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The first scholarly examination in any language of the historical development and traditional method of koan study in Zen Buddhism. Foreword by Ruth Fuller Sasaki; Index; ink drawings by Hakuin Ekaku.A Helen and Kurt Wolff Book.

• Sales Rank: #535759 in Books
• Published on: 1966-10-19
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .45" w x 5.50" l, .53 pounds
• Binding: Paperback
• 176 pages

Features

• ISBN13: 9780156999816
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

About the Author
Miura Isshu, Zen teacher, Hakuin Rinzai line, dies at 75. The author of "The Zen Koan" along with Ruth Fuller Sasaki.

Ruth Fuller Sasaki (Oct. 31, 1892-Oct. 24, 1967), born Ruth Fuller, was an important figure in the development of Buddhism in the United States. As Ruth Fuller Everett (during her first marriage),she met and studied with D. T. Suzuki in Japan in 1930.[1] In 1938, she became a principal supporter of the Buddhist Society of America (later known as the First Zen Institute of America), in New York. She married Sokei-an, the Zen priest in residence there, in 1944, but he died within a year. She went to Kyoto in 1949 to find another roshi to live and teach in New York, to complete translations of key Zen texts, and to pursue her own Zen training, receiving sanzen from Goto Zuigan. She stayed in Kyoto for most of the rest of her life, becoming in 1958 the first foreigner to be a priest of a Rinzai Zen temple, and the only westerner, and the only woman, yet to be a priest of a Daitoku-ji temple. She was careful to record, however, that she did not perform the usual duties of a priest, "because I was a foreigner, a woman, untrained in temple procedures, and because I needed the years left me to carry on the work of spreading Zen to the west."

 Sasaki was instrumental in the translations into English of many Zen texts. One of the most important was Zen dust; the history of the koan and koan study in Rinzai (Lin-chi) Zen, published in 1966 by her own First Zen Institute. In 2006, Snyder wrote, "Her writings from the sixties were ahead of their time and remain accurate and relevant."

Most helpful customer reviews

42 of 43 people found the following review helpful.
A highly successful collaborative effort.
By tepi
THE ZEN KOAN : Its History and Use in Rinzai Zen. By Isshu Miura and Ruth Fuller Sasaki. With Reproductions of Ten Drawings by Hakuin Ekaku. 156 pp. New York : Harcourt Brace Jovanovich, 1965 and Reprinted.
Although the word 'koan' has now entered the English language, there are still many who don't have a clear and accurate idea of just what a koan is, and how it fits into traditional Zen Practice. The present book, as its subtitle indicates, has two aims : 1. To offer us "an essay on the history of the origin and use of the koan by Chinese Ch'an masters and its further development by their heirs, the Rinzai Japan"; 2. To also offer us, in Ruth Fuller Sasaki's English translations, a series of eight talks given in New York by Miura Isshu Roshi on "the system of koan study at present in use in all the Rinzai monasteries in Japan" (page x).
This book therefore, although of course it contains a number of koans, should not be mistaken for a collection of koans, but is rather a very well-written and informative introduction to all such collections, and one that clears away whatever misconceptions we may have. Sasaki emphasizes that :
"The koan is not a conundrum to be solved by nimble wit. It is not a verbal psychiatric device for shocking the disintegrated ego of a student into some kind of stability. Nor ... is it ever a paradoxical statement except to those who view it from outside. When the koan is resolved it is realized to be a simple and clear statement made from the state of consciousness which it has helped to awaken" (pages xi-xii).
In addition to Ruth Fuller Sasaki's 30-page 'History of the Koan in Rinzai,' and Miura Isshu Roshi's eight lectures on koan study, the book also contains two surprising bonuses. The first of these, 'Selections from A Zen Phrase Anthology,' gives us 210 'jakugo' or 'capping phrases' from the 'Zenrin Kushu,' an anthology of famous and beautiful lines "from Buddhist sutras, the records of the Chinese Zen patriarchs, Confucian texts, Taoist writings, and the works of Chinese poets" (page 79).
The Japanese student often memorizes abridged versions of the 'Zenrin Kushu' "for within its thousands of phrases he must find the particular traditional ... "capping phrase" ... for the koan he is studying, and present it to his teacher as the final step in his study of the koan" (page 80). For each of the capping phrases we are given the original Chinese text in Chinese characters (which cannot of course be reproduced here), the romanized Japanese reading, Sasaki's English translation, and sometimes a brief note. Here is an example, with my slash marks to indicate line breaks:
"142. [Chinese characters] / Enzan kagiri naku hekisoso / Endlessly rise the distant mountains, / Blue heaped upon blue" (page 105).
One easily available Japanese edition of the 'Zenrin Kushu' is the abridged version edited by SHIBAYAMA Zenkei (Kyoto : Kichudo, 1952).
Since, as Sasaki explains in her Foreword, the subject of 'The Zen Koan' is Hakuin Ekaku's (1686-1769) system of koan study, and long quotations from him are given in Miura Isshu Roshi's lectures, the work would not be complete without some examples of his brilliant paintings and calligraphy, which he used in teaching Zen, particularly to his lay followers (page xiii).
Hakuin was a sort of Picasso of Zen, and these paintings, all of which have explanatory inscriptions, are for me one of the high points of the book. Once again, besides halftone reproductions of the ink paintings, we have been given printed versions of Hakuin's inscribed texts in the original Sino-Japanese characters, romanized Japanese readings, and very readable English translations by Ruth Fuller Sasaki.
One of my favorites is THE MONKEY, which gives a delightfully comic painting of a young monkey hanging by one arm from a branch, and reaching down with the other towards the water. Sasaki's translation of the inscription reads:
"The monkey is reaching for the moon in the water / Until death overtakes him he'll never give up. / If he'd let go the branch and disappear in the deep pool / The whole world would shine in dazzling pureness" (page 132).
Another of my favorites is the masterpiece, KANNON, for which I'll just have to refer you to the book. 'The Zen Koan' is a highly successful collaborative effort, and should prove of interest to anyone who has the slightest interest at all in the Zen koan.

