Fiction Literature Books

I homeschool and this is a good book for teaching K and 1st grade kids their "place" in the world. It starts with a girl mapping her room and extends all the way to her place on the globe. It is a really fun easy way to introduce geography/maps.

What a great book. Great pictures. After reading it we sat down and made a map of my 4 year old's room. If only it explained the difference between living out in the country (like on a farm) and living in a different country (like China or Australia). But I can't complain. We love it!

I homeschool and this is an excellent book for teaching elementary school kids their "place" on the map. It starts with a girl mapping her room and extends all the way to her place on the globe and back again. An excellent teaching tool for putting things in perspective! Not enough words to make this a bedtime book, but enough to cause interaction and learning.

I use this book in PS and Elem. settings to set up lesson plans related to maps and how they can be used. This book helps children to relate maps to their own environments.

My daughter is six years old, and it's tough to explain some of the more complex concepts like time and space. This series of books does a great job using colorful illustrations and text that's a lot easier to understand than anything I could come up with myself! Besides, I am a map and globe lover, so this book especially keeps our attention. I also recommend Sweeney's other books, including the one about Time.

My first experience with the writing of Borges. I enjoy his ability to bring the reader into the middle of an ongoing experience - that is, to create the sense that the story had been going on long before one starts reading. My only hesitation in this review is that the translation might make his writing less accessible. I need to read the other translator to determine which I like best.

Trying to full describe the writings of Jorge Luis Borges is like trying to explain exactly why Leonardo da Vinci's art still captivates. The man wrote works of art.

And this classic writer's brilliant, surreally exquisite works are on best display in "Borges: Collected Fictions," whose plain name belies the subtle power and exquisite beauty of Jorges' short stories. His intricate and atmospheric narratives are magical, rich in language, and lets us glimpse the minds of anything and anyone he can conjure up.

Interestingly, the first of these "Fictions" is a series of fictionalized stories about real people -- veiled prophets, Chinese pirates, silver-tongued outlaws, Swedenborg, a Japanese courtier and a legendary American outlaw. Only Borges' vivid writing gives these stories a larger-than-life quality, as if he had spun them out of his imagination.

But the completely fictional stories he created don't take long to appear. Among them are more gritty narratives -- a pair of brothers torn by their mutual love for a woman, a girl coldly calculating her revenge, a labyrinthine story of espionage during World War II, and a woman whose obsession with her dead, dashing husband leads her down into madness.

But these are far outweighed by Borges' magical realism, which soaks the book from start to finish -- encounters with past and future selves, brilliant books and authors that never existed, the mystical Aleph and Zahir which show everything and nothing, a hunt for blue tigers that leads to strangely fascinating stones, an alchemist's rose, a poet telling a king of pure beauty and wonder, and receiving the hazy memories of Shakespeare.

And then some of his stories cross the border into pure wonder and fantasy. Borges explores the concept of the Eternal Library that catalogues reality, masks, Minotaurs, a man who tries to dream a new being into existence, a search for a city of ancient immortals, and the exploration of ancient heresies, cities, endless books and cults that never existed at all, except in the confines of Borges' mind.

If this collection has any flaw at all, it's that Borges isn't at his best when he tells gritty realistic stories, about knifings, mobs and barroom murders. While these stories are powerful, they feel vaguely restrained, as if he's holding back his writing skill from its fullest.

The rest of the time, Borges' writing is exquisitely detailed and atmospheric, and densely packed with philosophical pockets. And these stories are magical realism in the purest sense, with a slight, almost mystical twist to the everyday events that we take for granted. Being mistaken for someone else, being sold a book, and visiting a relative all take on deep significance.

And Borges wraps these stories in lush, digified prose that takes a little while to wade through, but the richness of the words he uses is worth it ("A landscape dazzlingly underlain with gold and silver, a windblown, dizzying landscape of monumental mesas and delicate colouration..."). He's even able to alter his style drastically -- one story has the flavor of an Irish legend, while another is a Lovecraftian sci-fi horror story about aliens in a farmhouse. And his writing takes on many different people's selves -- he even makes readers squirm by taking us into the mind of a loyal Nazi.

