we can learn a little about how we live in communities today.

Our lives, like Jimmy Stewart's character in "It's a Wonderful Life" found out, interact and impact everyone we meet. Who we love, who we should love and who we reject. And when we die, others feel the loss. Masters has aptly put this in a humorous, yet insightful way into short verses.

The poems don't rhyme. The meter is not solid, and the poetics aren't intricate. They aren't poems like Poe's or Dickinson, not in the way they wrote American poems. Don't expect iambic pentameter-based sonnets or villanelles. Expect a conversation, and listen in.

The poetry here is in the subtle use of social nuance. In the nuances are his insight and wit. Two readings will bring to light what you miss in the first.

Buy this book, read it slow. It reads faster than most poetry book, but don't get caught in the temptation to zoom through each poem just because you can.

After you read it, see the play if it happens to be performed in your town.

I fully recommend it.

Anthony Trendl

I was turned on to this book after hearing the latest Richard Buckner release "The Hill", in which the musician uses the Spoon River Anthology as the basis for his conceptual music. After listening to this wonderful disc, I was compelled to read the actual work by Edgar Lee Masters. What I found was a book that was written in 1915, but that brings to life the voices of humanity louder than anything I've read in recent years. This book is more poetry than literature, but the stories of the residents of Spoon River that are collected within the pages are stories that are not soon forgotten.

This book has moved me more than anything else I've read in recent years, and I highly recommend that othes read this outstanding work of art.

It's a sweet story of a 'simple' stuffed rabbit amidst the more 'complex' modern toys in a boy's "toy collection". The rabbit starts to believe that in order to get the love of the boy, he needs to appear 'real', or be able to zoom about like the motorized toys...
(And I'm not going to tell you the end hahahahaha!!!)
It was great having that read to me, while I was hugging my stuffed animals in bed.
But -- in a way, at first glance it looks like a simple story, but it is actually a surprisingly complex story. Leave it on your child's bookshelf as he/she grows up and he/she will reread it again and again as he/she questions issues such as "who am I?", "what does it mean to be 'real'"?, "what is my role in this world?", and even "what is death"?

I make sure I use this book with each class I teach--3rd and4th graders. They always get it--that love makes us real, too. Theymake the connection between the Skin Horse becoming shabby and people getting old. I always bring in my stuffed velveteen rabbit I bought years ago and it starts making the rounds and popping up on different children's laps. It is a pleasure to see them become attached to the rabbit instead of "mechanical toys that were very superior, and looked down upon everyone else." They also relate to the lessons the Velveteen Rabbit learns from the Skin Horse about how becoming real is a painful process sometimes and can take a long time.

This book is a simple work of art. Its beauty in itself is virtually indescribable. When I was little, it was my favorite book. In fact, I've had it ever since I was born. It is about a boy who owns a stuffed rabbit, and longs for it to be real. Eventually, because he loved the rabbit so much, his wish was granted. The book is so well written that it brings tears to my eyes almost every time I read it. It is definitely one of my all-time favorites.

I thoroughly enjoyed reading Marcia Cleveland1s Dover Solo-Swimming the English Channel. This book is enlightening and it fills a void.It is a reliable and thoughtful work, published with the idea of helping the prospective English Channel swimmer. This book provides specific advice and practical information for planning this swim.Marcia1s book is concise and objective; it is fluent and well written. I found it instructing and easy to read. There are maps, pictures and illustrations of excellent quality. There is an appendix with inspirational thoughts, temperature and distance conversion charts, important addresses and swimming contacts. Some interesting mind tricks games and thoughts that allowed her to endure this lengthy and demanding process are clearly explained.Marcia delivers what she promises by writing this book, invaluable help for future and novice channel swimmers with their attempts. She does this by recounting her experience that ended with her successful Channel Crossing in l994. Marcia prudently warns the reader, that following the recipe that led to her own success may not fulfill nor suffice every English Channel hopeful. The book describes her transformation from a pool to an open water swimmer and the steps that lead to her decision to attempt to swim the English Channel. She reviews important practical steps that she thought necessary to feel that she was ready to do it. The relevance of swimming partners; cold acclimation and endurance building are emphasized. She also discusses her experience during her qualifying swim and issues regarding weight gain. This along with details of her training system and her Maine mini-camp experience round the first part of the book. Her trip to England and the details of swimming the Channel start to finish comprise the second part of the book. Her Channel crossing is discussed in great detail on hour by hour blow, as well as the effects of currents and swimming patterns on her progress. Her final approach system might prove useful for those finding big boulders instead of sandy beaches at the end of their swim. In my opinion her main contribution is sharing this experience with us to allow the reader a rare insight into the life events that take place while undertaking a goal of this type. There are some principles that apply to all successful finishers. Marcia reviews them in detail, while noting that training should be individualized. This work is an inspiration for those trying to emulate Marcia. I recommend this book most highly.Nick Olmos-Lau M.D.

