On-the-tape

The Bondwoman's Narrative is an historical artifact, a significant contribution to the literature of the pre-Civil War United States and, most especially, to African-American history and culture. Rating such a relic as if it were a modern publication denies it the accord it deserves as a newly discovered record of the misery endured by humans who were bought and sold in the last years of slavery.

Telling the story of Hannah Crafts, a literate house slave, the author, convincingly identified by editor Gates as a black woman, pens a sentimental melodrama, a genre popular at the time, to describe in detail the life of a slave. Leading a somewhat less miserable life than a field hand, Hannah reveals her never-ending duties, her treatment and mistreatment by wives of the owners, her observations on the sexual abuse of women by owners, and her firsthand knowledge of venal slave traders and unscrupulous lawyers. These accounts are remarkable for their immediacy and human drama.

The novel's narrative flow, as one traumatic episode after another builds to a climax, is clearly planned. Characters from one part of the novel appear and reappear in other parts, and sentimental motifs, common to the genre, repeat--the personification of a linden tree which affects several generations, curses visited on people and carried out over time, coincidences which strain credibility, and the hand of providence helping the pious Hannah.

Although Gates's arguments for black authorship are convincing, he does not address some intriguing European references here. Fresh linens look like "an alpine snowdrift," Mr. Wheeler is noted by Hannah as having "the attitude of a Frenchman," Mrs. Wheeler says she will not accept Hannah's "blarney," Hannah refers to the poetry of Lord Byron, and she describes Mrs. Wheeler in one scene as having "the rage of Orestes." These struck me as unusual metaphors and references, and I'd be intrigued to learn how common they were to the day and how and why Hannah came to employ them.

This was the most fascinating book that I've read in ... well, I don't know how long! THE BONDWOMAN'S NARRATIVE is a fictionalized yet seemingly autobiographical slave narrative written by Hannah Crafts somewhere between 1856-1860. Hannah delves into the the mind and heart of a slave by telling the story of a young woman's personal experiences.

Henry Louis Gates, Jr., who chairs the Department of African American Studies at Harvard University, came across this hand-written manuscript at an auction for African American artifacts. He then embarked upon an amazing research project which explored the author's identity. From scientific analysis of the manuscript (handwriting, ink, paper quality, etc) to actual genealogical research (census reports, etc.), Professor Gates attempts to prove that Hannah Crafts was indeed the first African-American woman to write such a narrative. ...This is part of the book is intriguing although I do have one word of advice here - READ THE NARRATIVE FIRST! If you read the Introduction first, you will know much of the story before actually reading it (in his discussion, he gives away the ending!). By reading the narrative first, I found that I was able to reach some of my own conclusions before reading those of Professor Gates and I better understood the informative analysis!

I usually don't read books more than once but I would read this one again!

Written in the 1850s by Hannah Crafts and edited for a modern readership by Henry Louis Gates, Jr., The Bondwoman's Narrative is the only known novel authored by a female African American slave, and perhaps the first novel ever written by a black woman. Describing the story of "passing" as a young slave treks toward freedom, The Bondwoman's Narrative is an enthralling legacy which is especially recommended for university African-American literature collections and community library large print fiction shelves.

I saw a lot of me in reading this book. It really helped me to realize somethings about myself and why I do the things that I do. It was great. I would recommend it to anyone who needs clarity on themselves and their lives.

This is truly one of the best books that I have ever read. From start to finsh, the author captivated me with her spiritual and inspirational style of writing. It is also one of the few books that I did not want to rush to get to the ending. I wanted to savour every last drop of inspiration and knowledge this novel had to offer. I recommend this book to any woman who has ever gone through trials and tribulations in her life. And I don't know any who have'nt. I wish I could have read a book like this a long time ago. I know I would have had a different outlook on life. After reading it, I gave it to my 23 year old daughter to borrow until her copy comes in that I purchased. This is a book you'll want to refer back to time and again. The "valley" she talks about in her book, is what one goes through in life. The "value" is what one learns, when she comes out of the valley, if she truly gets it. There is a whole lot of "value in the valley". This book has really changed my life, and made me a better person. Too bad the rating ONLY went up to five stars. If you or someone you know find yourself in the valley, do yourself a favor and get this book. You will not be sorry.

