Minggu, 30 November 2014

** Download House Styles in America: The Old-House Journal Guide to the Architecture of AmericanHomes, by James C. Massey, Shirley Maxwell

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House Styles in America: The Old-House Journal Guide to the Architecture of AmericanHomes, by James C. Massey, Shirley Maxwell

From saltboxes to split-levels, Victorian Ladies to Colonial Revivals, Prairie Styles, bungalows, and Moderns, these are the houses that have defined the architecture of a nation for the past three centuries. In House Styles in America, these classic examples illustrate the major movements that have shaped the American landscape. This beautifully illustrated tour of America's houses begins in 1640 with the early roots of American style--a combination of European skill and attitude combined with American know-how. This architectural journey continues on through the 18th and 19th centuries, through the Greek Revival, the Americanization of the Gothic Revival, and the early Colonial Revival. The houses of the 20th century are the main attraction as House Styles in America delves into the major movements in the Romantic Revivals of the 1920s and 1930s: English, French, and Spanish. Replete with 200 color photographs, this architectural journey is an essential and beautiful guide for realtors, tourists, and students of architecture.

  • Sales Rank: #1252552 in Books
  • Published on: 1999-03-01
  • Released on: 1999-03-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.04" h x .73" w x 9.06" l,
  • Binding: Paperback
  • 262 pages

About the Author
james C. Massey is an architectural historian and historic preservationist. he has served as chief of the American Historic Buildings Survey, and was Director of the Stephen Decatur House and Woodrow Wilson House in Washington, D.C., and Belle Grove in Virginia.

Most helpful customer reviews

9 of 9 people found the following review helpful.
A house for everyone
By A Customer
House Styles in America is a well constructed collection of american houses dating back to the old Ironworks houses, Like the Turner house and Bacons Castle,but this book also contains modern houses, like Phillip Johnson's glass house. This book is a great addition to anyones growing architecture library.

11 of 12 people found the following review helpful.
Best book on the subject
By misterbeets
So why is it out of print? (Had no trouble getting one though.) This book is based on a series of magazine articles for Old Home Journal, so the style is informal. The carefully chosen color pictures set it apart from its competition, A Field Guide to American Houses, by the other husband and wife team. But mostly it's the authors' ability to explain in simple language the events that caused the rise and fall of the various styles: the switch to stud framing, the widely circulated pattern books, the Arts and Craft movement, World War I and the various European styles brought home by the soldiers, etc.

8 of 8 people found the following review helpful.
Good complement to my other books
By Steve in Memphis
This book has lots of color pictures and interesting historical text about each style. It does not have any representative floor plans, which would have been nice. If you are interested in studying or identifying housing styles, this book would be a good purchase. I prefer books that have both pictures and floor plans, but the pictures and text in this book are first rate. I have other books that do have typical floor plans for most styles, but poor or mediocre pictures. This book is a great complement to those.

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? Get Free Ebook Twenty and Ten, by Claire Huchet Bishop, Janet Joly

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Twenty and Ten, by Claire Huchet Bishop, Janet Joly

This book tells the story of how twenty school children hid ten Jewish children from the Nazis occupying France during World War II.

  • Sales Rank: #68413 in Books
  • Brand: Puffin
  • Published on: 1978-03-30
  • Released on: 1978-03-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.75" h x .20" w x 5.13" l, .16 pounds
  • Binding: Paperback
  • 80 pages
Features
  • Great product!

About the Author
Du Bois published his first book when he was seventeen. Since then he has written and illustrated many beloved children's books. He was awarded the Newbery Medal in 1948.

Most helpful customer reviews

69 of 72 people found the following review helpful.
A good children's book is good reading for everyone!
By K. Olgren
I read this book to my six year old son this year. Somehow, from the time he first heard about WWII a year ago, he has been fascinated by whatever he can learn about it, and there really isn't much for children his age on that subject matter. That adds to the value of this book.

This story tastefully deals with the subject of the Nazi's dealings with the Jews in a way that children can relate to and understand. It is full of suspense -- Will the Nazi soldiers find the Jewish children? Or will the other children inadvertantly give away their hiding place? But it is also innocent. It is written from the perspective of a child who is involved in hiding her Jewish peers.

While my son greatly enjoyed this book, I did, too! I looked forward to reading it to him and became every bit as caught up in the story as he was. It is a book that I would enjoy even if I hadn't been reading it for a child's benefit.

I highly recommend this book, and I think it's a shame that a number of early reviews appear to be book report assignments by children who didn't appreciate literature of this quality. Some of us who have been around longer and read many, many more books see the great value that is there.

But even my son, who hasn't read as many books as I have, loved this book. The daily response to, "We'll stop there," was, "Aw, mom, can't we keep going?"

29 of 29 people found the following review helpful.
My daughter loved it!
By Music Mama Rob
I read this book when I was a child (more than 30 years ago) and still have fond memories of it. I stumbled upon the book last week and decided to introduce it to my 11-year-old. She quickly became involved with the story and it prompted many questions about WWII, Nazis, etc. Yes, the language is a bit old and a few phrases are no longer used, but the verbal images are still vibrant. My daughter was very interested to hear about the children protecting each other, sharing a coveted morsel of chocolate, hiding in a cave, outsmarting the Nazis. And she especially appreciated how each chapter stood on its own, with no cliffhangers. You don't need to study a bible or have a strong religious background to understand this book. Just be ready to explain why the Nazis wanted to find the Jewish children. I recommend this book to all people who want to discover a snippet of World War II history. The book contains nothing scarier than the threat of being discovered.

37 of 40 people found the following review helpful.
The best early introduction to the Holocaust
By A Customer
I read Twenty and Ten when I was a 3rd grader (about 30 years ago), and is my lifetime favorite book. The story, based on an actual situation, describes how 20 Christian children used their wits and compassion to hide 10 Jewish children from the Nazis during World War II. The children's experiences are truly an adventure, yet do not trivialize the Holocaust. Although I do not recommend teaching young children about the Holocaust's grim details, this book opens the discussion about people's responsibility to one another regardless of differences. I have yet to find a child or adult who can put the book down once they start reading it

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Jumat, 28 November 2014

! Get Free Ebook Centerburg Tales: More Adventures of Homer Price, by Robert McCloskey

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Centerburg Tales: More Adventures of Homer Price, by Robert McCloskey

Centerburg might be your town. Grampa Hercules and his never-ending tall tales, Dulcy Dooner, the uncooperative citizen, unbusinesslike Uncle Ulysses and his friendly lunchroom, the flustered sheriff, the pompous judge—they are all as American as they come. But there's a subtle and delightful difference. In Centerburg, along with the routine of day-to-day living, the most preposterous things keep happening.

But nothing fazes Homer Price! Ragweeds taller than fire ladders, music that sets a whole town dancing—he solves these problems calmly and efficiently. Homer Price is a boy with a good supply of common sense—and ingenuity!

