Not only is Peter Lourie a talented writer, but now, after reading On the Trail of Sacagawea, my kids think that his family is much more exciting than ours! Or, to put it another way, this book has inspired us to think more creatively about the kinds of trips we'll be planning in the future. Why go to Disneyworld when we could be out exploring the real world? My entire family thoroughly enjoyed this book. Reading about Sacagawea's world some 200 years ago, and the present day journey shared by the Lourie family, gave us all something to think about and to discuss. The book provides a valuable glimpse into our history while at the same time it illustrates how really rewarding family experiences can be. I recommend this book to every parent who is eager to have something of substance to talk about with his or her child, and who would like to enourage reading and a sense of wonder and excitement about the world we live in.

...Reading Mr. Lourie's books truly brings history to life, and adds present day perspective to the tales they've read in their social studies books. In this book particularly, my children were able to relate to the Lourie's children, on a family vacation, traveling such an historic route. How lucky those children are to have a father who can bring to life the stories of Sacagawea, and how lucky are we that he writes it all down for us to share! My young neighbor brought the book to school and her teacher used it as she taught about Sacagawea. Our whole family is anxious to read about Mr. Lourie's next journey!!

My two daughters loved seeing the author's children included in this adventure. Lourie's photographs are amazing. They depict the wild terrain, the rivers and the mountains, that Sacagawea covered with Lewis and Clark in 1805-1806 on their way to the Pacific. From this book, I learned details about the expedition I had not known before. It's a great introduction to Sacagawea and the monumental feat accomplished by the Corps of Discovery. After reading ON THE TRAIL OF SACAGAWEA, I will keep my eyes out for other books by author Peter Lourie.

A truely brilliant piece of work.A must read, almost as prophetic as Huxley's "Brave new world".

Nobody writes like this anymore. I hadn't expected the eminent urban historian to write such a brilliant paranoiac tract against the System and Established Order. Although often redundant, Mumford makes a heroic attempt at explaining the current problems of our times, with roots in the Middle Ages, and perhaps even the Age of the Pyramids. He echoes contempories like Herbert Marcuse, Erich Fromm and Marshall McLuhan, but instead of taking a Marxist, psychological or media perspective, he takes the more general view of an urbanist. The arguments are quite paralell, although considerably more holistic at times. One recognizes critiques that were earlier or later articulated by not only Marxists, but also feminists, environmentalists, and anti-Imperialists. There are also anticipations of the New Age Movement! (See Fitjof Capra's "the Turning Point.")In short, this massive volume impressively combines much historical and cultural material in its critique of Modern Western Civilization. Although the tone of the book is quite bleak -- we would all appear to be trapped in this Megamachine, the High Technology of the Power Elites -- one also senses a hope towards last chapters that an alternative is possible. He seems to suggest a New Age style withdrawal, rather than any kind of organized resistance. Draw your own conclusions.

I can't really be bothered to say much. Basically, if this sort of subject is the kind of thing that appeals to you then I suppose you should read it. If you really want to.

my son started reading this series last year when he was in forth grade... he is a good reader but can easily be *turned off* when the book appears too hard (ie words too small...too many pages...picture on the cover too seriious) he really enjoyed this book from cover to cover and actually did a report on it in school... i like that the series is in paper back (it saves money)...i like that some are *special* titles and are a bit longer (it encourges him to read longer books than normally he would) he likes that they are about children solving problems/mysteries.. and that they have animals in them... this book, and the others have been something to look foward to for him

I really liked this book alot! I think it is better than all the Petsitters Club books I have read!

The petsitters provide an enjoyable adventure to share with your children. Every chapter gives you clues to the "monkey puzzle" until the mystery is finally caught. A true delight to read.

Highly readable for an academic work. A deep and uniquely insightful perspective on one of the last century's most complex writers. Even casual readers of C. S. Lewis will find this book captivating.