It's almost like another world, Borgeworld, which is almost like ours, but where magical items are hidden in the cellars, houses are built by angels, the Minotaur plays in his maze, and God dreams of mortal lives. The most entrancing foray into Borgeworld is "The Immortal," about a Roman soldier who goes searching for a city of immortals, and finds an ancient poet who seems very familiar.

"Borges: Collected Fictions" is a very dull name for the collected works of a literary genius, full of shadows, mirrors, masks and the expanses of the human mind. Definitely a must-have.

When you read Kafka and you hear the term "Kafkaesque" you understand a little more about the world we live in. From the bureaucratic nonsense of your neighborhood government office to the futility of using reason/logic when dealing with the criminally stubborn and arrogant, the twentieth century Prague author understood what the next hundred years would be like.

Borges is Borges... in some sense he is the literary figure behind magic realism (along with German literature of the nineteenth and early twentieth century). I've heard the term "Borgesian" once or twice but it's not quite as famous. Nonetheless, the two authors have a lot to offer. I prefer Borges. There is something mystical to him, a sage-like presence in his writings. His genius isn't complicated, it is very honest - he writes stories that feel like essays, narratives that are poignant and celestial, and prose poems that breathe heavy with philosophy and feeling. Reading this collection you'll encounter: the entire universe in one's basement, a youth retrieving a souvenir of another life, a man trying to understand the "play of goodbyes"... as well as bandits, ruffians, librarians, Don Quixote, Shakespeare and other vast, quiet dreams, from the double to the figure of the alchemical Golem.

It is a great treat to have all the stories together in one volume (in my hometown I had to do an interlibrary loan through the central library to track down his prose poems - the university at the time didn't have a copy either). I believe if you read Borges, you'll not only appreciate his genius, the direction Latin American literature has taken but also the literature of the past. Since my first introduction to his works I have gained a new love of English literature, philosophy and the religions of the far east.

Borges is essential and that too me is "Borgesian".

Bought this book for myself a while ago at a cheap used bookstore for $50 and loved it so much that I decided to get it for someone as a gift. I couldn't believe Amazon sold it for less than $15. Amazing deal on a great book - easily the cornerstone of a personal library.

There are works of fiction that change the way you look at life, and then there is the work of Jorge Luis Borges, which just might alter the way you look at everything, including yourself. The best way to explain Jorge Luis Borges is to compare him to painters - if you combined Picasso, Dali and Escher's imaginations into a writer, you would have Borges. His visions of doppelgangers, puzzles, labyrinths, infinite libraries and Argentine Gauchos are on a level of reality different from any other storyteller in history. My personal favorites here are Tlon, Uqbar, Orbis Tertius, The Aleph, and The Gospel According to Mark, among many others. Recommended for anyone interested in short stories or Latin American writers.

D.D.R. Owen, late professor emeritus of French in the University of St. Andrews, states of his translation that he kept "the needs of students" in mind. For that reason, Owen tells us, his "renderings...incline towards the literal." In other words Owen's translation of Chrétien of Troyes's "Arthurian Romances" shuns poetic and literary licence. Decide what you want. This is a scholar's book, a dry literal translation from twelfth century French of original tales that were too long to start with. General readers may find it dull.

Near the end of his substantive Introduction (which itself makes a useful essay for students of Chrétien's times) Owen comments that "Chrétien has bequeathed to us a brilliant portrait of the society that gave him his livelihood." That's true, but these romances set up portraits that will seem "brilliant" only from a scholar's perspective.

Chrétien's productive years spanned 1170 to 1182, the very pinnacle of chivalry -- and of chivalry's unlikely twin, courtly love. Chrétien was an eye-witness, working in the halls of noble patrons, observing and recording the highest values of the culture of his time. He wrote "Lancelot" around 1177, dedicating it to Marie of Champagne (Eleanor of Aquitaine's eldest child), and bringing the world the first mention of Camelot. By 1182, Chrétien was introducing the Holy Grail in "Perceval: the Story of the Grail." Before he won fame under Marie's sponsorship, one wonders if Chrétien had made his observations about the conventions of courtly love and chivalry earlier, at Eleanor's Court of Ladies in Poitiers (1168-'73). Owen was too much the perfect scholar to speculate, but we can. "Arthurian Romances" contains much that Chrétien absorbed from an influential source, a royal hall replete with courtly traditions, poets and bards. This book is a struggle, but it can be rewarding.

