Everyone knows Robert Louis Stevenson; everyone has at least one of the myriad books of his poetry. There are some stunningly illustrated collections of his poetry out now, notably two by Thomas Kincaide, among others. But how many of us have actually read all or most of his work? I'm guilty as charged.

This smaller, quieter version of Stevenson's poetry helped me finally, actually read all the Garden poetry. True, the illustrations are spare, but delightfully accurate. My children (7 and 10) were not as mesmerized by this book as they are by others with fanciful graphics, illustrations and larger type to accompany the poetry.

Still, this small book found its way into my purse to be used for waiting moments, e.g. at the orthodontist, doctor, and also to my bedside, where it's shear diminutive size did not dissuade me from reading "for only a minute or two." And within Stevenson's words and language lie the ferment of creative pictures. I liked to have my children close their eyes while I read short poems to 'force' them to use only their mind's eye.

I thoroughly enjoyed the adventures, moods, and images Stevenson conjures and at long last can understand why his poetry remains so classic.

Most everyone knows that Robert Louis Stevenson was sickly, both as a child and as an adult, and the happy result for the reading public was his nearly feverish flights of imagination. Here, in an edition of his classic "A Child's Garden of Verses," that fever is complemented in spades by the fantastical illustrations of English artist Joanna Isles.

Isles uses an arsenal of utterly frivolous flowers, borders, insects, birds, kings and queens, fairies, and more to expand upon the imagination exhibited in Stevenson's poems. The children in these pictures are depicted as being in charge, being at one with their environment, and being delighted to be alive.

Some of the illustrations hint at the influence of artists more famed than Isles (Henri Rousseau appears to be a special favorite of hers--see the illustration for "The Unseen Playmate," in which a boy lies down in weeds that might have sprung from the edge of Rousseau's painting "The Dream"). Using both primary colors and pastels, Isles creates a world within the world of Stevenson's verse. The marriage of the two is a happy one.

When I was younger, well 5 actually, I had the chicken pox. This was one of my mom's favorite books. The words in the poetry just soothed me. It seemed like the author, Robert Louis Stevenson, knew exactly what I was going through.

You can't forget about the little toy soldiers (a poem) at your feet because when you are sick for days, you can imagine all kinds of things in your mind. The curtains billow like sails, the bedpost is your anchor. I sat there in bed and just floated away with the fun of having someone to share my illness. It seemed like a had a friend right there with me.

I loved the pictures too. The little kids are old fashioned and it made me laugh because the boys wore silly clothes, but they fit the time period, my mom said.

I love this book and keep it by my bed when I need to be relaxed.

Hayley Cohen

Kipling's JUST SO STORIES certainly rank in English-speaking children's literature right along with A. A. Milne's WINNIE THE POOH and Kenneth Grahame's WIND IN THE WILLOWS. They are fun to read to children 4-8, and even MORE fun for them to read for themselves at ages 7-11 (they're marvelous vocabulary builders --"the mariner of infinite resource and sagacity" ). My English-raised mother heard the stories when they were new and read them to me when I was a child, I read them to my own children, they read them to theirs, and I believe that same cycle has been repeated among millions of families since the stories appeared at the beginning of the 20th century.

It is my impression that today the JUST SO STORIES do not enjoy the popularity with children (and parents) that they once had. That may be because they are occasionally "politically incorrect" in their depiction of historical attitudes regarding race and culture. Joel Chandler Harris's UNCLE REMUS stories and even Mark Twain's HUCKLEBERRY FINN are sometimes removed from local library shelves on the same basis. In this reviewer's view, inattention to the works of Kipling and Harris and Twain deprives English-speaking children of some appreciation of the culture and civilization in which they live today. Worse yet, it deprives them of the fun of reading FOR fun.

Rudyard Kipling, referred to by one reviewer here as "not a very good writer" was the first English writer to win the Nobel Prize (not the Pulitzer) for literature, in 1907. He was staunchly pro-Empire in an era in which Great Britain not only ruled the waves, but a third of the globe -- the sun never set, it was said, on the British Empire, of which he sang in hundreds of poems and short stories and novels which also deserve reading today.

But imperial/colonialist notes are hard to hear in the JUST SO STORIES, which Kipling wrote for the amusement of a young niece. The stories are meant for FUN, and all children deserve to have some. Get this book; read it yourself if you haven't already -- and then read it to the youngsters for whom Kipling intended it.

