This book is to AWK what "The C Programming Language" is to C. Its the bible. Its your first read. Its your constant reference guide. I too, am an AWKaholic. The examples are well thought out and designed to show the power of AWK. If a problem fits AWK's problem space....there is Nothing better at solving the problem.

While the Nutshell book is more of a reference guide, Aho's shows how to really use the language with practical examples.

From basic examples to flatfile reports and using Awk to try out language issues in compiler design.

For those who know Awk there are some great ideas in here. For those who are just starting out it's an excellent way to ease yourself into writing Awk scripts.

A script writers must have.

The AWK Programming Language was written very well. The first couple of chapters describe the language and the rest are full of real-world examples. The exercises at the end of each section are very helpful and expand on the examples given. Any one who works with flat data files should be familiar with awk, and this is the book to get the job done.

WOW!! This is my first visit (finally) to Amazon.com, and the very first thing I did was to search for the three investigators. What a wonderful surprise to have found them -- I'm so flooded with memories I don't know where to start.

I was introduced to them as a kid in Buffalo in the early '70s by my best friend's copy of "The Secret of Terror Castle." The first one I owned was a scholastic book services paperback of "The Mystery of the Green Ghost," and I can actually remember exactly where and when I received my first hardback, "The Mystery of the Talking Skull." Sadly, my set disappeared when my parents moved. The Hardy Boys and Nancy Drew are fine in their own way, but they were NEVER a match for Jupe, Pete, and Bob!

Any one of the books in this series is the perfect gift for a child these days -- it will capture their imagination and help infuse them with a lifelong love of reading. The writing and pacing is just right, there are funny and scary parts that any kid can relate to, and the characters are developed in a way that really makes them come to life. I know Alfred Hitchcock is gone from the new versions, but his presence in the original issues as a real person had us convinced that if we could only get to California we could find Rocky Beach and the Jones Salvage Yard! I don't know how many 3x5 cards we went through as we made business cards for our own detective agency!

Thanks, Random House!! I can't wait to give every book in the series to the kids in my life (and I'll have to get copies for myself, too). I'd love to see a re-issue in hardback of the old versions with Hitch in them, but I guess I'll just have to keep searching used book stores for those. It's sure great to see The Three Investigators back!

At one time I used to own the first 23 titles of AH & The Three Investigators. As I've grown older, I've lost titles until I recently realized I only had two left. I've lamented to my wife, after searching used book stores high and low for the other titles and not finding them, that this was a great blow against childhood reading. I was so glad that they are still being printed and read! The format may be different and Alfred Hitchcock is lamentably missing, but they are still as readable and enjoyable as they were when I was a child!

I highly recommend this series for young readers who dream of adventure and suspense. They invigorated my youth and helped interest me in reading and writing. I hope to God that there are more coming out!

And for those of us who remember Alfred Hitchcock, maybe Random House could put out a collectors series of the books as they were originally released - covers, illustrations and all. I would certainly snap them up!

Wow. I'm 33 years old and thought I am probably the only adult who would pick up a Three Investigator's book and read it. I am here looking for some of The Three Investigator's books for my girlfriend's son. I saved a few of the books I had as a child, a couple of them in hardback, with the intent of saving them for my children. Most of the books I read in the series I checked out at the library. Reading these books provided some of my fondest childhood memories. The young man I am buying these books for has just discovered a love for reading and I believe that these stories will hook them just like they did me. Amazon, please act upon the suggestions of others and release the entire series if possible.

The Europeans' displacement and replacement of native peoples in the temperate zones were more a result of "superior" biology than military conquest, according to Crosby in this book.

Europe held an unassailable biotic mix that some native peoples and ecosystems could not withstand. This biota fucntioned as a team wherever Europeans took it. European germs swept aside native peoples. Europe's cattle, pigs and horses filled native biotic niches. European weeds and agriculture squeezed out native plants. This biological expansion of Europe created "Neo-Europes" which still function today in North America, Australia, New Zealand and southern South America.

European imperialism often failed or was considerably delayed in areas where Europe's biota could not prevail. In China much the same biota was already present. Africa, the Amazon and southeast Asia were too hot, too fecund and too disease-ridden for Europe's animals, plants and humans. These areas were among the last to be dominated as a result, and then only briefly, when Europe's technology gave temporary edge to its armies.

