The tragedy that surrounded Kerry O'Neill's death was one that shocked not only her family, friends and shipmates, but also the nation. I remember, because I was one of Kerry's shipmates at Annapolis.

This book not only takes you through a father's painful challenges of coping with the loss of a daughter, but through the memories of that daughter. Kerry was a blazing light with incredible potential, tragically snuffed out.

I highly recommend reading this book. It will fill you with sorrow, but it will also show you a glimpse of a woman who was loved by all who knew her. It will show you how the memories and her spirit renewed her father's faith.

Most of all, however, it will make you look at yourself, at what you have done in life, and make you reach for a higher goal. Because none of us should ever stop until the race is finished.

Carpe Diem

I've known people who have lost a child, but I've never been inside their varied thoughts during such a long painful journey until reading Ed O'Neill's book about his beautiful accomplished daughter, Kerry. Thank you to Kerry's father who was willing to share his story and feelings with the world so we might gain some insight. It may help people cope or understand others going through such a painful ordeal. I was so touched by the wonderful relationship Mr. O'Neill had with his daughter Kerry and her tremendous celebration of life for the short time she was here. This book will certainly touch your heart.

There are two "losses" here: the author's loss of his first love, a kind man named James, to impulsive infidelity (the author's); and the world's loss, that of author Michael Grumley, to AIDS, ten years ago. This autobiographical novel is many things: well-written, simply told, generous to his quite wonderful family and the place he grew up in. It's also heartbreaking because the reader knows from the outset that Grumley has died of AIDS; the introduction is a beautiful one, a eulogy really, by Edmund White. A good book for gay teenagers -- the observant and comforting portrayal of childhood, adolescence, and (blissfuly untormented) emerging sexuality amidst the comfort of a good family is refreshing and heart-warming. The descriptions of nature, people, and New Orleans are precise and seem effortlessly well-wrought. The requisite trip to early- 1960's California is (sanely) made brief, and Grumley returns home to Iowa none the worse for wear -- and ready to take on his future. I really liked this man and the story he tells, and it breaks my heart to know that's he's gone.

Being true to yourself is almost impossible without being true to others. This is one lesson the hero of "Life Drawing" almost learns. At its heart, this book is about relationships. Mickey is looking for a place to fit in. He loses his chance with James because he is blind to the fact that his place is already secure. As the innocence of Youth drowns in possibilities, this journey of discovery stretches down to New Orleans and extends to the West Coast. The journey is a

reflection of the one we all must take and the opportunities we recognize or ignore.

Burke points out the things all around us that we take for granted but which really are absolutely amazing in his discourse on the sublime. A galloping stead, the expanse of a starry night, or a range of towering, snow-capped mountains. Burke points out these awe-some sights which in themselves provoke us to ask of their origins.

This book can be repetitious as Burke attempts to make, especially on taste, his point absolutely clear (I've got one of the later editions - 1772.).

Additionally, some of the lines in the book are near-timeless and are good to have around to reference from.

Edmund Burke's 1757 treatise, "A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful," is a clearly written, well-argued, and variously inflected work of philosophy. Coming out of and contending with the traditions of philosophies of passion, understanding, and aesthetics from Aristotle and Longinus to Descartes, Hobbes to Locke, and Shaftesbury to Hume, Burke would seem to be taking on a world of difficulty at the tender age of 28. However, Burke manages to maintain control and exercise great wit in his treatise by confining his "Enquiry" to the ways we interact with the physical world, and how in this interaction, we formulate our aesthetic ideas of sublimity and beauty.

Burke's "Enquiry" is divided into five parts, with an introduction. The introduction is perhaps his most witty segment, as he tries, as Shaftesbury, Addison, and Hume before him, to formulate a standard of Taste, a popular subject of conjecture in the 18th century. Physically, and not without some irony, he chooses to speak of Taste primarily as a feature of eating. In response to his predecessors, though, he does say that since our attitudes toward the world come from our senses, that the majority of people can see (sight being very important) and react; thus all people are capable of some degree of Taste. Education and experience, he must admit, though, do refine Taste. In Part One, Burke examines the individual and social causes which arouse our sense of the sublime and the beautiful, those being the primal feelings of terror/pain and love/pleasure, respectively. Throughout the "Enquiry," Burke insists that these are not opposites strictly speaking - that pain and pleasure are mediated by a neutral state of indifference, which is the natural state of man. (Compare that idea to Hobbes and Locke!)