Ms. Jackson

This book is exactly what I needed when I found myself deep into several valleys at the same time. It has really made a tremendous impact on my life and the lives of those who are closest to me. As I continue to work my way out of my valley's, you can bet this book will be there every step of the way . Thanks for the spiritual uplifting and awareness, sister Iyanla, it's just what I needed. In fact, I encourage every sister to read it whether you feel as though you are in a valley or not.

Ross King's story of the "Pope's ceiling" is much more than the history of the painitng of the Sistine Chapel, as fascinating as that is. Spanning only four years, this book is art history, military history, church history and more all in one. Michelangelo was a renowned sculptor, who at the beginning of the 16th century was commissioned by Julius II to create the grandest tomb the world had known. But Julius, the feared and volatile ruler of part of Italy as well as the Pope, changed his mind before Michelangelo started, and directed him to paint the chapel instead. Unskilled in the complicated fresco process, and bitterly disappointed, Michelangelo nevertheless has no choice and begins the project. King details the challenging job of preparing the walls, transferring the design to the plaster, quickly painting before the walls dry. The author debunks many of the stories that have grown up over the years--Michelangelo did not work alone but with a changing crew of assistants; he did not lie on his back but painted in a much more uncomfortable position--standing, looking up.

King also offers an intriguing look at the corrupt church of the time, as we recall that the chapel is being painted on the eve of the Protestant reformation. The pope is hardly a spiritual leader, but one prince among many, with the extra power of condemning his enemies to hell or granting forgiveness and absolution for sins. Julius spends more time warring with rival kingdoms than worrying about salvation, and one cannot help thinking of the many lives lost during these useless escapades. Julius fancies himself as the successor not only of the first pope Peter but of Christ himself, and his triumphant entry into conquered cities in a fashion reminiscent of Palm Sunday are colorfully described. The clergy are uneducated, poor and hardly living a life of holiness--the vow of chastity simply means one cannot marry, and as a result Rome is overrun with prostitutes. In a wonderful aside, King quotes from the writings of the young Martin Luther--overjoyed at the prospect of visiting Rome's holy shrines, he quickly sees the filth and corruption in the city, which no doubt deeply influenced his subsequent break with Rome.

King does a wonderful job describing the fresco itself, explaining the origins of the designs in history, the classics, and earlier art works. We also learn quite a bit about Raphael, a young likeable man about town compared to the grumpy Michelangelo. Raphael was painting the pope's apartments at the same time as Michelangelo was working on the ceiling, and King does a great job explaining the differences between these two great masters. Leonardo da Vinci, the older, acknowledged master, was also working at this time, and King refers to his works throughout.

Whatever one might say about Julius and the corruption of the time, the popes did much to nuture the flowering of the Renaissance, and they certainly knew their art! This book is highly recommended--the audio version is also very well done.

