Okay. I am slightly biased in my review of this book, for reasons which will become clear later on. First off, it should be said that it looks great; glossy and well-manufactured, on acid-free paper, it will last a good long while (though don't put it in your windowsill - I put my copy of the first volume there and it's paled noticeably.)

Judy Friel's short essay on Patrick Mason's tenure as artistic director of Ireland's national theatre is very good about Mason's sense of historical mission. He opened the theatre up to younger writers and actors, giving lucrative and welcome jobs to the many talented people that had arisen from the fringe theatre scene that exploded in Dublin in the early 90s. He also brought plays such as "Angels in America" to an audience that might never otherwise have seen them. (Not many saw "Angels" - scared off by the rumour of Gay People On Stage, they stayed away in droves and it bombed, which was a shame as it was a fine production, albeit only of Part 1.)

Michael Harding is an Abbey regular and "Sour Grapes" is his jaundiced look at the modern priesthood. Not entirely unexpectedly, he finds it riddled with cynicism, abuse of power and faithlessness. The play was intensely topical, because at the time it went on, the country was swamped with revelations (sic) about sexual abuse in the clergy. I find Harding's tone a bit dour and depressed, but there's no doubting the power of the piece, and it certainly reflects a changing attitude in Ireland towards the Catholic church.

Thomas Kilroy's "The Secret Fall of Constance Wilde" is an elegant meditation on the marriage of Oscar and Constance. It's a bit of a shadowplay, highly stylised, with masked puppetteers manipulating all the bit parts - the only speaking characters are Ozzie, his lady wife and his nemesis Lord Alfred Douglas, a handsome devil but by all accounts a truly appalling human being. (A recent biographer thought differently, but then said biographer was only 21 when the biography in question was published, so me may forgive him his youthful...well, ignorance.) Kilroy's conclusion is that Constance was a woman well and truly wronged, and it's hard to argue with that, although I don't know if this piece has the richness and conviction of some of his earlier work.

Alex Johnston's "Melonfarmer" is a sprawling monster of a piece that goes on much too long, but then it's a first play. (That's no excuse, mind.) I think the author spends a little too much time showing off his neat ear for the evasions and ellipses of youthful speech patterns, but there's a basic emotional honesty and a certain beady-eyed unsentimentality that readers may find refreshing. It has some moments of completely bizarre humour and an extremely nasty scene involving a bullet in the foot, both of which were thoroughly up my artistic street. If this writer worked a bit more on his stagecraft, he could get somewhere. I liked it a lot, but then, like I said at the top, I'm biased, cause - I wrote it.

Lastly, Marina Carr's "By the Bog of Cats" is a truly weird, slightly kitschy attempt to rewrite the Medea story as a domestic tragedy set in the Irish Midlands. This would be a great idea, except that Carr goes on to mess it up with a lot of musty sub-Yeatsian symbolism (black swans, ghosts, bogs) and a plot that is so plotted that you only really need to see the first scene to guess how it's all going to work out. But then, this kind of thing is just not for me. Carr is one of Ireland's leading playwrights, but the ends to which she uses her great gifts are getting increasingly obscure to me.

Anyway, I thought it might be interesting to have one of the writers review the book. All of these plays are eminently stageable, but I'll bet there's not a theatre out there that would want to do every one of them - except the Abbey, bless it.

NEW PLAYS FROM THE ABBEY THEATRE, Vol. 2, 1996-1998 is a welcome offering from editors Judy Friel and Sanford Sternlicht and from Syracuse University Press. Ms. Friel is a native of Derry, an alumnus of Trinity College, Dublin, and currently the literary manager of Ireland's National Theatre. Mr. Sternlicht is a professor of English at Syracuse University who also teaches Modern Irish Drama each summer at Trinity College. He has written extensively about English and Irish writers, and has many works in print, including A READER'S GUIDE TO MODERN IRISH DRAMA.

In NEW PLAYS... Vol. 2, the editors have provided a brief but informative introduction to modern Irish theatre. Ms. Friel gives an account of the revitalization of the National Theatre of Ireland in the 1990's by its artistic director, Patrick Mason, who examined the direction of the institution and returned it to its roots (those established by earlier Irish writers such as Yeats, J.M. Synge, and Lady Gregory), focusing on the responsibility of the Abbey Theatre to its Irish playwrights, who(to quote Yeats),
"bring to the stage the deeper thoughts and emotions of Ireland."

The book contains complete plays by four of Ireland's greatest modern playwrights - in this volume they are Michael Harding (SOUR GRAPES),Thomas Kilroy (THE SECRET FALL OF CONSTANCE WILDE), Alex Johnston (MELONFARMERS), and Marina Carr (BY THE BOG OF CATS). Mr. Sternlicht provides concise biographical information on each playwright as well as a brief overview of each of their plays. The copyright and contact information for performance rights is listed on the last page.