0 of 0 people found the following review helpful.
Excellent study of Rinzai Zen and the development and use ...
By PRT Eddie
Excellent study of Rinzai Zen and the development and use of the koan. Ruth Sasaki was a true and devout student of traditional Zen Buddhism. Isshu Roshi was a great teacher as well. Glad to see that this book is still available.

19 of 21 people found the following review helpful.
A classic, in its own way
By Hakuyu
This was a ground-breaking work when it first appeared in 1966 - and, it deserved the good reviews received. It is a matter for regret that the larger work this material was extracted from (Zen Dust: The History of the Koan and Koan Study in Rinzai Zen, First Zen Institute, Kyoto, 1966) is out of print. Still, this portion, selected for reprint, has relevance for the general reader. The foreword and Part 1 was contributed by Ruther Fuller(Sasaki), Parts 2 & 3 by Isshu Miura Roshi. Ruth Fuller's introductory remarks provide a useful summary of the background to Rinzai Zen - including its roots in China. Parts 2 & 3 provides a fascinating account of the koan in the context of Rinzai practice - the focus mainly upon Hakuin's teachings. The material from Hakuin's Keiso dokuzui' dealing with the 'Five Ranks'(or Go-I)is particularly relevant, for it has been - and still is, neglected by other translators. This material comprises Hakuin's account of the Go-I teachings, devised by the Chinese Soto (Ts'ao-tung) masters. It is worth noting that Hakuin used to it to 'cap' his own training system. Anyone who feels inclined to make black and white distinctions between Rinzai and Soto Zen - should take a hint from this.

The extracts from the Zenrinkushu were translated beautifully, and these are accompanied by some delightful reproductions of Hakuin's art-work. All in all, this is an engaging and highly useful book. It is packed with fascinating remarks and notes.

I've had copies of this book around for more than thirty years, to show/loan to friends. The first copy was a gift from a friend who moored his boat on the river at the back of my house. Its pages were permeated with the fragrance of aged timber, life on the river, damp ropes, flowing tides, a hint of wood-smoke, kerosene. The atmosphere of the river permeated the book, and the intuitions in the book permeated life on the river. In that sense, it is an old friend.

However, one thing has always made me feel uncomfortable about the book - namely, the approving references - brief though they may be - to the Zen establishment's support of the Japanese militarists in the 20thc. This ought not to have been the case in the 1960's, under Japan's pro-peace constitution. After the war, people like Yanagida Seizan went through agonizing soul searching over this matter, deeply regretting the complicity between the Rinzai Shu and the militarists. The world has moved on, Japan has moved on. The Soto Shu has officially denounced its previous complicity in such matters, and it is high time for the Rinzai Shu to follow suit. How much longer must the names of Rinzai, Hakuin etc., be tied to this sorry matter? Humanity strives - as never before, to build a peaceful world, yet there are still those who would throw the world back into futile conflict. Buddhism is about compassion, and it behooves us to remember that. What's the point in all the precepts, bodhisattva vows - or even satori, if we can't bring peace to the world. Poor Buddha!