Alfred Crosby's "Ecological Imperialism" is a provocative, well-written and definitely fascinating book. Crosby examines the reason Europeans were able to defeat the Indigenous people in American, Australia and New Zealand. Crosby argues that the biology and ecology factors played tremendous roles in their win. Crosy argues that the weeds, animals and the Europeans best allies, the germs or diseases that they brought with them to the New World dominated the Indigenous people. The Europeans sought to make the New World as similiar to that of the Old World. It was interesting for me because we were taught that the military superiority of the Europeans was the main factor. In addition, Crosy also examines the unsuccessful attempts of the Europeans at dominating Asia and Africa.

"Ecological Imperialism" definitely is a groundbreaking book in the field of environmental history.

'Ecological imperialism: The biological expansion of Europe, 900-1900', by A. W. Crosby, is a cogently argued and well written book. The main thesis of the book is that the expansion by Europeans to the Americas, Australia, New Zealand, and a few other enclaves (what Crosby calls the Neo-Europes) wouldn't have succeded if the biota the Europeans brought with them had not suceeded. This biota included not only humans, of course, but pathogens, weeds and grasses, and horses, cattle, goats, and pigs, among the most important. Crosby addresses the reasons why this biota was so succesful in the new territories, and concludes that, in general, the climatic regimes there were sufficiently similar to those of its European origins and the indigenous biota was so 'naive' that 'victory' was almost assured to the invaders. To be sure, this is not an original conclusion, but the wealth of data Crosby uses, along with his synthetic power and sense of humor, makes of this book an enjoyable and thought-provoking read. People interested in searching for the biological causes of the successes (and failures!) of Europeans in the world should read this engaging book.

The Big Sky is one of the most interesting books I have ever read. In my opinion it is better-written than its sequel, The Way West, which won the Pulitzer Prize. Both books are really great! The characters in the Big Sky are well-developed. The descriptions of both the people and the country in which they live are very well done. Guthrie has a real knack for pulling the reader into the story. This book was extremely hard to put down. Boone Caudill, Dick Summers, and Jim Deakins are the stuff of which legends are made. I am so glad there are 6 Big Sky novels. I am currently reading the 3rd one, Fair Land, Fair Land, and so far it is every bit as good as the first two. If you enjoy reading about the early West you will definitely go for The Big Sky and its sequels. Enjoy!!

The Big Sky, by A.B Guthrie,tells the too-real-to-be-fiction story of Boone Caudill, Jim Deakins, and Dick Summers. The great description of the area, Northwestern Montana, is 100% accuate, from the indian tribes found in the region, to the local dialects of the men. Guthrie wrote this story as if he were actually in the place of the men, and if everything actually took place in the story. Boone is the stereotypical "mountain man" of the story, the rough, rugged, hard nosed hero. His best friend, Jim Deakins, is the anti-Boone character. Jim can also be considered a mountain man, but his personality is completly different then Boone's. Throughout the book, the characters come to life, where the reader becomes concerned and scared for Boone, Jim, and Dick through their trials. The tone almost throughout the entire story is Paranoia. Thsi is true, because Boone and Jim start to realize their paradise in Montana is becoming new stomping ground for people coming west to settle. Boone then becomes paranoid of people around him, where he finally isolates himself in the woods, with no human contact beside a few blackfeet indians. Boone also becomes weary of staying inside a house, or any space where he is not outside in the free land. He becomes depresed if he is taken out of his habitat for a great period of time, perhaps because he is paranoid that he won't be able to stay in nature any longer if he is stuck outside it. This becomes clear when his father dies, and he travels back to Kentucky. He describes his feelings of Kentucky as follows "He had felt at home outdoors. It was as if the land and sky and wind were friendly, and no need for a pack of people about to make him easy. The wind had a voice to it, and the land lay ready for him, and the sky gave room for his eye and mind. But now he felt different, cramped by the forest that rose thick as grass over him, shutting out the sun and letting him see only a piece of sky now and then, and it faded and closed down like a roof. THe wind was dead here, not even the leaves of the grat poplars, rising high over all the rest, so much as trembled. It was a still, closed-in, broody world, and a man in it went empty and lost inside, as if all that he had counted on was taken away, and he without a friend or an aim or a proper place anywhere."(page 357) Overall, this book is a great book if you love reading a passionate story about a man and his one true love, nature. Boone represents the man with the call of the wild in his soul, and his struggle to keep what he has while he can. Living in Montana, this book is also an interesting story that depicts the lives of people living where I now call home in the 1830's.

