D-P Books

The book came promptly and was in great condition, as described. I am really enjoying reading it. Thanks much!

This book was recommended to me by my doctor when I asked him some questions about nutrition. I quite enjoyed this book and most certainly feel it was worth my while. There's not much that's mind-blowing here, there's no easy or magic secret to good health, but it spells out proper nutrition clearly and concisely and does recommend some foods you may not know of or consider, like quinoa as an example. The book is based on years of research, and I have no doubt that anyone's health would improve by following the advice in Eat, Drink, and Be Healthy.

This book is exactly what I was looking for: scientific information related to nutrition and health. It is clear, easy to read, and provides practical ideas for implementation. I have already changed my diet and feel great. I've even lost weight without trying. I really appreciate a book that takes all the research that has been done and boils it down into a readable text. This book has done that better than I expected.

With so much news constant inundating all of us on the most recent nutrition fads it's often difficult to decide what the right choices are when it comes to eating.

This book is an excellent source of advice citing which studies make sense to pay attention to and what sorts of dietary changes we can all be making to improve our lives. I purchased 2 copies, one for myself, and one for my parents.

The quality of the books are excellent. I had a problem receiving the books, though. When tracking them I was told they were delivered, but I had never received them. I got connected with customer service through the website and they helped make things right by re-sending my order. These books came in the same time I should have received my other books. I feel confident that I can order through Amazon again and they will make sure that I am satisfied. Thank you, Amazon!

The Amazon reviews were extremely helpful in selecting this particular editon of Go Dog Go. I wanted the same edition my children (as toddlers) had enjoyed, and without the reviews I may have received an abbreviated, later version.

Go, Dog.Go! by P.D. Eastman, is a great book for young children ages 3-8. it shows children the differences between these comparisons.:big/little, like/dislike, in/out, top/bottom, up/down, over/under, day/night, work/play and different colors. This book is meant for getting children to try to read all by them selves. The vibrant and exciting pictures of different looking dogs will keep young children's attention. This book is a little long for young children's book, it's 64 pages long. I strongly recommend this book for any little kid it's a good one.

This was my 4 girls' favorite book EVER when they were little. I highly recommend it for any and all children out there.

A Seuss-style easy reader just made for dog lovers of all ages. A classic in every sense and a wonderful book to read to little ones just emerging into reading on their own. The colorful illustrations keep your child's attention, along with the dog action! My kids love this book and I recommend it. For the same ages, another colorful easy reader is Ladybug Baby Bug, by Janice and Mark Perkins. I really think you'll enjoy both in your home collection.

I hadn't seen this book for at least 25 years or more, until my mom started reading it to my son (her grandson). I was instantly transported back to my own young childhood, to the point where I remembered pages before turning to them. I remembered where the dogs were going and why they were going fast -- they were going to a dog party, a big dog party!

Our 2.5 year old boy really loves this book, and even more satisfying, I can see it really making him think about language and how to say things. Beyond the little "romance" story line, I personally think the main benefit of this book is that it shows a little one how the English language works.

Think prepositions. If you've ever tried to learn a foreign language or know one, you'll know that prepositions, and how they work are among the most difficult things to master. This book shows how most of them work, for example, "two dogs, in a house, on a boat, in the water," illustrated to demonstrate the meaning.

Our little guy is growing up bilingual (American Dad, Italian Mom), so his speaking is somewhat delayed as he sorts everything out. It was a true joy to hear him the other night say "green up" (well, more like "geen up") and "yellow down" for the page where "the green dog is up, and the yellow dog is down."

So, as the many other reviews have noted, there is so much positive about this book, and I join the others in recommending it very much. Fun, educational, and interesting to look at -- what more could there be in a kids' book?

this book has obviously meant a lot, and many things, to many people.

possibly Ouspensky's work overall has some of the beauty of the late 19th and early 20th centuries about it.

usually I wonder how this book would have turned out had he published it himself. the author might have changed some things, written a preface, and so forth; that is, provided an orientation for the reader.

written after the fact, it may even show the author's reservations from the first chapter, not the last, and the fact that he recorded his teacher's statements doesn't necessarily mean that he endorsed them all -- duh!

Have you been searching for spiritual truth and have had to traverse the myriad of paths? This is the book to read as it contains what one truly needs to know in one book. The teachings contained in this book plants the seeds for the expansion of mind for higher consciousness.

This is an extraordinary mind-altering book, if you allow it to be.

You cannot truly understand G.'s teachings from your own perspective. You have to see it from the perspective that G. wants you to see it from. You have to relinquish your current thinking and surrender to his view, then you can see the truth that lies behind the illusions... This is his way of teaching, not by ways of deception, but through submission. By showing you the possibilities that lie within another dimension of perception. Only then can you truly see your 'self'.

