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

Given the flawlessly smooth machinery of THE HOUSE OF MIRTH and THE CUSTOM OF THE COUNTRY, it's kind of weird to come across a Wharton novel as structurally sloppy as this one. More uncharacteristically yet, the first three chapters, in my opinion, are just plain shabbily written. But Wharton is never without her reasons, and once she's disposed of the characters' "backstory" as expeditiously (if inelegantly) as possible at the top of the book, she hits her stride in earnest and gives us all of the pleasures of a great Wharton tale -- chiseled prose, trenchant humor, sociological precision, briskly paced and compactly dramatized.

Something that strikes me about this book: it'd make a much better movie, be much easier to adapt, than either HOUSE OF MIRTH or AGE OF INNOCENCE. It's got fewer locations, a much smaller cast of characters -- heck, it even has a happy ending, and an honestly earned one. (In fact, the conceit it starts with -- a couple in love who'd like to stay together, but alas, there's no money in it -- is pretty much the idea Preston Sturges started with in THE PALM BEACH STORY, an audience-pleaser for sure.)

The Glimpses of the Moon is undeniably not Edith Wharton's best work, but that doesn't keep it from being a very rich story. Wharton does one of her best jobs ever of getting and keeping her reader's interest in the main characters and their friends, society, and lives. If you have read Wharton before, you know that she does a flawless job of this anyway, so let me assure you that TGOTM is outstanding in this sense. I couldn't get over the fact that Susy defines potential self-discovery so perfectly. Wharton somehow keeps us from siding entirely with Nick, who is close to being morally perfect. Even when Susy is at her most primitive and ruthless, Wharton reminds us, subliminally it seems, that she is still a 'good' character. In a way, Wharton presents us with a question and a problem in her presentation of Nick and Susy. In a world where money is needed not only to thrive physically but also socially, there are two ways to deal with the fact that you have less of it than everyone else: You can be like Nick or you can be like Susy. They are at two opposite ends of the spectrum and they stand for two completely different forms of action. They love each other, too, and this makes the issue even more of a puzzle. Which character would you choose to act like? Even more importantly, which character's actions most defines your own actions in 'real life?' Wharton never suggests that either way is the right way. As readers, we can only examine the consequences of both characters' actions and notice how the book ends. It's not surprising that Wharton hides her answer in a love story.

This story is much lighter and faster paced than The Age of Innocence. Nick and Susy are attractive, stylish, and interesting; but alas, they are poor. They meet and are instantly attracted to one another. Each has been used to living from friend to friend, receiving lodging and gifts in exchange for their elegant company, but now what will they do?

They hatch a plan to get married, enjoy each other under the condoning blanket of matrimony, and live off wedding gifts of money and loaned honeymoon villas for a year or so. Or until either one got a better offer.

Then, oops! They fall in love, create a misunderstanding, part ways for a while, each thinking miserably that they must be apart from the other; then the satisfying and inevitable happens...but you'll have to read it for yourself.

A delightful romp through 1920's society!

Salten's 1929 children's story bears little resemblance to the famous animated version; no saccharine tale, this little masterpiece presents the story of the value of Life in the forest. In his Foreward to the original novel, British author John Galsworthy praises two elements of BAMBI: the realistic depiction of the challenges facing deer and other woodland creatures, as well as the light-hearted style of dialogue and witty comments on human nature. Translated into English, this literary gem has delighted readers for three generations, truly having earned its classic status.

Born into a large family of deer, Bambi is not yet congnizant that he is the son of a prince. More observant and thougtful than the other fawns, young Bambi learns many harsh lessons about survival against Nature, other animals, and most of all Man--described as the ubiquitous, merciless predator with the pale face, HE. After winning his beloved Faline, Bambi matures over the seasons; but an essential part of his education is provided by his solitary mentor, the old stag. Can Bambi learn enough from him (and other species) to save his family from hated humankind, or will he study merely for his own self-preservation?

