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The Borrowers Aloft
The Borrowers in another tight situationAh, Mary Norton (1903-92) was a genius! Her Borrower stories are an excellent combination of suspenseful adventure and heartwarming drama. My children and I love this book, and highly recommend it to you!
Read them all. They're all wonderful!

A great addition to the High Hallack cycle of Witch WorldThe story alternates between Kerovan, lord-heir in Ulmsdale of High Hallack, and Joisan, high-born maid of Ithkrypt in Ithdale of High Hallack, who is wedded to Kerovan by proxy when she is only eight. At first, there are few changes to her life as she will remain with her own kin until of suitable age:
....
It is so easy to get caught up in Norton's fantasy world. She puts her reader right into the midst of the feasting, mayhem, and magic. It's almost like being set down into the midst of a medieval Book of Hours.
Speaking of magic, when Kerovan's mother was about to give birth to him, she was forced to take shelter in a ruin of the mysterious Old Ones. She was rumored to be of the Old Race herself, and Kerovan was born with hooves instead of normal, human feet. His eyes were the color of butter amber.
Kerovan and Joisan grow up separately, having never met although they are married, and then their world is torn asunder by a strange invasion from the sea (see the original Witch World cycle for more detail about these invaders and their crawling, flame-shooting machines). In the Year of the Moss Wife, when Joisan should have gone to Ulmsdale to take up her wifely duties, she instead learns how to wear mail and wield a light sword. She wears a tiny gryphon in a crystal globe under her mail--a gift from her unknown fiancé.
Meanwhile Kerovan has problems of his own. The keep at Ulmsdale is betrayed to the invaders and he must make his way across the war-torn Dales to Joisan, whose own home has been destroyed. When he finally finds her, she mistakes him for one of the mysterious Old Ones because of his physical peculiarities.
How Kerovan and Joisan gradually come to regard each other, and how they attempt to defeat the dark magic that is arrayed against them forms the main story-line of this wonderful, but incomplete fantasy.
There are two sequels to "The Crystal Gryphon" (1972): "Gryphon in Glory" (1981); and "Gryphon's Eyrie" (1984, written with A. C. Crispin). None of Norton's co-authored books are as good as the ones she wrote by herself, but this is a series that is well worth following to the end.
The best three books of the Witch World series
This book is one of the best fiction/fantacy's ever!

A "wake-up" call for American youth!This encyclopedia is full of the descriptive citations which detail hazardous situations. The thought of having to sacrifice
one's life to save fellow soldiers is vividly described in this fine work.
I would hope that this book is bought and circulated through every high-school library in the USA. It not only describes what it takes to become a "war hero," but it transcends four hundred years of American guts and glory on the battlefield.
There are numerous accounts of individual heroism that literally bring tears to my eyes. The price these men and women have paid is unbelievable.
I, for one, am glad the Major Norton has taken the time to remind us of exactly what it takes to become an American war hero.
I highly recommend this book.
At a Time When We Need to Learn About Heroes!
A tribute to those that gave all

Thank you Maggie
A book for therapists on the forefront
Excellent Book

A Three-War Marine and One of Maj. Norton's Best Books!
Required Reading For All Marines!!
ONE OF THE BETTER BOOKS WHICH OUTLINE A MARINE'S LIFE!