P.D. Ospensky as a teenager decided to forgo an academic education and instead to search for or hidden knowledge. His search lead him to study Theosophy, to travels in the East, to India, and such. Yet, he remained dissatisfied with what he found. Little did he know that he would find what he was looking for (The Miraculous) in a teacher who showed up from the East in his very own Moscow!

This book is about Ouspensky's experiences learning from this teacher, a mystic and very strange one at that, G.I. Gurjieff.

Gurjieff teaches Ospenskys things he never knew, gives him experiences he never thought possible. This book is Ouspesnky's gift to us from of what he learned and experienced.

Certainly, this book works mostly on the intellectual mind, and yet, Ouspensky frequently tells us that we must find an 'emotional state' and that, my friends, is 'The Work'.

This is easily the most important book I have ever read, and afterwards, I could lo longer see the world the same, or live my life in the same way.

If I was forced to have only one book, this would be it. Not for the Herd or Lazy. No fluff around the edges, tells it like it really is.

The impact of this novel is materially diminished by its reliance on obsolete paradigms of the previous century. Science seeks to reanimate creatures of the past not with incantations, wall inscriptions and the usual mumbo gumbo of witchcraft and sorcery, but with the information storing capacity of DNA macromolecules and cellular implants. In Lovecraft's works, as in certain scriptural references, matter is endowed only with minimal capacities to create the inorganic realm - but living creatures need to have the influence of nonmaterial spiritual influences from BEYOND. Lovecraft hints at methods and materials used in the "experiments" he describes, but relies too heavily on "fancy" language to create atmosphere...a practice losing its impact after frequent repetition. This novel also develops much too slowly......the material would have fit more comfortably in a short story or a novelette. In addition, I think H. P. might have started writing a handbook for tour guides of Providence, R. I. and took a sudden turn on Route 2 in Cranston. The thought is amusing to this writer to consider the REAL Providence and its appeal - consisting until recent times - mainly of sidewalk art of prostrate bodies, being accosted by pan-handling bums, or rats scurrying about freely in daylight along the canal. In spite of these comments I would recommend this book. Read this volume and then go for a walk in the environs described therein ---watch out for "incomplete" rats......

If you want really classic Lovecraft at the top of his form, then this novel is it. It is a good, tight, driven read- except for the extensive prose tour of his beloved old Providence near the beginning. Yet, even this detailed introduction helps to weave an unmatched atmosphere that draws you deeply into Lovecraft's world. This is an ode to Providence, and to those unobtrusive and unlikely heroes that would keep it safe from cosmic evil.

Lovecraft carries us from colonial days to the "modern" 1920's in this tale. We are introduced to the hidden brotherhood of dark magicians and necromancers- those to seek to wield unnatural power from beyond the grave and beyond the stars. So much concentrated occult information, or rather enticing hints of such information, is packed into the narrative. Mystery within mystery unfolds. Yet, it is rather ordinary men that are called upon to confront this inconceivable evil, even though it threatens their very sanity.

Besides being an extremely well written tale of supernatural suspense it also serves as a teaching tale. There is madness out of time and a horror from beyond the spheres that threatens to entrap and destroy the unwary. Do not call up what ye lack the power to put down. Upon this depends more than can be put into words- all civilization, all natural law, perhaps the fate of the solar system and the universe. Perhaps even more than this- all because one fool opened a door and there was no one there with the knowledge to close it...

This is the type of story that you sit back and imerse yourself in the setting. With each new tid bit of information the horror of Joseph Curwen becomes clearer and clearer. The final chapter however sent chills down my spine, as Dr Willet searches through Curwen's undergroud, antedeluvian laboratory. The dank putrid odors, the slime green walls, and the horrific wailing from the darkness... the build up is phenominal, and the pay off will have you sleeping with your lights on!

Great read, you will go back to it again and again.

At 48,000 words, this is the longest tale that H.P. Lovecraft ever wrote. It is also his best.

This novel has both good plotting and an otherworldly atmosphere that pervades the book. The setting is 1920's New England where there was a revival in interest in the occult. However, the key to the tale is the 18th Century New England scene that Lovecraft had a lifetime interest in.

The character of Charles Dexter Ward was based on Lovecraft himself: a lonely intellectual who was an antiquarian who detested the Industrial Revolution. Ward's research into the occult leads to the reincarnation of one of his ancestors who in turn hatches a plot with both Ward and one of Ward's friends for a mass resurrection of the dead who would become mindless zombies dedicated to both the destruction of heavy industry in America as well as the forced expulsion, if not mass murder, of the Roman Catholic immigrants who Lovecraft detested so much from America.