Beneath the author's charming tale in which animals act and sound much like the humans they fear, there remains a serious underlying theme: man' wanton destruction of the forest for sport or amusement. Hinting at our moral obligation Salten subtly shames us--and our faithful pets--for blatant disregard or disrespect of nature. Disney's version is fine, but until you have read the original, you don't really Know Bambi. A story of personal growth and a gentle study in compassion, for readers of all ages.

The book is head and shoulders above the overly cute Disney cartoon. It is not, however, just a children's book. Like the Grimm fairy tales, Bambi is a story with a message in social behavior and consequences of one's actions. From the book trivia side, it's quite interesting to learn that Whittaker Chambers, former member of the Communist Party of the USA and star witness at Alger Hiss' trial and author of "Witness," translated Salten's book from the German in the 1920s, while Chambers was still an active CPUSA member. Makes one wonder what kind of message Chambers thought Salten had written... Read the book, avoid the movie.

The only reason I read Bambi by Felix Salten was because I thought the Disney movie was kind of "cute."

THE BOOK IS SOOOOOOOO MUCH BETTER.

This isn't exactly what you would call a children's book. Salten has written what some would almost call a satire about survival in the woods and the dangers of manpower. This book (along with Salten's other book, Fifteen Rabbits) has been the only book that has moved me to tears. This is a must-read for ANYONE. You won't be able to put it down. But, beware, there are some pretty moving and powerful scenes in this story, so have some kleenexes ready! (In the end, EVERY major character, including Faline, his father, etc., is killed except for Bambi and his two young children.)

P.S.--If you liked this book, be sure to go out and read Salten's other book about forest life, except this time from a rabbit's point of view: Fifteen Rabbits. You'll love it!

The Tao of Eating is a well-written book that embraces a wonderful eating philosophy. Before you start another diet, read this book by Dr. Harper. It is a step by step guide to a return to the natural way of eating (and living). The Tao of Eating is easy to read and easy to understand. Everyone can benefit from this book. A reader from Wilmette, IL.

This book is the answer to "weight control obsession." Anyone who is able to distance themselves from "dieting to control weight" will profit from reading this book. It offers a way of living that incorporates eating as a natural part of life. Everyone who is willing to read this book with an open mind will benefit by gaining a more peaceful life by integrating eating with the needs of body, mind and soul. As with any obsession, it takes courage to confront one's "diet-weight-loss" obsession. If you dare to do this, you will not be disappointed. If not, it is your loss. This book has changed my life !!! A satisfied reader from Chicago.

THE TAO OF EATING by Linda R. Harper is a welcome addition to books on the enjoyment of food and the opposition to dieting. The world does not need another diet book, whether it be ghost-written for a so-called celebrity, or endorsed by a medical quack. The fact that so many diet books are published every year, and bought by people looking for God to say, "This is The Book that will solve your problems," is amazing and disheartening in itself. Our desire to be anything but ourselves is all too prevalent in American society. If all Ms. Harper tells you is to accept yourself, the book would be worthwhile, but she says even more that gives the reader encouragement and hope. This book is not only appealing at first glance, but contains common-sense authority. The lay-out is good, allowing the reader to go back and forth with ease. The premise of the author's theory of a natural relationship with food is refreshing. How to get there is presented in a thorough and pleasing manner. More power to her!

Another great Flashman read, although certainly no where near as clever or funny as some of the early in the series. Some very interesting historical information as always, and Flashman is inserted into history rather well. But the scope/focus of the book is a little to narrow, and the main focus of the book really not all that interesting from a late 20th Century reader's perspective. Flashman's ideaology seems to come out rather more in this book, and its a bit of a worry from an experienced Flashman reader's point of view that he *has* one! :-) I'm looking forward to the book which details Flashy's exploits (or lack of them) in the US Civil War - I hope that will set the standad as a real Flashman classic.