Parts Two, Three, and Four find Burke explaining his notion of the passions in relation to his basis of the physical world. Grandeur, potential threat, darkness, and ignorance for Burke excite our nerves and produce the sublime, a feeling of terror which is simultaneously delightful as long as it does not cause immediate pain. These he finds both in the physical world and in tragedies of literature and history. Smallness, softness, clarity, and weakness delimit the beautiful, which produces affection and sympathy. The contrasts and interventions that Burke makes throughout the "Enquiry" on these bases are variously inflected with issues of anxiety over gender roles, race, and power. Burke's politics give the work a joyful and troubling complexity to the literary minded.

Part Five, then, is a look at the effect that words, language, and poetry can have in influencing our affect in regards to the sublime and the beautiful. In it, he gathers together statements he sprinkles throughout the treatise on the nature of poetry - that its emphasis on representation of emotion, rather than imitation of objects, gives it a power that is perhaps unequalled even by nature. In Burke's "Enquiry," one can see a nascent fascination with landscape, mystery, and sensation that would find its flowering in the Gothic and Romantic movements of the late 18th and early 19th centuries. His insistent break with earlier philosphers who combined aesthetics and morality is a serious challenge to moral philosophy with regard to art and Taste. His physical descriptions of emotional response prefigures Freud's psychological ponderings in "Three Essays on Sexuality" and "Beyond the Pleasure Principle," as well as linguistic theory. In all, a fascinating and complicated work for being as short as it is.

This review is dedicated to the memory of Vernon Lau. Unfortunately, Burke did not deal in the "Enquiry" with the pain or terror of immediate personal loss. One can only wonder if Burke's obsession with philosophical distance between people and fear wasn't motivated by a loss of his own.

Let us, for a moment, forget the historical and literary importance of Right of Man and Common Sense. What if this book had just been published today? Would it still be worth reading? The answer is an unequival yes.

Althought many parts of this deal with specific issues of Paine's time (especially Rights of Man), even after two centuries, the writings of Thomas Paine are able to stoke the fires of liberty in the soul of the reader with their passion, their fierce logic and their unexpected humor.

Rights of Man comprises two long volumes written by Paine in response to English criticism of the French revolution. Although much that he says is ironic in light of events that occured after he penned these volumes, you can see the hope that the Revolution produced. He breaks government down to basic principles, pointing out the needs that government fulfills and the method by which they should be constructed. It is thought-provoking, even in the modern day and will make you look on politics of our own time with a new light. Rights of Man does drag a bit when Paine begins repeating himself, but it remains interesting and though-provoking.

But Common Sense is the real treat. The pamplet that set a continent on fire is -- this was a surprise -- a thrill to read. I found myself actually laughing at Paine's sarcasm and satire -- his way of taking monarchy and absolutism and exposing them for the ridiculuous constructions that they are.

Any student of history should read these volumes for their portrayal of late 18th century geopolitics. But you will find them to be unexpectedly entertaining.

Anyone who wishes to understand American History, namely the Revolution, needs to read this book. These essays were crutial in the development of the revolutionary movement in America. Thomas Paine is a keynote figure in this time period and helped the American cause.

A 29 year old painter is confronted with a painting. It represents the inner court yard of Pontius Pilatus' palace. Pilatus has just washed his hands. There are Roman soldiers, a croud of agitated jews, and ofcourse a battered Jesus.

At first glance people admire the painting as a technical masterpiece. But very soon, scanning details of the picture, every spectator sees his own face somewhere in the painting. Perhaps a jew throwing rocks at Jesus, perhaps a stoic soldier. Some people run away, ashamed before the others (not knowing everybody only sees himself), some people look inward for the truth of things. And the young painter goes on a quest in order to find out who has painted this remarkeble painting.