The Case of Charles Dexter Ward is a fantasy/horror novel that tells you a lot about its author. H.P. Lovecraft was a self-styled aristocrat from a decadent Old Money family who bitterly hated the Roman Catholic Church and especially the Irish and Italian immigrants who by 1928, when this novel was first published, had already assumed a position of political power at the expense of the WASP elite that Lovecraft was a member of. Clearly, The Case of Charles Dexter Ward was reflective of Lovecraft's religious bigotry and his hateful tendencies towards certain ethnic and religious groups. It should come as no surprise that during the 1930's, Lovecraft frequently praised Adolf Hitler and the Nazis.

The Case of Charles Dexter Ward is a uniquely powerful and compelling work by a master of horror fantasy.

Charles Dexter Ward is a young man in Providence, RI who is fascinated by antiquities --- too fascinated, perhaps. He becomes obsessed with an ancestor, an alleged warlock named Joseph Curwen who escaped persecution in Salem over 200 years before and fled to Providence. A unusually long-lived ancestor, I might add.

If you aren't used to reading Lovecraft, or other writers of the same time period, the language and writing style might be a little tough at first, but it is well worth getting into. Lovecraft leaves a lot to the imagination of the reader --- a device that works quite well in this story.

This is one of my favorite novellas --- actually, one of my favorite stories, even. I first read when I was in high school, and I have re-read it every few years ever since. I re-read it again a couple of days ago and I still love it. This is Lovecraft at his best.

I read this book many years ago and it really hit me hard. I was a Navy Aircrewman who had been through SERE school. The courage and determination of LT Lance Sijan was incredible. I believe you can only relate to his story if you have in the Military and the sacrifices we make every day or have family or a loved one who has been in. I recommend this book for any Military Aviator.

The story moves along quickly. Its not a book you are going to struggle to finish. It will hold your attention and is a great motivational story as far as will and mental toughness are concerned.

I read this story years ago and remember being inspired by the courage of this young man. One reviewer stated that his plane was shot down, I thought that the bombs he was dropping detonated prematurely and caused the crash. Regardless, it's a great story about a guy who never gave up.

I was a young Air Weapons Controller stationed in Southeast Asia during the time of Lt. Sijan's shootdown. However , it wasn't until much later, when I read "Into the mouth of the Cat", that I came to understand what a truly amazing person Lance P. Sijan was. I have since given each of my son's copies of the book, so that they, too, could read about what the definition of an american hero really is. Some of the comment's logged in this forum question his motivation for continuing to try to escape...they need to read the Code of Conduct that those of us in the military tried very hard to live by. Many of the POW's found it almost impossible to abide by every code, and understandably so. Some of the torture tactics that were administered by the enemy, no mortal could withstand. Lance P. Sijan came as close as any human being could, and ultimately died from it. If one longs to find someone that truly lives up to the definition of "Hero", they should look no further than Lance P. Sijan. He has been my hero for many years. Mike Carbonneau, Firebase Sharana, Afghanistan, Aug. 2008

While in the USAF, back in 1987, I had first read this book. This is the type of book, that, when you begin to read it, you cannot put it down until it is finished. The author writes in a very easy to read style, no "big" words, but, is very descriptive and detail orientated in his telling of Sijan's heroism. Although, this is a war "related" story, I feel that it is not a "War Story". Malcolm McConnell, through his attention to detail, chronicles the extremely brave and selfless actions of an otherwise ordinary man from Milwaukee, Wisconsin. After I had originally read this, 1987, I was so overwhelmed by the author's accurate depiction of what had been "Folk Lore" in the Bay View area of Milwaukee. Because of this book, I have always thought of Sijan, and all that he had endured, whenever an obstacle or challenge is placed before me. This is a very inspirational book. As I was driving on Kinnickinnic Avenue in Bay View, I passed by a Flag that is displayed right next to the road, in a little ballpark that is named Lance Sijan Field. And, every time that I pass it, I instinctively Salute. But, this time, I also bought this book, actually, four, one for my Father, two for my Brothers, and, of course, one for myself. By the way, this time, again, I had also read it in one sitting!

My mother-in-law gave this book to my kids when they were young and they still remember the story of the little boy and his pet fish. A must for any kids' book collection.

Almost every nite we read "Mr. Carp" as my son calls it. Such a sweet story. I don't even mind reading it 700 times. I take it on vacation too. You'll love it.

This was one of my favorite books as a child and it was my daughter's absolute favorite book as a child.
Every new child in our family gets a copy of this book and it has become a favorite for all of them.

When my son was a little boy, this was his favorite book. He wanted to take it out of the library so many times that I finally bought a copy and gave it to him for Christmas.