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>> Ebook Download Do You Speak American?, by Robert MacNeil, William Cran

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Is the growing influence of Spanish threatening to displace English in the United States? Are America's grammatical standards in serious decline? Has the media saturation of our culture homogenized our speech?

These and other questions catapulted Robert MacNeil and William Cran, coauthors of the language classic The Story of English, on a journey that took them around the country in search of answers. Do You Speak American?, the companion volume to a PBS special, is the tale of the surprising discoveries they made while interviewing a host of native speakers and observing everyday verbal interactions across the country. Examining the histories and controversies surrounding both written and spoken American English, MacNeil and Cran address highly emotional anxieties and assumptions about our language-and offer some unpredictable responses.

With insight and wit, MacNeil and Cran bring us a compelling follow-up to The Story of English that is at once a celebration and a potent study of our singular language.

• Sales Rank: #232811 in Books
• Published on: 2005-11-14
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .60" w x 5.25" l, .60 pounds
• Binding: Paperback
• 240 pages

From Publishers Weekly
The English language is not a thing but a process, not an archaic institution but an experiment that is constantly evolving and re-invigorating itself. According to language experts MacNeil and Cran, no one should understand this better than Americans who, steeped in a culture of diversity, are uniquely equipped to appreciate the exciting, colorful and democratic nature of language. Although not all Americans appreciate this vibrancy-many prominent linguists are found bemoaning the state of English, horrified that people still do not understand the difference between who and whom-the evidence of an ever-changing language is indisputable, from the New York Times printing the word "sleazoid" in a column to the Oxford English Dictionary adding "blogger" to its latest edition. To better understand the diversity of American English, the authors embark on a fascinating journey across the United States, studying the conversations of Boston natives and rural Texans, inner-city blacks and valley-girl teenagers. The result is an exhilarating celebration of the ways that Americans express themselves and a testament to the indestructible power of language, whether one is using "correct" grammar or not. Traditional linguists might not approve of the way modern Americans are talking, but they will never be able to stop the English language from moving forward and, as this book successfully proves, there is nothing more American than that.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From School Library Journal
Adult/High School–Immigration, migration, class distinction, and mass media are among the tectonic forces shaping and reshaping the language we don't speak with anything approaching universality around North America. The authors take readers on an accessible, energetic, and insightful trip along the Eastern seaboard, down South, out to California, and to some cities in between in the company of several academic linguistics folks who offer explanations that readers don't necessarily see coming. Black English and the role of Spanish in contemporary America each get separate chapters. Americanisms like "beatnik," regionalisms like "pop," and localisms like "yinz" are admired as gems our constantly evolving language continues to press into being, and how American language is passed between generations–or fails to pass–is brought to light. Teens who already love language will take to this book with enthusiasm. Students who aren't in the habit of thinking critically about why we talk the way we do can be introduced to it through the pieces most relevant to them. And there's something relevant to everyone here, whether you talk with or without "r"s or sound just like the kids a thousand miles down the road.–Francisca Goldsmith, Berkeley Public Library, CA
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
This is a companion volume to a PBS television series of the same name as well as a sequel to The Story of English (1986), also made into a television series. The authors deliver a surprisingly lively and compelling exploration of American English. Whether talking to crab fishermen in Maryland or country-and-western singers in Tennessee, the authors discover that regional dialects are thriving despite the uniformity of our national tastes in clothing, fast-food chains, and movies. Challenging language elitists, such as critic John Simon, who think grammatical standards are disappearing and that television and radio are homogenizing our speech, the authors show how mobility, immigration, and racial and ethnic mixing are rapidly and profoundly changing the language. One prediction: such diversity in our language may produce more tolerance and appreciation of American speech and less stereotyping. Expressive quotes are often used to make key points; the title comes from a comment by Bono, lead singer of U2, after being fined by the FCC for swearing. This is colorful, witty, and insightful commentary on American speech patterns. Joanne Wilkinson
Copyright © American Library Association. All rights reserved

Most helpful customer reviews

31 of 31 people found the following review helpful.
Good, but thin
By Jon Hunt
"Do You Speak American?" is another fine contribution by Robert MacNeil and William Cran, coauthors of "The Story of English". As this is a companion book to the televised series this recent offering does not stand alone but serves as the program's enhancement.