This book is the most valued in my family history. Now my children are asking after it to read to their children because of all of the beloved memories it brings back. The language is a delight. The way Kipling draws the reader and listener in to feel they are part of the story, it is story telling magic at its very best. I can't believe anyone who has this book in their home, once read, will ever be without it. As long as children and that child in all adults long for the gifted story teller's magic, this book is special.

I love this book, and loved it as a child, for the writing, the stories, and for the pictures which I could pore over again and again, looking for new details I missed previously. I have remembered and talked about many of the stories throughout my life, particularly The Cat Who Walks by Himself, and The Elephant's Child. I also like . . . oh, well, there are just too many to talk about. Read them for youself, and to your kids.

The stories are complex and mysterious and, though I can't say much for Kipling's politics, I find them delightful. I think most children will, too. As an adult, I couldn't get my mother to part with my childhood copy so I went out and bought one of my own.

A classic!

Aside from Twain's depiction of God as a malevolent and mischevious deity, the story illustrates Twain's pessimistic view of Christianity in general. There is much vitriol spilled - toward God - at the end of the work. Certainly the death of Twain's daughter had much to do with excentuating this antagonism towards God and religion. Mysterious Stranger, especially the chilling conclusion, is a disturbing tale - as Twain no doubt intended it to be. A worthwhile read but be prepared to have your religious moorings and faith shaken.

this volume spans the length of Mark Twain's career, and contains some of his most famous shorter works, which all centre on the subject of Money. 'The Celebrated jumping frog of Calaveras County' is the most perfect tall tale in the English language, three flawless pages about Jim Smiley and the bizarre sidelines he would investigate to win a bet, any bet, written in a miraculous mid-19th century California vernacular. If that isn't enough, Twain tops it with the best closing paragraph of any work I have ever read ever.

'The $1,000,000 Bank note' is almost surreal, or Marxist, the story of a derelict made an unwitting guinea pig by two elderly millionaires, curious to see what would happen to an honest but poor man in the possession of such an impractible note. The frightening fetishistic power of currency structures a somewhat creepily benevolent narrative, and the opening paragraphs audaciously cram a novel's worth of misfortune.

'The Man who corrupted Hadleyburg' is the masterpiece here, at once an unforgiving morality tale about the temptation of money on an incorruptible town, and a satire on the crippling effect of bogus social respectability. Twain's irony is at its most relentless here, mixing anger at elite hypocrisy with distaste for the savage mob mentality. The scenes of public justice are hilarious but terrifying; the unnamed man taking monstrous revenge on a whole town for a personal slight, exposing its shams by an experiment, could well be Twain himself.

The same could be said of the hero of his novella 'The Mysterious Stranger', Twain's last, posthumously published work. In this, an angel, Satan, nephew of his infernal namesake, comes to a late 16th century Austrian mountain village and systematically exposes the murderous herd instincts, moral deceptions and shabby pretensions of the human condition. Everything - war, religion, society, justice, family, human aspiration, childhood innocence - is ground down with misanthropic, sub-Swiftian satire.

'Stranger' is not an easy book to like. As an historical novel, it is an utter failure, with no attempt to understand the mindset, never mind the language, idiom or customs of an alien culture. As an allegory for the contemporary America in which Twain was writing, the book is indispensible, insightful, brave, bracing, honest, incredibly prescient, but monotonous, flatly written and exhausting. As a supernatural fable, the book has little sense of wonder or of the unknown, but in its story of a devil wreaking subversive havoc on a socially repressive culture by playing on their hypocritical terms, 'Stranger' does look forward to Bulgakov's more successful 'The Master and Margarita'.

I have taught this book at the college level for a few years now; it definitely sheds Twain's unfortunate Americana image, and it reveals the darker genius of this "beloved" author. Twain's greatest work, The Mysterious Stranger will enrage fundamentalist Christians, several of whom have dropped my course because of this novella. Asking people to think about what is real, what is behind existence, though, is no crime and should be inoffensive. Young people who are harmed by systematic thinking will react to this book like people being deprogrammed from a cult: they will hate it. But Twain, who was in anguish when he wrote this, had the honesty to ask difficult questions. Read The Mysterious Stranger as a guide to Twain's futuristic thinking, his tribute to the mind above all other things.