As a dedicated Flashman fan since discovering the first in the series in 1974, I was disappointed. I had, of course, both to read it and have a hardback copy for my collection, but I hope Mr. Fraser isn't running out of steam or humor. Neither of the two immediately previous books (Dragon and Mountain of Light) were especially funny, but they were both fascinating and satisfying without being as contrived as this one is. I think I disliked (relatively speaking) this one for the same reason I disliked (relatively speaking) Royal Flash: it was very contrived. One great thing about the Flashman series has always been the ease and seamlessness with which Mr. Fraser has inserted our protagonist into history. Perhaps this is a preliminary to his book about Flashman in the Civil War, which I've been waiting for for what seems like forever, probably since reading Flashman's Who's Who entry in the first book. I hope Mr. Fraser writes that book next and that he does all he can to make it worth a twenty-three-year wait.

Flashman and the Angel of the Lord was my introduction to writer George Fraiser and "his" character, Harry Flashman. I was impressed and pleased. Impressed with Frasier's scholarship (the fictional Flashman's interactions with real historic persons and events is accurate, as his extensive endnotes demonstrate). Pleased with the irreverant, wholly unconventional and most certainly un-PC character of Harry Flashman.

In the Angel of the Lord, Flashman - a scandalous character "resurrected" from the 19th century novel Tom Brown's Schooldays and a self-described "bully, poltroon, cad, turncoat, lecher and toady" - finds himself aiding John Brown in his raid at Harper's Ferry. Conspiracies abound with several factions enlisting the "assistance" of Flashman to either foil the attempt or help pull it off. The misadventures of Harry Flashman as he navigates the intrigue and double-dealing combined with the Fraiser's rapier-like wit and irreverant style had me riveted to the story line while laughing out loud. I will certainly read the remainder of the "Flashman Chronicles" and I recommend this one highly.

Barbara Michaels (Elizabeth Peters/Barbara Mertz) pens two kinds of thrillers: plodding, humorless and unsympathetic, or sparkling with wit and liveliness. This is one of the latter, and displays that Ms. Michaels is also an intelligent literary person (and that Nate Hawthorne was a nauseating chauvinist)

English professor Karen Holloway once found a privately printed book of poetry from the eighteenth/nineteenth century, by "Ismene." After the poetry becomes a roaring success, she is summoned by a friend named Simon, who shows her a battered old manuscript -- also by Ismene. Karen is desperate to have the Gothic thriller, which follows the beautiful Ismene and her empty-headed sister Clara as they arrive at their cousin's enormous mansion. A brooding doctor, stormy weather, hidden house and a ghastly figure complete the Gothic sense.

Karen encounters a little drama of her own -- due to the success of Ismene's poetry, a bunch of other writers are trying to get their hands on the manuscript. The locals are acting more than a little odd also, either unhelpful or deliberately searching...

And as Karen deciphers the old story, she begins to wonder about it. Is it just a story that the talented Ismene created, or is it a memoir of terror and deception from long ago? Ismene's unfinished manuscript and a haunting line of poetry may hold the key.

Though the label "feminist" on Karen may turn off some readers, she's not really a feminazi -- rather, she has to deal with the very real sexism of her male colleagues, who scorn such authors as Jane Austen and George Eliot. (And it's shown that this is not new -- each chapter opens with a quote about women and literature, such as the pig Nathaniel Hawthorne's suggestion that women who write should have "their faces deepley scarified with an oyster shell.") Her colleagues don't have a problem with the money Ismene's novel would give them, though. Karen's feminism is fairly low-key, though there is one hilarious scene where she deliberately makes a shocking speech to isolated small-townsfolk. I liked how she found a kindred spirit in the long-dead Ismene, who was a fierce feminist and abolitionist of the times.

Supporting characters are even more sparkling. Tough-on-the-outside, marshmallowy-on-the-inside Peggy holds Karen up throughout her adventure, and charming old-world Simon is a delight. Bill Meyer, on the other hand, will honestly leave you wondering whether to sympathize or not.

Someone who has read extensive Elizabeth Peters/Barbara Michaels books will know of her particular faves, such as Louisa May Alcott and the Brontes. Comparisons are made to Jane Eyre and Wuthering Heights, going over such now-cliche items as the Tall Dark Brooding Man, the Frightened Heroine, the Big House/Castle on the Cliff/Moors, the Dark Secret, and so forth. Ms. Michaels utilizes these herself (well, not the Frightened Heroine.... Nervous Heroine would be better) with wry twists and observations about their appropriate nature.