SOUR GRAPES (Harding) is a fascinating but very sad play about pedophilia, homosexuality and the abuse of power in a Roman Catholic seminary setting, and how it drives a young seminarian to suicide. The young man's case is defended by a sympathetic priest, but the priest, not adept at investigation on a good day, is thwarted by all the other priests in the play including the Bishop and the Canon. The reader is forced to think about the effects of enforced celibacy, and the unholy attitudes/actions of most of the clergy are upsetting. The play jumps around a good deal in a sort of Joycean style. Its realism is jarring(but not surprising, as Harding is a former Catholic preist). The plays powerful statements leaves this reader feeling rather beaten down and exhausted. It certainly speaks to modern issues.

THE SECRET FALL OF CONSTANCE WILDE (Kilroy), written by one of Ireland's most distinguished writers is a sensitive historical accounting of the tragic downfall of Oscar Wilde and his wife, Constance. She is brought out from beneath the shadow of her famous and brilliant husband, and the play clearly elucidates her grief -- over her own past (suggestions of abuse at the hands of her father); over her loss of Oscar to his lover, the cruel and unstable Lord Alfred Douglas; over Oscar's very public prison sentence and her own fall in society's eyes; over her own torment at keeping their own two children away from Oscar, who desperately wants contact with them. She died at age 40, a broken shell, and Oscar followed her in death two years after. The play is presented with a chorus of attendants, Greek-style, and with some scenes including puppetry and some Kabuki effects, as in Noh theatre. It is relentlessly honest in its portrayal of the love triangle, the ambiguities of sexual identity, and the pain caused when families are broken. It is a sad but very moving work.

MELONFARMER (Johnston) is not at all about melon farmers. It is a cinema-verite look at 1990's life in urban Ireland for eight young adults, all trying to find their way in our faster-than-light, information-drenched world. They are negotiating as best they can the new sexuality, the loosening hold of the Church and the old traditional values .. and getting by in life as best they can, which sometimes means just getting by. Sean Spencer, the central character, a would-be comedian, gradually descends into drink and depression. The play is fast-paced, and has moments of hilarity. The opening had me laughing out loud. The play is tragicomic, like life. Playwright Alex Johnston is the grandson of the O'Casey-era Denis Johnston,
and his talent shines through every scene. As in the other plays presented in this book, the realism is gritty and in-your-face.
It stays with you. As Sternlicht states, it's a revelation to a middle-class, middle aged reader such as myself. [Note: the script presented is the 1997 original version for the Peacock Theatre. It has since been revised for a 2000 production, and the latter is the definitive version, per the playwright.]

Last, but not least at all, is BY THE BOG OF CATS (Carr). Ms. Carr is Ireland's leading woman playwright, and a most successful one. After reading her play, I am not surprised. Its power was so strong as to be assaulting. I was horrified by the plot and the bloodiness, but mesmerized despite myself, and I quite literally could not put it down without finishing it.
I can only imagine how powerful this would be on stage, after having it jump off the page at me from a book! It gives you chills. I don't want to give the story away. I will say that it is as strong as a Greek tragedy, and is written that way. But the characters are so real!

This is a most welcome addition to the study of Irish theatre.

This book deals with the side-splitting to the somber tales of some of the Ojibwa (also called Chippewa) Nation, by creating a non-existent (today) reservation and sub-tribe, and giving an excellent view of life on-reservation for one of the most relaxed groups of Natives you'll ever meet. This book will make you giggle and cry, all at once!

Basil Johnston has a uniquely captivating way of storytelling. Whether he's dealing with Ojibway tales or the story of his personal childhood in "Indian School Days", Johnston can be deemed a great First Nations author.

...

Put together 18 academic and corporate leaders and ask them to share their thinking and strategies related to organizational effectiveness and, you guessed it''''''''.a wonderful collection of thought provoking insights.

This book is a collection of essays, interviews and study results on effective organizational leadership and strategies. While the book focuses on the for-profit sector, many of the themes are relevant to not-for-profit organizations.

My own background has been both in not for profit and for profit corporations. My reaction to the first few chapters of the book was luke warm. I thought the presentations were too academic and were applicable primarily to very large for profit corporations. Most not for profits do not have the resources, human or financial, to implement many of the worthwhile observations made in those early chapters. However, as I got further into the book, I found myself taking notes and voila'''.. I actually was inspired by two of the chapters.

While a listing of the subjects covered (see below) may get a yawn or two, there are some real gems hidden within this book. I was especially pleased to learn more about outcomes management and new business models. Those chapters gave me some concrete ideas, which I was able to use right away, given the nature of my work with non-profits. Other readers will likely find different gems of particular interest to them. That is the beauty of this book. It stimulates creative thinking and new ideas.