This is a book that any swimmer will find rewarding. It's a snapshot of three years in the life of a working woman, wife and United States Masters Swimmer(USMS), culminating in her 9 hour 44 minute swim of the English Channel on July 29, 1994 -- making her the 445th person to complete the official Channel Swim.

Like any worthwhile accomplishment, it did not just happen.

"I set up a long-range training schedule and gradually increased my swimming yardage to a level which would give me the endurance to swim the distance," Ms. Cleveland writes. She increased her yardage from 20,000 per week to 45,000, supplemented by twice-a-week weight training. For her final six weeks' training she averaged 80,000 yards per week. She knew she needed this kind of regimen for the Channel's 23 mile distance in the Strait of Dover.

And because the summer water temperature in the Channel averages only about 60 degrees F. (compared with most indoor pools at about 80 degrees) some serious "acclimation" was required. This she did by moving from her home in New York City to Bailey Island, ME for a three weeks "training camp" in the cold waters of Merriconeag Sound.

"Being in Maine before my Channel swim made the difference between just crossing the Channel and swimming it as well as I did," she writes.

But her book is a lot more than a "how to swim the Channel," or a memoir. It's a compelling look at one swimmer's determination to accomplish a major life goal without sacrificing marriage, career, or friends.

It may well be classified as a "how-to be a dedicated swimmer without sacrificing everything else in your life," book. As such, it offers good advice to all of us who swim.

In February, 1998, Ms. Cleveland and her husband, Mark Green, (to whom the book is dedicasted), had their first child, Julia.

"Although my family is my top priority," the author writes, "swimming will always be a part of my life. Even with a super-busy schedule, I make sure swimming and fitness remain within the big picture."

Add "Dover Solo" to your bookshelf. It will inspire you to keep swimming and fitness within the "big picture" of your life.

It's about more than just swimming.

Can inspire one to accomplise any "impossible" goal!

Every time there is a horrific story in the news about a mother murdering her children, the classic tragedy "Medea" by Euripides is mentioned. However, a close reading of the actual play shows that the point Euripides is trying to make in this drama is not about infanticide, but rather about the way "foreigners" are treated in Greece (this is best seen in the odes of the Chorus of Corinthian Women). The other key component of the play is the psychology of Medea and the way in which she constructs events to help convince herself to do the unspeakable deed and kill the two sons she has borne Jason. There is a very real sense in which Jason is the true villain of the piece and I do not think there is a comparable example in the extant Greek tragedies remain wherein a major mythological hero is made to look as bad as Euripides does in this play.

Another important thing to remember in reading "Medea" is that the basic elements of the story were already known to the Athenian audience that would be watching the play. Consequently, when the fact that Medea is going to kill her children is not a surprise what becomes important are the motivations the playwright presents in telling this version of the story. The audience remembers the story of the Quest for the Golden Fleece and how Medea betrayed her family and her native land to help Jason. In some versions of the story Medea goes so far as to kill her brother, chop up his body, and throw it into the sea so their father, the King of Colchis, must stop his pursuit of the Argo to retrieve the body of his son. However, as a foreigner Medea is not allowed to a true wife to Jason, and when he has the opportunity to improve his fortune by marrying the princess of Corinth, Medea and everything she had done for him are quickly forgotten.