Homer's Grampa Hercules is a delightful old rascal and his extravagent reminiscences of his youth are the starting point of many of the episodes. The chapter titles are as enticing as the chapters themselves: The Hide-a-Ride, Looking for Gold, Ever So Much More So, Experiment 13, Grampa Hercules and the Gravitty-Bitties, Pie and Punch and You-Know-Whats.

Mr. McCloskey's characters have warmth and kindness and a healthy curiosity; but they are not above a few minor faults and foibles. They are unmistakenably alive. Like Mr. McCloskey himself, they are perpetually amused by the everyday hazards and discrepancies around them.

  • Sales Rank: #92129 in Books
  • Brand: Puffin
  • Model: FBA-|281019
  • Published on: 1977-10-27
  • Released on: 1977-10-27
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.77" h x .49" w x 5.12" l, .38 pounds
  • Binding: Paperback
  • 191 pages

From the Back Cover
It's not that the folks in Centerburg are especially nosy; it's that in a small town everyone seems to know everything. But Homer Price does know more about what's going on than anyone, because he's usually in the middle of things...

About the Author
Robert McCloskey (1914-2003) wrote and illustrated some of the most honored and enduring children's books ever published. He grew up in Hamilton, Ohio, and spent time in Boston, New York, and ultimately Maine, where he and his wife raised their two daughters. The first ever two-time Caldecott Medal winner, for Make Way for Ducklings and Time of Wonder, McCloskey was also awarded Caldecott Honors for Blueberries for Sal, One Morning in Maine, and Journey Cake, Ho! by Ruth Sawyer.  He was declared a Living Legend by the Library of Congress in 2000.  You can see some of his best-loved characters immortalized as statues in Boston's Public Garden and Lentil Park in Hamilton, Ohio.

Excerpt. © Reprinted by permission. All rights reserved.

Centerburg might be your town, but there’s a delightful difference—Homer Price, Dulcy Dooner, Uncle Ulysses, the flustered sheriff, and the pompous judge all live there. And that’s why in Centerburg, along with the routine of small-town life, the most preposterous things keep happening.

A mad scientist grows ragweed taller than fire ladders, a jukebox gone wild sets a whole town dancing, and a slick salesman dupes the citizenry with “Ever So Much More So” magic elixir. But nothing fazes Homer Price! He solves these problems with a good supply of common sense—and ingenuity.

 

 

CENTERBURG TALES

BY ROBERT McCLOSKEY

GRANDPA HERCULES

I. THE HIDE-A-RIDE

IN EVERY town there is a best place to do everything. For playing marbles there is no place in the town of Centerburg as good as the alley behind the barbershop. For playing baseball the best place is the empty lot next to the Enders Products Company. This place is no good for flying kites though, because there are too many wires in the way. The best place to eat doughnuts is in Uncle Ulysses’ lunchroom. The best place for ice-cream cones is Umpfschneider’s Drugstore. There are lots of places where you can go fishing, but the really best place is in Curbstone Creek, just below the railroad bridge. The best place for spinning tops is the cement walk around the G.A.R. monument in the middle of the town square. Of course there are usually a lot of girls getting in the way, because that’s the best place in Centerburg to play jacks and jump rope too. If you are a really expert top spinner you can make your top go hop, hop, hop, spinning right down the monument steps, providing there are no jacks players in the way.

“Homer Price, the next time you spin that top in our jacks game we’ll take your top and keep it!” cried Ginny Lee. “We were here under the soldier first. You boys stay on the other side with the sailor and spin your old tops!”

“It was an accident,” said Homer. “I didn’t mean to spin it in your jacks.”

“Yeah,” said Freddy, “Homer’s top just sort of glanced off the cannonballs and bounced clear around the monument.”

“Homer Price, you glanced that top on purpose!” said Ginny Lee. She stood up and prepared to throw Homer’s top as far as she could throw it.

“Look who’s coming!” said Freddy, pointing across the town square.

“Why, it’s Homer’s Grandfather Hercules!” said Ginny Lee, forgetting to throw the top.

“That’s him all right,” said Homer, recognizing the tall old man walking swiftly in their direction.

“Nobody else around here can walk that fast,” said Freddy.

“He’s pretty fast, considering his age,” Homer agreed. “But he says that he can’t walk near so fast as he could when he was young.”

“How old is Grampa Herc?” asked Freddy. “You can’t tell whether he’s fifty or ninety, to look at him.”

“Grampa Herc says that he stopped counting birthdays at ninety-nine, but you know how he is, it’s hard to tell when he’s telling one of his stories and when he’s telling what is really so.”

“Do you s’pose he would tell us a story today, Homer?” asked Ginny.

“Something always reminds Grampa Herc of a story,” Homer said. “And if nobody interrupts him, I expect he’ll tell one.”

“Wu-a-ll!” exclaimed Grampa Herc as he came gliding up to the monument. “G’mornin’, girls and boys.”

“Good morning, Grampa Herc,” Homer greeted.

“Hello, Grampa Herc,” said Freddy.

“Tell us a story, Grampa Herc,” Ginny pleaded. And almost at once all of the girls and boys were gathered around Grampa Herc, demanding a story.

“Hadn’t no intention of bustin’ in on you young uns ball bouncin’, and rope jumpin’, and top spinnin’,” said the old man as he took a seat on the steps and drew up his long legs. “Where did all these fancy balls and tops come from?”

“They were free,” said Ginny Lee, displaying her ball and jacks.

“For nothing!” added Freddy. “From Whoopsy-Doodles!”

Grampa Hercules cupped his hand behind his good ear to make sure that he had heard right, so Homer explained, “From the Whoopsy-Doodle Breakfast Food Company, Grampa Herc. You mail in the top of a box of Whoopsy-Doodle Breakfast Food with your name written on it, and by return mail they send you a ball and jacks or a top.”

“Oh, I see,” said Grampa Hercules. “You buy these Whoopsy-Doodles at the grocery store to get the box tops?”

“Nope,” answered Homer. “Uncle Ulysses bought a large supply of Whoopsy-Doodles for his lunchroom and there were just enough box tops for everybody.”

“I remember,” said Grampa Hercules, “as how one time I saved up enough plugs from chewing tobacco to send in and get a music box. Played awfully pretty music,” he said, stroking his chin thoughtfully.

All the children were watching Grampa Herc closely, and they knew when he stroked his chin, in just that way, he was thinking of a story.

“Does the music box remind you of a story?” asked Ginny Lee impatiently.

“Can’t say as it does,” said Grampa Herc.

“Mebbe chewing tobacco plugs?” suggested Freddy hopefully.

“Nope.” said Grampa Herc. “But all this bouncin’ and spinnin’ reminds me of something.” The old man continued to stroke his wrinkled chin thoughtfully while the children seated themselves on the steps to listen.