By Robert Fripp, author of
"Power of a Woman. Memoirs of a turbulent life: Eleanor of Aquitaine"

There are several examples of the French chivalrous tradition here, and all that courtly love stuff. Or, how to wear shiny armor, look pretty, do what your religion tells you, be nice to ladies but don't knock them off their pedestals.

Try to get really, really good at killing people and beating people up, too.

Got it for school, but I'm not too big on romances so maybe I'm biased. I'm trying.

It's a pretty good story...actually a set of stories written by this Troyes guy, all about everyone except noble King Arthur. Gotta buy a different book to get the sword in the stone story. Great for in depth details on the romance-period view of the barbarian Arthurian story, and even better for writing a detailed paper on it.

If you're into Arthurian stories (and already know the story lines of the main story but want more on the offshoots and the only-mentioned-once characters like Yvain) this is a great book for you! Not good for people who don't know the story. Watch the disney movie first for some background or read the Mists of Avalon (long but good).

Chretien de Troyes is an early French romantic writing, who wrote the first known story about the Holy Grail. De Troyes lived in the Champagne region of France during the latter twelfth century. Peripherally attached to courts including that of the famous Eleanor of Acquitaine, de Troyes stories of the Arthurian legends provides a foundation for almost all future Arthurian stories.

Chretien's major works include four poems included in this collection: Erec and Enide, Cliges, The Knight of the Cart (Lancelot), and The Knight of the Lion (Yvain). For Grail seekers, the story of most interest will be the unfinished Perceval: The Story of the Grail. Although the tale exists in finished form (in fact, several variations of finished forms), de Troyes in fact only wrote the first 9000 lines of the approximately 32,000 line text. (De Troyes also was embellished or supplemented by later additions to the tale of Lancelot, perhaps because de Troyes did not want to include an adulterous affair).

The story of Erec and Enide is a love story between one of Arthur's knights, Erec, who while out with Guinevere encounters a mean-spirited knight Yder; Erec's pursuit of Yder leads to his meeting Enide, and the two have a stormy relationship (by medieval romantic standards) but ultimately are able to reconcile their love and relationship with public duty.

The story of Cliges is one of tricky and forbidden relationships. Cliges, a native of Greece, falls in love with Fenice, his uncle's wife (Cliges' uncle happens to be the emperor). Their love is discovered, but with the aid of King Arthur, their relationship continues in Cliges' home country of Greece.

Lancelot's story is one of the oldest ideas from the Arthurian legends - the rescue of Guinevere when she is taken captive. This could be done in a chaste and honourable way, but the tale of Arthur has both virtuous and dark elements. Even though this story comes from much older antecedents, de Troyes telling (with the possible additions by a later writer) became the standard Lancelot-Guinevere tale, being the principal one incorporated into Mallory's Le Morte d'Arthur.

The story of Yvain is one of romantic questing - Yvain is gone so long on his knightly quests that his wife refuses him to return home. However, with the aid of mystical powers (the lion is an otherworldly creature that symbolises knightly virtue - C.S. Lewis will develop similar symbolic material much later) he returns to his wife after going mad with despair at being barred from her.

Perceval's story is that of the classic search for the Grail, which is also considered now a standard part of Arthurian legend - however, it is not clear that de Troyes was working from earlier stories here.

William Kibler provides notes, an introductory essay, and an essay tracing the history of revisions and continuations to the Grail story. This is fascinating reading, and a must for anyone interested in the Arthurian legends.

An awful yawner. It shows all the reasons chivalry made for tiresome tales, and why the world needed Don Quixote so badly.