To add insult to injury, Jason assures Medea that his sons will be well treated at the court while the King of Corinth, worried that the sorceress will seek vengeance, banishes her from the land. After securing sanctuary in Athens (certainly an ironic choice given this is where the play is being performed), Medea constructs a rather complex plan. Having coated a cloak with poison, she has her children deliver it to the princess; not only will the princess die when she puts on the cloak (and her father along with her), the complicity of the children in the crime will give her an excuse to justify killing in order to literally save them from the wrath of the Corinthians.

This raises an interest questions: Could Medea have taken the children with her to her exile in Athens? On the one hand I want to answer that obviously, yes, she can; there is certainly room in her dragon-drawn chariot. But given her status as a foreigner, if Jason goes to Athens and demands the return of his children, would he not then have a claim that Medea could not contest? More importantly, is not Medea's ultimate vengeance on Jason that she will hurt him by taking away everything he holds dear, namely his children and his princess bride?

In the final line of the play the Chorus laments: "Many things beyond expectation do the gods fulfill. That which was expected has not been accomplished; for that which was unexpected has god found the way. Such was the end of this story." This last line has also found its way into the conclusion of other dramas by Euripides ("Alcestis," "Bacchae" and "Andromache"), but I have always found it to fit the ending of "Medea" best, so I suspect that is where it originally came from and ended up being appended to those other plays sometime during the last several thousand years. However, the statement is rather disingenuous because one of the rather standard approaches in a play by Euripides is that his characters often deserve their fate. In a very real sense, Euripides provides justification for Medea's monstrous crime and his implicit argument to the Athenian audience is that the punishment fits the crime. However, Athenians would never give up their air of superiority; at least not until foreigners such as the Macedonians and the Romans conquered the self-professed cradle of democracy.

Medea, as our heroine, is the true definition of a woman scorned. Not only does Medea leave her homeland to follow her one and only love, but she sacrifices her whole life to him. What happens in the book when she finds out Jason wants to take on another wife after Medea has scrificed everything for him...? Well, I'll leave that to you to find out. I'll simply say that Medea is, suprisingly, very imaginiative - at the time of it's writing, it broke all the barriers that surrounded around Greek tradedies. I must also say that Medea is in somewhat of the same arena as "The Odyssey" - it's incredibly descriptive, even with the language used that is so different from our own, Euripides genuinely "takes the reader there." All in all, a wonderful, very readable play. And remember, hell hath no fury like a woman scorned! A great commentary, if a little extreme, but still wonderful, enchanting - you WILL be pulled into the action! 5 stars!

This play is regarded by many as Euripedes' masterpiece and should be required reading of all educated people. It retells the tragic story of Medea, who had helped Jason in his quest, became his wife, gave him two sons, and feels betrayed since he is marrying the daughter of the ruler of Corinth (Jason has come to the conclusion that this is necessary to protect Medea and his sons since she is a barbarian). With horrible vengence, she kills the bride and the king and then kills her two sons. Euripedes depicts how much passion and vengence can overcome not only individuals, but those who strive to be rational. Men (and governments) can't ignore the influence of emotion, and even irrationality, on their decisions and actions, even when those actions may seem rational and just. Man has to remain flexible. The play also shows how emotions, anger, and unbridled fury can cause a person to do stupid and irrational acts. Euripedes is undoubtedly warning Athens with respect to the war that is going on with Sparta.

Anne of Green Gables is about a skinny red haired girl who has both a short temper and a very colorful imagination. She really loves the little farmhouse but the Cuthberts might send her back to the orphanage because Matthew needed a boy about 11 or 12 to help him on the farm.

Sometimes her imagination gets her in trouble. For instance when Marilla asks her to get a pattern from Mrs. Barry she doesn't want to because she imagined the woods between the houses were haunted! The book tells about her life growing up in the 1930's. As she grows, she learns many lessons and meets many friends who help her to become Anne of Green Gables.

This book is wonderful. It is a great book for girls to read. I loved it because the character was funny, spunky, and could talk forever. She reminded me of my sister. Anne never gave up trying to reach her goals. She will keep you interested throughout the whole book!