Not 5 stars, because the painting gradually becomes secundairy on the quest, which is not my favorite plot twist.

In a painting depicting Jesus, just after Pilot has sentenced him to death, each viewer sees himself or herself as a hateful member of the mob crying for Christ's blood. The painting has been hidden for hundreds of years. Now, found by a New York gallery owner, it shakes the few he dares show it to, to their foundations. But this isn't the story of the painting, as much as the twentieth century artist who travels to Germany to piece together the story of the painting. Martin Heidegger the German Philosopher talks about art in terms of a temple where the gods have fled, and the true artist being someone who can bring them back. Barrett is a master at creating a sense of the spiritual in his readers. In Shape of Illusion he brings life into the temple of the human spirit. Don't get me wrong. Although Barrett was Catholic and his books reflect that, there is no secularism in this story. In fact the protagonist is a agnostic and his beliefs don't change. But his sense of something powerful outside himself does. And the way he figures out he's met the girl he's supposed to marry is worth the read alone.

The "Sixth Cartesian Meditation" engages with crucial issues of what we might call the place of phenomenology in the human (social, existential, etc.) world, and the place of various aspects of the human world (e.g., science, phenomenology itself...) in phenomenology. The positions stated are generally described as being only beginnings of approaches to issues each of which requires a great deal of work which is beyond the scope of the text. And it seems to me that there is ample room for questioning whether the positions sketched out (or at least translated -- I have no idea what the original is...) are always beyond dispute in all their particulars. But it is a rare book that even *tries* to raise these issues, and I think the general outline presented for phenomenology as offering the [only] way to a radical and universal transformation of human life, such that all human existence hitherto will, in retrospect, be seen to have been naive, limited, etc., is sound. This is an extremely important book (of course there are others, but this one is short, and, for the difficulty of its subject matter, accessible). The task of humanity in our time is to get on with carrying out the detailed path of thinking it outlines, and, thereby, bringing that incommensurably better world into being. At the very least, the book helps us understanding how far our present "culture" falls short of what phenomenology makes possible for us. To adduce a phrase from Hermann Broch's _The Sleepwalkers_: "Raised high above the clamour of the non-existent...."

Eugen Finks Sixth Cartesian Meditation was written as the 6th part in addition to Husserls 5 part Cartesian Meditations which Husserl gave as a lecture course in 1929. Fink himself was Husserls editor and a student of his phenomenology. Fink worked so closely with Husserl and with his writtings that he had mastered not only Husserls phenomenology but also the phenomenological method of epoche and reduction. The phenomenological reduction is a technique by which the subject makes a radical psychological shift in his thinking about the world, a total rejection of the cultural, scientific, and natural pressupositions and beliefs that prevent knowledge of and grasping of truth [transcendental reallity]. There are in general two kinds of phenomenologists, outsider phenomenologists (those who exclusively study the phenomenological movement and history, or believe in it's philosophical extractions), and insider phenomenologists (those who live in the reduced state of consciousness, perform the psychical act of phenomenological reduction and hence go beyond philosophy and science). History records that most likely Husserl himself was the only insider phenomenologist, however this book reveals that Fink also was an insider. In my opinion Fink not only did phenomenological science in the same manner as Husserl, I think Fink actually whent beyond Husserl.

The Sixth Meditation not only lays the foundations for the idea of a transcendental theory of method, ie. methods of the "how to" performing the phenomenological reduction of human cosciousness, but also plans to endevour into a phenomenology of phenomenology. Fink was to have written the so-called "Seventh Metaphysic", from which actual metaphysical renderings were to have grounded phenomenology as a metaphysics, as ontology - and hence as a truely accepted rational science. Before this could be completed the Nazi political movement came to power and Fink was exiled from Germany.