Beachy a wonder
Wow!
Hidden Genius

Depressing...but a Profound Literary Accomplishment
Outside the MachineLike Jean Genet, Rhys wrote a series of novels about permanent social outsiders and outcasts, and, like Genet, Rhys had only one dark if very human vision to express. Other novelists such as Erskine Caldwell and Muriel Spark similarly wrote novels of extremely narrow focus (Caldwell's Tobacco Road, Spark's Not To Disturb and The Driver's Seat), but were also capable of more varied, optimistic, and expansive works. The antiheroes in Genet's novels find a means of empowering and centering themselves through narcissism, violence, dominance, sexual expression, or mysticism; but Rhys' nonplussed female protagonists are perpetually at square one, never the better for their defeated plans or self-sabotaged efforts. Sadly, Julia finds relief only in brief moments of spontaneous rage or cruelty.
Rhys had an acute talent for portraying women in and under such conditions, but it's undeniable that Rhys' vision of harrowing experience, rote abandonment, and human indifference was projected outward onto every facet of her fictional landscapes. The curtains and wallpaper are always faded, the rented rooms shabby, the maids surly, the proprietresses petty and suspicious, the food tasteless, the milk rancid, relatives disdainful. In fact, Rhys created an entire universe of human desolation in each of her five novels, one from which none of the characters, young or old, male or female, wealthy or without means, are exempted; some merely play the game better and have more resources. One of the most satisfying elements in After Leaving Mr. MacKenzie is Rhys' brutal, very focused examination of those sides of human nature which Western societies prefer to privately deny and publicly avoid.
All of Rhys' anti-heroines are socially disenfranchised, emotionally wounded, needy, gullible, and financially insecure; but they are simultaneously often ill tempered, manipulative, callous, arrogant, amoral, and almost entirely self - absorbed. Julia Martin is Rhys' most hard-bitten protagonist, having none of the wisdom or humor that Sasha Jansen has in fourth novel Good Morning, Midnight, nor the innocence of Rhys' early ingénues. Somnolent and easily wounded Julia is acutely sensitive but only occasionally empathetic to the reality of others, unless, in the moment, she sees herself reflected within them. Julia is also a listless parasite and psychic vampire who lives off the emotions, energy, and money of the men with whom she has casual affairs; except for brief periods of work and a failed marriage, this is how she has provided for herself as an adult. In one grim but revelatory scene, the willful Julia indifferently tells the man she is about to lose that she can get another meal ticket any time she wishes, as she always has in the past. Is she speaking out of defensiveness, or simply telling the truth about her power and experience? For Julia, moments of happiness, enthusiasm, or pleasure are fleeting and as far away as the stars.
Readers may wonder exactly what is wrong with Julia; the answer is: almost everything. Self - hatred and clinical depression primarily, but Julia is also anxious, passive-aggressive, lonely, financially destitute, lazy, narcissistic, morbidly introverted, co - dependent, anemic, and probably suffering from borderline personality disorder. Julia 'can't be alone and can't be too close.' She is also aware and proud of her outsider status; confronting decent younger sister Norah, Julia smugly considers herself the better of the two, the one who has brazenly spit in the face of social convention and middle class morality. Sociopathically, Julia never considers that her rebellion has brought about the almost nihilistic sense of failure and low self - esteem from which she painfully suffers. Rhys, while never less than convincing, hangs so many internal and external albatrosses around Julia's neck that her unhappy existence seems almost fatally determined. Today, Julia would be receiving a maintenance course of serotonin inhibitors.
Feminists took up the Rhys cudgel early; indeed, superficially, Rhys' novels and short stories seem tailor made for the feminist cause. But Rhys' novels are no more primarily about the plight of women than Genet's were about the plight of criminal homosexual men. Rhys cast a wide net in conceiving her fictional worlds; her truths are universal truths that, for better or worse, apply to all. Readers will certainly recognize a kernel of themselves in Rhys' ambivalent, envious, bitter, forlorn, and greedy cast.
After Leaving Mr. MacKenzie ends with Julia enjoying a second Pernod in a Parisian café as twilight falls, a time of day Rhys refers to as "the hour between dog and wolf." Since Julia's life can be said to exist only between these two polarities - between the potentially threatening and the actively harmful - the metaphor is apt. Julia, both a continuous victim and a manipulator, if not an outright abuser, herself, is a creature by nature between dog and wolf. Highly recommended to those who enjoy gripping psychological fiction.
A tragically neglected classic

Fantastic and unique
An Investment for the Traveling Family!
I can't tell you how long I've looked for a book like this!

Kerovan and Joisan find a place in ArvonKerovan is partly descended of the Dalesfolk and partly descended of the Old Ones. The Dalesfolk entered the Witch World centuries in the past, settling in the highlands along the coast of the Witch World's "western continent". They found traces of the Old Ones, an ancient and apparently indigenous group of races who had mastered the Power, what we could call "magic".
Kerovan's mother bargained with dark forces to give her a child she thought she could control for her own ends. But he proved to be other than what she expected, and these books have followed Kerovan as he has sought his true place in the world, and the right heritage. With Joisan, who gives Kerovan unconditional love and support while resolving her own conflicts, Kerovan proves to be one of the strongest fantasy characters I've ever seen.
Norton takes strong female characters and makes them appealing for wide audiences. But she succeeds with Kerovan and Joisan as with no other husband-wife team. The first book is the best in the sub-series, and Gryphon in Glory is probably better than this one.
All of Norton's collaborations leave something to be desired when compared to her own original work, but Ann Crispin was always one of the better collaborators. She seems to have a real feel for the Witch World settings and pacings Norton made legendary in the 1960s and 1970s before she started sharing her world with other writers.
A book to get you hookedAny one who loves Andre Norton must read this book, even out of the series it can stand alone.
Excellent completion of Kerovan's story