A particularly enjoyable note is that portions of Ismene's book are interspersed. They have appropriately overdescriptive prose and hyperdramatic dialogue (both staples of the times) and are very evocative in emotions and imagination. The only problem is that the ending is quite rushed and becomes a bit incomprehensible, especially as characters only briefly referred to suddenly seem pivotal. There is, fortunately, a geneological map at the beginning, so be sure to look there.

This book is a gem, both for fans of mystery and of Gothic lit. "Houses of Stone" does for Gothic novels what "Die For Love" did for romance!

What a delight! This is a Gothic romance on at least three levels. It's like being invited to an intimate tea party with Ms Mertz (Ms Michaels' real name) together with a select group of literary types who love Jane Austen and the Bronte sisters and enjoy Ms Michaels' work, at which tea party she shares her trade secrets, explains her love for the genre and plays a clever parlour game with her guests.

At the most basic level, in the book the heroine is an English literature academic who discovers an unpublished manuscript of a Gothic romance written round about the beginning of the 18th century. Chunks of painfully but authentically purple prose are conjured up by Ms Michaels for our delectation, in the approved Gothic romance style, complete with a decrepit ancestral mansion, heroine in psychological distress and physical danger, a Deadly Family Secret, and two male protagonists either of whom could be the hero or the villain. More than a story, there is a real mystery as to who the writer is and how her novel related to real events.

Meanwhile, the heroine, while demonstrating the art of researching a gothic novel and expounding on the genre (e.g. as representing women's oppression and powerlessness in a male dominated world), is herself trapped in one. She is in physical danger, she has just escaped a suffocating marriage and is still ensure of precisely how she wishes to operate in a male dominated world, and she has to work out which of two men is the hero and which is the villain. There's even a Family Secret lurking. This is the level which usually constitutes a Barbara M, and this is handled with above average dexterity - snappy scenes, real characters and good pace. Cleverly, the characters are put through a classic Gothic plot even as they analyse Gothic and other plots; and Ms Michaels milks this shamelessly and delightfully. For instance: "Whatever his motives, he was trying hard, and humility wasn't easy for a man of his arrogance. Or was pride a more accurate word? Karen smothered a smile. Bill's pride and her prejudice against him - another classic plot!" The reader can't help but smile.

Finally, this book is a game with the reader, in which Ms Michaels cames clean with her agenda and issues a challenge. I quote: "She had almost finished two-thirds of it now, and her familiarity with the conventions of the Gothic novel had inspired several hunches - educated guesses rather - as to how the book would end. In one sense she hoped she was right, for that would prove how clever she was; in another sense she hoped [the author] would prove cleverer than she, scorning the old Gothic traditions in favour of a more original solution." She has brilliantly articulated the reader's dilemma of wanting to best the author, and yet hoping the author is cleverer. A protagonist says : "[The author] has set up the plot, and unless she cheats by introducing a new character or a vital clue at the last minute, an intelligent reader ought to be able to predict what will happen." Too true. Ms Michaels' plot resolutions usually seem obvious on hindsight, but they are seldom obvious when you are in the middle of them. For the record, I lost this game. I guessed the wrong hero because I was prejudiced by one man's resemblance to a prominent hero of Elizabeth Peters' (another Ms Mertz pseudonym) and assumed she would not go against her own grain. I should know better than to underestimate Ms Mertz and think that she would be bound by her own conventions. Congratulations, Ms Mertz, and thanks for the fun, and the peep into your world.

I love this book. I enjoyed every minute with the lead character and thought her friends were the perfect foils to bring out her character quirks. The plot is fantastic--gothic horror, modern romance, feminist ideas, dueling lovers, best girlfriends--it's all here! I was in suspense to the very end, and I liked the ending. I've read this book twice so far and have recommended it to friends. Also, each chapter is headed by a pithy saying that you'll want to quote to certain men in your life. I wish Barbara Michaels would write a sequel (hint hint).