Those of us who have followed Mr. MacNeil through his many journeys around the world in search of the ways English is enriched will find worthy chapters in "Do You Speak American?" Highlighted areas include the South, Hispanics and Black English....these three chapters encompass close to half of the book. Mr. MacNeil delivers his findings in his usual straightforward, buttoned-down Nova Scotia style. That isn't to say there isn't any humor...there is...but his earnestness keeps everything on track.

My disappointment in "Do You Speak American?" is that it doesn't cover enough ground. While "The Story of English" was a major undertaking, this seems puny by comparison. It was as if the book was written almost in haste to accommodate the tv program (which, by the way, is better than the book). The north and the midwest get far less attention so the book has an unbalanced feeling to it. That said, the portions that the authors delve into most carry a certain fascination and the narrative style to which we have been accustomed is as flawless as ever. The final chapter is an odd one, but an important one....how computers take on their own "language" and how that affects us. Some of the best (and most humorous) paragraphs in the book deal with the speech-recognition system in BMWs and the reaction of owners to it.

Perhaps Mr. MacNeil and Mr. Cran will do a follow-up to "Do You Speak American?" I hope they do. There's so much more to discover and these coauthors are just the men to continue looking into the many facets of "American English".

10 of 10 people found the following review helpful.
An interesting read!
By Armchair Interviews
Language is not constant. It is continually evolving with cultural and ethnic influences impacting a region's speech. Authors Robert MacNeil and William Cran have examined the English language through interviewing native speakers and observing the verbal interactions of people across the country.

I found Do You Speak American? fascinating. As a native speaker from the Midwest, it always surprises me when I'm traveling that people can pinpoint where I'm from. Being from the Midwest, I always thought that I didn't have an "accent." Wrong! My speech patterns, class, choice of words, word order, pronunciation (vowel changes) and perhaps the media's affect on speech, give me away.

The authors' journey across the country, studying regional conversations, is interesting and enlightening and offers explanations that might surprise the reader. I particularly enjoyed the sections on teaching computers to speak American; the one on Hispanic immigration and its impact on American language; and the section on bad-mouthing black English.

While Do You Speak American? is not an in-depth study, it is a wonderful beginning for those who are interested in the subject.

Armchair Interviews says: If you enjoy words and are curious about how Americans speak, you'll enjoy Do You Speak American?

15 of 17 people found the following review helpful.
an excellent, excellent book!... substantiated... current... upbeat...
By James Neville
I read this book because I am fascinated by words and dialects and how (some) linguistics experts can tell where you grew up just from the way you speak.

"Do You Speak American" satisfied my craving to learn more about dialect in the United States but it went WAY beyond my expectations.

In addition to presenting and discussing a FASCINATING map of major dialect regions and changes in the U.S., this book addresses two key current social issues: The (unfounded) phobia that Spanish will take over from English as the dominant language of the United States, and the (still valid) issue that even as "African American English" contributes to our culture, it separates many kids from economic mainstream access through linquistic prejudice (e.g., "if you sound like THAT you must be DUMB")

The book doesn't stop there but continues addressing MORE fascinating topics including the origins of "Valley Girl/Surfer Dude" California dialects (like, totally!) and computer speech recognition efforts by BMW and Microsoft.

I found the overall tone of the book UPBEAT. The research findings and interpretations presented show it's quite possible and quite HUMAN to be "bilingual" in DIALECTS as well as languages. So that we can maintain our language-based identity (where we grew up) AND claim our stake in the mainstream economy.

See all 17 customer reviews...

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A series of short, fantastic narratives inspired by fifteenth-century tarot cards and their archetypical images. Full-color and black-and-white reproductions of tarot cards. Translated by William Weaver.A Helen and Kurt Wolff Book

• Sales Rank: #256039 in Books
• Published on: 1979-04-16
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 9.25" h x .36" w x 6.00" l, .47 pounds
• Binding: Paperback
• 144 pages

Review
Semiotic fantasy novel by Italo Calvino, published in Italian in 1973 as Il castello dei destini incrociati. It consists of a series of short tales gathered into two sections, The Castle of Crossed Destinies and The Tavern of Crossed Destinies. The novel concerns two groups of travelers through a forest, both of which have lost the power to speak as the result of traumatic events. One group is spending the night in a tavern, the other in a castle. In each place, the travelers tell the stories of their lives, using tarot cards instead of words. A narrator at each place interprets the cards for the reader, but since the tarot cards are subject to multiple interpretations, the stories the narrators offer are not necessarily the stories intended by the mute storytellers. -- The Merriam-Webster Encylopedia of Literature

Language Notes
Text: English, Italian (translation)

About the Author
ITALO CALVINO (1923–1985) attained worldwide renown as one of the twentieth century's greatest storytellers. Born in Cuba, he was raised in San Remo, Italy, and later lived in Turin, Paris, Rome, and elsewhere. Among his many works are Invisible Cities, If on a winter's night a traveler, The Baron in the Trees, and other novels, as well as numerous collections of fiction, folktales, criticism, and essays. His works have been translated into dozens of languages.