I have read The Big Sky three times, and scanned it many more. Having grown up in Browning, MT, this book really takes me home. What sets Guthrie's work apart from other writers of the mountain man genre, is character development. The way characters like Jim Deakins, and Boone Caudill, and Dick Summers, become complete people, is uncanny. The internal dialogues each carry on is fascinating. Jim's thoughts about god are succinct, and( I feel) right on the money. Boone Caudill is a misfit in any society, and the only way he could possibly live and let live, is utterly on his own. He becomes "broody" when in the company of others, and is nowhere near likable. His demeanor is completely opposed to that of Jim Deakins, who is carefree, and refuses to take anything too seriously. Boone's words, upon their meeting, "A man would have to be willing to stand by his partner, come whatever" (a paraphrase), turn out to be very ironic. Dick Summers is really the main character, as his saga continues through "The Way West", and "Fair Land, Fair Land". He is the balance between the two, and the glue that holds the partnership together. This book chronicles the heyday of the fur trade, and signals the end of that era, and the open west. I'd highly recommend it to anyone, be it for it's accurate descriptions of the time, or it's sociological implications. It is not just another mountain man story.

What, in all sincerity, can be said of Fernando Pessoa's Book of Disquiet? The book presents us, as with any superb literary work, with a problem of translation. That is, of translating into value (good, bad, average) an expressive incoherence (the aphoristic style) that is manifested in the heteronyms that Pessoa was, in the dispersed identities, and in the fragmentary incursions into the absurd(real) that pervade the book and brings forth the 'disquiet-ness'. 'Conventional' writers need a 'plot'(could be a subject-person, an event etc) as an anchor in which to secure coherence and from which meaning is derived. Pessoa's genius (like Kafka, Beckett, Lawrence, Blanchot) lies in his deliberate abandonment of (monotonous)anchors and his intrepid embrace of diversity(in the most general sense imaginable) and immanence(one feels 'floating' within life). This author will, I am certain, be recognised as one of the greatest European literary genius.

Pessoa was a true acrobat of the imagination. The Book of Disquiet is a collection of epiphanic journal or diary prose kept by Pessoa and found decades after his death. The prose is truly some of the most gorgeous musings about everyday life and existence that any reader could ever find. The poet's world is laid out exquisitly and paradoxically for the entire benefit of those who read.I can't say I've ever found such beauty in the pages of a book before. If you like literature albeit simple or complex this book is something that you will immediately cherish for a very long time.

"If i think, it all seems absurd to me; if i feel, it all seems strange; if i desire, he who desires is something inside of me."
Sums up the book perfectly. Pessoa explores one of his many personalities. "The Book of Disquiet" explains, in complete depth and faith, the beauty of a lonely, existential, moment by moment life. He explains the beauty that people forget. He explains the world, his perception, as if every moment were the last.
"The book of disquiet" is one of the most insightful books a person can read, but only if one has imagination and an ability to let go. Bernardo Soars, Pessoa's personality who wrote the book, is extreme and eccentric. It isn't easy reading, and it won't affect you if you can't overlook the fact that life doesn't go on like Soars'; that there is more in thinking, dreaming, and desiring than Soars admits. What makes the book so special is how Soars can forget everything but the thought and the moment, and how he can analyze and critique and put into words something that most of us forget to remember. "The book of disquiet" reminds me, at least, of how to appreciate my own mind. It is the only philosophy-like book that i enjoy (as yet) because it is the real thing and encompasses a forgotten part of real life.

This book deserves a place on every reader's bookshelf, especially if you are thinking of tackling the works of the giants of literature.