I admit, this is my first Belva Plain book and possibly my last, but since a good friend loaned it to me, I gave it a try. The storyline on the cover didn't appeal to me, bigotry and hate divided two families. Okay. The characters seem shallow and confused in their own lives and then pass that confusion on. Tom is a boy so dedicated to his younger brother Timmy and his girlfriend Robbie, but only bends to his mother's wishes out of sympathy and pity for her. His father is a domineering man who pushes Tom to follow in the beliefs of his dad while belittleing his mother. The Crawfields seem like good people and they seem like the most honest characters in the book.

Overall, not a book I'd recommend.

I personally like Belva Plain's writing a lot, ...The story was very touching, and Belva Plain expressed the emotions very well of waht others would do in that situation finding out that one of your children isn't your 'biological' child after all. She wrote with feeling through the whole book, and the ending was very well done with all the characters. An excellent read if you ask me!

WHEN BLOOD TESTS PROOF THAT MARGRET AND ARUTHER CRAWFIELD'S DYING SON PETER, WAS NOT BORN TO THEM THEY DISCOVER THERE WAS A BIG HOSPITAL MIX UP AND THAT THERE BIOLOGECAL CHILD STILL LIVES. HEARTBROKEN AS THEY ARE THEY BEGEN TO SEARCH FOR THERE REAL CHILD.

MEANWHILE IN THE RICE FAMALLY LARUA RICE DISCOVERS THAT AFTER 19 YEARS OF MARRIGE SHE AND HER HUSBEND BUD ARE PERFECT STRANGERS. THEY HAVE TWO SONS, 19 YEAR OLD HANDSOME TOM AND 11-YEAR OLD ILL TIMMY. LAURA BELIVES THAT TOM IS INVOLVED IN A GROUP OF CAMPUS BIGOTS. SUDDENLY THE CRAWFIELDS ENTER THERE LIVES AND CLAIM TOM BELONGS TO THEM. BUD IS VERY PREJUDEST AND HE IS MAD BECAUSE THE CRASWFIELDS ARE JEWS. SUDDENLY THE TWO FAMILLY'S ARE ENTARD INTO A WOURLD OF HATRED AND VIOLIENCE

Fussell's book is entertaining. Her chapter title can make you laugh out loud. I think she might be fun to have as a guest at a party, but that's as close as I would want to get to her.

In this book, Fussell recounts her life story -- leading up to her successful career writing about food. Mostly it's a story of how people did her wrong, from the wickedest of wicked stepmothers who readers could easily envision wielding an axe -- to her atrocious husband, Paul Fussell. Betty Fussell, according to her version of the story, has been surrounded by mean, vicious, cruel people whose main purpose in life was to smother her spirit. Even innocent bystanding neighbors and party guests are not spared her sniping.

The people are so unremittingly awful in her story, that I quit believing a word she had to say about them before I was half way through the book. However, it did get me to read Paul Fussell's memoir as an antidote. It truly was an antidote -- with greater honesty and integrity and more human kindness, compassion and decency.

This is a war story of a different sort where the warrior is a woman & the battleground is her kitchen. Her weapons evoke a lifetime's need to make dinner, love & war. Betty Fussell has pried open the past, giving voice to a generation of women whose stories were shaped & silenced by an era of domestic strife & global conflict, the Elysian Fields between World War II & Vietnam.

Fast, frantic & often tartly funny, where the author will snap your funny bone & suck out the marrow even as she prepares you a satisfying feast!

This is a terrific memoir, intelligent and bitchy and gripping.

I am a medical student having studied medicine and biochemistry for the past 3 years. I found the Harper's Biochemistry by a coincidence on the university library.......it is now my favored reference on biochemical and some physiological matters being very concise with more specific details than many other biochemistry textbooks. Said that, I might have more value in your last periods of biochemistry and physiology and as a reference for the rest of your study. Thats why you should go to the library to try it for a couple of months. But then again....you will not be disappointed. S. Wiedemann - Denmark.