Michelangelo & the Pope's Ceiling by Ross King tells the story of four years, 1508-1512, in the life of three larger than life personalities: Michelangelo, Pope Julius II, and Raphael. Mr. King's latest nonfiction historical "thriller" is, however, more than a story of the four years that Michelangelo spent laboring over the twelve thousand square feet of the vast ceiling of the Sistine Chapel. In Mr. King's able hands it becomes an early 16th century soap opera, starring Michelangelo, Pope Julius II, and Raphael, and featuring all the intrigue, passion, violence, and pettiness of a Sopranos' episode. What's so astonishing is that all that is told actually happened -- it's history.
Ross King's gift is his ability to bring us, his readers, back through the maze of time and lead us to an understanding of all that coalesced -- politically, socially, and artistically -- to create great art, great history and, for us, great reading.
According to King:
"Pope Julius II was not a man one wished to offend.... A sturdily built sixty-three-year old with snow-white hair and a ruddy face, he was known as il papa terrible , the 'dreadful' or 'terrifying' pope.... His violent rages, in which he punched underlings or thrashed them with his stick were legendary.... In body and soul he had the nature of a giant. Everything about him is on a magnified scale, both his undertakings and passions."
Michelangelo and Raphael as portrayed by King:
"Almost as renowned for his moody temper and aloof, suspicious nature as he was for his amazing skill with the hammer and chisel, Michelangelo could be arrogant, insolent, and impulsive....If Michelangelo was slovenly and, at times, melancholy and antisocial, Raphael was, by contrast, the perfect gentleman. Contemporaries fell over themselves to praise his polite manner, his gentle disposition, his generosity toward others....Raphael's appealing personality were accompanied by his good looks: a long neck, oval face, large eyes, and olive skin -- handsome, delicate features that further made him the antithesis of the flat-nosed, jug-eared Michelangelo."
The stories of these three men during this extraordinary four year period and the art they produced is the story embodied in Michelangelo & the Pope's Ceiling. The confrontations between Julius II and Michelangelo are legendary. "The major problem seems to have been that Michelangelo and Julius were remarkably alike in temperament. Michelangelo was one of the few people in Rome who refused to cringe before Julius."
For almost the entire four years Michelangelo was shadowed by the brilliant young painter Raphael, who was working in fresco on the neighboring Papal apartments. This rivalry the Pope seemed to enjoy and encourage. To help us better understand the friction between these two great artists King introduces us to Edmund Burke's treatise on the sublime and the beautiful:
"For Burke, those things we call beautiful have the properties of smoothness, delicacy, softness of color, and elegance of movement. The sublime, on the other hand, comprehends the vast, the obscure, the powerful, the rugged, the difficult -- attributes which produce in the spectator a kind of astonished wonder and even terror. For the people of Rome in 1511, Raphael was beautiful but Michelangelo sublime."
For me, reading a book like Michelangelo & the Pope's Ceiling is the way to read history. Mr. King transported me back to those four years during which Michelangelo and Raphael created art both beautiful and sublime. I was there with and among the players, engrossed in the anecdotes King skillfully wove into his narrative. This is history -- up close and personal -- and yet far, far away from the pain, anguish, anger and turmoil that pervaded so much of the lives of Michelangelo, Pope Julius II, and Raphael. As I read, I learned, I felt, and I understood. Isn't that what reading is all about? I certainly could not ask for anything more.

As a chemical engineer by training and an amature historian by choice, I found King's book to be hard to put down. His explaination of the chemical aspects of creating a fresco were both poignant and detailed. Those explicit details were important in understanding the difficulty an artist faced in creating a fresco. I only wish more script was spent on detailing the mechanical problems in producing a fresco vs. a canvas painting. Nonetheless, the book was fascinating and would have appeal to a wide audiance. I "loved" it.

Jim Albus

Having long been a fan of Elizabeth Peters, I was ecstatic when "Night Train to Memphis", the fifth book in her Vicky Bliss series came out.

A continuation of the adventures of Doctor Vicky Bliss, a museum worker in Munich, this book follows her on a cruise down the Nile, takes her all over the Egyptian countryside, and finally ends where it started --- in Vicky's German apartment. Along the way, several recurring characters show up, including old friends and villains, the irrepressible Schmidt, and of course, Sir John Smythe; the quintessential gentleman thief and Vicky's sometimes lover. This time however, there is a small complication affecting their relationship, which leads to the miscommunication, misinterpreted signals, and missed chances that characterize Peter's books ---- and make them some of the most enjoyable mysteries on the market. The insults are quick, the Egyptology casual and comprehensive, and country music references abound.

This is a wonderful book, featuring yet another strong, smart, feminist heroine, who never crosses the line from aggressive to unlikable. While "Night Train to Memphis" can definitely stand alone, I would also reccomend the first couple of books about Vicky, "Borrower of the Night", "The Street of Five Moons", "Sillhouette in Scarlet", and "Trogan Gold".

Of all of the books in the Vicky Bliss series, I would have to say that "Night Train to Memphis" is my favorite. Not only do we learn more about Vicky and John's true feelings about one another (finally!!!), but most of the story is set in Egypt! Elizabeth Peters is a master at winding historical fact into her novels, and "Night Train" is certainly no exception. Her knowledge of Egyptology is displayed throughout the novel--but reading it feels nothing like a history lesson! It's more like a vacation! In fact, I could not put it down until I was sure Vicky, John, and Schmidt made it through their adventure unharmed (or do they...)! Oh, and for serious fans of Ms. Peters...have you noticed yet that John Smythe and his mother appeared in another book far before they showed up in the Vicky Bliss series? Check out "The Camelot Caper"... :)

I'm so delighted that I discovered these Vicky Bliss mysteries. The characters are good and Elizabeth Peters always provides fascinating settings for her stories.