My little grandson is two years old and he has 3 goldfish. I thought the book would be appropriate for him -- and he loves it.

This book is so cool. You just got to read this book. You'll laugh your pants off. You just got to read this book.

This is a very interesting book, written by an LAPD officer, looking back on his first year on the force, as a 'Boot,' which is what they call their rookies.

Dunn's book is by far the most interesting LAPD autobiography that I've read so far. He takes the reader straight inside some of the most dangerous and fascinating streets of Los Angeles.

I read this book years ago when it came out in hard back. It really helped me understand what my son was going through as a police officer. I just bought it again to give to a friend who's son is coming back from Afghanistan and wants to join LAPD, and I read it before passing it along because he says he added a few new tales. It is a fun, and fascinating book to read, and i recommend it for every young person who wants to be a police officer, or any mom who wants to know what their kids are going through thier first year out.

I believe this is a fantastic book for anyone thinking of joining law enforcement - or just trying to get a feel for what its like to become a cop.
I've also just completed the book "Gangs of Los Angeles", a candid look into the world of LA street gangs. I've done my best to retell their history and explain their culture in a way only an LA street cop with gang expertise could.

I first read this book when I was in High School I thought it was great, few weeks later I joined the LAPD Harbor's Division Explorer Scouts. One day while working at the station I met Sgt. Feula (a character mentioned on the book) I was very surprised, he did not know his name was mentioned on the book. He took me on several ride-alongs and I learned alot from him few months later I shipped out for the Military, he retired and I never heard of him:.... ///Sergeant Feula if you ever see this messege; thank you for everything, day by day I get closer and closer to become an LAPD officer, I will take what I learned from you and put it to use... Martinez///

This book is hands down the best book relating to firsthand police work I've read. Truly does give you a good sense of what it might be like to work in L.A. as a cop.

Daughter loves this book. We read it at least everyday and it was in perfect condition when received.

This book is a great way to introduce children to the subject of opposites. Fred and Ted like to play different musical instruments. They like different foods. They drive different colored cars. They are even different sizes.

The problem ensues when, after a day of skiing, Fred and Ted rent rooms at a hotel and discover that their beds are unsuitable. Fred and Ted meet to discuss a solution to their situation. After they fail to arrive at reasonable solution, a wily bird resolves their problem. Fred and Ted go back to the hotel to enjoy a peaceful sleep.

I like the simplicity of the story. As a fun alternative, you might consider asking your child to try to find a solution to Fred and Ted's problem before reading the ending.

Like many of the other reviewers, this was a favorite story of mine as a child back in the 70's. I am THRILLED that it is still in print and, (judging from the reviews here on Amazon), has a strong "following." The sweetness of the story is in its simplicity. I have already bought one copy as a gift, and I intend to spread the word of 'Big Dog, Little Dog' as gifts in the future as well.

It is a great book for children. My daughter is now 21 years old and is pregnant with our first grandchild. We used to read this book to her as a child. Along the way I misplaced the book, and she wanted another copy to read to her child. Her dad nicknamed her "Fred" after one of the characters in this book.

My son received this book on his third birthday - in 1977. My three year old grandson recently discovered the tattered and torn copy that I had saved. He immediately fell in love with it and proudly annouces that it is "Daddy's favorite book." I'm not sure which "boy" will be more excited when the new copy arrives but in the meantime it has brought back a flood of memories for this Grandma. What a joy!

_Lost in the City_ (1992) - a collection of short stories - is Edward P. Jones' first book, followed by the Pulitzer Price winning novel The Known World (2003), and All Aunt Hagar's Children (2006), a second collection of short stories. Both Lost and Aunt Hagar are about blacks in Washington, DC where Jones grew up in the neighborhoods he writes about. His stories are like mini novels with lush detail, multiple fully evolved characters and densely colloquial prose.

The stories have a common theme surrounding an old colloquial saying "Don't get lost in the city". The word "lost" means having no direction, aimless, with no intention, and the stories are about people in that sort of state of mind, simply doing time with no direction home. It also means alienation, being lost is the opposite of family and compassion, the stories involve broken and dysfunctional families, coldness. Charles Dickens wrote about London and the poor of the 19th century, but his stories were the opposite of Jones. Instead of that "coming home to family" Christmas time spirit of Dickens, Jones invokes coldness, alienation, purposelessness. I hesitate to call Jones "anthropological" because it is also very aesthetically pleasing, but like Balzac did for Paris in the early 19th century and Dickens for London, Jones invokes the spirit of a time and place that, while not full of good feelings and happy endings, does speak truthfully. The last story of the book, "Marie", ends with an old woman listening to an audio oral-history and I think Jones is telling the reader how he sees his own work, a history of a people and place.