It seems rather foolish to 'review' Aristotle, THE Philosopher. Nothing in the Western intellectual tradition isn't touched by Aristotle's works. The Nichomachean Ethics, unlike say, the largely irrelevant Physics, or extremeley esoteric Metaphysics, is a very accessible. It's also the work that probably best sums up Aristotle's practical philosophy. To summerize in a way that is completely insulting to the work, Aristotle applies his idea of moderation, the Golden mean, to numerous ethical situatlions, in an attempt to discover what constitutes the Good life and the Good man. AS previous reviewers have said, there isn't a chapter of Aristotle that does not produce some revalation or insight. And with over 100 chapters...well, you get the idea. Anyway, in addition to providing a basis for understanding the very workings of ethics and morals in a timeless sense, reading Aristotle changes the way in which you think. Literally. He has a distinctive, ordered, logical philosophy that anyone who want to be taken seriously in argument needs to learn. Simply, this is only of the most important books ever written, and anyone, philosophy scholar or not, owes it to him or her self to read it.

More than any other of Aristotle's writings, the Nicomachean Ethics speaks in a powerful voice to our own age; not only as an artifact of thought, or as a key to the historical interpretation of "Western Metaphysics", but as a challenge to our values, our assumptions, and, above all else, the complacency with which we approach the task of living life. Yet precisely because of its apparent immediacy, we must remain vigilant regarding the prejudices that we bring to the act of reading. Even the title, in this regard, presents difficulties. Ethics, for Aristotle, is not the same as "morality" or "right conduct": rather it means the cultivation of habit of the soul, --- a disposition towards the passions --- that is conducive to virtuous action. The very notion of virtuous action is itself misleading. Aristotle is not so much concerned with individual "actions" - let alone with the "moral dilemmas" so many so-called "ethicists" - as with the activity that, as the proper work or function (ergon) of human beings, grants a unifying purpose to all the "doings" that constitute life. This "work," - which must be nothing else that the work of our entire lives -, is either the political life or the life of contemplation. The first is the highest purely human life; the latter, in contrast, is divine. Perhaps the strangest notion of the Nicomachean Ethics, however, is pleasure: pleasure is neither a passive sensation, nor some sort of activity, but rather that which brings the activity to perfection, supervening on the activity like "the bloom of health in the young and vigorous."
If we have learned our lessons from Darwin, and have the strength of mind to behold a nature without purpose and a human race with no proper and essential function, what can then remain for us of an ethics grounded upon a natural and immanent teleology? Must we insist upon the fact/value distinction in all its rigor and exile ethics into the stars? Or are we left only with an act of pure, groundless will - a will that exists only through the act of positing values, of assigning to things their worth and thus giving human kind its end and meaning? Perhaps Aristotle's "pleasure" points towards another possibility: the joyful contemplation of this life in the blossom of its ephemerality and contingency.

"Every art or applied science and every systematic investigation, and similarly every action and choice, seem to aim at some good; the good, therefore, has been well defined as that which all things aim."

In his Ethics, Aristotle does little more than to search for and examine the "good." Aristotle examines the virtues and vices of man in all of his faculties.

Aristotle refers to three types of lives, the common life, the political life, and the contemplative life, to which he assigns the highest order. Certainly, this is the most difficult life. Similar to Plato, Aristotle believed that "the unexamined life is a life not worth living." Aristotle does nothing other to examine the life of man and what is the best life to live.

Unlike Plato, you do not need to read the entire work to walk away with some useful insight into life. Though the over 100 chapters, divided into ten books, flow and build upon each other, you can read just one of them and be benefited. Aristotle covers many different subjects such as the good, morals, virtue, vice, courage, generosity, justice, intelligence, art, science, friendship, love, pleasure, and pain.

I can not say enough for the depth of insight Aristotle has into living the good life. Nicomachean Ethics is well written and presented in a clear manner that should be accessible to most readers. This is a must read for everyone.