The Chretien de Troyes version of Lancelot is repetitious, has many loose ends, and is full of plot holes. Lancelot jumps into a cart to shame himself in pursuit of Guenivere. Before Lancelot jumps into the cart, the narrator states that "reason is the enemy of love." In the scope of the book, and the code of chivalry, reason is the enemy of this genre.

Take with Nyquil.

This is the most amazing book. I am so sad that Jean Toomer did not write any other fiction.

Cane is a collection of short stories that are loosely connected by theme and mood. It seems that the characters are very stifled by their environment. The main characters of each story seem to be either too introspective to include anyone in their lives or too extrospective/judgmental to form an honest bond with anyone. One quote from the book I think sums it up: "Time and space do not exist in a canefield." I think Toomer was saying that slavery still exists, but rather within the souls of black people. The memory or the history of it is the root of a very serious unhappiness, which begets stagnation, indifference and social impotence.

the first few chapters alone is worth having this book in your library. It reads like smooth passionate music, writing prose like poetry, capturing moments in history, in the past of our country, that many do not often think about. this book is amazing.

There appear to be several tangled threads in CANE that join the three parts of the book together. The first thread unifying the collection of poetry and prose is the way it was put together. In book one you have the narrator observing rural negroes in the south. In book two you have the narrator express-ing the discontent of urban negroes. Then, in book three, you have old Kabnis, a northern negro, trying to escape his pain by returning to his roots in rural Georgia. Coming full-circle. And yet not. Part Two should come first, with its discontented youth, then "Kabnis", then Part One. Why does Toomer choose to progress from spiritual unity to disunity? Is it because the book truly represents a cycle which has no beginning and no end? A clue to this is in two poems, "Reapers" and "Harvest Song". Both are written on related topics, and yet "Reapers" is the first poem of the book, and "Harvest Song" the last. In "Reapers" a rat is injured by a scythe, and yet "the blade, blooded-stained, continues cutting weeds and shade" oblivious to or uncaring of the rat's injuries and pain. In "Harvest Song" the narrator is a reaper who, at the end of the day, with his work still unfinshed, fears his own hunger so much that he distracts himself with pain, "...My pain is sweet...It will not bring me knowledge of my hunger." What, exactly, is it that Toomer's characters hunger for?

Another thread appears to me to be the striving for unity. This desire for unity is expressed in the ways in which the men and women in CANE strive toward unity in their relation-ships. Admittedly, they fail miserably. The women in the book are terribly one-sided--sex objects that are either passive, as with Karintha and Fern and Avey, or active, as with Carma and Louisa and Bona. However, for all their being available physically, the females Toomer portrays in his cameos are untouchable or out of reach spiritually. The men are also one-sided--rational and yet passionate, often overcome by lust and rage. These probably function to demonstrate Toomer's personal views on what men and women are, and how their desires for unity in healthy relation-ships produces a significant amount of pain as a result of their oppositeness.

Pain is yet another thread that unifies the poetry, sketches, stories and drama of CANE. After all is experienced, the pain is what is left, the only significant fruit of their struggles. In Part One, the pain everyone suffers seems to be symbolized by the ever-present cane. The cane, which can cut the skin, must be ground, the juice boiled and cooled, in order to obtain it sweetness. Is the pain which the characters savor the sweetness in their lives? And if so, wouldn't the cane also represent the sweetness (pain) in their lives? In Part Two, which takes place in the urban North, the Negroes live repressed, frustrated, and sadly warped lives. The pain is intellectualized, yet it is still there, doubly so. Is this a result of being separated from the soil--that which is perceived to be source of their spirituality--as well as their failure to form meaningful relationships? The pain in "Kabnis" is more incoherent, the pain of an urban negro who has returned to his roots only to find that he cannot accept them, is alienated by them.

It is impossible to discuss all of the tangled threads that weave CANE into the powerfully moving and unorthodox novel of Toomer's voyage of self-discovery. It is often incoherent, filled with evocative recurrent images, and powerful character sketches that leave the reader unfulfilled, confused, and hungry for more. Perhaps it is Toomer's own hunger, expressed in his writing, that the reader picks up. If there was more to the novel, perhaps one could pin down the more elusive points. Then again, perhaps not.