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33 of 37 people found the following review helpful.
Shifting identities
By mcap@sprintmail.com
Of the four books I have read by Calvino(all to be highly recommended for anyone who does not wish to be allowed to read passively, and who also is looking for something that will "delight in the re-reading", as well as the surprise in the new), "Castle" most adopts a particular structure to present a tale of shifting identities, as do his other novels. Knowledge of the Canterbury Tales is helpful, but Calvino makes sure it sits in the background and does not dominate his readings. I use "readings", if you must know, because this is the strucutre of the novel-a series of tarot card readings of a group of travelers who stop in this castle. The stories are wonderful, in the proud Italian tradition of Boccacio, Petrarch, and Chauser(who learned all he could fropm his Italian masters), and his modern master Borges, and the framing device, is interesting and used subtly and skillfully. If you don't have questions about the nature of narratives and fictions, and about the way those answers implicate how a human subject understands reality or comes to it, "Castle" may not be for you, as you may get bogged down in it's introverted labyrinthine reflections. If Borges' metaphysical fariy tales are your cup of tea, it here runneth over.

30 of 35 people found the following review helpful.
clever, but not engaging
By Jill Walker Rettberg
Italo Calvino's an author I've enjoyed for years, devouring his strange narratives. Reading The Castle of Crossed Destinies for the first time I feel like someone's torn the carpet from under my feet: I'm disappointed. Yes, it's "ingenious", as a back cover excerpt from a New Yorker review states, but it's not gripping or enthralling or a good read. The genius of this book lies in its structure, in the way it's been created. This is a book of stories interpreted or laid over patterns found in tarot cards placed on a table in criss-crossing patterns. Stories read horisontally and vertically like words in crossword puzzle.
As concept art or an experiment in narrativity this is ingenious. I love it. But it's not just concept art. (Ah, and I realise that "just" is dodgy. I'm not quite sure where it might lead.) This is a book. Books are meant to be read. This ingenious structure results in dull, uninspired stories. I'm exhausted after two: I've seen the structure (concept, gimmick) and I'm sated.
The concept is cool but then what? Is a gimmick enough? I suppose that depends on what you want. I mostly want more.

12 of 13 people found the following review helpful.
Crossing "Castles"
By EA Solinas
Italo Calvino was a master of surreal storytelling -- he was, for example, one of only two authors I've seen who could manage a second-person narrative. But his gimmick falls flat in "The Castle of Crossed Destinies," a book that is intriguingly laid out, but never manages to be more than a curiosity.

In the first section, a traveler comes to a castle full of other guests, but for some reason no one there is able to speak. To tell each other about their histories, they use a pack of tarot cards to communicate their stories -- tales about love affairs, ancient cities, and Faustian pacts.

The second is pretty much the same, except that it takes place in a tavern, where mute people are still using tarot cards to describe their pasts. The stories -- evil queens, fallen warriors, even an Arthurian tale -- get darker and stranger, especially when the narrator himself began to describe his own past to the people who are watching him and the cards.

As an idea, tarot cards being used to tell a story is brilliant. Especially since the stories that Calvino spins out are not necessarily the only interpretation -- each card used to tell the story can be interpreted differently. The problem is, in the first half of the book, Calvino tries to apply this to some very boring, straightforward little stories. They tend to stop suddenly, without much of a finale.

The second half of the book uses this gimmick more skilfully, with Calvino writing in greater detail, and using more ornate, atmospheric writing. It feels less like stories wrapped around some cards, and more like stories with cards as illustrations of what might have been. He also adds a more eerie, macabre tale to this half, making it even more engaging.

The first half sags in a big way; it's almost tiring to read. But the second half of "Castle of Crossed Destinies" is where Calvino's tarot gimmick starts to pay off. Interesting, but not all that it could have been.

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The author's account of World War II, his wife's death, and his political and literary activities. "A splendid ending to one of the most remarkable literary achievements of our time" (New York Times Book Review). Index; photographs.