My favorite story is in the middle of the book, "The Store", it is the most uplifting and optimistic surrounded by stories of tragedy and sadness. It is about a poor boy done good by hard work and honesty. Other stories I thought were excellent include "The Sunday Following Mother's Day" about a husband who kills his wife for no reason, and the resulting years of failed relationships with his son and daughter. It's epic scope crosses generations of multiple people, but it is also grassroots, concerning people who are invisible to society. "His Mother's House" is about a street drug dealer and his relations with his family, it helped me better understand how families (mothers, fathers, sons) and the drug culture can intermingle ."A New Man" is a heartbreaking story of a 15 year-old girl who runs away from home and is never heard from again. Overall I think the stories in _Aunt Hagar_ are better - more fully realized, longer - however these are still excellent, Jones is one of my favorite authors.

Truman Capote in his masterpiece In Cold Blood (1960) has the following quote (an actual quote from a sister to her brother who is in jail) which I think sums up Jones' stories:

"Your confinement is nothing to be proud of.. You are a human being with a free will. Which puts you above the animal level. But if you live your life without feeling and compassion for your fellowman - you are as an animal - "an eye for eye, a tooth for a tooth" & happiness & peace of mind is not attained by living thus."

Synchronicity is, more or less, a random event that seems to have more than a random meaning. Such it was when I read Edward P. Jones' short story collection Lost In The City directly after having read Sherman Alexie's Ten Little Indians. The reason was that Alexie's book showed off everything that's wrong with PC Elitist art and literature, coming from a person in an ethnic minority, while Jones' book- a 1992 National Book Award finalist, reprinted after the great success of his 2003 NBA and Pulitzer prize winning novel The Known World- showed off almost everything that minority writers can do to `fight the stereotype', as Alexie preaches, but does not practice. Both men's books deal with specific peoples in specific locals- Alexie's with Spokane Indians in Washington state, while Jones' with blacks in Washington, D.C. Jones, unlike Alexie, has quality writing in all fourteen of his stories, because his characters are fully realized, and nor caricatures nor stereotypes, and the situations that they have to deal with flow naturally out of predicaments of their proscribed lives. Are there some stereotypically `black' characters? A few, but they are minor characters, and in the background of the tales, as are most walking stereotypes you or I know. And there are seeming stereotypes- such as young hoodlums and drug dealers, that are revealed to have nuances and depths. Alexie does not undermine and nuance his characters in any way in his worst stories, while his best tale- one on the life cycle of a marriage between Indians, is his best tale precisely for the fact that its focus is on the marriage, not that it is an `Indian marriage'. Race and bigotry and pain are the reason for many Alexie tales, and they quickly devolve into screeds. Jones is a much more mature writer, and his worst tales, which are merely solid stories, are so not because of predictability, screeding, nor stereotyping, but simply because they go on too long, or the conversations do not serve the tale well. Those are minor ills, though, as this is a book that well should be praised. In comparison, especially, to the pap that's published nowadays, it's a great book....Why is it so difficult to find great writers and stories? Why does not the publishing industry find and promote more Edward P. Joneses? Well, first off, there are not that many, but, these stories may not be `moneymakers' because they do not offer pat solutions, nor are the characters caricatures, and they do not skim along the mere surfaces of things. It also takes an effort for readers to fully appreciate the multi-hued, and deeply textured tales and portraits Jones relates, and most people suffer from video game or MTV languor. Yet, is there, or has there ever been, a better virtual reality machine than a great piece of writing? A great poem puts you in a moment, and a great story can arc you through events that you can feel, almost as if experiencing them for yourself.

I loathe the cheapening of thought and conversation and striving for insight. That is why I love this book, and the relative handful of other works like it that are out there. Instead of the shot at a quick, cheap, moneymaker, publishers should seek quality, and promote it, to develop careers, rather than get one hit wonders, whose one hit was dependent upon things other than the writing quality- which is usually sorely lacking. Accept lesser profits in the short term, but greater in the long run, while also contributing to literature. It then forces an upward spiral of writing, where people can look to an Edward Jones, or William Kennedy, or Charles Johnson, and say, `I want to write like them, because they're good, and I want to contribute to my culture,', rather than this several decades long downward spiral where bad writers see a Mary Gaitskill or Yann Martell or Stephen Elliott or (fill in the Oprah-type writer) being published, and say, `I want to write like them, because it's easy, and I can write better than that crap, and I want to be famous.'