I would also recommend the book for those with children. It offers an excellent springboard for youngsters to find out more about famous authors, and also authors with a similar writing style. If the youngster enjoyed reading a classic in class, the book will point him towards other works and authors he may like.

Each author is profiled with a brief history, a quote by or about the author, a list of their works, and even a suggestion on which book is best to start with if you want to, say, read all of Melville's works.

Both classic and contemporary authors are profiled, all in alphabetical order. The selections are very good, and I did not detect any major omissions (of course, I'm not an English Lit professor or anything).

Selected authors include Dickens, Tolkien, Salinger, Melville, Tolstoy, Toni Morrison, Garrison Keillor, and many others.

An excellent reference title, and very affordable. The writing style is condensed, but easily accessible to readers of varying skill levels.

As I say, no home with school-aged kids should be without it.

This reference is fantastic. One only wishes it were longer! Each of 125 authors are given a dense two-page spread that includes a picture and short bio, an essay on their works and characters, lists of best books and companion volumes, and recommendations for the book you should read first as well as similar authors. All modern time periods are represented and include Jane Austen, Isaac Asimov, John Cheever, Margaret Atwood, John Irving, Leo Tolstoy, C.S. Forester, E.M. Forster, Joseph Conrad, Gabriel Garcia Marquez, Leonard Elmore, Louis L'Amour, Joseph Heller, Jane Smiley etc. A wonderful selection.

The book would be great if it ended there, but further sections list literary award winners, the best of genre fiction, "best of" lists from The Modern Library and The New York Public Library, readers' resources (including those found online), information about reading groups, audiobooks, catalogues, used books, e-books, sources for book reviews and a list of national and state book festivals. Each section is exhaustive and well-organized.

An excellent index includes even those authors listed as suggestions, and highlights featured authors in bold type.

Just wonderful, if a bit dangerous. Highest recommendation.

If you are a voracious fiction reader, take time out to browse through and get lost in this book. It really is addictive. The wealth of information here is astounding - each of the 125 well loved authors in the book has his or her own two page spread featuring a picture, background info, incredibly interesting "good to know" facts about the author, which of the author's books to read first, Websites featuring even more info about the author.......and more, and more, and more...... Following the author info there is more 'book-junkie' information to tempt we readers of fiction; award winners, dos and don'ts of writing to an author, information on the different fiction genres. I see this as a perfect gift for fiction readers, especially if you don't know what books the recipient has already read. It's also an invaluable resource for book groups, teachers, and booksellers. An absolute treasure for the bibliophile!

Alfred Huang is a tai chi master and Taoist professor living on the Island of Maui, Hawai'i. His two books (Complete I Ching published by Inner Traditions and Complete Tai Chi published by Charles E. Tuttle) are both scholarly works. The approach taken by Alfred's translation of the I Ching is different from the Wilhelm-inspired tradition. Most such books, following the Wilhelm mode, have provided interpretation as part of their translation. The Chinese text of the I Ching is even more imagery oriented -- more inscrutable, to some -- than most such translations tolerate. The strength of that imagery is its ability to inspire personal insights. Alfred's book presents a careful transposition of Chinese images of the I Ching into English, with as little elaboration as possible. He then provides his own separate interpretative ideas and comments, but the text of King Wen and the Duke of Zhou are rendered as closely as possible to the original Chinese metap! hor. Alfred's book also introduces more detail with regard to the nature of the names of the gua, implications of their ideographs and nuances of their meaning. It is a scholarly, ground-breaking work that should capture the interest of Western readers. Additionally, Alfred has introduced the concept of the Tao of I that is inherent, although not expressed directly, in the I Ching. He also explains how the sequence of the gua is not random but has coherence, representing a recurrent cycle. Alfred explains how the I Ching describes the unity of Heaven and Humanity and further explains in some detail how specific aspects of each gua are associated with his interpretation of the history of King Wen and the Zhou Dynasty. The Complete I Ching is a carefully researched and meticulously translated rendering of the original Chinese text that should be appreciated for the accuracy of its metaphorical imagery.

As an I-Ching author myself (Oracle of Changes I-Ching 1997), I have an exhaustive library of I-Ching books. Alfred Huang's is the latest addition to my collection, and by far the best. In fact, I believe it is the best I-Ching ever compiled.