This dialectic masterpiece also has textual notations by Husserl contained in the Appendices at the end of the book where Husserl applies Finks groundings of the transcendental methodic. The Appendices discuss actual political extractions for phenomenology.......with such things as "the phenomenological community" Husserl reveals his interest for phenomenology as a globalized state of co-awakening human consciousness.

Here I will sample quotes from Part One of the book:

"Instead of inquiring into the being of the world, as does traditional "philosophy" dominated by the dogmatism of the natural attitude, or, where inquiry is not satisfied with that, instead of soaring up over the world "speculatively", we, in a truly "Copernican revolution", have broken through the confinenment of the natural attitude, as the horizon of all our human possibilities for acting and theorizing, and have thrust forward into the dimension of origin for all being, into the constituitive source of the world, into the sphere of transcendental subjectivity"

"The phenomenological system itself as the architectonic of transcendental philosophy cannot be drawn up ahead of time, but is only to be obtained from the "matters themselves" by passing through concrete phenomenological work"

"transforming himself through the deepest self-reflection, man transcends himself and his natural human being in the world, by producing the transcendental onlooker, who as such, does not go along with the belief in the world, with the theses on being held by the world-experiencing human"

"In the phenomenological reduction there occurs the "awakening" of the transcendental constitution of the world, and the process of coming to transcendental self-consciousness is accomplished. In and by the thematizing of the phenomenological onlooker constituitive cosmogony comes to itself, steps out of darkness and "being-outside-itself" into the luminosity of transcendental "being-for-itself""

What is interesting to note in the development of phenomenology is the effect Heideggers ontology in Being and Time has had on Husserls writtings. For the pressence of a concern for being, and justifications for pure phenomenology, justifications for the subordination of phenomenology over hermeneutic ontology is made clear in Finks book. Both the language and the intent behind the dialectic has changed, for Husserls Cartesian Meditations and this Sixth Meditation by Fink. For me, this book is the cullmination of all phenomenological efforts, the ressolution of the phenomenological movements place in history and the foundation for future institutions of evolutionary thought-science.

Bruzinas translation of Finks manuscript is courageously correct, nothing in this translation has been compromised or dummied down. Not only that but the fonting, bracketing, and italics used complement the cryptic elegance of the text. I reccomend this publication to anyone who seeks the deepest truths and has a likeing for the most advanced systems of knowledge.

This is a pure joy to read. He illustrates how the Old Testament is as much about Christ as the New Testament is. To see this is to grasp a whole new sense of the relevance and excitement of the Scriptures.

This is a real classic.

My only criticism -- the chapters are long and often rambling, with little sense of an organizing principle. While every word in Clowney is golden, and his style is very lyrical and engaging, one wishes he had a better editor to organize the thoughts in chunks they would hang together. This made it difficult to adapt to an adult c.e. series, when I did that 5 years ago.

BTW -- if you liked this book's Christo-centric approach, try Charlie Drew's Ancient Love Song (2001) which is better organized. For preaching see Bryan Chapell's Christ-Centered Precahing (1997).

This was a fantastic book! It did a great job of showing how God's promise of redemption in Christ was pointed to over and over again throughout the Old Testament. I thought that it really painted a wonderful picture of the coherence of God's word and the constancy of His purpose, which cannot be thwarted. It gives a great outline of some of what Jesus might have said to the disciples while on the road to Emmaeus ("Beginning with Moses and all the Prophets, he explained to them what was said in all the Scriptures concerning himself."--Lk 24:2) and what Philip caught a glimpse of and wanted to share with Nathaniel ("We have found Him of whom Moses in the law, and also the prophets, wrote--Jesus of Nazareth, the son of Joseph."--Jn 1:45). I highly recommend it.

World War I was just the beginning of an ongoing cultural and scientific process in which chemical based weapons were created and marketed for use against human and insect enemies. Russell reminds us that the cultural, institutional, and political evolution of twentieth century science and warfare in the United States began not with the J. Robert Oppenheimer and the physicists of Los Alamos but with chemists like James B. Conant and his colleagues at Harvard and American University, emergent corporations like Dupont and the Hooker Company, and government agencies such as the Department of Agriculture and the United States Chemical Warfare Service. With an eye for detail and a witty and readable narrative style, the author assembles scientific papers, declassified governmental and military planning documents, trade journals, and propaganda and advertising literature to reshape our understanding not only of the role of chemistry in warfare, but more importantly the reflexive nature of our understanding and relation to both technology and nature during times of peace.