“It was back in the days—oh, about the time Ohio was admitted to the Union or thereabouts. I was a young fella, ’bout the age of Homer here, and was just comin’ to settle in the new state with my father and my uncle and a few cousins. We’d left the womenfolk back near Philadelphia until we could get ourselves settled and a few acres of land cleared. On account of how most of our new neighbors were going to be Indians, we kinda thought it would be a good idea to get acquainted before we brought the women. We come over the mountains on foot and then built ourselves a raft of logs, thinking we’d make our way down a creek and pick out a nice spot to settle somewhere along the bank. We drifted along downstream for a day or so, and then one morning our raft stopped plumb still. Thought right away we’d fetched up on a rock or a snag, but after we’d poked around with the poles we found it wasn’t that. Come to find out, there was a bump in the creek, runnin’ clear across and about the height of one of these steps here. Our raft was fetched up against it, and the current was pushing it so hard we couldn’t budge it. Well, we all got out and took buckets and commenced to dip water from the top of the bump and slosh it upstream to the low side, and I guess we must have put in a whole day dipping and a-sloshing and trying to level off that bump in the creek. ’Twasn’t no use though, ’cause the water kept runnin’ right back downstream and making the bump just as high as ever. There didn’t seem to be a thing that we could do to get the raft up and over that there bump. My cousins went downstream a piece, on the other side of the bump, and built another raft. They decided that they would drift on down toward the Ohio River, but my father decided as how this place was prob’bly as good as any other, so we stayed right here.

“We built ourselves a little cabin at the top of the hill—you prob’bly all seen the spot, right there where the old canal branches out of Curbstone Creek. They built that canal a few years later, just to get boats around that bump. O’ course you can’t see the bump today, after all these years, unless the water is high; and even then you can scarcely notice it if the light isn’t just right and reflecting off the edge. The last big flood ’bout twenty years ago, the water washed out almost all trace of that bump.”

Grampa Hercules paused and stroked his whiskers thoughtfully and then repeated, “Washed out almost all trace o’ that bump!”

“How about the spinning and bouncing?” asked Freddy.

“Oh yes,” said Grampa Hercules, slapping his long leg, “I’m coming to that.” He pointed a long finger at Freddy and said, “Now don’t you go interrupting me, young fella.”

“Freddy was just reminding you, Grampa Herc,” said Homer. “He wasn’t trying to interrupt.”

“Let’s see now,” said Grampa Herc, stroking his chin. “Oh, yes, spinning. Wu-a-ll,” he began, “the land hereabouts turned out to be pretty good, and it got settled pretty fast, in spite o’ trouble with the Indians. ’Twasn’t long afore there were a lot o’ little backwoods farms all up and down the creek. Most of the settlers sent their pork and wheat and maple syrup down the creek to the Ohio River and on to New Orleans to sell. Seeing as how all the flatboats for New Orleans had to start on the other side of the bump in Curbstone Creek, our little place on the hill next to the bump got to be sort of a loading and shipping center for these parts.

“There got to be a big demand for barrels to ship salt pork in, and so my father and me, we started makin’ barrels. We built up a good business in barrels there on top of the hill. Then one morning—I fergit now whether it was at the time of the Great Elixer Indian Uprising or just after the Curbstone Creek Uprising—we were goin’ about our business, cuttin’ staves and bendin’ barrel hoops, when I just by accident happened to glance up at one of the barrels we had finished the day before. I noticed the tip of a feather sticking up from the inside! It sent a chill down my spine, because I figgered there was an Indian on the other end of that feather, waiting in that barrel to add a few scalps to his belt. I motioned to my father, and he quick as a wink slammed a top on the barrel and sat on it while I nailed it down tight. We had ourselves a barreled Indian, a-thumpin’ and yellin’ fit to kill!”

Grampa Herc paused to chuckle and stroke his chin, then he went on, “We decided we’d send him off to New Orleans on the next flatboat, and we went back to our work of making barrels. I kept thinking to myself how surprised somebody was going to be when he opened that barrel and found that he had himself an Indian instead of a side o’ pork. That Indian was thumpin’ around and rockin’ the barrel while we got along with our work. We laughed an didn’t pay much attention, until there was an extra loud thump! We looked up just in time to see the barrel tip over on its side and start rollin’ down the hill! Wu-a-ll! I tell you, that barrel o’ Indian went a-spinnin’ and bouncin’ and jumpin’ down that hill like a bolt o’ lightning. It smacked up agin that old sycamore tree right on the bank of the creek, and the barrel—it was a strong barrel too—smashed all to kindling. I declare, some o’ the pieces wasn’t any bigger’n a splinter.

“Heh, heh!” Grampa Herc paused to giggle and then continued, “And that there Indian bounced right into Curbstone Creek! We laughed and laughed, just couldn’t help ourselves, even though we were sorta worried for fear that this might touch off another mess of trouble with the Indians. That was the saddest-looking Indian I ever did see, came a-sputterin’ and drippin’ out of the creek, and lit off into the woods.

“Wu-a-ll! We thought sure we were in for it the next morning! There were two feathers, stickin’ out o’ two barrels, but, by gorry, we worked the same stunt on ’em and nailed ’em up tight, jist like the first Indian, and durned if they didn’t manage to tip the barrels and go spinning down the hill and smack up agin the old sycamore on the bank. Both Indians bounced into Curbstone Creek, same’s before. Wu-a-ll! Do you know, it got so every morning we had to nail up a couple of these fellas and roll ’em down the hill before we could commence work? Come to find out, that first Indian had gone back to the tribe and bragged about spinning around in that barrel, and how dizzy it made him feel. O’ course all the other braves had to try it too, and it got to be sort of a distinction in the tribe. Got so it was hard for us to get on with our work, with these Redskins hanging around, begging to be rolled down the hill in a barrel. It finally got to where we couldn’t even make enough barrels to fill the need for rolling Indians! The pile o’ broken barrels around the old sycamore was getting higher and higher, and so my father finally hit on an idea. We built this extra-strong barrel and rigged it up on an axle; then we took some rawhide belts and hooked the thing onto our windmill. I declare, it was the gosh-awfullest-looking contraption I ever did see, but, by gorry, it worked! When the wind blew and my father threw in the clutch, that barrel commenced to spin just as pretty as a top. Wu-a-ll! We started charging the Indians a buffalo hide for a spin in this contraption, and it got to be known as the Hide-a-Ride. Of course we’d accept any kind of skins or pelts—fox, beaver, skunk, and mink. ’Twasn’t long before we were sendin’ bales of skins out of here. On a calm day sometimes there’d be as many as five, six hundred Indians standing in line, waiting and praying for the wind to blow, and blow hard, so’s they could get good and dizzy inside that Hide-a-Ride.

“O’ course we added a few improvements, like dousing the customer with a bucket of water when he stepped out of the machine—just to take the place of ducking in Curbstone Creek, you see—because the Indians felt they wasn’t gettin’ their hide’s worth if they didn’t get good and wet besides being dizzy.

“Those Redskins would rather have gone for a spin in the Hide-a-Ride than eat,” said Grampa Hercules, stretching his long legs and getting to his feet. “And mentioning sumpthin to eat, let’s all of us get on over to Ulysses’ lunchroom, and I’ll buy everybody a doughnut.”