Unlike most literary criticism this book is very rich, perceptive and readable. Anyone who likes C. S. Lewis should get their hands on this book. I look forward to more books by this author.

Tha author has read Lewis extensively, and reads the Space Trilogy in the light of Lewis the man. He sheds new light on the sources of inspiration, and comments on the criticism that has been raised against the trilogy. I have read the trilogy several times, and this study deepened my understanding of it. It is well written and highly readable. I could have wished for a deeper assessment of the "pagan" influences of the trilogy. However, the study is well worth reading for anyone who likes reading Lewis, esp. his fiction.

John Milton's Paradise Lost is perhaps the most debated work in western literature. On one side you have those who say that Milton was secretly on the Devil's side. (Due to the realistic portrayal of Satan and the seemingly far off and tyrannical portrayal of God) On the other side you have those who say that Milton's sympathies were with God and the angels. (Due to the loving portrayal of the angels and mankind) C.S. Lewis was of the later camp. In 1942, he stood up against those who said otherwise.

I have a hard time labeling this as a 'preface'; Lewis was obviously writing to the learned elite at Cambridge, not to new readers of Milton. But Lewis does an excellent job of explaining Milton's worldview and how it works in Paradise Lost. His chapters on Primary and Secondary Epics, Miton and St. Augustine, and Hierarchy are EXTREMELY helpful. (Particularly the helpful to American readers is the Hierarchy chapter; we just don't understand what it means to live under and totally submit to a king or emperor.)

I highly recommend this to readers of Lewis or fans of Medieval and Renaissance literature.

Lewis's lectures, though half a century old, speak today with the same clarity, simplicity, and depth of learning as when they were first delivered. His presentation of background information sets the great English epic in its contemporary context--literary, historical, and theological--with a minimum of fuss and footnotes. Some of his negative judgments, such as calling the last two books "an undigested lump of futurity," deserve reconsideration, but on the whole his judgments encourage critical reading rather than bardolatry.

This book was a pleasure to read both before and after reading PARADISE LOST. In fact, one can make a nice trilogy out of PREFACE TO PARADISE LOST, PARADISE LOST, and Lewis's PERELANDRA. Lewis's PREFACE should interest both the general reader and the specialist. Lewis gives a roadmap for working through Milton's epic poem, discussing what an epic is and why Milton chose it, for example, or why Milton used a certain style for writing; he also comments on Milton's theology, medieval hierarchy, and a number of other pertinent subjects with which the reader will probably not be overly familiar. The writing is clear, the discussion lucid and enlightening, and the subjects are interesting. This is certainly worth purchasing.

I found many parts of this book to be like summaries of the most essential concepts I have learned on my spiritual journey -- passages that would pull it all together for me. Often, I was able to get a fuller grasp of what I thought I already understood, and the authors always offered ways to live that truth. My other favorite authors include Neale Donald Walsch, Debbie Ford, Eckhart Tolle and James Twyman.

The Real Miracle is a book that challanged the way I looked at life and myself. As I journeyed with Babara and Jimmie I learned a lot about how to handle and view life's problems. The Real Miracle teaches you that the ability to see and produce miracles is inside each and everyone of us. Because of God's help and love we are all miracles.

The authors discovered that their path to enlightment included not only prayer, reflection, and quiet meditation, but also a trip to Wall Street. They generously share their real world experiences, both the good and the bad, in The Real Miracle; and they also share the lessons they learned. In these experiences, they discover a profound spiritual truth to take with them on the next part of their journey. If you have faced fear, discouragement, and doubt, you will understand the importance and value of the lessons they learned. Those lessons and the truth they discovered are what The Real Miracle is all about.

The film Manchurian Candidate was held up, because JFK was killed just before it was to be released. As a suspense film, it was very good. As a history , or metaphor for American soldiers caputured in the Korean War, it was and remains false and ugly. New Yorker, a magazine long noted for good reporting, contributed to what amounted to a "black list" of our military men with stories that were, at best gross exaggerations of true stores.