In War and Nature Edmund Russell, Associate Professor of Technology, Culture, and Communication at the University of Virginia, cleverly traces the interaction between chemical warfare and pest control from World War I to the Vietnam War. His central thesis is that war and control of nature have coevolved: "the control of nature expanded the scale of war, and war expanded the scale on which people controlled nature" (p. 2). Following up on his dissertation (University of Michigan, 1993), which won the Rachel Carson Prize from the American Society for Environmental History, Russell culled a wide variety of recently declassified U.S. government documents, business publications, and contemporary books and articles. Russell finds that World Wars I and II and the Cold War forged close ties between military and scientific institutions, and efforts to maintain such links became hallmarks of the post-World War II era. Scientifically and technologically, pest control and chemical warfare each created knowledge and tools that reinforced the other (p. 4) For example, on the eve of World War I, there were few U.S. chemical companies. They manufactured primarily low-profit bulk chemicals. In contrast, Germany had the best chemical factories and schools and had the largest output of sophisticated products. Eight German companies made up almost 80 percent of the world's dyes (p. 18). However, the increased use of mustard and chlorine gas in the war boosted the demand by European allies for these chemicals from the United States. The "Chemical Warfare Service" was created within the U.S. Army to employ civilian chemists to conduct research on war gases. This research also stimulated the invention of new insecticides to deal with such menaces as the boll weevil (attacking cotton crops), house fly (spreading typhus), the San Jose scale (damaging fruit trees), and mosquitoes (spreading malaria).
The use of chemicals in warfare is not new. Interestingly, Russell points out that the first recorded use of poison gas was in 428 BC, when Spartans besieging Plataea attempted to kill its defenders by burning wood soaked in pitch and sulfur under city walls (p. 4). However, chemical warfare increased throughout the twentieth century. According to Russell, at least 90,000 people were killed in World War I by gas, and estimated 350,000 were killed by gas in World War II, not including all the victims in Hitler's gas chambers. Even these figures seem low. Russell skillfully shows through cartoons how federal entomologists and chemists used insects in their propaganda as metaphors for human enemies. One cartoon depicts a conversation between two worms, one of them exclaiming: "What! Me sabotage that guy's victory garden? What do you take me for-a Jap? (p. 100)."
The Hague Conventions of 1899 and 1907 sought to exclude gas from warfare and define the rights of combatants. Public outrage at the use of chemicals as weapons of war continued to mount. After World War II, the Chemical Warfare Service and other chemical companies lobbied Congress vigorously, stressing the need to develop war gases as insecticides, for which increased funding was required. Noted chemists testified before Congress, claiming also that chemical and biological warfare was "more humane" than conventional warfare. According to Russell, who interviewed several of these chemists, Chief Chemical Officer William Creasy inanely argued in 1958 that 25,000 American casualties on Iwo Jima could have been avoided had the U.S. military employed chemical weapons (p. 208). Miracle "psychochemicals" were promoted, such as LSD-25 that could temporarily incapacitate troops but not permanently harm them. Russell cites a US Army propaganda film produced in 1958 in which a cat chased and caught a mouse, inhaled an unnamed gas, and then cowered from another mouse (p. 208). This publicity campaign persuaded Pentagon authorities to increase the U.S. Army's budget to $80,000,000 for chemical research.
Research to fight insects increased simultaneously with the development of chemicals to fight humans. As thousands of families moved to the suburbs in the 1950s, gardening became a popular hobby and stimulated the desire for pest control. Pesticide manufacturers such as Du Pont and Dow increased their marketing to this group of consumers, while federal crop dusting programs using DDT were initiated.
Russell shows how Rachel Carson's publication of Silent Spring in 1962 galvanized the American environmental movement, leading eventually to the ban on DDT in 1972. This immediate bestseller detailed the noxious effects of DDT on plants and animals and characterized pest control as a self-defeating form of warfare (p. 229).
Reading this book, one is struck by the immense irony of the twentieth century and the causal interaction of peace and war. Never before have so many human lives been saved (thanks to pesticides killing disease-carrying insects and increasing crop yields) and so many destroyed (mostly due to incendiaries, but also chemical weapons). Americans got better at saving lives partly because they got better at taking them, and vice versa. While War and Nature is almost too dazzling in its rich detail and sometimes a bit careless in its logic (e.g. implying that human beings should not be considered part of nature), the book breaks new ground in its connection of two traditionally disparate fields of inquiry, environmental and military history. It should be required reading in college courses in both security studies and environmental science.---Johanna Granville, Ph.D. (Stanford University)