It is not enough to merely say why a writer is good, but show it, praise it, and honor it as among the best an individual can do, and the highest that human beings can achieve. On that note I will close with the terrific end of The Night Rhonda Ferguson Was Killed:

She made a pallet for her daughter beside the bed and turned out the light when she left the room. Occasionally, Cassandra would drift into what Anita thought was sleep. All the while Cassandra gritted her teeth. Sometime, way late in the night, Cassandra spoke out, and at first Anita thought she was talking in her sleep: She asked Anita to sing that song she sung in the car on the way home. Anita sang; long after her parents had gone to bed, long after she stopped wondering if Cassandra was listening, Anita sang. She sang on into the night for herself alone, her voice pushing back everything she did not yet understand.
Understand yet?

An artist whose prose and narrative arcs generate irresistible pull and evoke in readers a genuine sense of entire worlds, Edward P. Jones has written two books. The first, Lost in the City, garnered the PEN/Hemingway award. The second, The Known World, won the Pulitzer Prize. African American, a luminary of American letters, Jones affirms that which is humble and human, and does so with startling power. In the words of MLK he has a "heart full of grace, a soul generated by love."

This collection, first published in 1992, was considered Jones's first literary effort. I find this idea of firsts interesting and would like to look at it briefly before I move on to a few of the craft elements in his stories that I would most like to steal.

This collection of short stories was published a decade before Jones won the 2004 Pulitzer Prize for his novel "The Known World." Some of the stories in the collection were first published in the 1980s in literary magazines like Ploughshares and Callaloo. One of the stories "Marie" also appeared in the Paris Review in 1992. The thing that I find interesting is that these publications do not seem to register with the general public or even reviewers. Instead, his books are presented as sudden, award winning events. Instead of a writing career spanning 25 years of craft and respectable publications, we are presented with the image of a of sudden event, a spectacular storm, a writer whose first novel won the Pulitzer Prize.

In any event, the first thing I did when I opened "Lost in the City" was to read the opening lines of each story. I wanted to see how and where he began his stories. I was thinking of an essay by Debra Spark called "Getting In and Getting Out." The essay appears in "Bringing the Devil to His Knees: The Craft of Fiction and the Writing Life." There is an anecdote in the essay about a friend the author who is screening stories for the Iowa Short Fiction Prize. She says, "If I have to read another story that begins `The alarm clock rang,' I'll shoot myself."

Although I have never started a story with this particular phrase, I do tend to begin a story at the beginning. So as I read through the Jones collection I paid particular attention to the places he began his stories.

In "The Girl Who Raised Pigeons," Jones begins the narrative at some undefined future moment when the crisis of the story has already forced the characters' world to change. "Her father would say years later that she had dreamed that part of it, that she had never gone through the kitchen window...." The story never travels completely forward into the world from which these first lines are described. However, the story does end with a certain inevitability--a sort of narrative arc that points forward so that we understand how the characters arrive to the point we find them in the opening of the story.

"The Girl Who Raised Pigeons" covers a lot of ground in twenty-five pages. It outlines the decay of a Black, D.C. neighborhood and shows us how that decay affects the community. On one level it is a story about a father's coming to fatherhood as well as his young daughter's coming of age. It is about the place and the power of the natural world even in the urban environment. It is about an urban Black community on the edge of change.

The narrative is carried along by the story of the young girl and her pigeons. The story is usually told through a close third person narrator; however, the point of view does shift at times from the young girl, Betsy Ann Morgan, to other characters. These shifts offer insight into the community in which Betsy and her father live. But these shifts seldom last for more than a line or two and then quickly move back to Betsy.

I paid close attention to these shifts in point of view. But before I discuss them I would like to think a bit more about where these stories begin.

Another story that begins post-crisis is "The First Day." The story opens with the line: "On an otherwise unremarkable September morning, long before I learned to be ashamed of my mother, she takes my hand and..." This is the story about a child's first day of school. The story is short, only 5 pages, but it has taken a common event, a child's first day of school, and uses it to point out the divisions between social classes in the Black community. One of the interesting things about this story is that it is told in the first person. The protagonist never reaches the crisis described in the first line within the span of the story. The narrator shows nothing but love and admiration for her mother throughout the course of the story. We are lead by that single clause, "long before I learned to be ashamed of my mother," and the trajectory of the story to understand that the protagonists shame is inevitable.

I find it fascinating that he entire story hinges on this single clause. We never see a hint of shame in the narrator aside from her opening line. If that clause were deleted we would not necessarily know that the narrator would ever come to be ashamed of her mother. But knowing this first line and following the trajectory of the story we know that the crisis and the change are inevitable.

Jones also opens his stories from the middle. The narrator then takes the story back to that middle before moving farther forward. He does this in the story "A New Man."

"A New Man" begins with the lines, "One day in late October, Woodrow L. Cunningham came home early with his bad heart and found his daughter with two boys." The narrative eventually makes its way back to explain exactly how Woodrow came to find his daughter with two boys, but it does not stop there. The narrative continues. It carries the story farther. We come to understand exactly what this event means in the life of Woodrow and how it comes to define his essential character.