In NIGHT TRAIN TO MEMPHIS, Vicky Bliss is asked by a police agency to be a part of a tour group as they cruise down the Nile River seeing the beautiful monuments and ancient pyramids of Egypt. The police suspect that some professional thieves will be on board and hope that Vicky can assist in identifying them. The characters are diverse and of course, Sir John Smythe also shows up for the tour. Vicky's dismayed to find him using a different name and traveling with a sweet young woman. Just a few months before the tour, John and Vicky had resumed their love affair and now she's thoroughly confused by the way that he's acting. There are a lot of surprises in this story.

I found it amazing to see that out of 32 reviews on this book, 30 reviewers gave this story a Five Star Rating. That has got to be some kind of a record. It shows what an excellent writer that Elizabeth Peters is and how she always delivers great fiction.

This is a much more interesting book than I expected it to be. I came to it as almost every reader will come to it: after having read almost everything of her more famous sisters'. I don't know what I was expecting - perhaps something paler or more insipid.

Pale and insipid it is not. Anne Bronte's prose is fully as energetic as the others', and she has a world-view that equally as rich, nuanced and fully realized (how /could/ they have thought so much, and about so much?).

The plot here, as any casual observer knows, revolves around the woman yoked to a loutish husband. Some have perceived this as more original or daring than her sisters' plots, and certainly in her own time, it received a special kind of disapprobation (even Charlotte appears to have thought it cut a bit close to the bone - apparently perceiving that the lout was patterned on their own dear brother). Maybe so, but in another sense, you could say that it is just the mirror image of the Jane Eyre plot. Mr. Rochester has a guilty or scandalous secret about his wife; Mrs. Huntington has the same about her husband - not the same secret, but equally eligible for secrecy. Each has an innocent lover; in each case the point is to disentangle from the guilty and join with the innocent.

The device of the loutish husband is not necessarily all that promising. In the hands of an amateur it is no more than a setup for a tedious account of outraged virtue. Indeed if this were all, we would do well to leave it for the Jerry Springer show. The reason this book works is that it is not just a tale of outraged virtue: Mrs. Huntington makes it clear just how much she was attracted by Mr. Huntington: how she walked into this bog on her own, and against all the entreaties of her nearest and dearest. As if to cap it all, we are treated to the spectacle of an older, more chastened Mrs. Huntington trying to warn a younger companion off from making the same kind of mistake. We readers can make up our own mind as to what the young companion is likely to do.

Unfortunately, after a bit of this, the modality of outraged virtue takes over. Huntington wallows in vice; Mrs. Huntington remains a saint. Even here, the author does not lose us: she is a remarkable dialectician, and I am not sure the case of the woman wronged has ever been put better. What is missing is an important human truth: vice (to use the Victorian term) is catching, and suffering does not purify. Indeed, that is one of the things so dreadful about suffering. You cannot put up with someone like Huntington indefinitely before some of it wears off on you. It beggars all expectation to suppose that Mrs. Huntington could have come through all this without meanness, without spite, without the slightest hint of schadenfreude. Indeed on this point (dare one say it), Jerry Springer just might be a better guide. But life is too short for that. Instead, thank heavens for the Brontes, and what a pleasure to learn that Anne is just as absorbing as the rest.

The Tenant of Wildfell Hall is a riveting novel by the "least famous" Bronte sister Anne. The main character is Helen Huntingdon, who also uses the assumed name Helen Graham for part of the book.

Narrated in part by Mr. Markham, the gentleman farmer who falls in love with her, and partly by herself in diary form, the Tenant of Wildfell Hall is a sad portrayal of the miseries Helen Huntingdon endures at the hands of an immature self-centered husband.

The story starts out with Helen, an intriguing beautiful "widow" who comes to live in a deserted moorland mansion called Wildfell Hall with no one but her maid and young son as companions. She excites the gossip of the local townspeople by her refusal to mingle in the town's social life, her strong opinions on the upbringing of her 5 year old son, and by working to support herself as a landscape painter. Mr. Markham, the gentleman farmer, rather than being repelled by her fiercely guarded independence is intrigued by her and determines to learn more about her, falling in love with her in the process. Helen becomes the butt of sinister gossip when it is discovered that she and Mr. Lawrence, her landlord, are not the strangers to each other that they pretend to be in public, and it is rumored that something is going on between them romantically.