I write this review with the realization that it is likely to be unpopular, nevertheless, I found the book to be very trying. While I can appreciate the modernist approach which was employed years before its time, the experimental nature of the writing had my head spinning. The text itself is a mixed bag that includes not only prose, but poetry and drama as well. Toomer insisted on these pieces being put together to form a novel, but I cannot help but feel many of the inclusions would have faired better standing alone. In my particular reading experience, I found that many of the pieces do not interlock or even coincide, which produces a sort of start-and-stop reading ordeal. There is simply no fluidity in the text.
Toomer was of mixed heritage, so the book is rife with ambivalence and a proverbial tug-of-war between "light and dark." It has been pointed out that Toomer was very much influenced by Picasso's cubism and worked to recreate this in his literature. As far as I know, Toomer and Gertrude Stein are the only two to have done this, and the effect is arrantly vertiginous in both cases.
In literary circles, this book is considered a must-read in African-American literature, and for that reason, it should be read and contemplated. However, if you are looking for leisure reading, I would suggest something else. The book is only 112 pages long, but I found that it somehow seemed rather "Victorian" in length. It is by no means fast.
In defense of the book, I think my problem with it is a result of preferring prose over poetry and drama. If you are a reader that likes all genres equally, you may find this considerably more enjoyable.
Suggested Af/Am Lit: Wright's Black Boy, Morrison's Song of Solomon, Ellison's Invisible Man, Chesnutt's The Marrow of Tradition, and Moody's Coming of Age in Mississippi.

I'm usually concerned about purchasing items on line, especially books. I can honestly say that this experience was worth it. I would recommend this seller to anyone interested in purchasing good quality books at extremely reasonable prices.

Buy with confidence, I did!

i read one of raymond's stories in a community college reader . i thought it was teriffic and very unique . i won't even pretend that i remember the stories in this "BEST OF" collection . a totally subjective selection necessarily . but i know it has "CATHEDRAL" and i would hope it would have "A SMALL , GOOD THING" . i love what i've read of the late MR. CARTER (which is a pretty fair bit) and i'm not sure i can even tell you why . i think he was an excellent author though . if that causes one person to read some of his stuff , that's a great thing . all reading is good . wouldn't you agree ?

Have you ever had one of those Blair moments when after weeks of being nice to everyone you have to finally make a decision which means that enemies are made as they see a must have dismissed? Well this is one of those moments. I have been struggling with Raymond Carver's "Where I'm Calling From" a collection of thirty-seven stories chosen from several previous collections published over 20 odd years which should therefore be an ideal introduction to his work. And... wait for it... I am going to abandon it unfinished half way despite him being seen As "the American Chekhov or the laureate of the dispossessed"

Let me say up front, that his prose, ear for dialogue and depiction of the ordinariness of every day life masking unexpressed pain and joy is the best. His stories are like photos that capture the moment frozen with no past or future with all the ambiguity that the unknown allows the reader/observer. The opposite of Norman Rockwell homeliness, more akin to the photos of Walker Evans of Let Us Now Praise Famous Men. But they have no plot, twists, surprises, or surface complexity of character. These are often blue collar workers in small-town or rural settings struggling with jobs, partners, children and booze and it's the unsaid that reveals more then the fractured words.

The stories reflect his own drink problems and failed jobs and marriage in his 20s so he turned to writing to escape and short stories could get something in quickly to pay the rent and get food on the table. His life did begin to turn around and his work started to get critical alarm in his 40's before he died of lung cancer. His accessible prose, realistic situations and comprehensible characters are seen as a counter to egghead experimentalism

But for me, I was left all too often thinking yes and what happens next even while the image created hung in my head. I also think that stories ripped from their original magazine context make the stories work harder then they needed to. I would have welcomed an edition that merged the stories with a set of photographs worthy of the writing. However, if you want to dip in and perhaps read a couple a stories a week or if you enjoy short stories then this is a book for you. As you say at the end of a failed relationship its not you it's me, and lets remain friends. Knowing it's really about the lack of passion. Yet the spurned has the chance of real love else where...will that be you?