It is translated from the original Chinese, but is much easier to understand than Wilhelm-Baynes and the other literal translations. The writing is poetic and conveys a personal warmth that makes the whole work engaging and easy to use. I particularly enjoyed the fact that Master Huang uses the ancient style of ideographs and proceeds to explicate the literal meaning of the graphical elements contained within each character.

This makes it possible even for a Westerner to see how the original Chinese character meant what it did, and how that relates to the text of the hexagram as a whole. This is only one outstanding feature that makes this version a must-have for anyone interested in an authentic I Ching experience.

I have had this book for two and a half years, and it was the first version of the I Ching I ever read. I am writing this review now, after reviewing and comparing quite a few other versions, to tell every person who loves the I Ching to get Master Alfred Huang's, which is by far the best of all, and to all newcomers to the I Ching to save money by buying this version, which is all they'll ever need.

To quote Master Huang, "Many Westerners know the I Ching, but they do not know the Tao of I". I means change; this book is about Changes, a master template to understand change and our place in it. There is no other I Ching I've read which so clearly expounds the Tao of I, the central yet difficult to discern theme of the I Ching. Many versions are limited to defining the meaning of each Hexagram in isolation, or dwell at length on the Yao (Line) texts, neglecting a thorough treatment of the situation expounded by the complete hexagram. Master Huang's Complete I Ching presents the text as a coherent, interrelated whole. The names of the hexagrams are carefully chosen to reflect this connection. The moving lines present the hexagram that will appear after the line changes from yin to yang or viceversa, making it easy to see what the progression of the situation will be. The text presents lots of additional reference information for each hexagram, useful for intermediate to advanced students. The Author also presents fascinating interpretations of the hexagrams based on references to the historical period when the I Ching is said to have been written. All this, compounded with a lucid, terse prose, make this book fascinating and easy to read (so you can keep going back to it time and again).

Master Huang mentions in his preface: "Sometimes when I have used English translations [of the I Ching] to divine, I have felt so depressed....When I use the Chinese text... there is always hope", and comments on his intention to recover this spirit in his translation. I believe he has attained this objective, and surpassed all other translators in presenting this greatest of Chinese classics for the western reader. Bravo, Master Huang! I Ching enthusiasts and newcomers, BUY THIS BOOK!

When the auteur myth took root it managed to both change the stature of directors and displace a lot of talented writers. While there's no doubt that Hitchcock is still a giant in cinema, many of the books written about him tend to focus only on Hitch's contribution. DeRosa's book provides fair balance and recognizes writer Joh Michael Hayes' contribution to a fruitful collaboration. The four pictures that Hayes worked on (Rear Window, The Trouble With Harry, To Catch A Thief and the remake of The Man Who Knew Too Much)are all among Hitch's best work as a director. This isn't to suggest that Hitch didn't contribute to story ideas; he would frequently sketch out a general plot but writers like Hayes (or Ernest Lehman to name another strong Hitch collaborator) would be left along to write the script once the basic plot was discussed.

DeRosa knows his stuff and his research is exhaustive. I would have to liked to have seen more storyboard to script comparisons and comments from other writers and directors but that probably would have changed the scope of the book (and the focus). Without tarnishing Hitch's reputation, Writing With Hitchcock makes a strong case for the importance of Hayes contribution to Hitch's film.

After they had a falling out Hitch would frequently dismiss Hayes contributions to his films in print( such as in Truffaut's interview with Hitchcock. Hitch was generally pretty good about recognizing the importance of his collaborators)

Luckily that bitterness can't color the fine work of these well matched collaborators. This book along (with the inteviews Hayes granted for the DVD editions of their four films) finally puts it all into perspective. It also allows one to celebrate the great art and entertainment of Hitch and Hayes.

One of the most important writers to work side by side with Alfred Hitchcock was John Michael Hayes, who collaborated with the director on Rear Window, To Catch a Thief, The Trouble with Harry, and The Man Who Knew Too Much. These films made over a two-year period (1953-55) lifted Hitchcock to a level of popularity at a time when he seemed to be growing out of touch with his audience.