This book, at last, gives the men who were incarcerated for months and years in that cold barren countr -a voice. In the tradition of Studs Turkel, they tell of their experience. Mostly men hastily trained, they faced brutal captors and brutal conditions. If few were "heroic",very very few betrayed either country or colleague. Despite the sensational blather that followed. Worse!. When freed, they were put on ships and rather than receive care & TLC they were subject to interrogation Even back home, the Army , the FBI hounded some. This was the time of our own "red terror" I was drafted to the USMC-- and am proud to read that the Marines did not harass their men after they were freed.

Care & treatment floundered . I know, I worked at the VA Hospital in Dayton Ohio for 20 years. Nearly 30 years later the government made rules that made sense. Former Prisoners of War received a special focus, with the presuption that after such lengthy exposure to brutal contidions, many medical & emotional problems were very likely to show up.

Combat vets do not often talk about the events that lead to PTSD. Former POWs. have an additional memory bank of horror This book is not a "plea for help". It is a bit late anyway. But if you can put aside your need for mere flag waving, this book will give insights about war and it cosequences. I found a new respect for these men. I thought I had some understanding, but my vision was nearly that of a blind man

What a beautiful book about such a horrible experience. I cant recommend this book enough. I should have been working today but I just got this book yesterday and decided to finish it today.
This book contains interviews with POWs who have been forgotten over the years. There nightmare has continued to this day. This book gives them the chance to tell there story and debunk some myths about the Korean POW.
Often criticized for being soft and weak, the Korean POW was seen as a failure of American society. Yet as the soldiers tell there story, you can judge for yourself. What is bravery? What is courage? What do these conditions do to a human being?
This book ultimately shows the humanity of the soldiers. The errors, horrors, and joy that they experienced. Its a good story.

THE AUTHOR MANAGED TO PLACE THE PROPER TONE AND ETHOS
GIVING A TRUE EXPERENCIAL VIEW OF THE POW'S EXPERENCE.

IT IS THE FIRST BOOK I READ FROM AN AUTHOR AND NOT A EX-POW
WHO PROVIDED THE TRUTH IN THIS TIME OF OUR MILITARY HISTORY.

AS AN EX-POW OF THAT WAR I FEEL IT SAID AND INDEED GAVE A PROPER
ACCOUNT OF THE EARLY PART OF 1950-1951, AND THE HERRENDOUS
CONDITIONS THAT EXISTED.

IT IS MY HOPE SCHOOLS WILL SECURE THIS BOOK FOR THE LIBRARY AND THE HISTORY TEACHER WILL RECONMEND THE STUDENTS TO REVIEW IT FOR ASSAYS.

Although Bob Muzikowski's book, "Safe at Home," is catagorized as an autobiography, it is so much more! This book is a real life story of THE Author's plan for one man. Bob Muzikowski has shown us how one man (and woman, Tina!) can make a difference when he chooses to please an Audience of One - the blessings of God on Bob Muzikowski's life have been multiplied exponentially to others! "Safe at Home" has been described as "inspiring," but Bob's story will only be truly inspiring if it generates a response from its readers; one that takes them out of their comfortable church pews and into the God-prescribed place that He wants them to be! "Batter Up!" The choice is yours: you can take the challenge as the designated hitter or warm the bench in the dugout!

When Bob Muzikowski and I sat across from each other on a plane ride last September, I mostly listened as he told his story. As publisher for Zondervan, I knew by the time we landed I'd be asking him if he was interested in telling this story in print! The world is hungry for stories about "everyday heros" with whom we can actually identify. Bob is a regular guy who, in spite of a rough and tumble first few decades of life, has found a way to live an extraordinary life. His story reads like a novel but the inspiration that drives him is compelling and accessible to all of us. This is a book that you will not be able to just read. You will most definately encourage your adolescent children to read it and you will talk about it with your colleagues and friends. Trust me...for what started as an idle conversation on a plane last September is now a wonderful book that in just over a month is being read by thousands.