Grampa Hercules strode off toward the lunchroom at a good fast pace, with all the children tagging along, almost having to run to keep up.

“Wu-a-ll!” cried Grampa Hercules, flinging open the door of the lunchroom with a flick of his long arm. “Howdee-doo, Ulysses. G’d afternoon, Sheriff. Put aside that old checkers game and come and wait on these customers,” he demanded, indicating the noisy group of boys and girls pouring through the door.

“Howdy, Grampa Herc,” said Uncle Ulysses. “Betcha you been tellin’ some of those tall tales of yours.”

“Hercules,” said the sheriff, “don’t you ever get tired of tellin’ those stories?”

“O’ course not,” said Grampa Hercules. “Why, I remember, Sheriff, when you and Ulysses both were little minnows, scarce big enough to fry, sittin’ on the monument steps, listenin’ to my stories. Pass around the doughnuts, Ulysses,” said Grampa Herc, thumping on the counter. “I declare, you’re getting slower every day. Not enough exercise, I reckon, because of all these fancy doodads to do the work for you.” Grampa Hercules took a handful of doughnuts off the plate that Uncle Ulysses was passing around and said, “Much obliged, Ulysses,” and then he turned to the children and said, “Step right up and help yourselves, young uns.”

“Wouldn’t you children all like a nice big bowl of Whoopsy-Doodles to eat with your doughnuts?” Uncle Ulysses offered.

There was a loud chorus of “No!” from the boys, and a few of the girls remembered to say, “No, thank you.”

Uncle Ulysses wagged his head sadly. “What will I ever do with six dozen boxes of Whoopsy-Doodles? Seventy-two boxes without tops, gettin’ staler every day, and not one of my customers likes ’em, even when they’re fresh!”

“Tell you what, Ulysses,” said Grampa Herc. “My chickens are not finicky about what they have for breakfast, so I’ll feed your six dozen boxes of stale Whoopsy-Doodles to the hens, and bring you a dozen eggs in exchange.”

“It’s a deal,” said Uncle Ulysses. “Last year I had to throw out seventy-two boxes of Wheatsy-Beatsys.”

“I remember,” growled the sheriff. “And all of you young uns was shootin’ up the town with yer Wheatsy-Beatsy Ray Guns! Every time I turned around, an Eastsy-Wheatsy Gay Run anged off in my beer—I mean ear!”

“Aren’t you ashamed,” Grampa Herc asked the children with a grin, “frightenin’ the law like that?”

“Now, Hercules!” shouted the sheriff, “I—”

“I was thinkin’ of you just yesterday, Grampa Hercules,” said Uncle Ulysses, quickly changing the subject to avoid a quarrel. “I was looking at one of those old magazines over in the barbershop, and run across a picture of a man carrying a full-grown bull on his back.”

“Wu-a-ll,” said Grampa Hercules, “that’s an old, old stunt of mine. All of us old-timers used to do it all the time! You start a-liftin’ the critter when he’s just a calf, and keep on liftin’ him every day. The critter keeps growin’ an gettin’ bigger an heavier every day, and first thing you know, yer liftin’ a mighty big hunk of animal, and it don’t seem like nothing at all!

“Ulysses, ’re you keepin’ count of how many doughnuts we’re eatin’?” he asked. Then he turned to the children. “Now don’t be bashful, young uns, help yourselves. Lifting a horse,” he continued, “wu-a-ll, a horse is a sure enough hard thing to lift. ’Tisn’t that he’s so heavy, but the critter’s feet keep getting in the way. It takes a mighty tall man to walk up to a horse and pick ’im up off the ground. In the early days I was the only fellow in this corner of the state tall enough to turn the trick. There were plenty o’ men around in those days who could stand on a stump and get a horse up across their shoulders, but I was the only one who could do it with my feet on the ground. That brings to mind the winter that Jeb Enders and me were hauling salt down to Cincinnati.

Most helpful customer reviews

20 of 21 people found the following review helpful.
Centerburg Rocks
By west
I loved the silly stories of Centerburg as a kid and hoped that my nine-year-old nephew would not find the material too dated to understand. No worries! He laughs out loud at the complicated adventures that ensnare Homer Price and his friends. I'm pleased that he's enjoying a book that enlarges his vocabulary and his ideas about life way back in the mid-twentieth century.

14 of 15 people found the following review helpful.
Homer Price redux
By JLind555
This is a great sequel to the original "Homer Price". Homer and his friends are off on more wacky adventures, each one funnier than the last. The final story, in which Homer and his fellow citizens are literally dancing all over town, is one of the most hilarious children's tales ever written. McCloskey had magic in his writing pen and his drawing pencil; it's hard to say which are better, the stories or the illustrations. Suffice to say that they all add up to a wonderful book for young folks. Highly recommended.

8 of 9 people found the following review helpful.
An absolute gem......
By A Customer
I read this book and many others by this author over 30 years ago, and my nephew is a current fan. He can't read enough of them. If you have trouble finding books that young boys will enjoy, you can't go wrong with these.

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Nora : A Biography of Nora Joyce, by BRENDA MADDOX

  • Sales Rank: #449065 in Books
  • Published on: 2000
  • Format: Import
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.80" h x 1.57" w x 5.04" l,
  • Binding: Paperback
  • 608 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
Five Stars
By Pauline L Kremer
Nora gives a very interesting slant to the life of James Joyce.

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Rabu, 26 November 2014

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Wanderlust: A History of Walking, by Rebecca Solnit

Drawing together many histories-of anatomical evolution and city design, of treadmills and labyrinths, of walking clubs and sexual mores-Rebecca Solnit creates a fascinating portrait of the range of possibilities presented by walking. Arguing that the history of walking includes walking for pleasure as well as for political, aesthetic, and social meaning, Solnit focuses on the walkers whose everyday and extreme acts have shaped our culture, from philosophers to poets to mountaineers. She profiles some of the most significant walkers in history and fiction-from Wordsworth to Gary Snyder, from Jane Austen's Elizabeth Bennet to Andre Breton's Nadja-finding a profound relationship between walking and thinking and walking and culture. Solnit argues for the necessity of preserving the time and space in which to walk in our ever more car-dependent and accelerated world.

  • Sales Rank: #28863 in Books
  • Color: Tan
  • Brand: Penguin Books
  • Published on: 2001-06-01
  • Released on: 2001-06-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .70" w x 6.00" l, .71 pounds
  • Binding: Paperback
  • 336 pages

Amazon.com Review
The ability to walk on two legs over long distances distinguishes Homo sapiens from other primates, and indeed from every other species on earth. That ability has also yielded some of the best creative work of our species: the lyrical ballads of the English romantic poets, composed on long walks over hill and dale; the speculations of the peripatetic philosophers; the meditations of footloose Chinese and Japanese poets; the exhortations of Henry David Thoreau and Walt Whitman.