Sex, war, peace, the ingredients to a great play. Lysistrata is about women who are tired of losing their sons in battle. The women band together to bring peace by forming a pact, they refuse sexual intercourse with their husbands unless the war is brought to an end. However, that is only the beginning of the bag of tricks she has up her sleeve.
The play is an absolute riot. I've seen this play performed live and while there were some good moments, I liked the book better. The book has a lot more witty humor and a sense of building frustration that the play lacked. The sexual innuendos are nothing too rash as to be insulting or offensive but rather appropriate, something college students can well appreciate. The "love scene" between Myrrhine and her husband Kinesias will leave you rolling on the floor. The use of props such as the "phalli" and towels are brilliant in accompanying the humor. It's funny to read (and picture) how the women "man-handle" their husbands to try to bring peace to the land. As a college student I've read and studied this book and found many interesting values covered that are appropriate for a Rhetoric or gender studies course. The theme of women suffrage, rising up against the men in a time when women need to be heard, is dominant in the play. Women banding together to fight for a common cause is something I have not read before and was pleasantly surprised of. For a Greek play, the women are portrayed as being very human, rather than being serial killers and jealous lovers and the sort. The women are characterized as being very sleek and sexy, something always to look forward to! The men aren't desensitized either; rather the men are just as human as the women.
I recommend this book for any college rhetoric course or even an Interpretation of Literature course. It's the best of both worlds in terms of being very entertaining and having a fair share of educational value.

Lysistrata is perhaps my favorite of the Greek plays-it's never pompous or overbearing, and it never overwhelms itself with flowery prose. In addition, it's one of the few Greek plays I've read that portrays women as genuine human beings rather than murderers, decorations, or idiots. They're smart, sexy, and socially aware, especially in a time when they were very seriously repressed.

Lysistrata is an intelligent Athenian woman who is sick and tired of the Greek city-states warring against each other. She calls all the women she can round up and comes up with a strategy to end the wars: Keep away from their husbands' beds, and the men will make peace with other cities to make peace with their wives. After a great deal of whining, the women agree to deprive their husbands of sex until peace is achieved. But that's only the beginning of what Lysistrata has planned...

Too many feminist tales end up being heavy-handed-though women are on the side of peace and right in this, it doesn't bang you over the head. The men are human as well. The comedy is sly and witty (though full of mild sex talk--nothing too raunchy) and the scene where one young woman unmercifully teases her love-hungry husband will have you rolling.

I can see someone making this into a movie-in modern or ancient settings, the dialogue can still be deciphered without a translation program *wink*. It's a story about the power that women can wield and the lengths that they can go to.

Read, laugh, guffaw! You won't regret it!

This is probably the most entertaining play I've ever read, and it was written more than 2,000 years ago! Aristophanes brilliantly critiques the rigid gender roles of ancient Greek society in several dozen hilarious pages.

Aristophanes writes of a group of Greek women who, in protest of war, refuse to have sex with their husbands, and the plot is a glorious success. Aristophanes depicts men begging their wives for sex, and paints a picture of Greek women not very dissimilar to the women of contemporary Western society.

"Lysistrata" is a crucial reading for anyone interested in Greek history, feminism, or anyone who just wants to read a devastatingly funny comedy about sex.

HIGHLY RECOMMENDED!!

The hero of this book is complicated, a lover and compulsive. His obsession quite possibly stemming from his granmother who too, was a gambler in her day. As well, I strongly believe that this work is partially biographical, leaning on the life that Dostoyevsky led himself.
The light and energy that feeds from the words to your minds is incredible. The meloncholy man seems to light up when in the sounds and horrors, as the Russian Roulette plays before.
As the book follows his life, one cannot but help feel sorry for him, and loat him simultaneously. Reading this can make one wonder why people fall into this intoxication, however, completely understand gamblings grand appeal.
This was my first Dostoyevsky and thus started my love affair with him. The book is witty, charming, dark, tragic and passionate. A wonderful, well recommended read.