The chapters deal with organizational self assessment, responding to changing business conditions, the marketing of leadership, entrepreneurial efficiencies, alternative business structures, strategic generosity, and leadership in the virtual world, to name a few. There is even an interview with Scott Adams, the creator of the Dilbert comic strip, which often deals with subjects related to the workplace.

This is an 'ideas' book and not a 'how to' publication. If you are ready to explore a variety of ideas from business leaders and academics, pick up a copy. Who knows, you may also walk away with a few good new ideas, which can be part of your own leadership arsenal.

I am a fan of the Drucker Foundation's LEADER TO LEADER journal. This collection of articles is just right for people looking to make their organization (or department, or team) perform.

My favorites include chapters by Frances Hesselbein, Philip Kotler, the interview of Scott Adams, and the partnership chapter by James E. Austin. I also loved the work of Douglas K. Smith, Leonard L. Berry, and Adrian Slywotzky.

Julie's books are always incredible and this one does not disappoint. It is a very sweet and well-told story. The main character, Fred, is a smart boy who is often underestimated because of his stutter. He's quite likeable, and the juxtaposition of his diary with what Julie Lawson "read between the lines" is often humourous. This could well be Fred's last year to spend the summer at the family cottage before he must "grow up," and this is a perfect look at a boy who wants to have the same fun as his younger relatives, but also to move forward and think about his future. "The Only Outcast" is much like the summer it is set in -- a sweet adventure that you would like to have forever, but then, far too soon, it is all over.

A finalist for the Governor General's Literary Award and the Ruth Schwartz Children's Literature Award, The Only Outcast by playwright and novelist Julie Johnson is a compelling and entertaining novel for adolescent readers ages 11 through 18, and set at a lake front at the turn of the century. Fred is young man who is expected to "build his character" in a series of emotional adventures and personal trials in this most satisfying tale of growing up and coming of age. Highly recommended for school and community library historical fiction collections, Julie Johnston drew upon the actual diary of the real Fred Dickson to aptly recreate an memorable story of yesteryear in The Only Outcast.

I really enjoyed this book! The characters were very believable and "real" in what they said and did. I was eager to find out "what happens next?" The history was part of the story rather than something that interrupts the story. I would recommend this to anyone who likes historical fiction, especially the Dear America books.

I thought this book was GREAT and should receive the C.Scott King's Award and the Caldecott Medal. The author does a great job of keeping you in suspense. The plot is original and is plausible. The sequence of events builds to the climax. Johnston also does an excellent job of taking you through a series of intense events. The plot is well constructed. The characters are very convincing and credible. Roxanna's character shows development and growth when her father leaves her in charge and when she travelers the river. Joss's behavior is consistent with her age, character, and background. The style of writing used is very appropriate to the subject. I would strongly recommend this book. I found it to be very emotional. It teaches several lessons. One of which deals with facing one's fears, assisting people in need, determination, being responsible, maturing, love, and respect.

The Quilt Story is another one of Tomie dePaola's books. This one is about a little girl named Abigail whose mother sews her a quilt. The girl loves the quilt, and takes it everywhere. One day, the girl's family moves to a new home, and the quilt comforts her with thoughts of her old home. Then the quilt is packed into the attic, where a racoon and a family of mice bed in it. A long time later, a girl find the quilt, and her mothers sews it to like new. The girl's family then moves, and once again the quilt is a comfort to a girl in a strange new place. Tomie dePaola does a wonderful job illustrating this book, and it is well written by Tony Johnston.

In essence, this story is about the constancy of motherly love, even when everything else in the world seems to change. The quilt, crafted by a mother's loving hands, wraps the child in love both physically and metaphorically. The story follows the quilt from it's creation in pioneer days, through to its restoration in modern times. It also follows two girls through the experience of moving, one in a wagon, one in a moving van. We see that ours is not the only generation that has had to cope with changes and transitions, and we see that mothers have always comforted their children by rocking them. Of all the books I read to my daughter, this is the one book that I can't get through without choking up. At first, I couldn't figure out why this story seemed to touch me so deeply. In time, I came to see that the importance I attach to this story reflects the importance I attach to rocking my daughter, and my hope that she will see my love as all-encompassing, and permanent.

Johnston's book is basically organized into three sections, thought there is no mention of this structure in the table of contents. The first section introduces the reader to the sources of Roman law (how the law was made, and who made it). The second section discusses the substantive law of family, property, and contracts. The third section discusses litigation (or how the laws discussed in section two worked in practice). At the end of the book, there is a very good glossary of Roman legal terms, followed by an extremely helpful discussion of the Roman legal literature for the serious student of Roman Law to pursue.

Johnston's book does a great job of packing a lot of information into very few pages, but often at the expense of several rereads by the reader. The information is accurate and well-researched, thought it could have been presented better (see next paragraph). However, whether you're new to Roman law, or have studied the subject in depth, you will come away with a better grasp of Rome's legal system, her institutions, and her laws.