Rebecca Solnit, a thoughtful writer and spirited walker, takes her readers on a leisurely journey through the prehistory, history, and natural history of bipedal motion. Walking, she observes, affords its practitioners an immediate reward--the ability to observe the world at a relaxed gait, one that allows us to take in sights, sounds, and smells that we might otherwise pass by. It provides a vehicle for much-needed solitude and private thought. For the health-minded, walking affords a low-impact and usually pleasant way of shedding a few pounds and stretching a few muscles. It is an essential part of the human adventure--and one that has, until now, been too little documented.

Written in a time when landscapes and cities alike are designed to accommodate automobiles and not pedestrians, Solnit's extraordinary book is an enticement to lace up shoes and set out on an aimless, meditative stroll of one's own. --Gregory McNamee

From Publishers Weekly
Walking, as Thoreau said and Solnit elegantly demonstrates, inevitably leads to other subjects. This pleasing and enlightening history of pedestrianism unfolds like a walking conversation with a particularly well-informed companion with wide-ranging interests. Walking, says Solnit (Savage Dreams; A Book of Migrations), is the state in which the mind, the body and the world are aligned; thus she begins with the long historical association between walking and philosophizing. She briefly looks at the fossil evidence of human evolution, pointing to the ability to move upright on two legs as the very characteristic that separated humans from the other beasts and has allowed us to dominate them. She looks at pilgrims, poets, streetwalkers and demonstrators, and ends up, surprisingly, in Las Vegas--or maybe not so surprisingly in that city of tourists, since "Tourism itself is one of the last major outposts of walking." Inevitably, as these words suggest, Solnit's focus isn't pedestrianism's past but its prognosis--the way in which the culture of walking has evolved out of the disembodiment of everyday life resulting from "automobilization and suburbanization." Familiar as that message sounds, Solnit delivers it without the usual ecological and ideological pieties. Her book captures, in the ease and cadences of its prose, the rhythms of a good walk. The relationship between walking and thought and its expression in words is the underlying theme to which she repeatedly returns. "Language is like a road," she writes; "it cannot be perceived all at once because it unfolds in time, whether heard or read." Agent: Bonnie Nadell. 4-city author tour.
Copyright 2000 Reed Business Information, Inc.

From Library Journal
Solnit (A Book of Migrations) casts a wide net in an attempt to understand what walking contributes to the human experience. She argues that creativity has been linked to walking from human's first steps and that, now, our speeding culture discourages people from taking the time to walk. If this happens we risk losing a critical tie to ourselves as well as our communities and landscapes. Solnit's smart and entertaining points come to life through her study of the many literary references to walking (by such authors as Rousseau, Wordsworth, Woolf, Muir, and many others) and a social overview of the many ways people have incorporated walking into their lives (through pilgrimage, wilderness hikes, political marches, and city strolls, to name a few). Each of these modes of walking is a vibrant part of this compelling, sometimes meandering, social history. Throughout, Solnit clearly enjoys the different feelings and philosophical thoughts that walking evokes, often telling stories of her own walks along the way. Personable, but challenging and serious, this is recommended for all libraries. [See profile of Solnit on page 185.--Ed.]--Rebecca Miller, "Library Journal.
---Rebecca Miller, "Library Journal"
Copyright 2000 Reed Business Information, Inc.

Most helpful customer reviews

30 of 30 people found the following review helpful.
Really Enjoyed Solnit's Perspective
By A Customer
I found this book to be a fascinating read because of Solnit's writing style and because of her commentary on the subject of walking. Although I have always enjoyed walking myself Solnit helped me understand some of the more philosophical reasons why. Contrary to the views of other reviewers Solnit does include her own commentary such as her experience on the Chimayo pilgrimage and as a woman walking down the streets of her own neighborhood in San Francisco. One may say Why not read the people Solnit quotes rather than Wanderlust, but the fact is Wanderlust increased my exposure to such works and helped me understand their context. Her perspective on the history of the freedom to walk is truly eye-opening; we take it for granted that these days we can pretty much walk anywhere we want to.
But, it's really an extended essay.

1 of 1 people found the following review helpful.
An erudite and idiosyncratic meander, commencing and ending in Nevada…
By John P. Jones III
…of all places. Nevada is a state one does not normally associate with a “good walk,” spoilt or otherwise. Rebecca Solnit covers a lot of territory, mental as well as geographical, in between her Nevada “bookends.” I thoroughly enjoyed this book, and give credit to Amazon, for suggesting it based on my “search history.”

Solnit lives in San Francisco, apparently not far from my daughter, near Golden Gate Park. Both enjoy walking in the most European of American cities. She commences by describing a familiar walk around a headland just north of Golden Gate Bridge, quipping on Heraclitus’s dictum on rivers: you never step onto the same trail twice. On the headland’s walk she relates her work in the ‘80’s, in Nevada, as an anti-nuclear activist, walking near test sites. Such statements as: “… a certain kind of wanderlust can only be assuaged by the acts of the body itself in motion, not the motion of the car, boat or plane,” helped “draw me in.”

As the subtitle indicates, it is the “history of walking,” and she does commence at the beginning, when our ancestors came down from the trees, stood upright, perhaps to see better, as they wandered out on the savannah, not to mention being able to carry a few things. She also found resonance in the first line from a book I read so very long ago, Robert Ardrey’s African genesis: A personal investigation into the animal origins and nature of man: “Not in innocence, and not in Asia, was mankind born.” She relates the various theories and academic in-fighting on this issue.

Solnit has also lived in rural New Mexico, and although not specifically religious, participated in the pilgrimage to Chimayo. As she says: “…walking cross-country let us be in that nonbeliever’s paradise, nature…” From Chimayo the author segues into other famous pilgrimage routes, such as Santiago de Compostela, where she observes: “When pilgrims begin to walk several things usually begin to happen to their perceptions of the world which continue over the course of the journey: they develop a changing sense of time, a heightening of the senses, and a new awareness of their bodies and the landscape…” I once would rent a holiday home in a small village in Provence, Velleron, and in the local bookstore picked up a copy of DE VELLERON A BETHLEEM which related the 10 month, 4650 kilometer walk of two very real religious pilgrims from that village, Claudia and Robert Mestelan, so they could be in Bethlehem, in the Holy Land, for Christmas, 2000. A remarkable achievement, for a couple in their ‘50’s, one that could not be duplicated today, due to the fighting in Syria.

Jean-Jacques Rousseau and William Wordsworth were both practitioners as well as theoreticians of the “art” and necessity of walking. They both claimed to do their best thinking while in motion. They were the godfathers of those who now walk for pleasure and not of necessity. Solnit covers numerous other authors, and has added to my list of “must read” books with the likes of John Muir’s A Thousand-Mile Walk to the Gulf, and the one she proclaims to be here favorite mountain memoir, Smoke Blanchard’s Walking Up and Down in the World : Memories of a Mountain Rambler.