I have known Bob Muzikowski for three years now, and he never ceases to amaze me. Reading this book has been a revelation. If you're feeling cynical, or doubt that one man can make a difference in society, read this book. Muzikowski chronicles his life from a tough childhood to a self-destructive early adulthood through his current and permanent persona, a caring, compassionate person who genuinely wishes to spread goodwill. Hopefully, this story will inspire others to follow in Bob's footsteps, and love their neighbors. The narrative is alternately heartbreaking, hopeful, and humorous, but always honest. A seemingly endless parade of intriguing supporting "characters" add color depth to Muzikowski's infectiously interesting vignettes. Rather than see the Keanu Reeves/Hollywood version, read the real thing. Pass it on!

I found this book to be unutterably fascinating. It's the jewel of my library.

Have you ever felt that you could walk into a room without being noticed and leave and not be missed? Your inability to make your presence felt has probably made you frustrated on more than one occasion (as well as costing you $$$ in business matters). This book teaches you some of the secrets of the secret language of silent speech and body language. My, my, my, did this book ever open my eyes to what a profound impact that your body language makes on the impression that you leave with others. Mastering the use of body talk, or "Impression Management", will enable you to take control of almost any exchange, whether formal or informal, intimate or public.

Did you know that the size of your pupils varies according to our degree of interest and physical arousal? According to the psychological tests detailed in this book, of which the reader can take, when we meet someone attractive, our pupils get larger.

This book taught me that being a good listener is acutally a more effective way of making a good impression than being a gifted speaker. And before you can create any sort of impression it is, of course, essential to be noticed. But this book demonstrated to me that it's almost never efficient to attract attention with sledge-hammer tactics. Instead, projecting a successful self-image demands perception, confidence and the ability to control any strong emotions, such as anxiety or irritation. It means presenting yourself in a way that matches the desires and expectations of your audience. It requires the developement of what stage people call 'presence', that special sparkle which transforms a person into a personality. This book gives you some tips on how to have presence whenever you walk into a rooom.

Another great point that I found within one of the chapters within this book (the chapter on self-esteem and body language) is that you should try to match your level of esteem to that of the other person if you seek their cooperation. The chapter presents a couple of fabulous real world examples of how a person goes about that.

This wonderful book also offers tips on perfecting your posture in order to create a favorable impression.

Chapter 8, entitled "Anatomy of an Encounter" was a wonderful one. This chapter analyzes and examines the typical human encounter from acknowledgement (like the eyebrow flash), contact, all the way through to disengagement. Other downright fascinating pieces within this chapter is the explanation of the power of a gaze, how we view faces, and the meaning of smiles (classifications of smile: simple smile, upper smile, high intensity smile, etc). I gained precious knowledge of how people feel just from being aware of what kind of smile they exhibit.

Chapter 9 details where you should stand, either directly opposite or adjacent, in an encounter. It goes on to adduce where each gender prefers to interact. Again, fascinating information. This chapter also analyzes the handshake and the connotation attached to it's duration and style.

Chapter 13 was my favorite. It details power plays. How people can dominate via taking up as much space as physically possible. The chapter tells how one can counter power plays initiated by others towards you.

All in all, this book is one of the best books out there on body language. I am confident making this statement only after reading many other books on body language, none of which I believed to be as good (certainly not worthy enough to take time out to write even a poor review on) as this one.

By adding this book to your library, you'll gain a tremendous edge when communicating with others.

Let go of your preconceived notions, and your disbelief and run with it. Try a few of the suggestions and interpretations in this book, and you will be a believer. There are 3 instances in my career that jump to my mind where this book made a difference. Early in my career I was made a believer when I was able to discern the agitation in an otherwise cool-as-ice poker-faced manager. This book should be read by everyone looking for an edge in influencing others.