• Sales Rank: #1561660 in Books
• Published on: 1989-10-18
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .60" w x 5.50" l, .57 pounds
• Binding: Paperback
• 256 pages

Features

• ISBN13: 9780156465236
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

About the Author
Leonard Sidney Woolf (November 25, 1880 – August 14, 1969) was a noted British political theorist, author, publisher, and civil servant, but perhaps now best known as the widower of author Virginia Woolf.

Works

• The Village in the Jungle - 1913
• The Wise Virgins - 1914
• International Government - 1916
• The Future of Constantinople - 1917
• Cooperation and the Future of Industry - 1918
• Economic Imperialism - 1920
• Empire and Commerce in Africa - 1920
• Socialism and Co-operation - 1921
• Fear and Politics - 1925
• Essays on Literature, History, Politics - 1927
• Hunting the Highbrow - 1927
• Imperialism and Civilization - 1928
• After the Deluge (Principia Politica), 3 vols. - 1931, 1939, 1953
• Quack! Quack! - 1935
• Barbarians At The Gate - 1939
• The War for Peace - 1940
• A Calendar of Consolation - selected by Leonard Woolf, 1967

Autobiographical Works

• Woolf, Leonard (1960). Sowing: an autobiography of the years, 1880–1904. London: Hogarth Press. OCLC 185524636.  Published in America as Woolf, Leonard (1960). Sowing: an autobiography of the years, 1880–1904 (1st American ed.). New York: Harcourt, Brace. ISBN 9780156839457. OCLC 1346957.  Also OCLC 1339821.
• Woolf, Leonard (1961). Growing: an autobiography of the years 1904-1911 (1st American ed.). New York: Harcourt, Brace & World. OCLC 494500.  Also OCLC 21246847 (1977), OCLC 67527334 (1967).
• Woolf, Leonard (1963). Diaries in Ceylon, 1908–1911, and Stories from the East: records of a colonial administrator. London: Hogarth Press. OCLC 30240642.  Also OCLC 4194108
• Woolf, Leonard (1964). Beginning again: an autobiography of the years 1911–1918. London: Hogarth Press. ISBN 9780701202507. OCLC 186031278.  Published in America as Woolf, Leonard (1964). Beginning again: an autobiography of the years 1911–1918 (1st American ed.). New York: Harcourt, Brace & World. OCLC 264298. 
• Woolf, Leonard (1967). Downhill all the way: an autobiography of the years 1919–1939 (1st American ed.). New York: Harcourt, Brace & World. OCLC 1065888. 
• Woolf, Leonard (1969). The journey not the arrival matters: an autobiography of the years 1939–1969. London: Hogarth Press. ISBN 9780701203269. OCLC 186031338.  Published in America as Woolf, Leonard (1969). The journey not the arrival matters: an autobiography of the years 1939–1969 (1st American ed.). New York: Harcourt, Brace & World. OCLC 58615. 

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0 of 0 people found the following review helpful.
A good person who enabled a great one to be
By Shalom Freedman
This is the last volume of Leonard Woolf's biography.It centers on the period after his wife's suicide but does include a description of the conditions leading to the suicide, and reflections on his wife and his work. However most of this work involves description of Woolf's own work, especially his managing and directing Hogarth Press. Here his relationship with his some time business partner John Lehmann is given extensive analysis.
Woolf includes in the book a copy of his wife's most moving suicide note. She thanks him for the great happiness they have had together and tells him that no one could have been a better husband than him. Clearly she considered him and wished to free him of any guilt for her decision.
Woolf details the horrible period leading up to the Second War and the destruction of the bombing of Britain. The desolation of this time clearly had a major effect on Virginia Woolf.
Woolf gives a quite amusing account of his work-life detailing the many hours he spent. He attributes his work ethic to the example of his father and his father's drawing his strength from the Jewish religious tradition. Woolf was I believe the most prominent Jewish figure of the Bloomsbury group. He relates to his own Jewishness with understanding and pride. He is not religious but values the Jewish religious tradition and what it has given humanity in terms of standards of morality and justice. And in fact it is his sensitivity to injustice which is clearly the strongest motivating factor of his work life.
He shows understanding of his wifes work arguing that the straightforward, fact -anchored works , the biographies for instance limit her imagination. And that her freedom of imagination was much greater in the works focusing on inner worlds and consciousness.
Woolf in quite modestly evaluating the good done by his work life sees it as very little. He does not mention that posterity values him not for his own business or political activity but for being the nurturer and supporter of one of the twentieth century's major writers.
One more point. Woolf has a very cordial and modest tone. He writes about himself with competence and it seems to me objectivity.
A good person who enabled a great one to be.