Men and women are not equal when it comes to walking. The author devotes an entire chapter to that issue, starting with the horrific treatment of Caroline Wyburgh, age 19, who went out walking in Chatham, England, in 1870. Women must always carry a baggage of “considerations” that do not encumber a man when taking a stroll.

Ah, Paris. It is no surprise that the author has a chapter on walking in the City of Light, as well as exploring the concept of a “flaneur,” one who has the time to wander, and actually observe. Solnit has read much about and concerning the city, and concludes: “Such a density of literature had accumulated in Paris by the time of Nightwood (New Edition) that one pictures characters from centuries of literature crossing paths constantly, crowding each other, a Metro car full of heroines, a promenade populated by the protagonists of novels, a rioting mob of minor characters.” Soon thereafter, Solnit is in the antithesis of Paris, with its faux-this and faux-that, Las Vegas, and astutely notes how this city that represented the triumph of car-culture has become a place of strollers on “The Strip” due to the traffic jams.

The only error that I noted was on p. 134, where the poet Petrarch climbed Mt. Ventoux in 1335. The mountain is in France, and not Italy, as stated. Nonetheless, my personal standard for measuring the excellence of a book are the number of passages I have marked. A quick review indicates such marks on almost every other page. Solid thoughts, and witty aphorisms. A great book that will be referenced numerous times, and deserving of that special 6-star rating.

68 of 75 people found the following review helpful.
A lovely idea
By Purple Ink
This book fulfils that vital function of art to make you re-evaluate something that might have seemed simple and ordinary. For a few days after reading this book, I could not stop thinking about walking - its history, implications, value etc. For my taste, I would have wanted the author to tell me more about what she thought of walking, rather than always relying on great names (Wordsworth, Benjamin, Long etc); but I love the idea of the book and the personality of the author that comes through - radical, humane, witty, sometimes wonderfully dandyish, at other times, impassioned and serious.

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Minggu, 23 November 2014

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Collected Fictions, by Jorge Luis Borges

Jorge Luis Borges has been called the greatest Spanish-language writer of our century. Now for the first time in English, all of Borges' dazzling fictions are gathered into a single volume, brilliantly translated by Andrew Hurley. From his 1935 debut with The Universal History of Iniquity, through his immensely influential collections Ficciones and The Aleph, these enigmatic, elaborate, imaginative inventions display Borges' talent for turning fiction on its head by playing with form and genre and toying with language. Together these incomparable works comprise the perfect one-volume compendium for all those who have long loved Borges, and a superb introduction to the master's work for those who have yet to discover this singular genius.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

  • Sales Rank: #17023 in Books
  • Published on: 1999-09-01
  • Released on: 1999-09-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.40" h x 1.51" w x 5.76" l, 1.34 pounds
  • Binding: Paperback
  • 576 pages

Amazon.com Review
Although Jorge Luis Borges published his first book in 1923--doling out his own money for a limited edition of Fervor de Buenos Aires--he remained in Argentinian obscurity for almost three decades. In 1951, however, Ficciones appeared in French, followed soon after by an English translation. This collection, which included the cream of the author's short fictions, made it clear that Borges was a world-class (if highly unclassifiable) artist--a brilliant, lyrical miniaturist, who could pose the great questions of existence on the head of pin. And by 1961, when he shared the French Prix Formentor with Samuel Beckett, he seemed suddenly to tower over a half-dozen literary cultures, the very exemplar of modernism with a human face.

By the time of his death in 1986, Borges had been granted old master status by almost everybody (except, alas, the gentlemen of the Swedish Academy). Yet his work remained dispersed among a half-dozen different collections, some of them increasingly hard to find. Andrew Hurley has done readers a great service, then, by collecting all the stories in a single, meticulously translated volume. It's a pleasure to be reminded that Borges's style--poetic, dreamlike, and compounded of innumerable small surprises--was already in place by 1935, when he published A Universal History of Iniquity: "The earth we inhabit is an error, an incompetent parody. Mirrors and paternity are abominable because they multiply and affirm it." (Incidentally, the thrifty author later recycled the second of these aphorisms in his classic bit of bookish metaphysics, "Tlon, Uqbar, Orbis Teris.") The glories of his middle period, of course, have hardly aged a day. "The Garden of the Forking Paths" remains the best deconstruction of the detective story ever written, even in the post-Auster era, and "Pierre Menard, Author of the Quixote" puts the so-called death of the author in pointed, hilarious perspective.

But Hurley's omnibus also brings home exactly how consistent Borges remained in his concerns. As late as 1975, in "Avelino Arredondo," he was still asking (and occasionally even answering) the same riddles about time and its human repository, memory: "For the man in prison, or the blind man, time flows downstream as though down a slight decline. As he reached the midpoint of his reclusion, Arredondo more than once achieved that virtually timeless time. In the first patio there was a wellhead, and at the bottom, a cistern where a toad lived; it never occurred to Arredondo that it was the toad's time, bordering on eternity, that he sought." Throughout, Hurley's translation is crisp and assured (although this reader will always have a soft spot for "Funes, the Memorious" rather than "Funes, His Memory.") And thanks to his efforts, Borgesians will find no better--and no more pleasurable--rebuttal of the author's description of himself as "a shy sort of man who could not bring himself to write short stories." --James Marcus

From Publishers Weekly
Undeniably one of the most influential writers to emerge in this century from Latin America or anywhere else, Borges (1899-1986) is best known for his short stories, all of which appear here for the first time in one volume, translated and annotated by University of Puerto Rico professor Hurley. Many of the stories return to the same set of images and themes that mark Borges's best known work: the code of ethics embraced by gauchos, knifefighters and outlaws; labyrinths; confrontations with one's doppelganger; and discoveries of artifacts from other worlds (an encyclopedia of a mysterious region in Iraq; a strange disc that has only one side and that gives a king his power; a menacing book that infinitely multiplies its own pages; fragmentary manuscripts that narrate otherworldly accounts of lands of the immortals). Less familiar are episodes that narrate the violent, sordid careers of pirates and outlaws like Billy the Kid (particularly in the early collection A Universal History of Iniquity) or attempts to dramatize the consciousness of Shakespeare or Homer. Elusive, erudite, melancholic, Borges's fiction will intrigue the general reader as well as the scholar. This is the first in a series of three new translations (including the Collected Poems and Collected Nonfictions, all timed to coincide with the centennial of the author's birth), which will offer an alternative to the extensive but very controversial collaborations between Borges and Norman Thomas di Giovanni. First serial rights to the New Yorker, the New York Review of Books and Grand Street.
Copyright 1998 Reed Business Information, Inc.