Despite occasional accusations of obscurity or frustrating spareness, there's a reason Carver's work stands so highly in opinion: the author's ability to deliver through the written word that which lies at the center of what it means to be a human being, as in being in the world. Anyone who has lived a semblance of a life, and whose ability to form mental connections hasn't been cripplingly truncated, will see in Carver's work the essence of human existence, or at least of experienced existence. This is the art of the short story for adults, for those who've graduated from "just so" fairytales (not that there's anything wrong with fairytales) and have developed the ability to recognize and respond to the deep psychic fulfillment of a master storyteller and his deeply meaningful missives. I would go so far as to say that if Carver's work doesn't touch you in some fundamental fashion, then chances are pretty good you haven't lived much of a life. If a reader is looking to have someone hold his or her hand so as to be led down the aisle of bright and shiny distraction, then by all means go read some Wolfe. If, on the other hand, you are of a piece with the endless, sometimes grinding, and always gloriously contradictory cycle of life (and especially life as lived within human relationships) then Carver's work will resonate with your soul.

I am a hopeless lit. snob. I read only classics. When new books are presented to me, especially books with works published less than 40 years ago, I tend to be very cautious. Raymond Carver's collection may have just changed that. He's accessible to a wide array of readers, from hardcore English majors to "the working man" about whom he so often writes. Stories vary in length from a few pages to over ten, and while some seem to have impenetrable depth of thought, many are easily enjoyed without thinking TOO hard :)

Whether you aren't much of a reader or have books upon books that you've read and loved, this collection has something you can enjoy.

It's awfully hard to live up to praise - especially when said acknowledgments include "one of the great short story writers of our time - of any time" and comparisons to the great Hemingway himself (considered by many to be the all-time master of the form). Happily, Raymond Carver's estimable work stands up to the plaudits.

"Where I'm calling from" is a collection of Carver's work from four of his previous story collections with seven all-new stories to round out the volume. Originally published in 1988, the same year as Carver's death, "Where I'm calling from" is a tribute to an astonishingly accomplished career in writing. Arranged in near-chronological order, the stories follow Carver's progress as an author, and in this reader's opinion it is possible to pinpoint the exact moment he tapped into greatness, and while "Gazebo" may be the collection's first truly revelatory story, it is actually "So Much Water So Close to Home" that was published first. Both stories are the high point of the collection, which is no small feat considering the power and the heft of the other offerings.

At the height of his powers, Carver's writing is nothing short of revelatory. Subtle nuances create powerful depth and Carver's keen acuity for his characters leaves behind not one single false step in his plotlines - and how many writers could honestly make that claim? Not a whole lot, rest assured of that. If his earlier writings are less profound they are still masterful examples of the short story form from a writer who was clearly only getting warmed up.

Literature lovers take heed; Carver's collection is the real deal.

Grade: A

If u can follow this, and @ times it gets difficult, u can see why its classic. The observations reming me of 1984 and Animal Farm. Big Brother movin in to control us all, put us in our little molds, and if we dont fit... who knows where this world will lead us, eh?

All part of the great american adventure. Randall P. McMurphy is my new hero . Very enlightining because we always think about the movie but what I liked about the book was, it was chief's story as much as macks. I feel the movie was censored. I must admit when McMurpy spoke it was with Jack Nicholson's voice

This review is for the Penguin Books paperback edition, 2003, with illustrations by Ken Kesey and introduction by Robert Faggen. ONE FLEW OVER THE CUCKOO'S NEST, first published in 1962, was Ken Kesey's debut novel.

The setting is a ward at a hospital for the mentally ill, probably in the late fifty's. Chief Nurse Ratched has absolute control over her ward. Through insinuation and intimidation, she has oppressed the patients, aides, junior nurses and even the ward doctor into wimps. We see this through the eyes of the narrator, Big Chief Bromden Jr., a half-Indian who pretends he is a deaf-mute. The staff ignores him, and allows him to clean the staff room during their meetings. He's the all knowing fly on the wall.