This is one of the best books ever written and the credit goes to spirited Anne (make sure it's spelled with an "e"!) Shirley. It's not often you find such a charming heroine as Anne. ANNE OF GREEN GABLES is the first of a series on this lovable orphan, and it begins with Matthew and Marilla Cuthbert, a respectable brother and sister, living at Green Gables. They are both growing old and need a boy to help out on the farm. But they got a talkative redhead girl instead. Before they can send her back to the orphanage, Anne has managed to win the hearts of Prince Edward Island with her wit and imagination. She seems to affect everyone around her - from busybody Mrs. Rachel Lynde to handsome Gilbert Blythe. And now, Green Gables will never be the same! . . .

It's not often you find such a spirited and lovable heroine as Anne. Captivating and captivatED, Anne is full of enthusiasm and fun, which gets her into all sorts of scrapes. This book is one that you are guaranteed to laugh over, cry over, and never want to put down! It is an ideal novel that you won't want to pass up! (Even if you don't read the rest of the Anne books, read this!)

A few weeks ago, I got really sick of today's children's literature. I had read enough mysteries and trashy books about romance to last me a lifetime. So I wanted something else to read, something well-written with a good plot and lifelike characters. I had to look no further than the first book I picked up- Anne of Green Gables by L. M. Montgomery.

Anne of Green Gables is the first book in the Anne of Green Gables series. It takes place, as most of L. M. Montgomery's books do, on Prince Edward Island in Canada. This particular story takes place in the town of Avonlea. It follows young Anne Shirley, an orphan brought to Green Gables to help Matthew and Marilla Cuthbert on their farm. Much to Anne's dismay, Marilla tells her that they wanted a boy to help around the farm, not a girl. However, Marilla changes her mind and decides to keep the dynamic young girl who would become Anne of Green Gables.

This novel is incredibly written, with well-developed characters and an intricate plot. I absolutely loved it. I would recommend it to anyone who is looking for a great example of children's literature at its height.

Incidents in the Life Of A Slave Girl is a harrowing, personal experience of a AA female born and raised during the tumultuous, infamous and tragic era of slavery in America's history. Harriett Jacobs, aka Linda Brent, tells in her own voice-one that is explicit and easy to understand-the story of a young woman born into the brutal, horrendous slavery era who later escapes to freedom in the North. Incidents is emotional and the feelings are raw as you experience the tale of a slave who desired freedom so badly that she hid for SEVEN YEARS in a narrow, cramped quarter without much freedom of movement. The story is riveting and moving and shows what an individual is able to accomplish in spite of sex, race and slavery. Incidents is a story of bravery in light of insurmountable circumstances and ones belief that they can succeed in spite of unmeasurable difficulties.

Incidents is an excellent reading selection for a bookgroup and a book that I highly recommend to everyone. Remember the story and share the story so that history doesn't repeat itself.

Intended to convince northerners -- particularly women -- of the rankness of Slavery, Incidents in the Life of a Slave Girl presents a powerful autobiography and convincing writing that reads like a gripping novel but is organized and argued like an essay.

Incidents follows the "true story" (its authenticity is doubted in some places) of Linda [Jacobs uses a pseudonym] who is born into the shackles of slavery and yearns for freedom. She lives with a depraved slave master who dehumanizes her, and a mistress who mistreats her. As the novel progresses, Linda becomes increasingly starved of freedom and resolves to escape, but Linda finds that even escaping presents its problems.

But Incidents is more than just a gripping narration of one woman's crusade for freedom, and is rather an organized attack on Slavery, intended to convince even the most apathetic of northerners. And in this too, Incidents succeeds. The writing is clear, and Jacobs' use of rhetorical strategy to preserve integrity is astonishing.

Well written, convincing, entertaining, Incidents is an amazing book.