This fascinating book details the relationship between Hayes and Hitchcock, exploring how the two collaborated on the writing and production of the films. Relying on a mass of documents from studio records to Hitchcock's and Hayes' personal papers, as well as anecdotal accounts, Steven DeRosa chronicles the ups and downs of this collaboration, and then analyzes the films themselves. DeRosa presents a fresh and complex portrait of the director while also providing one of the best accounts of the process of writing for film and the indignities screenwriters often endure.

At last someone has challenged the myth that Hitchcock did everything himself. Not so. He had some very skilled writers whose talents helped make his films so memorable. One of those writers - perhaps the most important - was John Michael Hayes, whose screenplays for Rear Window, To Catch a Thief, Trouble with Harry and the remake of The Man Who Knew Too Much, had a tremendous impact on Hitchcock's films of the fifties, and on the way we view Hitchcock today.

In "Writing With Hitchcock", Steven DeRosa gives Hayes his long overdue credit. Hayes' contributions to each of the films are described in detail, as are the steps taken by the censors to reign things in - to protect audiences from the idea that Cary Grant and Grace Kelly would have premarital relations, or that Jimmy Stewart and Doris Day's boy was kidnapped, are just a couple of examples! Each film is gone over in detail from the writing phase to release, and the reader is given a chance to see the relationship between the writer and director blossom, and then die.

There are lots of anecdotes and a summarizing of both Hitchcock and Hayes' careers after they parted which is very illuminating, especially the potential sequel to Rear Window that Hayes worked on that would have been far more interesting than the Chris Reeve tv version. The final chapter is an analysis of each of the screenplays, and this was especially interesting to me as an aspiring screenwriter. Well worth the price of admission! I only wish it was in hardcover.

Being an adaptation by and with the great Martin Jarvis, I thought it would be absolutely excellent, as I have found his audio efforts to be always. But in his performance there is something lacking, Sir Robert Chiltern should be played with a bit more pathos. Jacqueline Bisset is formidable, and Alfred Molina also as Lord Goring.

As to being a live recording, this is a mixed blessing. This public seems to misunderstand some lines, and there are misplaced laughs, for example when Robert Chiltern says: "I did not sell myself for money. I bought success at a great price. That is all". I'm sure Wilde didn't intend this to be a joke. Chiltern is not bought, he is not changed, it is he who buys something, therefore his character, his person, is not altered. The public dismisses this important nuance and bursts into a hearty fit of laughter.

There are three o four more like that. But on the whole, this recording by L.A. Theater Works is highly enjoyable.

Wilde, in part, attempts to portray the relativity of truth, power, and character, things we often take as absolutes, while also entertaining his audience with witty dialogue and comical mishaps.

Oscar Wilde gives us here one of his best plays. He explores the political world in London and how a young ambitious but poor man can commit a crime, which is a mistake, to start his good fortune. But he builds his political career on ethical principles. Sooner or later someone will come into the picture to blackmail him into supporting an unacceptable scheme, by producing a document that could ruin his career if revealed. His past mistake may come back heavily onto him. But he resists and sticks to his moral reputation. He prefers doing what is right to yielding to some menace. He may lose though his political ambition and career and his wife's love. But love is saved by forgiveness and the man's career is also saved by the work of a real friend who recaptures the dubious document and destroys it. In other words love and an ethical career are saved by the burrying of the old mistake into oblivion. In other words love and friendship are stronger than the scheming action of a blackmailer. This is a terrible criticism of victorian society which is based more on appearances than principles and yet able to destroy a man's absolutely ethical present life with a mistake from his youth, throwing the baby along with the water of the bath. It is also a criticism of the victorian political world where you cannot have a career if you are not rich, money appearing as the only way to succeed, at least to succeed fast. But it is a hopeful play because love and friendship are beyond such considerations and only consider the best interest of men and women, in the long run and in the name of absolute purity. Better be a sinner and be forgiven when you have reformed than see a reformed sinner destroyed by the lack of forgiveness. Oscar Wilde advocates here a vision of humanity that necessitates forgiveness as the essential fuel of any rational approach. Real morality is not the everlasting guilt of a sinner without any possible reform. Real morality is the recognition that forgiveness is necessary when reform has taken place. Otherwise society would be unlivable and based on hypocrisy and the death or rejection of the best people in the name of (reformed) mistakes. One must not be that sectarian, because man can learn from his mistakes and improve along the road : one can learn how to avoid mistakes and repair those oen has committed. If condemnation is absolute, no progress is possible. A very fascinating play, a very modern play. And yet when can one be considered as reformed, when can we consider one has really corrected one's mistakes and improved ? And who can deem such elements ? The very core of political and ethical rectitude is concerned here and Oscar Wilde embraces a generous approach.