Enter the new admission, Randal Patrick McMurphy, the roughneck gambler who got himself transferred to a mental hospital to escape the rigors of a prison work farm. McMurphy considers most of the patients essentially sane, and cannot understand why they have allowed Nurse Ratched to dominate and humiliate them. McMurphy rallies his fellow inmates towards mutiny in a long battle to undermine Nurse Ratched's authority.

Weaved into ONE FLEW OVER THE CUCKOO'S NEST is a social commentary on the mid-century ideas for treatment of those who could not or would not conform to normality. The novel, and the subsequent movie and play, undoubtedly helped popularize the need for change. Although that is behind us, this entertaining and often hilarious read remains.

One Flew Over The Cuckoos Nest by Ken Kasey *****


One of the most important pieces of literature ever, and not just for American literature. One Flew Over The Cuckoos nest is simply put....perfect. It is the classic tail of good versus evil as told through the eyes of an Indian Cheif as he watches his once comfortable solitude be interupted by a one McMurphy who is just claiming insanity to escape a court ordered work farm. The head nurse, Nurse Racthed is maybe the most hanious villion in all of American literature. The book cronicles the up rising of the insane wards 'inmates' and their struggle to maintain their new found power. Easily one of the five best novels ever written.

I knew this book as one of the anthems of the sixties, bringing to the fore the themes of rebellion against arbitrary authority and the rejection of conformity. But I did not actually read the book till recently.

I found that Kesey's "sixties" novel passes the test of great literature. It transcends its moment in time and gains universality. The struggle between the individual and the demands of society is nowhere portrayed as sharply and brilliantly as in this novel. McMurphy is a bit extreme, as is Nurse Ratched, but the interplay of extremes is fascinating.

Do not ignore the fact that Bromden, the narrator, actually shows serious signs of mental illness. His constant references to the "Combine" and his fear of the "fog" are paranoid delusions. It's an amazing tribute to Kesey's skill that he chose to tell the story this way rather than in a more conventional mode of narration, and that he succeeded.

I had heard a lot about this story and knew something of what it was about. The particular rendition in this book seemed to leave some points made by other reports of other translations in doubt.I am reading another book about this epic ("Buried book") which I hope and think will cover more than this translation. If it doesn't satisfy my interest I will look for other translations.

Overall it was an interesting book.

This is absolutely one of the best translations of Gilgamesh available. Andrew George gives us a taste of what the original versification was like. He also translates all the extant versions and fragments of versions of the epic, and this is important. Not only do the versions augment each other and fill in the gaps that time and entropy have literally carved, shattered, and eroded into the original tablets, but they key us into the variations that the generations of years of cross-cultural retellings have wrought. Gilgamesh becomes Bilgames, etc. etc. Finally, an appendix at the back of the book discusses the process of translating the text from the tablets. In many ways this is the most fascinating part of this volume. Along with these good points, we are treated to line drawings taken from period artwork illustrating the epic, so we see the gods, goddesses, and strange monsters as they were visualized by the Babylonians. Highly recommended!

This is another from my "what haven't I read that maybe I should have" period. This is a difficult read - part of which is because of the way the text and variants are put together (though I don't know how to make it any better). So, have patience.
This is the first translation I have read of Gilgamesh (and probably my last unless new material adds significantly to the text) so I can't comment on other versions. The Penguin Classics edition has many illustrations that did add to the pleasure.
Highly recommended as one of those "to be read before I die" books.

I recently ordered this version to prepare for teaching Giglamesh in a Humanities I course. I had read the famous Sandars version, which compiles the various tablets into one coherent prose narrative. However, Andrews' new version attempts no similar gloss: the work is revealed as a fragmentary masterpiece, with gripping passages of narrative trailing off into maddening gaps and uncertainties. The Introduction offers a very informative, concise overview of Gilgamesh scholarship and the state of the work itself. It is truly humbling to realize how little we have of this great work, yet what we do have literally changed our understanding of the ancient world. And as Sandars suggested in his Introduction to the earlier Penguin volume, it is amazing that such an old, fragmentary work from a forgotten culture still has the power to move us. This sounds like academic hyperbole, but even in its most authentic state, the work is powerful; we see Gilgamesh's grief, his desperation, and his bitter defeat upon losing Enkidu and the possibility of eternal life. The translation carries some powerful imagery that somehow surpasses the more fluid prose translation; perhaps this is a bit of chiaroscuro (sp?), the lost passages showing the more complete, brilliant ones in greater relief.