From Library Journal
Borges, one of the giants of 20th-century world literature and a pioneer of Spanish American letters, is the master of the short tale he called ficcion. Not quite short stories, Borgesian narrations are metaphysical speculation, the elaborate working out of a hypothetical premise or philosophical concept. Published partly in commemoration of the centennial of his birth, this collection marks the first time that all his narratives, stretching over 50 years, have been compiled in one volume in English. Except for Shakespeare's Memory, which appears here in translation for the first time, the other seven books have appeared separately. The Reign of Labyrinths (1964), the staple anthology for years, will now more than likely be usurped by this more modern translation, which has useful notes about Argentine history and culture. What a thrill to find old favorites?"The Circular Ruins," "Pierre Menard," "The Library of Babel"?updated and boxed with lesser-known gems. An exciting publication event and an indispensable acquisition for all libraries; collected poetry and nonfiction are slated to follow next year.?Lawrence Olszewski, OCLC Lib., Dublin, OH
Copyright 1998 Reed Business Information, Inc.

Most helpful customer reviews

117 of 119 people found the following review helpful.
I now describe my pet turtle as monstrous
By Jonathan Tu
I have always been hesitant to read fiction originally written in any language except English. I'm fickle enough as it is without needing another person's biases and tendencies interfering with my own... and so it was with great trepidation that I bought Hurley's collection.

The stories in summation: marvelous. Hurley's work? I'll never be able to read these Borges stories again without Hurley's translation heavily influencing, and that is an endorsement. I suspect that for most people their first experience of Borges will always be their most memorable, and their preferred. I don't think there are many "On first reading Chapman's Homer" instances: that initial shock of strange and monstrous (perhaps my favorite Borgesian adjective) is evident through any kind of translation so long as it is basically competent. Whatever arguments others may have with Hurley's, they can at least admit that his is that.

But I feel there's more: a playful lilt to the language, one that isn't overly scholarly or mechanical. Hurley's introduction briefly talks about the particular style Borges would become famous for: a laconic, matter-of-fact myth disguised as mere sentences, with the employment of words normally alien to each other. Hurley serves this style well, and his presentation of the most memorable lines of each story were the ones that stayed with me even after readings of several different versions. I'm not exaggerating when I say that I sat down with four different versions of "The Library of Babel" and compared them sentence by sentence. I was living in a bookstore at the time, stuck on an island in the middle of the Aegean and co-habitating with an Englishman who held Irby's version as the superior. I listened politely, and compared, and found that even after ouzo and attempts at persuasion it was my original experience that resonated. Reading Irby's left in me a strange longing for Hurley's words. I remember this line in particular:

"They were urged on by the delirium of trying to reach the books in the Crimson Hexagon: books whose format is smaller than usual, all-powerful, illustrated and magical." (Irby)

"They were spurred on by the holy zeal to reach - someday, through unrelenting effort - the books of the Crimson Hexagon - books smaller than natural books, books omnipotent, illustrated, and magical." (Hurley)

It was that "someday, through unrelenting effort" which stuck with me, and its absence in Irby doomed the entire enterprise. Is this a lack of Irby's, or my own bias towards the translation I first read? I'm not sure, but in almost every way I preferred Hurley.

There seems to be a distinct wave of anti-Hurley sentiment, and it's of the "I read a review that said it, but I'll assume that opinion as my own" variety. I eventually found that the Irby-devoted Englishman hadn't even bothered to read the Hurley version. Don't make his mistake of dismissal-by-proxy: try it for yourself.

179 of 191 people found the following review helpful.
A trove of mythological stories defying space and time.
By Dr. Kasumu O. Salawu
Some earlier reviewers complained about the quality of the translation of this collection of stories by Andrew Hurley, especially when compared to the collaboration between Jorge Luis Borges, (JLB, as he liked to sign), and Norman Thomas di Giovanni in preparing Labyrinths. (I suggest you read all reviews in the order they were written.) As one reasonably familiar with JLB's oeuvre, (a word JLB disliked), I state unequivocally that paying six dollars more for four times the number of stories in Labyrinths is a great bargain. Beyond nickels and dimes, it is precisely because the works of JLB were erstwhile translated into English in bits and pieces that his recognition as a gifted writer took so long in coming. (Jean-Pierre Berne's two-volume French translation, Oeuvres completes, is highly recommended.)
American-born writer, editor, translator and collaborator, di Giovanni, was JLB's personal assistant in Buenos Aires from 1968 to 1972. I shall now illustrate specifically how his style of translation differed from that of Hurley with the story "The Gospel According to Saint Mark." In characterizing the Gutre family when they first met Espinosa, di Giovanni wrote "They were barely articulate," (in English, that is), while Hurley scribed "They rarely spoke." While the former sentence explains why "the Gutres, who knew so much about things in the country, did not know how to explain them," (page 398 in this book), the latter indicated an aloofness if not suspicion of Espinosa from their first meeting which addresses the irony of the ending. In depicting their eagerness to have St. Mark read to them after dinner, Hurley wrote "In the following days, the Gutres would wolf down the spitted beef and canned sardines in order to arrive sooner at the Gospel" while di Giovanni essayed "The Gutres took to bolting their barbecued meat and their sardines so as not to delay the Gospel." Where di Giovanni deciphered JLB's allusions to Herbert Spencer, W. H. Hudson and Charles I, Hurley explicated the origin of Baltasar Espinosa, the whereabouts of Ramos Mejia and the theme of the novel, Don Segundo Sombra. Take your pick.
Finally, JLB habitually changed texts from edition to edition, especially in his poetry. It is then problematic to determine the faithfulness of the translations. Rest assured that, though rhyme and rhythm are compromised in any translation, in Hurley's rendering, the brilliance and magic of each story is preserved down to, say, the symbolism of the goldfinch at the conclusion of the illustrative yarn, "The Gospel According to Saint Mark."

156 of 167 people found the following review helpful.
Bad translation
By lux
The critical applause the marketing department of this book's publisher dreamed up is one recent example of how money corrupts art. Penguin, often a reliable imprint, needs to be told that THERE IS NO EXCUSE FOR PUBLISHING INFERIOR MATERIAL. This was the first Borges I read, and I loved it, until I encountered alternative translations in an anthology called 'Borges: A Reader'. I noticed that the most elegant and intense translations were by someone called Norman Thomas di Giovanni. I asked a number of my Spanish-speaking friends to compare the stories to the originals, and they unanimously agreed that the di Giovannis were more accurate as well. Later I heard that di Giovanni published a number of Borges' works in several books that are now out of print. I wondered why a superior translation would be superseded by a new, clunky one, and why this new clunky one would be hailed as the "definitive English version". I found out that it's because di Giovanni made his translations in collaboration with Borges himself, that they spent years getting it right, and that Borges wept with joy over the translations which he deemed in some cases better than the original. So they agreed to split the profits 50/50, an unprecedented thing for translator to make that percentage. When Borges died his Estate decided they'd make more cash if they got a new translation... and they hold the copyrights. Thus the true definitive versions are condemned to dust.

The best that can be said about Hurley's translation is that they're "capable" (see Harold Bloom's obviously paid-for quote on the back); well, you'd have to REALLY screw up to make Borges not amazing. In other words, read whatever you can because Borges is the absolute greatest: the most intellectual fantacist, the most romantic scifi artist, the most classical modernist and modern classicist... and let's not forget the inventor of postmodernism.