0 of 0 people found the following review helpful.
... Virginia (Stephen) Woolf as his wife was not an easy one, but he loved her and had enormous ...
By Robert P. Smith
Leonard Woolf's "journey" with Virginia (Stephen) Woolf
as his wife was not an easy one, but he loved her and
had enormous patience. It is a good follow-up to reading
Virginia Woolf's letters (six volumes). He was Jewish and she
a WASP and their marriage endured many trials.

0 of 0 people found the following review helpful.
woolf
By Amazon Customer
A great man and the husband of the inimitable Virginia, he really was a fascinating character, highly recommended! Well written autob

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• Sales Rank: #6324391 in Books
• Published on: 1994-01
• Original language: English
• Number of items: 1
• Dimensions: 10.75" h x 8.50" w x 1.00" l,
• Binding: Paperback
• 324 pages

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Hardcover book with spiral binding. 272 pages.

• Sales Rank: #930906 in Books
• Published on: 2003
• Number of items: 1
• Binding: Spiral-bound
• 272 pages

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Drawings (including thirty-two pages in color), captions, and verse showcasing Gorey’s unique talents and humor. “The Glorious Nosebleed,” “The Utter Zoo,” “The Epiplectic Bicycle,” and fourteen other selections.

• Sales Rank: #433478 in Books
• Published on: 1993-04-01
• Released on: 1993-04-01
• Original language: English
• Number of items: 1
• Dimensions: 11.00" h x .90" w x 8.00" l, 1.74 pounds
• Binding: Paperback
• 256 pages

About the Author
Edward Gorey (1925-2000) wrote and illustrated such popular books as The Doubtful Guest, The Gashlycrumb Tinies, and The Headless Bust. He was also a very successful set and costume designer, earning a Tony Award for his Broadway production of Edward Gorey's Dracula. Animated sequences of his work have introduced the PBS series Mystery! since 1980.

Most helpful customer reviews

42 of 43 people found the following review helpful.
GLORIOUS FUN
By A Customer
The third Edward Gorey collection- Dedicated to: The dog at Gay Head :-)
Features 17 stories
THE UTTER ZOO: An alphabet featuring creatures whose names begin with each of the 26 letters, from: "The Ampoo is intensely neat; it's head is small, likewise it's feet" to "About the Zote what can be said? There was just one, and now it's dead"
THE BLUE ASPIC: A classic, about Jasper Ankle a VERY obsessed fan of a opera singer named Ortenzia Caviglia who puts the audience in raptures with her arias like: "Gli Occhielli & Lizzia Bordena" (Lizzie Borden!) :-)
THE EPIPLECTIC BICYCLE: "It was the day after Tuesday and the day before Wednesday..Embley and Yewbert were hitting one another with croquet mallets"..suddenly they discover a bicycle, and go on an adventure!
THE SOPPING THURSDAY: It's raining and Bruno the dog's master cannot find his umbrella! Bruno (a very noble beast) goes off to search for his masters umbrella, passing by many people who are also trying to cope with the weather.
THE GRAND PASSION (A novel): A very short novel! About the odd conversation between a woman with a geisha hairdo and a gentleman in a top hat. :-P
LES PASSEMENTERIES HORRIBLES: A passementerie is: A dress trimming, as of braid or silk embroidery (The Winston Dictionary College Edition) This story features some very ominous passementeries looming over people and animals, peeking through windows at people. :-P Acting very suspicious!
THE ECLECTIC ABECEDARIUM: Another alphabet: "Betray no qualms, when asking for ALMS" "A hidden BIRD is often heard" together with cute little pictures.
L'HEURE BLEUE: The title translates to: "The Blue Hour" the sky in the background is colored a beautiful twilight blue. The story features two creautures who resemble dogs, who both have the letter "T" embroidered on their sweaters. The plot follows their many interesting observations, during this "blue hour" :-)...VERY CUTE!
THE BROKEN SPOKE: Featuring a variety of "cycling cards" with pictures of a bunch of people (from all walks of life!) on bicycles!
THE AWDREY GORE LEGACY: A murder mystery! Who did it?! "One moment she was sitting there. The next, she had vanished into air"! It shows you a selection of weapons which may have been used, an assortment of suspicious characters, and some spots the body may be located. And Englands most sought after detective, a half Irish, half Japanese gentleman: named "Waredo Dyrge" and his inseparable canine companion "Deary"
THE GLORIOUS NOSEBLEEED: Yet another alphabet, with charming illustrations..."She wandered among the trees AIMLESSLY" "The creature regarded them BALEFULLY"...."He exposed himself LEWDLY" ;-)
THE LOATHSOME COUPLE: May be shocking to SOME, but not me. About the terrible coupling of two loathsome (pathetic and pitiful!) individuals "Harold Snedleigh" & "Mona Gritch" who plan and carry out the murder of children together( those Gorey children are so hapless!). A long story, a Gorey classic and one of my favorites. The plot may make some frown and seem distastful, but strangley....it isn't.
THE GREEN BEADS: About little Tancred, whose mother sends him to buy three pennies worth of tapioca. Suddenly he meets a very odd old mentally disturbed person (whose sex is unclear) Who reveals SHE is Tancred's grandmother 'Baroness von Rettig" who Tancred's mother had thought was lost long ago. But what ever became of the Baroness's emerald necklace?
LES URNES UTILES: The title translates to: "The Useful Urns" and here they are huge, bigger than people. They stand in the most awkward of places, and bear odd inscriptions.
THE STUPID JOKE: All about Friederich and his idea for a stupid joke, instead of getting out of bead he'll just lie there, while his family come in trying various ways to make him get up!
THE PRUNE PEOPLE: Is all about..well, prune people! People who have prunes for heads!
THE TUNING FORK: About poor homely Theod whose presence drove her family wild! Bent on suicide she rushed to the ocean, flinging herself in. But instead she meets a fanstatic sea creature who sympatizes with poor Theoda and her cruel past.
Here Edward Gorey is as great as usual! The Loathsome Couple may shock and offend some people, but it really is done in the most tasteful way as possible, for the subject matter.