Even better, this translation includes all the various fragments of the Gilgamesh story, as well as the ealrier Sumerian version of the epic, which is much different than the Standard version. It's a remarkable volume which is fun to pour through and reconstruct this ancient world on the dawn of civilization. It truly inspired me to teach this work to my students, emphasizing how such a powerful work can rest on only a handful of broken tablets.

I recommend this Penguin Classic, but it offers more thorough scholarly apparatus than usual for the series. This is not meant as a criticism! But, a beginner may find a "version" such as Stephen Mitchell's easier to start with for an overview of the storyline, and a briefer introduction and helpful endnotes. The poem itself is not lengthy, but the ancillary texts and sources, as Andrew George shows us, do take up considerable space which may please enthusiasts but discourage newcomers to this epic poem.

George prepared for Oxford UP in 1999 a two-volume edition, and this Penguin adapts the core of the English translation for a wider audience. It appears ideal for a college classroom or the reader wanting to learn more about the lacunae, the gaps, the language, and the editorial decisions made by George and fellow translators. A fascinating appendix shows how out of grammatical markers, syllabic, and half-syllabic cuneiform incisions the sounds and rhythms and absences that fill this most ancient of narratives turn into what we can understand. To a point.

Terms such as "louvre-door," "glacis-slope," "hie to the forge," and notably Ishtar's exhortation to "stroke my quim" give a rather archaic diction to parts of the translation. George aims obviously for precision in such terminology, but this does clash with the more demotic vernacular chosen by Mitchell in his popularization. Mitchell's also considerably more erotic and develops passages that in their original state, reading George, remain terse. Again, George approaches the thousands of fragments that are still being assembled nearly 150 years after their discovery and observes that this epic is still, amazingly and poignantly, one in progress as we await trained Assyriologists able to decipher not only the later Akkadian but the considerably more challenging and often cryptic Sumerian sources. It's a shame that in a region where so many billions have been spent to destroy the area between the Tigris & Euphrates that a few thousands can not be provided for the study and restoration of the oldest story text we have ever found.

This book has remained one of my favorites since reading it in high school ~5 years ago. I have re-read it multiple times, seen it live & as a movie, and never seem to tire of Wilde's excellent knack for satire.

It is a quick & fun read full of irony and hilariously awkward situations. I would highly recommend this book to anyone who enjoys play-format comedies with strong irony.

I bought this script because I have so enjoyed the movie based on it. The English humor is brilliant and it is delightful to get to read it in probably less than an hour. This was pure enjoyment for me for no other reason than not missing a syllable of the dialogue (sometimes in the movie the actors speak a little too fast, so in order to savor the humor behind the lines having them in print allows you to enjoy them at your own pace)

I still smile when I think about this play. It was my first sampling of Oscar Wilde, and I found it pretty enjoyable. It's also been my only sampling of Oscar Wilde. I've been meaning to get into some more of his work, I really have. It's a tale of mistaken identity, of love, of three volume novels, of "Bunburyists" and of fashion. Everyone claims to be Earnest, but they're all rather trivial about it. It's pretty funny too, with a lot of wit and the like through it.

This particular edition is particularly cheap, and it seems like its worth a look.

I love this play. I love Oscar Wilde. The wit and humor of this play is astounding, and yet at the same time, it is so intelligent. I love it.

I have not listened to this audio CD version. I purchased it and returned it without listening to it. I opened the case and realized that this is an abridged radio play version on one CD. The play itself is delightful. I don't care for abridged versions of most material, certainly not a play that takes less than 90 minutes in its entirety. I urge Amazon to update the catalog entry to indicate that this is abridged. An unabridged version is available from other vendors. Thank-you.