The Gambler is primarily a book about obssession and mania, a topic that Dostoyevsky would go on to further explore using criminal, political and religious themes as a backdrop. The God in the gambler is not Christ, but Lady Luck and her spinning ways at the roullette wheel. This book written while FD was majorly in debt due to gambling losses explores his need to gamble. Moreover, it is a book that contains some of Dostovesky most memorable tertiary characters. Alexi the narrator is a young tutor and part of a Russian general's entourage in a Riviera. He falls in love with the General's neice, who is constantly tormenting, taunting and pathologically luring him. She makes Alexi, who is not only a compulsive gambler, but an impulsive cretin commit "unspeakable" acts to bourgeoise and lesser royalty in public.... Alexi's desperate failure to win the niece's attention's is marked by his increasing need to gamble his pitous funds. But Lady Luck does smile on Alexi for a while (although he is so agitated he doesn't know it), before taking everything away from him: money, love and his meager Russian pride. The novel sees the disintegration and paradoxic increased euphoria of Alexi's character, until he is at the end so depraved that one wonders what keeps him from going mad. It is, of course, the brilliance of the book. Gambling, which is his undoing, is also his ultimate salvation, his wheel spinning, silver ball bouncing hope. The more depraved Aleci becomes the more manic and inspired the prose becomes with Dostoyevsky's frenetic brilliance making the best of us get itchy palms. At the end you yourself will want to hit the roullette wheel with an inspiration that can only come from the poisoned and infectious mind of a religious man and great writer who once viewed God not as the Arbiter of Good and Evil and Creator of Worlds, but God as a roll of dice, a deal of the cards and a most terrible and remorseless spin of the wheel.
Although most people consider this book a minor work, it is Dostoyevsky at his inspired best. While it doesn't have the profound (and morbid) philosophy of Notes from the Underground, it has incredible characterization and a humorous, dramatic narrative

The Gambler is primarily a book about obssession and mania, a topic that Dostoyevsky would go on to further explore using criminal, political and religious themes as a backdrop. The God in the gambler is not Christ, but Lady Luck and her spinning ways at the roullette wheel.

This book written while FD was majorly in debt due to gambling losses explores his need to gamble. Moreover, it is a book that contains some of Dostovesky most memorable tertiary characters. Alexi the narrator is a young tutor and part of a Russian general's entourage in a Riviera. He falls in love with the General's neice, who is constantly tormenting, taunting and pathologically luring him. She makes Alexi, who is not only a compulsive gambler, but an impulsive cretin commit "unspeakable" acts to bourgeoise and lesser royalty in public. One instance has Alexi at her command bumping into a German baronesse's breast and not apologizing. Alexi's desperate failure to win the niece's attention's is marked by his increasing need to gamble his pitous funds. But Lady Luck does smile on Alexi for a while (although he is so agitated he doesn't know it), before taking everything away from him: money, love and his meager Russian pride. The novel sees the disintegration and paradoxic increased euphoria of Alexi's character, until he is at the end so depraved that one wonders what keeps him from going mad. It is, of course, the brilliance of the book. Gambling, which is his undoing, is also his ultimate salvation, his wheel spinning, silver ball bouncing hope. The more depraved Aleci becomes the more manic and inspired the prose becomes with Dostoyevsky's frenetic brilliance making the best of us get itchy palms. At the end you yourself will want to hit the roullette wheel with an inspiration that can only come from the poisoned and infectious mind of a religious man and great writer who once viewed God not as the Arbiter of Good and Evil and Creator of Worlds, but God as a roll of dice, a deal of the cards and a most terrible and remorseless spin of the wheel.

Although most people consider this book a minor work, it is Dostoyevsky at his inspired best. While it doesn't have the profound (and morbid) philosophy of Notes from the Underground, it has incredible characterization and a humorous, dramatic narrative

My English major friends kept raving about the sonnets, so I finally decided to spend a buck to get this least expensive edition. It was kind of interesting. I could tell that Shakespeare was really intense about his issues - but I was lost as to why everybody was so crazy about them. I also did not like having paper that was so thin that my highlighting and notes went right through to ruin the other side of the page :(

Finally I spent another buck to get an (almost as inexpensive) edition (used) - the Signet edition edited by Burto. That helped a lot - with definitions of terms and hints about lots of secret relationships possibly there for those who would dig further. At last I'm starting to figure out why this guy is considered so awesome. To really get an appreciation of Shake's heart and mind, beginners like me really need more than just the poems.

Now I'm borrowing an English major's copy of Dr. Vendler's edition (Art of Shakespeare's Sonnets). It's pretty heady, so I'm just trying to read her introduction. Whew! I haven't tested out all her theories, but is so much incredible care and complexity going on behind the scenes in these poems - it's no wonder people are still boggled after 400 years.

Truly amazing - but unless you're an English major I wouldn't recommend bothering with this doubtful dollar deed. Getting a copy of the Signet or Folger Library editions will make beginners much happier.

The perfect pocket edition of Mr. Shakespeare's sonnets!

Of course, if you are wondering what they mean, and all that, you will have to get yourself familiar with Rowse's edition of the sonnets: A. L. Rowse: Shakespeare's Sonnets.