What do you suppose this book is about? If you guessed body language, hand shakes, eye movements, etc., you are correct. This book captures your interest and moves you to read the next page. Would you like to be able to tell if another person likes you in a matter of seconds? Wouldn't it be exciting to know that you could have the job you wanted, just by using body language? Read this book, see what I'm talking about.

Lisa Lewis's second book of poems,_Silent Treatment_, extends the belief-nonbelief conundrum at the heart of her previous collection. It also continues her earlier work of self-conscious and courageous reckoning with experience, body, and language.

I've always been engaged by the mixing, in Lewis's poems, of near oracular grace with sometimes ungainly everyday speech; by her peculiar balancing of irony, tenderness, and self-deprecation with fierce. . .well, with fierce *crabbiness*. The speaker in these poems, though thoroughly self-scrutinizing, is also a resister, a veritable warrior. And one of the things she seems intent on battling is silence. By silence I mean an ontological space, free and clear of language and the mind; the infamous "outside" or "center" which we still argue with and about. And I mean also the social silence which protects an abuser, any silence that conceals hypocrisy or harm, and the one so often imposed on those with little power over what gets heard. I've always been struck by how Lewis can just *say* certain things in her work, however tabooed they may be. Nearly every poem, in fact, happily violates some unacknowledged, consensus-enforced gag order. Every piece shakes us awake, sometimes gently, sometimes not.

She can say, for instance, that ". . .my students/Are stupid." In one sense, this is an astoundingly rude and crude acknowledgment of what every college teacher in America has surely (in at least one warranted or unwarranted, sacrilegious and punishable-by-death-or-loss-of-tenure moment of weariness and irritation), spoken or thought. "My students," she says, "[a]re stupid." But almost in the same instant in which the statement slams into the reader, it buzzes softly open with all its ironic over- and under-tones. It's an implicit and amusingly deadpan comment, for one thing, on our cherished but mostly unexamined view of teachers as angelic social martyrs. It's also an overtly provocative pronouncement that cannot help but bait someone -no doubt a student or two, no doubt a critic or two to battle, which, for Lewis, seems always preferrable to a life of submission; in this case, the grind of tenure-track teaching. And it's also overt finger-pointing, which, as it typically does in her work, rapidly results in the speaker's awareness of her *own* culpability: "I do what I can butnothing matters..."; "I wanted them to save the world"; "What they don't know is how pissed off I am/I can't just *be* them again,. . ." and so on. Admitting, after all, that one's students are stupid is inherently self-condemning, since it obviously suggests weakness on the part of the teacher. She can identify her strengths as well (she herself was a better student; she "only needed a little help, getting started") but she seems to feel that such strengths are mostly past, unrecoverable ("I can't just *be* them again"), and she is now helpless before the immense power of time, and the insidious glances of students who suspect their teacher is "full of s. . t." This is not a comfortable way to be. Lewis doesn't let anyone off the hook, least of all herself.

So this is a poet intent on looking the world and herself dead-on. Her poems insist on the hard, terrible, sometimes ridiculous reality of an essentially material universe. . . They seek out and try to know or "nail" the awkward social moment, the sexual embarrassment, the difficult memory in all its corporeality -only to find those things, ultimately, unknowable and unsayable.

A rape, for example, is not something which should ever be viewed as harmless or forgivable, especially, one would think, by a committed feminist (Lewis heads the Oklahoma chapter of NOW). In "Bogart," however, a description/nailing of such an event only leads to the revelation of its ambiguity and even, disturbingly, its possible harmlessness. (There are even moments of humor in the poem.) The rape is not, in the end, deemed funny or harmless, but the speaker does not arrive at such a conclusion easily. The process of writing poems, for her, is an affirmation of and engagement with *manners* (in Flannery O'Connor's sense of the word), even as she struggles with the *mystery* that very process unleashes. Language is a glass boat that keeps us above water, safe, bounded, and fixed while at the same time making present to us a vast, deadly, profoundly unfixed thing mere inches away making present, perhaps, the boat itself as that vast, deadly, profoundly unfixed thing. Or perhaps language in its practical and everyday functions creates the illusion of safety so that we may effectively be and act in the world--while language in its literary functions may reveal that illusion for what it is, reveal even the precariousness of language itself. (Literature as the antidote to language!)