Now, rather than continue with this idea of how or where Jones begins his stories, I would like to move on to two other divices Jones uses: point of view, and the idea of epiphany and change within a character.

As I mentioned earlier, Jones does not shy away from changing the narrative point of view if it serves the story. But the places where he shifts point of view seem to be dependent on a few things. He only ever shifts in a third person narrative. The point of view never shifts for more than three or four sentences. The point of view only shifts in stories that are 20 pages in length or longer. He always quickly brings the point of view back to its original place.

It is the brevity in the shift that I find most interesting. It is like one of those little flashes of insight that Woolf wrote about--matches struck unexpectedly in the dark--or the mirror in Joyce's "The Dead." The shift lets us see for a moment how the character looks within their world. For example the title story of the collection, "Lost in the City," is told by a close third person narrator. However, there are two moments in the story where the focus shifts from the protagonist, Lydia Walsh, to her taxi driver. The first shift occurs about two thirds through the story: "He thought that maybe she had been born elsewhere, that she did not know Washington, would not know the streets beyond what the white people called the federal enclave." This shift in point of view ends quickly. The narrator brings our focus back to Lydia. "But in fact, the farther north he went, the more she knew about where they were going."

At the end of "Lost in the City," the point of view again shifts for a moment. "The cab driver thought that her crying meant that maybe it had finally hit her that her mother had died and that soon his passenger would be coming to herself."

I suspect that it is the brevity of these shifts that make them work. Another aspect of these shifts is the fact that they are subtly revealing--not deeply or overtly revealing--and they are always revealing something in the protagonist. These shifts in point of view seem to stress the importance of community in these stories. They show, however briefly, that these characters do not live in isolation, that on some level they are always aware of themselves within the context of others--or perhaps it is that we should always be aware of them within the context of a greater community.

The final aspect of this collection of stories that I would like to look at relates to an issue raised in an essay by Jim Shepard titled, "I Know Myself Real Well. That's the Problem." In this essay, Shepard criticizes the tendency for novice fiction to create characters who are "whooshing along the conveyor belts" of narrative toward some kind of epiphany. Given that my stories have this tendency, I am curious how Jones creates a sense of movement and revelation without allowing his characters to fall into that whooshing conveyor belt.

One way that Jones avoids this narrative conveyor belt is by beginning the story someplace other than the beginning and ending the story in a place that points to the inevitability of change or crisis, but he does not necessarily show us that change or crisis. This can also be seen in the story, "The First Day." We do not experience the moment when the narrator becomes ashamed of her mother. We are told in the opening line that the narrator will indeed one day be ashamed of her mother. We are lift at the end of the story with the inevitability that, despite the strength and character of the mother, the child will one day become as ashamed of her as other members of the community.

Often in this collection of stories the narrator is not even aware of his or her change. The reader senses that something is in fact permanently altered, but it is difficult to say exactly what that thing is. At the close of the story "My Mother's House," we do not find the protagonist, a mother whose biological son has just murdered by her godson over a dispute involving drugs and money, in the throws of some sort of epiphany.

Her husband, who is not the father of either child, works as a bodyguard for her biological son. Her husband skulks away from the scene of the crime, leaving her in the street to comfort her dieing godson. She has always known that her husband was a weak man. At the close of this story we find the protagonist drinking a fifth of vodka and walking from room to room in the house her drug-dealing son purchased for her. She unlocks all the doors and windows, "for Santiago (her son) had no key to her house. And outside that house there was a very cruel would and she did not like to think that her child was out there without a place to come to."

The protagonist knows throughout the story that the world is indeed cruel. The cruelty is not a revelation. Nor does she necessarily seem poised to make some sort of change. In fact, she opens her house in a rough neighborhood so that her son, who has just murdered her godson and pointed a gun at her face, may come into the house for comfort.

Perhaps the real change at the end of this story takes place in the reader. After we have experienced this world, we can never view these characters or their world in the same light--we will never be able to read this story in the same way again.

In the end, there are still many more aspects of this collection that will occupy me throughout the coming months. I have marked my copy of the book with many notes. I find myself referring back to them often.

Edward P. Jones's stories about Washington D.C. are unconventional in that some don't have endings. Often they just come to a stop. You are forced to reflect back on what you just read.

Some are better than others. "The First Day" is about an illiterate mother taking her daughter to register for kindergarten. She has to pay another woman to fill out the registration papers for her. If that one doesn't get to you, you don't have a heart.