Incidents in the Life of a Slave Girl by Linda Brent is a deeply touching narrative of a slave woman's journey through the heinous institution of slavery to her eventual emancipation. Through her description of bonded labor, the reader very poignantly realizes what it was like for millions of African Americans to be brutalized and ravaged by slavery. Written in 1861 to educate the Northerners, especially the women, about the evils of slavery, the autobiography is a harrowing account of a woman's life, what the author ironically calls her 'adventures'. The abuse that the palpably intelligent and veracious author had to undergo has the power to humble every one of us even today.
Linda Brent was born as a slave in the household of a miraculously benevolent mistress. She lost her mother at the age of six, but her mistress, who was her mother's half-sister, took good care of her and endowed on her ward the gift of literacy. The degradative reality of slavery was hidden from the author till she entered her early teens, when within a year both her mistress and her father passed away, and she was acquired by the household of Dr. Flint. At his plantation, the author had to bear the full force of slavery. From this time to the author's eventual freedom, the reader gets a glimpse of the persecution that a slave had to face.
As mentioned above, the book was written to illustrate the depravity of slavery to people living in the North. It is striking to see how humbly, or even apologetically, the author has used her life to explain the circumstances of slavery. She has used fictitious names and concealed the names of places so as not to offend any person, black or white. As one reads the book, the author can definitely be identified as a pious and truthful person, and becomes easy to see why the author places so much emphasis on her secrecy. The book is not written to garner sympathy from readers, but to shock readers into the realities of slavery. It was an appeal to the people who the author thought had the power to defeat slavery to act on it.
The author's main argument is that slavery is not just about perpetual bondage, but it involves the absolute debasement of a people. She painfully acknowledges that the 'black man is inferior', but vociferously argues that it is a result of slavery, which stymies the intellectual capacity of her race. She believes that 'white men compel' the black race to be ignorant. Although she was wronged by many Southern white men, she does not blame the white race for her ills. She believes that the institution of slavery has ample negative impact on the household and psyche of a white family as well, and that white males are coerced into being brutal. She rebukes 'the Free States' in her own pacific way for condoning slavery in the South. Her stand is that a life of manumit destitution is radically more acceptable than bondage, and that is the general idea that the author wants the readers to remember.
The book is sequenced more or less in a chronological order. The author's astoundingly comfortable childhood is shattered by the nefarious demands of being a pubescent female slave. She explains how even the body of a slave is not her own, and is considered to be a property of the slaveholder, that can violated or abused according to his wishes. Her analogy to being traded or shot like pigs demonstrates the extent of shame that a slave had to bear with. Her infatuation and blind faith in the goodness of a white man make her the mother of two children, and her determination to keep them away from the evils of slavery becomes her primary goal. In her attempts to flee from slavery, she has to hide in a den above her grandmother's house for seven years. The anguish of a mother who can see her children but not be able to communicate with them is heart wrenching. The story of her escape to the North is also incredible. Even after reaching the north, she had to resist prejudice and fear for a long time before she and her children eventually became free.
By reading the book, the reader can definitely get to experience the life of a slave. Perhaps the shocking brutality of the truth is shielded in the book by the author's conscious effort to not be a cause of affront. She wrote this book because she had a message to give to the readers, but was held back in a way by her goodness. On the other hand, reading a book written in a simple way, as though the author was narrating her story in front of the reader, goes on to validate her tragedy. It is explained in a more personal way than a historian would explain it, and the harsh emotions experienced by the author break through, even though she tries to suppress her sadness. The author's argument that slavery is humiliating is proved by the fact that the author does not explain exactly how she was mentally and physically abused. She only points out that she had to bear physical and mental decadence, but does elaborate on the techniques of the likes of Dr. Flint.
It has to be remembered that this book was not written to be a historical text. It is about a woman's personal fight with slavery. It cannot be argued that her emotions were wrong or that her views about slavery can be challenged in any way. Readers who have not experienced slavery are not in a position to do so. This book definitely manages to do what it was intended to do, and that is to make the reader aware that slavery was a harrowing experience for the African Americans. As a book of past injustices and future hopes, it is a must read.

What always gets me with Wells is the forcefulness of his imagination -- his ability to construct powerful, symbolically resonant setpieces based upon the scientific ideas of his time. In the final pages of "The Time Machine" he gave us one of the great apocalyptic visions in all of literature. In "The First Men in the Moon," he gives us a magnificently alien setting, full of bizarre moments -- jumping about the lunar surface in 1/6 G; the Giddy Bridge and the Fight in the Cave of the Moon-Butchers; the bizarre lunar ecology, in which all the plants die every night and are reborn each dawn.