Now, for the criticism. I believe that Johnston's book would have been much better if he would have followed his discussion of the sources of Roman law (section I) with the section on litigation (section III, which discusses how the law operated in practice), followed then by a discussion of the substantive law. Johnston's organization, by not doing this, presented the reader with an entire book of disparate and seemingly disjunctive technical material without a mechanism for synthesizing it until the reader reached Johnston's last chapter on litigation. This was the chapter that tied everything together, and it should have been discussed earlier. Only upon reading this last chapter did I finally understood why everything Johnston had told me before was important, and because of this, it looks like I'll be reading this book again to fully appreciate the impact of the previous chapters.

Therefore, I would recommend reading chapter one, then the last chapter, and then the material on the substantive law following the first chapter. Doing so, I guarantee, will save you a lot of head scratching and will enable you to appreciate this book, which is otherwise very good.

Personally, while this book is accessible to the beginner, I would recommend that a reader unfamiliar with Roman law begin with Nicholas' "An Introduction to Roman Law" or Crook's "Law and Life of Rome," both of which are excellent and will better prepare you for Johnston's book.

It is hard to imagine a better introduction to the grand world of Roman law and legal history. This is a scholarly and also beautifully written essay on the most interesting cultural creation of the Romans, their law. Recommended most highly.

Philip Johnston offers a wonderful account full of scholarly research on Ancient Jewish views of afterlife. Fair and open minded on the origins of Jewish afterlife contrasting it with Caananitic, Mesopotamian and Ugaritic cultures. Insightful giving a rich view of the development of Afterlife in regard to Monotheism. This book explores the influences of YHWHism on middle eastern thanatology. The stark contrast between YHWH, eyeh asher eyeh, the G_d of the living and the Canaanitic Baal cult gives a great view of Jewish religion and its contrast to its neighbors. Excellent for any Biblical scholar interested in the development of Judeao-Christian view of afterlife.

This book is an excelent book. Johnson explores almost everything the Old Testament says about death and Sheol. He even brings points that go against the common thought of the day which cause one to think. I recomend this book to anyone wanting to more about death in the Old Testament. It is a great resource for papers too.

Sloan Stewart is the eldest of Rip Stewart's daughters. She is his heir, his rock. She's the overseer on his plantation. She lives for the land, because past heartbreak has taught her that land is all that one can count on. She was always considered unusual by the town's standards. Now she's has had a son out of wedlock by her first love, a traitor, and she's made a secret deal with his brother, Cruz. Cruz has loved her for years, but Sloan is too afraid to love him. When a secret part of Rip's life comes to light, Sloan is furious and unwillingly turns to Cruz. The author manages to keep the romance and action going without sacrificing the heroine's independent spirit, even when it inconveniences the hero. She adds intrigue with Cruz's secret occupation, Cruz's mother and ties up loose ends with Sloan's son, whom she gave to Cruz to raise because she was afraid to love him. The secondary love story with Luke was a nice touch, too. All in all, the story was well-written and I was sorry to see the Sisters of the Lone Star end. I hope Joan Johnson will eventually do some sequels about their children. I'd like to see how the next generation of Lone Star children handle their adventures.

The third volume of Sister of the Lone Star is very well worth reading, as are the previous two. Had hoped Johnston would write the story of Luke.

The Time of the Cranes
Norma Johnston does a wonderful job in her book "The Time of the Cranes." In this book she lures the reader's suspicion to know what is going to happen next. This causes the reader to read on and on and on until they finally finish the book.
In this great story it begins with a sixteen year-old girl named Stacy Winbrand who finds out that her old acting teacher, Madame Karpova, has died in a nursing home and named Stacy as the next of kin. Though Stacy let their communication slip away after she moved away from the acting school, she takes responsibility for Madame and has her father organize the funeral. The death of her teacher and friend hurt her badly and it hurt worse when Stacy found that her teacher was only miles away and she didn't even know it.
After learning all the information of Madame's death, Stacy becomes suspicious of the cause. Madame's doctor at the nursing home said that she died of a heart attack but Stacy knew that if Madame had a bad heart she wouldn't have taught all the years that she did. So she decides to play detective and find out what really happened that day at the nursing home. During this period she meets lots of new people and learns all kinds of information. She also unfolds a large corporation conspiracy that is connected to her teacher's death and the deaths of other people from the nursing home.
This story was a pleasure to read everyday in class and at home every night. It was also a great example of a girl's intuition to look further than what meets the eye. This book was written to tell everyone to never let good friends go and to never give up on what you believe in no matter what.
So in conclusion, this book was an incredible story and I hope you get the chance to read it some time. Thank you for your time and patience.

It tells of how some ones acting teacher can become some once closest friend. It's not just a sappy book on someones dear friend and teacher dying but a tale of msytery, love and teenage life.