Dr Jacques COULARDEAU, University of Perpignan

....

OK, just go order this book right now and read it.

Now that we have that out of the way. Wow what a story! Ernest Shackleton what a man. Since the south pole had already been "discovered", in 1914 Shackelton decided to dog sled across the continent of Antarctica! Unfortunately opon reaching the east coast his ship became locked in the ice eventually completely demolished by the ice flow. Cast out they lived on a floating ice pack for five months! When they were down to one small berg they abandoned the ice and sailed in very small lifeboats to a barren rock Elephant Island. Here the majority stayed behind and Shackleton and small group sailed again in one of the lifeboats over 600 miles to a whaling port! Talk about endurance, the word pales in the accomplishment of these men. And mostly in the fortitude of will that one man Shackleton had.

Some enlightening aspects:

The men on Elephant Island so desperate for cigarettes they smoked the inside packing of their boots.

Shackleton dirty, stinky and having just climbed over impassible mountains knocking on the door of the whaling portmasters door and stating:

"My Name is Shackleton".

I highly recommend this white-knuckle, bone crunching, gut-wrenching adventure story that you will not be able to put down and will enthrall you. I was so excited I also bought the complete photo record by Frank Hurly.
....

I literally couldn't put this book down. And that rarely happens. Yes, the story begins slowly as Lansing has to give us some background on the crew and some context for the expedition, which goes as planned for the first few months. But both the story and Lansing's telling of it become increasingly compelling as the events become more and more unbearable.

I mean, think about being stuck on a floating island of ice for 5 months, eating seals and penguins, exposed continually to sub-freezing (even sub-zero) conditions roughly 1000 miles from civilization's last outpost. And the truly horrendous conditions are yet to come! The story pushes you well into the territory of the unimaginable... and just keeps going. There seems no end to their trials, no constraints on the degree of their suffering. And yet all survive.

Others have said the Lansing version is the best, and I was very satisfied to read it first. It has narrative power. But I would also recommend you buy Caroline Alexander's book as a companion, mainly for Hurley's amazing photos but also for even more context on the flawed aspects of most expeditions during this period and the class differences among the Endurance's crew.

Still, this a story everyone should know. It really stretches the limits of what one imagines is humanly possible for one to endure. It's as if Shackleton and his men made definitive claim, for all time, to some capacity for survival that should make us all potentially much stronger than we tend to think we are.

The story of the ill-fated 1914 Imperial Trans-Antarctic Expedition, bent on glory, but ultimately humbled to the barest thread of survival. The Endurance becomes locked in an ice pack in the Weddell Sea, and is eventually crushed and sunk. The ship goes screaming into the icy deep. The men scurry for safety onto the surrounding ice. And that's just the beginning. I'm frankly surprised ANYONE survived this horrendous ordeal; if this were a novel, I'd say it's far-fetched. But it happened, and all hands survived. Imagine an acute scarcity of food, months on end in darkness, an interminable landscape of featureless whiteness, no sanitary facilities, and all through this you're cold and wet, and it's windy, and the temperature's below zero. You eat your sled dogs. You're nauseated from undercooked food. Your face and hands are frostbitten. You shiver even in your sleep. And no one knows you're marooned. Your only escape is to travel by open boat through the gale-wracked Drake Passage-the most treacherous body of water on Earth. Imagine your fingers are frozen numb, and yet you must chip off ice from the sail, and raise the sail, and tie the lines fast. Otherwise you'll sink and die. These men did the impossible-and they lived to tell about it.