The text itself is well written and rhyming and just has a great flow to it.

I bought our first hardcover edition right after it was published which was over 3 years ago. My older son has loved this since he was 2 years old and I have read it over and over and over. He is a real train lover and even now at age 5 he loves this book (over many of the other train-themed children's fiction books we own).

The text is not annoying in any way and I truly don't groan when I have to reread it to him several times. My second son has loved this book since infancy. Sadly, after 3 years of handling it finally fell apart and now I am buying a second hardcover edition. I browsed the board book version in a store but was disappointed. The hardcover is a larger size than usual and the illustrations are bold and large. In the board book version some of the illustrations are greatly pared down in size and much is lost. If you own the board version I highly recommend also buying the hardcover edition if your child likes the book. This would make a great gift!

CONS: I found some minor spelling errors. Also, this book does not have any colorful charts and graphs. This makes it look really boring.

What more could you possibly want of a novel? Only to have FIVE novels like it! And guess what - you get that too. Daniel Pinkwater is a genius, dork, scientist, a bald guy, and a funny guy all rolled into one brilliant whole.

But hey, don't believe me, I lie all the time. Just get your fleegix cups and read this book. It rocks my world (and some other worlds probably too).

But hey, don't believe me, I lie all the time. Just get your fleegix cups and read this book. It rocks my world (and some other worlds probably too).

So, my raiting would be a 13/15. Again, great book!

Using this book, in conjunction with making vi my default PINE editor (thereby forcing me to become fluent with it, lest my email use become rather slow and awkward,) provided a huge speed boost in learning the vi editor. Vi is very powerful, and is almost always included on every unmodified Unix install. These items, coupled with the fact that vi doesn't automatically insert line breaks (like pico does) make it one of the most-preferred text editors amongst Unix sys-admins.

Not only does _Learning the vi Editor_ cover the essentials, but moves beyond basic editing functions into more powerful features, such as global searches & replacements, customizing the editor, "moving around in a hurry," command combinations, and other advanced vi features. For even better results in using vi, pick up a copy of O'Reilly's _sed & awk_, though it's not necessary for effective vi use.

_Learning the vi Editor_ is written in a friendly, casual voice, and Linda Lamb provides what your input and output will look like for most commands, interspersed with comments that put the reader at ease, such as "Qute forboding, isn't it?" followed by reasons not to be intimidated.

This book will help just about anyone conquer the mighty vi tool, and will help prove vi's superiority over any other Unix text editor. (Ahem - no offense to the emacs gurus out there.)

It is also an excellent resource for the more advanced users, with good informative coverage of advanced editting techniques w/vi. The section on the various clones is also well done.

If you get this book, it is worth getting the little vi Editor Pocket Reference book, too, because its small size (~ 7" x 4" & 72 pages), makes it a convenient and easy to use reference book. I keep one of these little guys by the home linux machine, and another one at the office, too.

This wonderful reference book allows the beginner to jump in and start using the powerful VI editor.

This book has made the process of understanding and learning VI simple with its concise and clear writing.

The chapters are arrange so that you get the basic commands early and only get the more advanced commands as you move further into the book.

Each chapter ends with a review of the material presented and this makes for a great reference of the commands.

All in all this is a must have book for anyone that uses the VI editor.

But one doesn't need to focus on the revolutionary aspects of the Decameron to enjoy the book; each of the stories delights the reader with a different tasty morsel, and, you can read as much or as little at a time as you please. Once you get past the introduction, (and that's probably the most serious part of the book, so be sure not to give up before you get to the first story) the stories will make you laugh, make you cringe, and make you sit on the edge of your seat. Inspiring authors from Chaucer to Shakespeare and entertaining audiences for over 700 years, the Decameron continues to delight.

Do not think that all "The Decameron" deals with is sex. The mostly illicit sexual encounters depicted are some times funny, sometimes sad, but they share a common trait with the stories from the Tenth Day, for example (these ones are mostly about sacrifice, abnegation, and servitude), or with those of the Second: Boccaccio's concern for his society and the terrible tensions that had reached a breaking point by the 14th century. The Plague, in Boccaccio's universe, acts as a catalyst of emotions, desires, and changes that had to come.