But once you know who the principal characters are -- Henry Wriothesley, the young Earl of Southampton, Christopher Marlowe, and Emilia Lanier -- plus young Will Shakespeare himself -- then the Dover will do fine for you and yours.

After all, this is exactly the book you could have bought on its first day of publication, four centuries ago!! :-)

ttfn

jimmy

A colleague advised that I assign my college students this edition, and I am glad she did. Rather than reading the few anthologized works together with some handouts, students now own the entire set. For anyone not familiar with Shakespeare's 154 sonnets, this gives an affordable and portable version. For anyone familiar with the works, this book offers them in a beautifully light, compressed format that itself enhances rereading and re-interpretation. The book begins with a helpful one-page background on the sonnet form and on Shakespeare's collection, and ends with an also-helpful alphabetical list of first lines. The two-page glossary of terms at the end may be too little, too late, but the drawbacks of Dover's edition--its lack of notes and its use of roman numerals to number the poems--pale compared with the book's availability. As an enthusiast myself--someone who studied at the Shakespeare Institute, England, writing a 310-page thesis on the Bard--I feel grateful to be able to help others to such an inexpensive and pleasant way to own and explore Shakespeare's entire collection of sonnets. Because I could skim the poems in sequence so quickly and easily with this edition, the interrelationships among Sonnets 113, 114, 115, and the famous 116, "Let me not to the marriage of true minds," for example, struck me in a new way as I reread them in this little book. A highly- recommended edition.

"How should one live?" is the fundamental question driving most of Chekhov's work, and it is very overtly laid bare in The Cherry Orchard. Should the aristocratic family in decline stick to owning their cherry orchard (representative of the grandiose trappings of Russian aristocracy), or give in to modern commercialization in order to survive? What is the value of tradition, and how many trees should one own? Chekhov will not answer these questions for you, but he poses them in most interesting ways. In addition to wise insights into such fundamental dilemmas, Chekhov also provides a lot of witty banter, and a great slice-of-life view at 19th century Russian high culture. But this is not just a Russian play or a 19th century play; its themes, questions, and prospective answers are relevant for individuals coping with society and history in any place, and at any time.

The Cherry Orchard was me first experience with Chekhov, and I was surprised at the depth in this 49 page play. By no means would I considered myself a "literary expert," but this was very readable and you can pull a lot of the deeper meanings and its context in Russian history by yourself. I was confused at a couple people who write that the simply couldn't understand it and it put them to sleep! It's not THAT tough! If I could understand and appreciate it, almost anyone can!

What I like most about Chekhov is that he doesn't simplify his characters. He's a realist in this sense. Lopahkin and Trophimof each have admirable and detestable characteristics, just like you and I. While it may be set in the tumultuous period prior to the Russian revolution, the ideas and the discussions this play provokes are timeless.

Highly recommended!

Anton Chekhov's play "The Cherry Orchard" has been published as part of the Dover Thrift Edition series (that's the version I read before writing this review). No translator is credited for this edition. According to the note at the start of the book, the play was initially presented by the Moscow Art Theatre in 1904.

The play takes place on the estate of Madame Ranevsky, the matriarch of an aristocratic Russian family that has fallen on financial hard times. She faces the possible loss of her family's magnificent cherry orchard.

The play is populated with interesting characters: Lopakhin, a wealthy neighbor whose father was the serf of Madame Ranevsky's father; Firs, an aged servant who longs for the "old days"; Trophimof, a student with lofty ideas; and more. There is a great deal of conflict among the characters.

"The Cherry Orchard" is about people dealing with very personal conflicts and crises while larger socioeconomic changes are going on around them. The orchard of the title is a memorable image that is well handled by Chekhov. The play contains some really effective dialogue, such as old Firs' reflection on the apparently lost art of making dried cherries. This is definitely one classic play that remains compelling.

If you are looking for a short, comprehensive, encyclopedic catalogue of Aesop's Fables then this book is a steal. There are 83 fables in all, including the more famous ones such as the Boy Who Cried Wolf, The Lion and the Mouse and the Goose That Laid the Golden Egg. Each fable comes with a half page or so re-telling of its story plus a one sentence synopsis of the stories' "moral" at the end.

My problem with this is that the stories are so short, there is no magic in them. They are stripped of all but the bones. I can't imagine a child being interested in the stories told this way. I would have preferred them cutting the number of stories and instead fleshing them out by a few pages. I recommend paying a few bucks more for *The Aesop for Children* (ISBN:0590479776) by M. Winter which does just that.