It is in response to this falsehood that she turns over her diary to Mr. Markham, who at last learns within its contents her true identity, why she is at Wildfell, and why she can not marry him. He also learns the astonishing identity of Mr. Lawrence. Helen's diary traces her life from a naive girl of 18 to a courageous woman of 26, and the sorrow and trials she endures in her marriage to a wretch of a husband, the womanizing, alcoholic Arthur Huntingdon.

'Sick of mankind and its disgusting ways' Anne Bronte once scribbled on the back of her prayer book. Her evident harsh view of life, coupled with her moral strength as a woman, are beautifully interwoven to produce this novel; her masterpiece. Although never enjoying the popularity and success of 'Jane Eyre' and 'Wuthering Heights' - her sisters' books - 'Wildfell Hall' is quite fit to join any bookshelf of classic English literature. The themes include utter despair and the tragic consequences of a young woman's naivety; Helen felt that, although she could see Arthur's faults, she would be able to somehow change him once they were married. In reality, her marital experience was a disaster.

Anne Bronte creates a world in which the drunken, immoral behaviour of men becomes the norm and this may have been startling to contemporary readers - perhaps a reason for the book's panning at the critics. The narrative is built up delicately; first Gilbert; and then the racier, more gripping diary of Helen as she guides us through her married life; before returning again to Gilbert, whose tale by this time has become far more exciting as we know of Helen's past. Helen's realisation of the awful truth and her desperate attempts to escape her husband, are forever imprinted in the mind of the reader as passages of perfect prose.

One of the earliest feminist novels, the underrated Anne Bronte writes in this a classic, and - defying the views of her early (male) critics - a claim to the position of one of England's finest ever female writers.

It's a rare thing indeed to discover a movie adaptation is actually better than the book that inspired it, but here it is: Paul Brickhill's THE GREAT ESCAPE is a great plot with no characters to speak of.

Brickhill gives a firsthand account of the escape of 76 men from Sagan, a German prisoner-of-war camp, during World War II. Through tireless efforts and disheartening setbacks, the men managed to dig a lengthy tunnel 30 feet down into the earth, and 300 feet towards possible freedom. The plan, which originally called for three such tunnels, was the single largest escape in WWII history, and the efforts, patience, and bravery of the men secures their escape as one of the most noble efforts of man.

What a pity, then, that THE GREAT ESCAPE is a fairly badly written first-hand narrative, related with all the style of a person making a grocery list. Brickhill has provided the bones of an amazing story, but he neglected to provide any meat along with them.

The story couldn't help but lend itself to a fascinating read. The actions of these men could never be anything less than remarkable. But all Brickhill does is tell the story. He doesn't add any true characterization to the hundreds of people who pop in and out, resulting in a lack of empathy for these men. The reader is left wanting to know more, but is frustratingly denied the opportunity. Even the leader, Roger Bushell, is a cipher, easily interchangeable with any other character.

It is easy to see why this story makes such fertile ground for a movie. The plot is astonishing, and the complete absence of any true personality leaves the filmmakers free to make up any character they want. Roger Bushell didn't escape from Sagan, Richard Attenborough did. So did Steve McQueen and Charles Bronson.

I don't want to seem as if I am making light of the situation. THE GREAT ESCAPE was a shining example of what humanity can achieve under the most strenuous circumstances. But Brickhill doesn't provide us with any reason to care. The story unfolds with all the excitement and tension of someone telling of their day at work. Simplicity in storytelling can be a fine thing, but not where the story demands so much more.

220 Allied POWs would have been swarming all over the Third Reich before the Germans realized they were missing. Unfortunately, only 76 managed to escape through a tunnel under Stalag Luft III that had taken a year to dig. Of those 76, only 3 managed to make their way back to Britain. Twelve found themselves back in Stalag Luft II in a matter of days. Eight wound up in concentration camps. The remaining 50 were shot by the Gestapo, on orders from Hitler himself. Among the 50 was South African-born RAF Squadron Leader Roger Bushell, a.k.a. "Big X", the originator of the escape plan. The Great Escape is an incredible read. While the book is narrated from third person omniscience, its author was anything but detatched from the story. Paul Brickhill mentions his own role in the escape only very briefly in the foreword to the work. A key element of the escape plan, as Brickhill recounts in great detail, was the forging of official papers required for freedom of movement across the Reich. Brickhill led the gang of "stooges" that warned the forgers when camp guards approached. He found himself barred from participating in the actual escape when Big X learned of his acute claustrophobia. That fear may well have saved his life. After the war, Brickhill interviewed several of his other fellow survivors to assemble the grand narrative. The result is a riveting tale that ranks among the greatest war stories ever written, fact or fiction. You've seen the movie. Now read the book!