Many of the other stories are quite long, some as many as thirty pages. My favorite was "The Store," about a boy who takes a "make work" job at a neighborhood grocery and ends up managing the place. The store becomes more important than his personal life and he loses a woman he loved because of it. "Young Lions" is about a violent young man who doesn't hesitate to shoot a clerk during a hold-up. In the end, his violent lifestyle impinges on his personal life, and he starts slapping around the woman he really loves.

Washington D.C. is definitely a character in the stories. The streets are Alphabetical and the Avenues are named after states, but this the Washington of the sixties and deterioration is only just beginning to envelope the black section of town. There are stories about how involvement in drugs debases the characters and their family members. There are stories about characters who emigrated from the South. I can't think of one that didn't touch me in some way, and that doesn't usually happen in a collection of short stories.

Edward P. Jones should be a better known author than he is.

Alien invasion novels tend to feature the humans. Either the humans who drive off the aliens, the humans who are resisting the aliens, or the humans who themselves are the alien invaders. In this story, however, the humans have lost, the aliens have won, and the story is about the aliens.

These aliens have a bigger purpose than just conquest. They are fighting a different group of aliens. And so they would really rather if they didn't have any trouble from the annoying humans. But humans being humans, they continue to annoy.

Eventually, one clan group of the aliens decides the time is right to strike a blow against the prestige of another clan group, and sends an emmisary to Earth in order to accomplish this goal. This setup allows us to see the situation on Earth 20 years after the invasion from the eyes of a recent arrival, someone who is trying to understand the situation and make use of it.

It's a great choice for advancing the story and letting the reader discover the situation as the central character does.

Meanwhile, we also view the situation from some of the humans who have grown up in this altered world as a conquered people. These viewpoint characters show us what the main character does not or can not see, allowing the story to progress in full view of the reader.

And then, of course, the second group of aliens arrives with a battle fleet. What happens to the earth and the fate of the human race depends on how well one alien overlord can come to understand and rely upon his conquered human subjects.

It's a great book, highly enjoyable.

Probably one of the most realistic alien invasion books ever and I'll be looking for the next in the series, if any. The aliens are TRULY ALIEN and therefore more scarey. The invasion is told in retrospect, but reads like what would really happen--a few cities wiped off the map, but most retained for "use."

Based on my reading of other books by these authors, the guts of COURSE appear to be by Wentworth. The thoroughly delicious inner monologues of the Jao and the descriptive passages of their physique are in that same supple style as seen in STARS ON STARS.

But the first chapter seems to lack pizzaz and most importantly, it lacks a hook to impell the reader foward to the next chapters. Still, once you get past that, you're in for a ride. So strap yourself in tight. Enjoy.

Excellent attempt at reconciling disjoint culture and thought processes. The main antagonist was displayed early with a bit too much emotional anthropomorphism. As the story evolves, other aliens follow suit. Has some valid earth historical contrast and comparison.

Could have been an earth based war story. Read for fun!

I won't go into details of the plot, since others have done that. Suffice it to say that this story seems so real you could almost believe it really happened in an alternate universe. I'm not one of those New Age groupies that feel all ETs are our space brothers, so I found the idea that our world was invaded by force quite believable. As was the fact that the aliens had different factions that fought amongst themselves. Why should ET be any different than humans?

For a very realistic take on an extraterrestrial intervention check out the Allies of Humanity.

I'm constantly on the prowl for sci-fi portraying convincing scenarios of human/alien contact. "Empire" is one of the best of such. The Jao are a fascinating species who come alive because of the level of imagined detail the authors have devoted to them, and because there is potential for "association" between them and humans. With the other aliens, the Ekhat, no bridge of understanding is possible, and these weirdly "musical" monsters provide a common enemy for humans and their Jao conquerers to unite against. But the question is whether the threat of annihilation will be enough to overcome the rivalries in the complex Jao organizational system and the bitter determination of earth's indigenous peoples to resist their fierce occupiers from the stars....

"Empire" does take its time establishing the main characters and the situation in which they all find themselves. But the investment in that steady build-up rewards the patient reader as the action revs up to a blazing fire fight in the sun. Don't stop there though. Then comes the Jao Naukra (enquiry/trial/calling-to-account) where consequences including death are risked by the leaders who exceeded the usual boundaries of authority. The forwarding of a "third way" at those proceedings reminds the reader that thinking outside the box may solve seemingly insoluble political/social/species conflicts. And although a courageous young Jao male and human female spearhead the push for groundbreaking changes, "Empire" does not forget that great revisions are often planned for by "elders," sometimes very Machiavellian ones.

This novel meets the very highest sci-fi standards. A sequel of some type would be wonderful -- perhaps set forty or fifty years in the future, permitting Aille and Caitlin to mature in wisdom and power in the reality they help create and their offspring to be the radical thinkers and doers....just a suggestion.