Culturally we are now at the point when "Slow but steady wins the race," "Look before you leap," and "Necessity is the mother of invention" are considered wise sayings passed down from generation to generation. But even if you know these proverbs you might have forgotten, or probably never knew in the first place, that they were first said by an ex-slave named Aesop two thousand years ago and each was the moral to one of his fables. This particular collection of Aesop's fables is based on the 19th-century research and translation of George Fyler Townsend, for whom the stories were moral lessons intended for an ADULT audience rather than simply children's stories about anthropomophic animals. Because he used animals with human strengths and weaknesses, Aesop's tales have been directed over the years more towards children; I heard of lot of them for the first time on a record by the Smothers Brothers. But Townsend restores the style and sophistication that are not commonly found in the juvenile editions of Aesop. In addition to the familiar fables like "The Fox and the Grapes" and "The Hare and the Tortoise" there are dozens of lesser known fables uncovered by Townsend and included in the over 300 fables included in this edition, which makes this collection one of the more comprehensive of its kind.

Culturally we are now at the point when "Slow but steady wins the race," "Look before you leap," and "Necessity is the mother of invention" are considered wise sayings passed down from generation to generation. But even if you know these proverbs you might have forgotten, or probably never knew in the first place, that they were first said by an ex-slave named Aesop two thousand years ago and each was the moral to one of his fables. This particular collection of Aesop's fables is based on the 19th-century research and translation of George Fyler Townsend, for whom the stories were moral lessons intended for an ADULT audience rather than simply children's stories about anthropomophic animals. Because he used animals with human strengths and weaknesses, Aesop's tales have been directed over the years more towards children; I heard of lot of them for the first time on a record by the Smothers Brothers. But Townsend restores the style and sophistication that are not commonly found in the juvenile editions of Aesop. In addition to the familiar fables like "The Fox and the Grapes" and "The Hare and the Tortoise" there are dozens of lesser known fables uncovered by Townsend and included in the over 300 fables included in this edition, which makes this collection one of the more comprehensive of its kind.

This book was assigned reading for me back in college 12 years ago and I have been thinking about ever since then. Last week I finally broke down and decided to re-read it and see if it was as fascinating now as it was then.

It is the story of three male adventurers who discover an unknown land that is virtually impossible to get to inhabited only by women. Scientific and curious by nature they plan a mission to fly over the country in a plane to investigate further only to be captured and held prisioner in "Herland." While captive they are tutored by and taught to speak the language of the inhabitants. Once they have mastered the language they learn that their captors do not mean them any harm, but rather want to learn from them about the outside world as they have been cut off from it for 2000 years by their natural barriers. The men learn from the women and the women learn from the men. We see how different life could be in a society ruled and inhabited only by women.

As a utopian or fantasy novel, this one is outstanding. There were parts I liked better and was more appreciative of now that I am older than when I first read it, and others that had me thinking "as if!" If you can get past the whole parthenogenisis premise its an easier pill to swallow, but this time around I wasn't buying it. I also found the over zealous religious tones near the end to make this short novel drag out far too long.

All in all I am glad I re-read it and encourage anyone who hasn't to do so.

Three American explorers stumble upon a small country they dub Herland that's populated totally by women. For about two thousand years, the women have developed an intelligent, productive, perfect society, and with the entrance of the three men, they begin learning about the world outside their realm. The three men find that the women of Herland are ignorant (to their minds) of sexuality and gender roles, but the women are far ahead of the rest of the world in terms of education, child-rearing, population control, and agriculture. To fulfill their own curiosity and learn more, three women of Herland agree to become married to the three men. Unfortunately one of the men has not been able to overcome his own prejudices about how women ought to behave, and with one act he brings their time in Herland to an end. This fascinating story is decades ahead of most feminist, humanist works, and gives every reader an inspiring vision of how the world could be.

Having read the book in one sitting, I'm excited about the ideas "Herland" brings to the present world, especially about men's view of women, and even women's view of themselves! A wonderfully written book about three men who enter a strange world populated by women only.

The story of how the two sexes view their roles as male/female are intriguing and point out many focal points that theorists argue about: men controlling women, women being mothers, and the power between the two and how they survive in society.

I highly recommend this book, it's an smooth read that applies more to today's world than it seems possible!