I should say that after reading all of Hurley's Borges and most of di Giovanni's (as well as versions by various other people here and there) there's nothing really *wrong* with Hurley; often he succeeds in being more "cool" (in a curt, bad*ss kind of way) than di Giovanni, though at the cost of Borges' Victorian intellectual tone (present in all the writings, lectures, and interviews he did in English, as well as the Di Giovanni versions); and instead of re-translating into English from Spanish the bits here and there that Borges translated from English (most often and lengthily occurring in 'A Universal History of Infamy') Hurley just prints the text of the original verbatim, which breaks down some of Borges' carefully crafted illusions but offers much more insight. Also, he is on occasion a little more literal than the Di Giovanni/Borges translations, and therefore perhaps more 'authentic' in some sense... but is it possible to be more true to Borges than Borges was? Changes from the original stories in the Di Giovanni versions must be viewed as the author's revised intentions rather than as inaccurate translation, because of how closely Borges worked with him.

Bottom line: In a perfect world, both (and even more) versions would be readily available. But in the present circumstances, where due to greedy money battles we must have one and only one, and all others must be locked in the vault and kept from the eyes of the people forever, why would we want the results of some guy's day job instead of the one Borges himself worked on?

WHY WOULD THEY KEEP THAT FROM US?

Don't support this blacklisting; seek out the di Giovanni versions and demand Penguin stop publishing inferior material.

In a final note, I would recommend 'Borges: A Reader' edited by Emir Rodriguez Monegal and Alastair Reid over any other Borges book in print as both the best place to start and an essential volume. It contains poems, lectures and essays, movie reviews, satires, and of course a great many of the stories printed here, from a variety of translators (including a few Hurleys and a whole lot of Di Giovannis). There is material here you can't find anywhere else, and as two Spanish speakers and Borges experts you can trust them to pick "the best translations" as they say. It is out of print but not hard to come by. Explore!

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Sharpe's Rifles (Richard Sharpe's Adventure Series #1), by Bernard Cornwell

Bernard Cornwell's action-packed series that captures the gritty texture of Napoleonic warfare--now beautifully repackaged

It's 1809, and Napoleon's army is sweeping across Spain. Lieutenant Richard Sharpe is newly in command of the demoralized, distrustful men of the 95th Rifles. He must lead them to safety--and the only way of escape is a treacherous trek through the enemy-infested mountains of Spain.

  • Sales Rank: #44903 in Books
  • Published on: 2001-02-01
  • Released on: 2001-02-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.60" h x .60" w x 5.20" l, .46 pounds
  • Binding: Paperback
  • 304 pages

From Publishers Weekly
The eight previous books about Richard Sharpe, up-from-the-ranks infantry officer in H.M. Rifles, followed him from Talavera in 1809, battling Napoleon's armies across Iberia into France in early 1814. This "prequel" set in January 1809 has the new Lieutenant Sharpe trying to get his small English band away from the victorious French. Sharpe hopes to join the British outpost in Lisbon but is waylaid by a Spanish major of cavalry into helping him pull off a "miracle." The noble Major Vivar means to raise the flag of Spain's patron saint over Santiago de Compostela, now in French hands, as a sign that Spain will not be defeated. Readers of the earlier books will enjoy the usual smooth writing and vivid, occasionally quite gory, color. The battle scenes are thrillingly realistic and we always learn something: a macho , for example, is a mule whose vocal chords have been cut so that it can't bray and warn the enemy. The subplots revolve around Sharpe's making the recalcitrant Harper a sergeant, winning the respect of his troops and, alas, losing a fair young English girl.
Copyright 1988 Reed Business Information, Inc.

From Library Journal
Sharpe may come to personify the British Army during the Napoleonic Wars in the same way that Horatio Hornblower does the Royal Navy. Sharpe's exploits during the Peninsular Campaigns (1809-14) have been chronicled in eight prior novels; this "prequel" is the story of Sharpe's first command. He becomes the leader of a force of Rifles cut off behind lines during the disastrous English retreat from Spain and battles not only crack French dragoons but also the fierce winter weather and the hostility of his men. A Spanish major offers aid if Sharpe will help with his own desperate mission to guarantee a Spanish victory. A crackling adventure yarn, sure to delight Sharpe's many fans. Charles Michaud, Turner Free Lib., Randolph, Mass.
Copyright 1988 Reed Business Information, Inc.

Review
[Sharpe is] a hero in the mold of James Bond. -- The Philadelphia Inquirer

Most helpful customer reviews

26 of 26 people found the following review helpful.
A beginning that you will like.
By Charles McLaughlin
If you have read other Sharpe books, you will realize right away that the story goes back to the time before "Sharpe's Eagle". It serves to set the stage and introduce the characters that will populate the series thoughout the campaigns in Portugal and Spain. If you haven't read any other Sharpe stories and you like Historical Fiction that are enjoyable reads you are going to enjoy it.
Don't get me wrong, as a story it stands alone quite well. Readable and entertaining are the first thoughts that come to mind. The battles/fights seem to be historically accurate as well as well written (not always the case with storied written about this time period). The characters are understandable, without appearing to be twentieth-century men being transported to another era. As Sharpe grows as a commander, you both empathise with his problems and cheer his accomplishments.
The whole series is worth reading, and this a great prequel to the timeframe where most of the action takes place.... and there will be quite a lot of it!
PS... The books are better than the BBC series.

30 of 31 people found the following review helpful.
Welcome to the Peninsular Wars!
By A. Ross
Some nine books into his Napoleonic series, Cornwell pauses here to return to the beginning of Sharpe's association with the 95th Rifles. In 1809 French forces were sweeping the British out of the Spain in a full retreat to Portugal. Sharpe is a Lieutenant, and a lowly quartermaster at that, but through a series of mishaps and skirmishes, he finds himself in command of the tattered remnants of a Rifle Company cut off from the main British army. These men, led by the indominitable Irishman Harper, are demoralized, distrustful of Sharpe, and waver on mutinousness. We see his first clumsy attempts at leading men, as he tries to get them to safety. Their momentary alliance with a Spanish Major who is escorting a mysterious strongbox only leads to more trouble as the combined forces are dogged by a unit of French Cavalry intent on capturing the box. Of course, over time, the contents of the box are revealed and a thrilling city battle is fought. We also see Sharpe's first awkward falling in love, with the niece of some British missionaries (who provide some of the most comic moments in the entire series). It's a good prequel to Sharpe's adventures in the Peninsular Wars, and while it makes a logical place for newcomers to start the series, it might actually be more fun for those who have already gotten to know Sharpe and Harper.

0 of 0 people found the following review helpful.
Vintage Cornwell
By John
Another great book in the Sharpe series. Excellent writing, a hero whose complexity makes him more believable and appealing than in many similar books, great action scenes and flawless attention to actual historic framework make it a winner

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