Scientifically, much of this stuff doesn't hold up after a hundred years. And the device he comes up with to get his characters to the moon -- Cavorite -- is without basis, an arbitrary magical tool not unlike the time machine. Even when Wells' science is iffy, though, he presents it in such a clear, convincing fashion that you are only too glad to suspend disbelief while the story unfolds.

In the Selenites we have a metaphor for a different type of society -- rigidly hierarchical, with the needs of the individual sublimated to the whole. The metaphor obviously comes from social insects; though it became a sci-fi cliche, it was still fresh circa 1901. In the remarkable last section of the book (Cavor's communications from the moon), Wells describes the Selenite society with delightful attention to detail. He ends with a haunting, unforgettable image, and probably the best closing sentence of any sci-fi novel.

Although it is not as famous as some of his earlier science fiction books (or "scientific romances", as they were then called), and is not an absolute classic like those books are, The First Men In The Moon is nevertheless a delightful and important satrical SF novel. Also, its importance in the development of modern science fiction cannot be overestimated. Although numerous books before had dealt with a story set on another world (let us here, for the sake of convenience, refer to the Moon as a "world"), Wells's book is the first to make it convincingly real. Although, one hundred years on, much of the novel's science is dated and Well's Moon is far different from how we now know it to be, nevertheless, Wells here created a world out of his own imagination, and describes it with such a convincing level of detail that one actually feels like they are there. And the science, indeed, was, in fact, quite up-to-date for the turn of the century. The structure and format of the novel also was highly influential: one will see immediately upon reading it just how much modern science fiction owes to this novel, and to Wells (and yet, Wells himself borrowed prodigiously from previous books on the subject.) The book was originally supposed to end at Part I: Part II was added later by Wells after the book was already in the process of serialization. I think that the addition of Part II is what makes the book good instead of great. If it had ended as it originally would, it would still be a good book - a rousing adventure, an interesting yarn - but it would not be great. The second part makes the book a full-on satire - something that the earlier portion had merely hinted at. It sharply and bitingly satarizes manking and his many follies, particularly war. This addition of satire and borderline philosophy makes the novel a truly great one. I read an essay on this book that said it differs from Wells's earlier SF novels because it is not grim. I beg to differ. The ending, to me, seems quite grim, indeed. Although it does not involve the imminent extinction of man himself as earlier works did, it is nonetheless quite pessimistic and grim. The addition of the second part of the novel and the ending also pave the way for Wells's later works - ... This is a true science fiction classic that deserves to be more highly-regarded than it is.

Cavor, a genius, invents a material that allows him to build a Gravity-Defying Sphere. Soon he and a young, and very greedy, businessman use it to go to the moon. They find not only life, but the Selenites, a culture who can change their shape to fit their jobs. In other words, form is designed for the function of their class or in this case their caste. Over them rules the Grand Lunar, a being whose large brain gives him awesome power and foresight beyond even the businessman who tells us the story. Both characters show their human merits and their very human flaws. Not science fiction as much as a book on society.

The Waste Land, published in 1922 and considered one of the major works associated with modernism. This poem deals despairingly with the state of post-World War I society, which Eliot saw as sterile and decadent. Numerous references to religious imagery, mythology and literature of the past are used ironically to point out the comparative emptiness of Eliot's time.

The Waste Land is sometimes considered to be the greatest poem of the twentieth century. This collection from Dover (at an amazing price) includes this and several other of Eliot's poems. The Waste Land, however, is considered to be his masterpiece, his 'epic,' in a sense. In fact, it is interesting to compare Eliot's bleak vision of a land of waste to other, earlier epics.

The poem is in some sense a warning, in another sense a cry of despair. The image of the wasted land, of the spiritually degenerate human race, is depressing, yet the poem ends with a glimmer (albeit faint) of hope--salvation is possible, however unlikely. I am no expert on this poem, and like most people understand only fragments of it, but what I have gained from the poem I have found to be very enlightening, and very stirring.