For this poet, however, a better metaphor than the glass boat is, of course, the horse. Where would any good warrior be, after all, without one?. . .Poems, like horses, were "invented to bring us back to earth." But if one is brought back close enough to, or confronts deeply enough, that earth (body/memory/love; burdensome everyday life), what seems to be encountered are intolerable contradictions, a profusion of opposites: indulgence in self/erasure of self; talk/silence; isolation/communion; oblivion/godhead, and so on. All things simultaneously resisted and sought-for by this doomed and persistent poet, so intent on *speaking* what the world actually is. . .Language freed of intent, while nonetheless still profoundly grounded in, and grounding, a particular body and life and grammar and readiness and necessity and suffering and *judgment*--such is the language of literature, or at least Lisa Lewis'brand of literature

Lisa Lewis\222s second book of poems,_Silent Treatment_,extends the belief-nonbelief conundrum at the heart of her previouscollection. It also continues her earlier work of self-conscious and courageous reckoning with experience, body, and language.

I\222ve always been engaged by the mixing, in Lewis\222s poems, of near oracular grace with sometimes ungainly everyday speech; by her peculiar balancing of irony, tenderness, and self-deprecation with fierce. . .well, with fierce *crabbiness*. The speaker in these poems, though thoroughly self-scrutinizing, is also a resister, a veritable warrior. And one of the things she seems intent on battling is silence, especially when it conceals hypocrisy or harm. I\222ve always been struck by how she can just *say* certain things in her work, however tabooed they may be. Nearly every poem, in fact, happily violates some unacknowledged,consensus-enforced gag order. Every piece shakes us awake, sometimes gently, sometimes not.

She can say, for instance, that "my students/Are stupid." In one sense,this is an astoundingly rude and crude acknowledgment of what every college teacher in America has surely (in at least one warranted or unwarranted, sacrilegious and punishable-by-death-or-loss-of-tenure moment of weariness and irritation), spoken or thought. "My students," she says, "[a]re stupid."

But almost in the same instant in which the statement slams into the reader, it buzzes softly open with all its ironic over-and under-tones. It\222s an implicit and amusingly deadpan comment, for one thing, on our cherished but mostly unexamined view of teachers as angelic social martyrs. It\222s also an overtly provocative pronouncement that cannot help but bait someone\227no doubt a student or two, no doubt a critic or two\227to battle, which, for Lewis, is always preferrable to a life of submission; in this case, the grind of tenure-track teaching. And it\222s also overt finger-pointing, which, as it typically does in her work, rapidly results in the speaker\222s awareness of her *own* culpability: "I do what I can but nothing matters..."; "I wanted them to save the world"; "What they don\222t know is how pissed off I am/I can\222t just *be* them again,. . ." and so on. Admitting, after all, that one\222s students are stupid is inherently self-condemning, since it obviously suggests incompetence on the part of the teacher, whose job it is to make students less stupid. She can identify her strengths as well (she herself was a better student; she "only needed a little help, getting started") but she seems to feel that such strengths are mostly past, unrecoverable ("I can\222t just *be* them again"), and she is now helpless before the immense power of time, the autonomous flow of events in her life, and the insidious glances of students who suspect their teacher is "full of s. . t." This is not a comfortable way to be. Lewis doesn\222t let anyone off the hook, least of all herself.

So this is a poet intent on examining a flawed and brutal world--as well as her own complicity in that world--dead-on. Her poems insist on the hard, terrible, sometimes *ridiculous* reality of an essentially material universe. . . They seek out and try to know or "nail" the awkward social moment, the sexual embarrassment, the difficult memory in all its corporeality\227only to find those things,ultimately, unknowable and unsayable.