Read, then, about Alibech putting the Devil back in Hell, Lisabetta and her pot of basil, Ser Ceperello and his "saintly" life, Griselda and her incredible loyalty in spite of the suffering at the hands of a God-like husband, Tancredi and his disturbing love for his daughter, Masetto and the new kind of society he helps create with some less-than-religious nuns, and then it will be easier to understand why Boccaccio is so popular after 650 years. And although it may be skipped by most readers, do not miss the Translator's (G. M. McWilliam) introduction on the history of "The Decameron" proper, and that of its many, and mostly unfortunate, translations into English. This book is one of the wisest, most economic ways of obtaining entertainment and culture. Do not miss it.

Second-hand opinions can do a lot of harm. Most of us have been given the impression that The Decameron is a lightweight collection of bawdy tales which, though it may appeal to the salacious, sober readers would do well to avoid. The more literate will probably be aware that the book is made up of one hundred stories told on ten consecutive days in 1348 by ten charming young Florentines who have fled to an amply stocked country villa to take refuge from the plague which is ravaging Florence.

Idle tales of love and adventure, then, told merely to pass the time by a group of pampered aristocrats, and written by an author who was quite without the technical equipment of a modern story-teller such as Flannery O'Connor. But how, one wonders, could it have survived for over six hundred years if that's all there were to it? And why has it so often been censored? Why have there always been those who don't want us to read it?

A puritan has been described as someone who has an awful feeling that somebody somewhere may be enjoying themselves, and since The Decameron offers the reader many pleasures it becomes automatically suspect to such minds. In the first place it is a comic masterpiece, a collection of entertaining tales many of which are as genuinely funny as Chaucer's, and it offers us the pleasure of savoring the witty, ironic, and highly refined sensibility of a writer who was also a bit of a rogue. It also provides us with an engaging portrait of the Middle Ages, and one in which we are pleasantly surprised to find that the people of those days were every bit as human as we are, and in some ways considerably more delicate.

We are also given an ongoing hilarious and devastating portrayal of the corruption and hypocrisy of the medieval Church. Another target of Boccaccio's satire is human gullibility in matters religious, since, then as now, most folks could be trusted to believe whatever they were told by authority figures. And for those who have always found Dante to be a crushing bore, the sheer good fun of The Decameron, as Human Comedy, becomes, by implication (since Boccaccio was a personal friend of Dante), a powerful and compassionate counterblast to the solemn and cruel anti-life nonsense of The Divine Comedy.

There is a pagan exuberance to Boccaccio, a frank and wholesome celebration of the flesh; in contrast to medieval Christianity's loathing of woman we find in him what David Denby beautifully describes as "a tribute to the deep-down lovableness of women" (Denby, p.249). And today, when so many women are being taught by anti-sex radical feminists to deny their own bodies and feelings, Boccaccio's celebration of the sexual avidity of the natural woman should come as a very welcome antidote. For Denby, who has written a superb essay on The Decameron that can be strongly recommended, Boccaccio's is a scandalous book, a book that liberates, a book that returns us to "the paradise from which, long ago, we had been expelled" (Denby, p.248).

The present Penguin Classics edition, besides containing Boccaccio's complete text, also includes a 122-page Introduction, a Select Bibliography, 67 pages of Notes, four excellent Maps and two Indexes. McWilliam, who is a Boccaccio scholar, writes in a supple, refined, elegant and truly impressive English which successfully captures the highly sophisticated sensibility of Boccaccio himself. His translation reads not so much as a translation as an original work, though his Introduction (which seems to cover everything except what is most important) should definitely be supplemented by Denby's wonderfully insightful and stimulating essay, details of which follow:

Chapter 17 - 'Boccaccio,' in 'GREAT BOOKS - My Adventures with Homer, Rousseau, Woolf, and Other Indestructible Writers of the Western World'
by David Denby. pp.241-249. New York: Simon & Schuster, 1997. ISBN 0-684-83533-9 (Pbk).