Eliot draws many references from the old legend of the Fisher-King, and an idea of what this legend is about (in all its many forms) is useful in interpreting the poem. This is undoubtedly one of the classics in both English literature and modernist writings, and very worthwhile for anyone who is willing to take the time to study it.

T.S. Eliot wrote "The Waste Land" against the backdrop of a world gone mad-- searching for reason inside chaos, and striving to build an ark of words by which future generations could learn what had gone before, T.S. Eliot explores that greatest of human melancholy-- disillusionment. This is a difficult poem, but one well-worth exploring to its fullest. The inherent rhythms of Eliot's speech, the delightful, though sometimes obscure, allusions, and intricate word-craft, create an atmosphere of civilization on the edge-- in danger of forgetting its past, and therefore repeating it. In the end, only the poet is left, to admonish the world to peace, to preserve the ruins of the old life, and to ensure that future generations benefit from the disillusions of the past.

"Prufrock" is perhaps the best "mid-life crisis" poem ever written. In witty, though self-deprecating and often downright bitter, tones, Eliot goes on a madcap but infinitely somber romp through the human mind. This is a poem of contradictions, of repression, of human fear, and human self-defeat. Technically, "Prufrock" is brilliant, with a varied and intricate style suited to the themes of madness, love, and self-doubt.

Buy this. You won't regret it. If you're an Eliot fan, you probably have it anyway. If you're not, you will be when you put it down.

You will laugh, cry and be confused when you read this book. This book can teach you that what you think is good is not always good.

There is a boy named Peter Pan. He sprinkles fairy dust in Wendy and her two brothers. Then he shows them how to fly. He takes them to Neverland and shows them to the Lost Boys who live there. Wendy becomes their mother. She makes up rules, like any other mother would do. The boys have to follow these rules. Everything was fine until Captain Hook came with his crew to where the boys and Wendy were. While Wendy and the boys were at the lagoon, where they go every day after dinner, they see a girl named Tiger Lily, princess of her tribe. She was captured by Smee, one of Captain Hook's men. Then Peter saved her. A few days later Wendy and the boys were on their way to Wendy's house when they too were all captured by Captain Hook. Then Peter saves them. Then the lost boys, Wendy and her brothers go home. All except for Peter.

It is mostly about what the people in the book think is right with childhood. The kids in the book think that if you grow up it is bad, but in our case it is actually good.

Peter Pan is a violent book not really made for children under the age of 10 but people 10 and up can read it. It is violent because of the language that is spoken and the idea that killing could be fun. Also, the vocabulary is very difficult for children under 10 to understand. Even if you're older it is difficult to understand.

Overall, it is a good book but watch out for the violent ideas if you are reading it to little children.

When talking of literature, people tend to look solely at books they read today but forget what they used to read, namely the ones we read as children. It is a common misunderstanding that children's literature is to be read by children and children only, but when we come to think of it, which one of us are not children, at least in our hearts?

One of the best books any child, young or old, can read is Barrie's Peter Pan. Although written in the past century, it has something for any generation at any time. Its humorous views at the world from a child's mind left me rolling over the floor, laughing; the exciting storyline kept me busy with reading until the end; and the serious undertone made me think of whether the world wouldn't be a better place if we realised that deep down, however deep, we are in fact all children. So if YOU are a child, which you most certainly are, get yourself a copy and enjoy your ongoing childhood.

This is an utterly charming work. It has been retold myriad times, but nobody else has done it as well as the original teller, J. M. Barrie.

It's difficult to know what to say about a book like this... everybody knows the story. But I guess that unless you've read this book (not just seen a movie or read a retelling), you don't really know the character Peter Pan, and without knowing the character, you don't really know the story. So read it.

By the way, if you enjoy this, you probably would also like "Sentimental Tommy" and its sequel "Tommy and Grizel", both by Barrie. There are differences (for one thing they're not fantasy), but there are also compelling similarities. Anybody who found Peter Pan a deep and slightly bittersweet book would be sure to enjoy them.

-Stephen