A rape, for example, is not something which should ever be viewed as harmless or forgivable, especially, one would think, by a committed feminist (last I heard, Lewis heads the Oklahoma chapter of NOW.) In "Bogart," however, a description/nailing of such an event only leads to the revelation of its ambiguity and even, disturbingly, its possible harmlessness. (There are even moments of humor in the poem.) The rape is not, in the end, deemed funny or harmless, but the speaker does not arrive at such a conclusion easily. The process of writing poems, for her, is an affirmation of and engagement with *manners* (in Flannery O\222Connor\222s sense of the word), even as she struggles with the *mystery* that very process unleashes. Language is a glass boat that keeps us above water, safe, bounded, and fixed\227while at the same time making present to us a vast, deadly, profoundly unfixed thing mere inches away\227making present, perhaps, the boat itself as that vast, deadly, profoundly unfixed thing. Or perhaps language in its practical and everyday functions creates the illusion of safety so that we may effectively be and act in the world--while language in its literary functions may reveal that illusion for what it is,reveal even the precariousness of language itself. (Literature as the antidote to to language!)

For this poet, however, a better metaphor than the glass boat is, of course, the horse. Where would any good warrior be, after all, without one?. . .

Poems, like horses, were "invented to bring us back to earth". But if one is brought back close enough to, or confronts deeply enough, that earth (body/memory/love; burdensome everyday life), what seems to be encountered are intolerable contradictions, a profusion of opposites: indulgence in self/erasure of self; talk/silence; isolation/communion; oblivion/godhead, and so on. All things simultaneously resisted and sought-for by this doomed and persistent poet, so intent on *speaking* what the world actually is...

Language freed of will and intentionality, while nonetheless still profoundly grounded in (and grounding) the particular human body and grammar and experience and readiness it requires for its very existence--such is the language of literature, or at least Lisa Lewis\222s brand of literature. It is what she says despite herself; it is what gets said despite language itself. Despite silence itself. It is what shakes both poet and reader awake to "sharply human woes."

And it is this book of funny, frightening, wise and accomplished poems.

Lisa Lewis's SILENT TREATMENT, chosen by Stanley Plumly aswinner of the National Poetry Series, interrogates and celebrates witha humor so real that it surprises itself: ". . . If I tried to be funny/ I couldn't be drowsy anymore, though sometimes/ I wake myself laughing. A strange laugh . . ." (Morning Snowfall) Hers is a deeply feminist, which is to say human, project, uncertain, self-accusing, ironic, wakeful of Luce Irigaray's sense of "the horror of nothing to see." I am frankly appalled that one online reviewer characterizes her as "spacey" and further advises "those who would study" with her to "take note" In fact, Lewis may be the best medicine for the workshop poem. In "Sexology" she says, "My student asked, How do I say in a poem I cried all night? I said,/ You can't. You have to make the reader cry all night instead. I was wrong." After this typical workshop interaction: " I tell my students, Don't talk about tears in a poem. That's what I was taught,/ I accepted the implicit wisdom. I knew why poems can't talk about tears." Then later: "We talk about poems as an economy. You can't talk about tears as payment./ You can't earn them. You can't talk about what they're worth. They're not" The poem itself does not accept "the implicit wisdom," the very disruptive, converging form. These poems refuse easy pedantry. They are first of all questioning, daringly excessive, ranging from slang to song to vision. They humiliate the drive by review which characterizes their ironies as "runaway," their people as "phony . . . stupid . . . young." They do investigate assumptions, often about women, even by women, such as the character in "The Fine Arts" who is "ashamed/ Of what her body can do . . ." who has "no words . . . even to her husband, even when he's/ Lying beside her in bed, witnessing whatever/ Matters to him." These are poems which matter, which disrupt a particular online sensibility "where people/ Like to have certain things but don't like to go far to get them."