What a wonderful book. I've read it a few times and I marvel at the every day heroism displayed by the hungry, sex-starved men of Stalag Luft III.

My own copy is the First Edition, printed by Norton in 1950 and signed by George Harsh who wrote the Introduction. I got it for an astonishing $12 and it's one of the most treasured books in my collection.

It's part memoir and historical account. You read as the POWs begin their audacious plan and despite for many of them, what would be a tragic ending, you marvel at what these men had to endure and go through.

Despite the tragedy, this is no weepy account. This is a testimony to the human spirit which triumphs in the face of human isolation. They are prisoners true, but they in the end, are the ones to triumph over nazism.

The movie of course, inspired me to read the book, but just remember that the movie's characters are fictional composites of the real men. It would do well to remember the old cliche, "the book is always better than the movie," which is entirely true in this case.

A Wonderful Book.

Read It.

In reading this book I have been introduced to the most common sense and easily applied principles I have ever read. This is a must read for anyone who strives to create a loving, fun, understanding family environment. The author puts his principles into easy to understand and apply ideas, such as the emotional bank account, creating a family mission statement and talks about the importance of family communication, togetherness along with one on one time. If your family is truly 1st in your life, read this book and begin making it first for everyone in your house. One of the best things about the book is his consistant use of personal stories from his family and other readers which bring it all into focus and provide ways in which you can envision the ideas working in your own family.

We discovered this book after being introduced to Stephen Covey's work through business (7 Habits of Highly Successful People.) We were delighted that he and his wife have applied these principles to family life, and we set to work on applying what we learned to our family.
For example, we have made a concerted effort at changing the way we listen to each other in our family. Now we truly have adopted the culture of listening first to understand, and what a gift that has been to our relationships. Time after time, we catch ourselves from going down the old useless and hurtful path of arguing/debating/proving who's experience is right, and instead stop and listen with empathy to understand.
We also recommend the picture book If I Ran The Family, for sharing these insights with kids.

Covey encourages every parent to do some soul searching to become aware as to what really is priority in life. Then, he suggests we put "first things first." I believe that most parents would admit that they do wish to have "FAMILY" comes first--above all else. But, in today's busy, often stressful daily routine of life, accomplishing that goal is often "easier said than done". Covey clearly points out the essentials...such as establishing effective communication lines through family meetings and one-on-one talks with the kids. He makes so much sense as he describes with personal anecdotes how love, values, morality, and empathy for others is a process of teaching and learning from "the inside out"...in other words from within the family rippling out to society at large. He talks about establishing a family mission statement and helps to direct moms and dads to find the courage and the skills to make changes for the better. Covey's book creates the mindset and the outline. If you have young kids like me, I recommend a perfect compliment 'how-to book' with Covey's ... called "THE POCKET PARENT." This handy 4" X 8" book, written for parents of 2-5 year olds, is loaded with compassion and humor along with over 500 specific tips and skills to try. It literally trouble-shoots many of the problem behaviors we all deal with daily-such as Angry outbursts, Bedtime, Mealtime and Clean-up refusals, Tantrums, Disrespectful attitude, the "Gimmes", Morning "Crazies", Sibling fights, Whining and many more. These 2 books (one more theoretical, the other more "hands on" practical) have changed our lives. We now have more peace and cooperation in our family---and that gives us more time to enjoy each other. Consider both books for your home reference library.

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.

Sharpe's Rifles is the book in which Sharpe gets his first command. It's the bringing together of two characters that will see the peninsular wars to an end. Sharpe meets Harper for the first time in this book, and it not what I expected. It is however a great tale of how the two soldiers came together.

This book puts Sharpe in Spain, during the British retreat towards Corunna. This is a dark point for the British in the peninsular wars when French victory seems not so far off. Sharpe, while second in command of a detachment of riflemen cut off from the main British force, is soon to face the most challenging point of his career. Sharpe has to learn quickly when his commander gets killed and leaves him in charge. He needs to earn the respect of his men and lead them to victory. It's a great story and a great look at how Sharpe came to be so admired by his men. This book starts of many of the features that make the Sharpe series so great, it's a must read for all Sharpe fans.