Though it's rather slow to get going in the initial chapters, Oscar Wilde's "Picture of Dorian Gray" builds up into a splendidly effective piece, written in highly polished prose. Dorian Gray, who is suggestively described as "charming" and "beautiful" ... is painted by his friend and admirer, Basil Hallward. Dorian, a self-centered social luminary whose character is reminiscent of Narcissus, makes a bizarre sub-Faustian wish which tragically comes true: that his beautiful portrait may age, while he retains his youthful looks. The conclusion is disastrous, the culmination of a narrative containing elements of murder, suicide, blackmail, a confrontation in a grimy alley and an episode in an opium den. The characters are very well sketched out, particularly the triad of Dorian, Basil and the intellectual cynic, Lord Henry, Dorian's mentor and the mouthpiece of some of Wilde's most cutting amoral opinions. The style is, typically, marvellous, characterised by brilliant exchanges and aphoristic gaiety. Wilde lacerates English bourgeois culture, the conceptions of sin and virtue and the attitudes towards art of his time with tremendous aplomb. Some of his quips are patently snide, sometimes mysogynistic, as in: "Woman represents the triumph of matter over mind, while man represents the triumph of mind over morals." Oh, isn't that just despicable?! I love it!

This sophisticated but crude novel is the story of man's eternal desire for perennial youth, of our vanity and frivolity, of the dangers of messing with the laws of life. Just like "Faust" and "The immortal" by Borges.

Dorian Gray is beautiful and irresistible. He is a socialité with a high ego and superficial thinking. When his friend Basil Hallward paints his portrait, Gray expresses his wish that he could stay forever as young and charming as the portrait. The wish comes true.

Allured by his depraved friend Henry Wotton, perhaps the best character of the book, Gray jumps into a life of utter pervertion and sin. But, every time he sins, the portrait gets older, while Gray stays young and healthy. His life turns into a maelstrom of sex, lies, murder and crime. Some day he will want to cancel the deal and be normal again. But Fate has other plans.

Wilde, a man of the world who vaguely resembles Gray, wrote this masterpiece with a great but dark sense of humor, saying every thing he has to say. It is an ironic view of vanity, of superflous desires. Gray is a man destroyed by his very beauty, to whom an unknown magical power gave the chance to contemplate in his own portrait all the vices that his looks and the world put in his hands. Love becomes carnal lust; passion becomes crime. The characters and the scenes are perfect. Wilde's wit and sarcasm come in full splendor to tell us that the world is dangerous for the soul, when its rules are not followed. But, and it's a big but, it is not a moralizing story. Wilde was not the man to do that. It is a fierce and unrepressed exposition of all the ugly side of us humans, when unchecked by nature. To be rich, beautiful and eternally young is a sure way to hell. And the writing makes it a classical novel. Come go with Wotton and Wilde to the theater, and then to an orgy. You'll wish you age peacefully.

_The Picture of Dorian Gray_, a story of morals, psychology and poetic justice, has furnished Oscar Wilde with the status of a great writer. It takes place in 19th-century England, and tells of a man in the bloom of his youth who will remain forever young.