The book, at least from my point of view, is not a good book to grasp the core concepts of Biochemistry from at the beginning of your biochemistry course.Actually,it is a tool by which you can get a deep understanding of the subject by the aid of other books that can give you the full picture of Biochemistry. Its advantage is in that it covers in details many of the topics that other books usually do not cover. I remember many times finding myself opening the book looking for some details that some professors mention as extra bits which are not found in the other textbooks and present in this book. I recommend it as a reference book for medical students but not a textbook.

This textbook is the most useful and reliable one especially for students of medical school.@Other textbooks of biochemistry usually mention only biochemical matters, but Harper's always stands from the viewpoint of clinical medicine. Each biochemical facts are followed by clinical facts and cases and its clinical knowledge is really useful. This will help you study not only biochemistry but also internal meicine with full of new findings and knowledge. This book is my favourite and will be your favourite, too!

Tanizaki's 1933 essay is an excellent introduction to the Japanese aesthetic. True, it IS the personal reflection on one man who, were he anyone else, would probably be dismissed as a curmudgeonly crackpot. However, 'western bashing' is not the issue here -- a point that he makes repeatedly is that had Japan remained closed to the influences and technology of the west, those things that have developed in Japan (and, arguably, later developed Japan) would have had a very different complexion. Although he does not speak for all Japanese, the points he makes -- tastes in architecture, decoration, etc -- appear over and over in ordinary Japanese people's homes and lives, even today, 70 years later. (I recommend this book to anyone going to visit Japan -- it gives most Westerners an entirely new perspective on how to view Japanese art.)

The ideas in Tanizaki's essay on the Japanese appreciation for shadows and nature-based arts and architecture should come as little surprise for those familiar with the Japanese culture and tradition. Tanizaki's suggestion that these inclinations came from practical origins made sense (a lot better than the still-common theory that the Japanese idea of aesthetics is a result of different, Japanese genes). It also seemed to me that the Japanese were more inclined to resign themselves to fate and find beauty in what was at hand (like the shadows) than to fight nature and create light at the expense of beauty.

What interested me most was the fact that Tanizaki has a "us versus them" mentality, not so much that Japan or the West is better than the other, just different. However, it seems that if a young Japanese person were to read this essay today, it would seem just as "foreign" as it does to an American.

Nevertheless, it was interesting to read Tanizaki's essay, which discusses everything from the theatre to the bathroom, gold and lacquer, women and race. One cannot help but read Tanizaki's essay without feeling his loss at the erosion of traditional society and the innate beauty within it. At the same time, it makes you look around and notice the lack of beauty in our everyday lives (in terms of art and architecture). America, too, was once a land of shadows and a people who we probably able to appreciate their beauty. Tanizaki probably never considered the fact that his culture and ours are really not so fundamentally different.

If you read this essay, don't get caught up in Tanizaki's occasional bad-mouthing of Western culture (remember that he probably would have never dreamed that this short essay would be translated and read in the West!) Instead, treat this as a rare look into a common Japanese mindset and an opportunity to see for yourself whether Tanizaki's praise of shadows is a worthy one or not.

Reviewers are treating Tanizaki's essay as a self-righteous narrative. It is, rather, an exposition of one man's aesthetic, which, perhaps mistakenly, he attributes to a nation. At the same time, he derides this nation, Japan, for relinquishing traditionalism, in favor of utilitarianism. Tanizaki did not use this essay to belittle western civilization- he used it to emphasize how western civilization was not, according to his perspective, complementary to eastern civilization. This essay is a powerful opinion piece, reflecting one man's disdain for, or arguably bewilderment at, the changing times and the dissolving of a time and place he loved. Tanizaki is a brilliant essayist; his work is revealing of passion and insight. To take this essay as an insult, or as "boring" and "whiny," is the crudest possible assessment. At best, demeaning the essay by ridiculing it as foolhardy words written by a grumpy old nationalist does nothing but prove Tanizaki's points about the incompatibility of western and eastern aesthetic. I don't believe all of what Tanizaki said to be true, either of aesthetics or of ethnic predispositions to given aesthetics, but I believe he had a valid case as foundation for his essay, and I strongly recommend reading it.