8 of 8 people found the following review helpful.
Gorey and ghastly
By EA Solinas
The much-lamented Edward Gorey specialized in intricate, ominous pen-and-ink drawings. Doomed Victorian opera singers, alligators, time-bending bicycles, and plenty of creatures strange and grotesque fill "Amphigorey Also," a collection of Gorey's quirky work.
Included is the cute "Utter Zoo" ("The Ippagoggy has a taste/for every kind of glue and paste"), the tragic "Blue Aspic" (a crazed, impoverished man stalks an opera diva), the amusing "Sopping Thursday" (Bruno the dog looks for his master's umbrella), and the delicious revenge fairy tale "The Tuning Fork." The highlight is the "Awdrey Gore Legacy," a deliciously warped murder mystery.
Some of the offerings are kind of befuddling, like the disjointed conversation between a mustachioed man and a woman with a geisha hairdo, or the "Eclectic Abcedarium" with its too tiny pictures. But most of them, like "Les Passementeries Horribles" (in which embroidery and tassels act ominous) or "The Prune People" (which is pictures of people with prunes for heads) are amusing even if they make no sense.
Edward Gorey's delicate pen-and-ink illustrations would be fun even if he didn't possess the morbid whimsy that fills almost every story. Okay, if you are easily offended, then the "Loathsome Couple" will offend you with a pair of crazy killers lure, photograph and murder small children ("They spent the better part of the night murdering the child in various ways"). But he did so in the best of bad taste.
His slightly warped sensibilities were also shown in the chilly skies and barren-looking outdoors, cute children and haughty adults in Victorian attire. There are occasional splashes of color (like the blue backdrops of "L'heure Bleue"), but even then it tends to be a bit eerie and faded like old photographs.
The eerie whimsy of Edward Gorey's work is alive and well in "Amphigorey Also." A few of the works are duds, but overall it's a strange and wonderful ride.

6 of 6 people found the following review helpful.
In Gorey Heaven!
By Sharon A. Hutchinson
What a wonderful compilation of the works of this unusual and extremely gifted artist! While Charles Addams is a household name, that of Edward Gorey still brings looks of puzzlement whenever it comes up in conversation. I personally feel he has never received the acclaim justly due him, but then again, his works certainly will not be to everyone's taste. At times his stories are beyond comprehension, but perhaps that was his intention--to leave us guessing or use our own imagination to fill in the gaps. Be that as it may, the illustrations are worth the price of the book alone. If you love Edward Gorey and would rather have some of his works together in one volume, do yourself a favor and purchase this book. But be prepared to enter his personal weird and at times incomprehensible world.

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