Basil Hallward is a merely average painter until he meets Dorian Gray and becomes his friend. But Dorian, who is blessed with an angelic beauty, inspires Hallward to create his ultimate masterpiece. Awed by the perfection of this rendering, he utters the wish to be able to retain the good looks of his youth while the picture were the one to deteriorate with age. But when Dorian discovers the painting cruelly altered and realizes that his wish has been fulfilled, he ponders changing his hedonistic approach.

_Dorian Gray_'s sharp social criticism has provoked audible controversy and protest upon the book's 1890 publication, and only years later was it to rise to classic status. Reminiscent of a Greek tragedy, it is popularly interpreted as an analogy to Wilde's own tragic life. Despite this, the book is laced with the right amounts of the author's perpetual jaunty wit.

Jim Hawkins, a young man living in rural England with his parents, helps run an inn with his parents. His life changes forever when a mysterious dying pirate takes residence at the inn. The shadowy pirate is often on the lookout for strangers who begin to show up in search of the pirate. Rum finally takes its toll on the pirate and he dies, leaving behind a mysterious chest that the strangers are interested in. Upon examination, Jim discovers a treasure map.

With the help of Jim's adult friends, a crew is formed to go in search of the pirate's buried treasure on a remote tropical island. The journey is uneventful until, Jim saves the day when he realizes that their crew consists mainly of pirates who hope to cause mutiny upon reaching the island. Ultimately, a raging battle takes place on the island where Jim and his friends must outwit the pirates who are led by the one-legged Long John Silver.

For a children's book, this book had a lot of inappropriate material - drinking and violence. I also had a tough time with the old-English writing style and the nautical terms. This book was ahead of its time, though, in terms of the adventure it described, but I was hoping for more. Fans of H. Rider Haggard (ala King Solomon's Mines) will enjoy this book but I was sort of happy to be done with it as some parts were engaging and others were muddled.

"Treasure Island" is the classic adventure novel by Robert Louis Stevenson. Set on the high seas amid treasures and pirates, it is the story of a young boy's adventure. "Treasure Island" has been done by everyone from Disney to the Muppets. It's been imitated many times and influenced countless books and movies.

A mysterious pirate shows up at an inn owned by Jim Hawkin's mother. The pirate is killed by a gang of rogues, but Jim finds a treasure map belonging to the pirate. Jim then embarks on a journey to far away island to find the treasure. Of course, nobody can be trusted - especially the cook, Long John Silver. With his peg leg and parrot, Silver is the stereotypical pirate. Once the island is reached, sides are chosen - the mutinous pirates against the ship's crew. Jim goes on a journey within a journey on the island, going from one side to another, as the treasure is hunted for.

Everyone should read this book at some point. It's especially good for young boys, due to the fact that the main character (Jim) is a young boy. It's well crafted, and easy to read. And it's hard to put down once you get going. What else can you ask for?

I never did read this book as I was growing up and have now read it for the first time as an adult. I always thought that this book would not be very good but I was wrong.

I write this review for those students who may hesitate to read Treasure Island. This book is a story of high adventure. In it is the tale of a young boy who comes to possess a treasure map and goes off on a whirlwind adventure filled with sea voyages, pirates, island adventure and treasure. Stevenson wonderfully portrays the characters of young Jim Hawkins, the hero of the book, the fabled Long John Silver, Billy Bones and Ben Gunn. Each adds their own sense of mystery and suspense to the story. The settings of the story from the Admiral Benbow Inn to the Hispaniola, their sailing vessel, to the island itself are very vivid and make you feel as if you are really there. The adventure to and finally on Treasure Island is filled with secret meetings, battle scenes and a quest to find a long since buried fortune in gold. The novel is truly great and is a very entertaining and interesting read.

For those adults who have never read this novel definitely read it and for those who have already read it, read it again it is well worth it. The swashbuckling adventures of Long John Silver and his men, along with Jim Hawkins, are truly timeless. If you have children of age, share the story with them. It is truly a family classic worth sharing with generations to come.