4 Stars.

This was my first foray into the Napoleonic historical fiction genre (including the Hornblower series as well as the Aubrey/Maturin books) and since I am more of a landlubber I went with the Sharpe series. The writing style can be light and fluffy at times but there is enough period detail to keep the historian in you engaged. The action is quite bloody and there is a certain gritty realism to much of the story. I could have done without the whole chick element that Louisa brings but it does serve to offer some insight into Sharpe's character by the end of the story. A quick read, and hard to put down. I'm looking forward to Sharpe's Eagle.

"One day you will express yourself and that will justify your existence", said Vincent van gogh's teacher to him. if i start writing about the book, it will wet reams of paper. I have read the book at least fifty times and everytime i derive a different meaning from it. lust for life potrays the kind of life vincent van gogh, the famous painter lived. how he tried to find true love and how he failed. and how he experimented with painting; everytime you read his story, there is a sinking feeling in your heart. you can feel his agony and ecstasy. this book has given me confidence- of being separate and different from the crowd. i have learnt to be an extremist in life, no matter what price i have to pay for it. it has also made me think that i can work as a mason, a clerk or a writer, or as a social activist and still be able to be different and yes.... one day i'll express myself and that will justify my existence. after reading the book, i have sought peace. what i found is ecstasy, anguish, madness and loneliness... the solitary pain that gnaws the heart, but peace i did not find. do i need it? no. No. Never.

Lust For Life, first penned by Irving Stone over 60 years ago, still stands out as the definitive biography of Van Gogh despite all the years that have since brought us new books on this man and his art.

One little-known fact about this book is that in researching it back then, Stone was able to interview people who were acquaintances of Van Gogh, including his red-headed friend in Auvers, Dr. Gachet, who also sat for several of his portraits. This alone adds an authenticity to this work which subsequent bios find it tough to equal.

Last summer I vacationed in France, and made a point of visiting several of Vincent's haunts, including Arles, St. Remy and Auvers. I will always remember the bittersweet sight of his grave on the lonely hill above Auvers where Vincent lies next to his beloved brother Theo. Having just read Lust For Life added immeasurably to my experience and understanding of the man and his remarkable, albeit brief, life.

A masterpiece by Irving Stone. You admire this book more if you have seen van Gogh's paintings. But I really wonder, does this book truly depicts van Gogh's life? It seems to me that Irving Stone has romanticized van Gogh's life. His life might have been as dull as mine or yours. But Irving Stone's presentation has made a whole lot of difference. This is an amazing book, inspiring and I feel one can relate to this very easily.

I was a bit skeptical about this book because I expected it was just politics...what a surprise! The moving story of one man whose three battles with cancer have shaped his attitude and life in powerful and wonderful ways. Well written, funny at places, touching at others......I did not put it down and read it straight through. Made me feel good to read it and recommend it wihout reservation. It will touch your life.

A good friend sent me this book even though she calls me a "right-wing Republican" and not a Carter fan even though I happen to live in Georgia and ironically have the same last name at the author. This book is bigger than all that. It is the human story of one man's life, rich stories about Vietnam, Washington and the civil rights movement and powerful, emotional and important stories about Mr. Jordon's three different bouts with cancer. But not just a cancer book but a book for anyone who likes a good read that grabs you and holds you and holds you to the very last page!

Hamilton Jordan tells of his inspiring victory over the deadly disease that affects us all in one way or another - cancer. He also tells the intriguing and compelling history of his brief tenure in the White House under Jimmy Carter as well as the inspiring story of his uncle, who fought racism in rural Georgia ahead of his time.

But above all, this book provided me with a shot in the arm while I was in the hospital for over a month with pneumonia. Feeling somewhat down, this book really lifted my spirits.
Jordan proves that a positive outlook and one deeply rooted in prayer and faith in God immensely helps those in dire medical circumstances. I am a walking monument and a true believer of the power of prayer and faith in God.

I highly recommend this book to everyone - whether you're sick or not. It is ineffably a book that leaves you with a warm fuzzy feeling after you put it down. A great gift to someone you love - including yourself.