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Among the greatest novels of the twentieth century and the basis for director David Lean’s Academy Award-winning film, A Passage to India tells of the clash of cultures in British India after the turn of the century. In exquisite prose, Forster reveals the menace that lurks just beneath the surface of ordinary life, as a common misunderstanding erupts into a devastating affair.

• Sales Rank: #24950 in Books
• Color: Tan
• Brand: Mariner Books
• Published on: 1965-03-17
• Released on: 1965-03-17
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x 5.50" w x .75" l, .78 pounds
• Binding: Paperback
• 368 pages

Features

• Great product!

Amazon.com Review
What really happened in the Marabar caves? This is the mystery at the heart of E.M. Forster's 1924 novel, A Passage to India, the puzzle that sets in motion events highlighting an even larger question: Can an Englishman and an Indian be friends?

"It is impossible here," an Indian character tells his friend, Dr. Aziz, early in the novel. "They come out intending to be gentlemen, and are told it will not do.... Why, I remember when Turton came out first. It was in another part of the Province. You fellows will not believe me, but I have driven with Turton in his carriage--Turton! Oh yes, we were once quite intimate. He has shown me his stamp collection.

"He would expect you to steal it now. Turton! But red-nosed boy will be far worse than Turton!

"I do not think so. They all become exactly the same, not worse, not better. I give any Englishman two years, be he Turton or Burton. It is only the difference of a letter. And I give any Englishwoman six months. All are exactly alike." Written while England was still firmly in control of India, Forster's novel follows the fortunes of three English newcomers to India--Miss Adela Quested, Mrs. Moore, and Cyril Fielding--and the Indian, Dr. Aziz, with whom they cross destinies. The idea of true friendship between the races was a radical one in Forster's time, and he makes it abundantly clear that it was not one that either side welcomed. If Aziz's friend, Hamidullah, believed it impossible, the British representatives of the Raj were equally discouraging. "Why, the kindest thing one can do to a native is to let him die," said Mrs. Callendar.
"How if he went to heaven?" asked Mrs. Moore, with a gentle but crooked smile.
"He can go where he likes as long as he doesn't come near me. They give me the creeps." Despite their countrymen's disapproval, Miss Quested, Mrs. Moore, and Mr. Fielding are all eager to meet Indians, and in Dr. Aziz they find a perfect companion: educated, westernized, and open-minded. Slowly, the friendships ripen, especially between Aziz and Fielding. Having created the possibility of esteem based on trust and mutual affection, Forster then subjects it to the crucible of racial hatred: during a visit to the famed Marabar caves, Miss Quested accuses Dr. Aziz of sexually assaulting her, then later recants during the frenzied trial that follows. Under such circumstances, affection proves to be a very fragile commodity indeed.

Arguably Forster's greatest novel, A Passage to India limns a troubling portrait of colonialism at its worst, and is remarkable for the complexity of its characters. Here the personal becomes the political and in the breach between Aziz and his English "friends," Forster foreshadows the eventual end of the Raj. --Alix Wilber

From School Library Journal
Grade 9 Up-By E.M. Forster. Narrated by Flo Gibson.
Copyright 1999 Reed Business Information, Inc.

Review
What really happened in the Marabar caves? This is the mystery at the heart of E.M. Forster's 1924 novel, A Passage to India, the puzzle that sets in motion events highlighting an even larger question: Can an Englishman and an Indian be friends?

"It is impossible here," an Indian character tells his friend, Dr. Aziz, early in the novel. "They come out intending to be gentlemen, and are told it will not do.... Why, I remember when Turton came out first. It was in another part of the Province. You fellows will not believe me, but I have driven with Turton in his carriage--Turton! Oh yes, we were once quite intimate. He has shown me his stamp collection.

"He would expect you to steal it now. Turton! But red-nosed boy will be far worse than Turton!

"I do not think so. They all become exactly the same, not worse, not better. I give any Englishman two years, be he Turton or Burton. It is only the difference of a letter. And I give any Englishwoman six months. All are exactly alike."

Written while England was still firmly in control of India, Forster's novel follows the fortunes of three English newcomers to India--Miss Adela Quested, Mrs. Moore, and Cyril Fielding--and the Indian, Dr. Aziz, with whom they cross destinies. The idea of true friendship between the races was a radical one in Forster's time, and he makes it abundantly clear that it was not one that either side welcomed. If Aziz's friend, Hamidullah, believed it impossible, the British representatives of the Raj were equally discouraging. "Why, the kindest thing one can do to a native is to let him die," said Mrs. Callendar.

"How if he went to heaven?" asked Mrs. Moore, with a gentle but crooked smile.

"He can go where he likes as long as he doesn't come near me. They give me the creeps." Despite their countrymen's disapproval, Miss Quested, Mrs. Moore, and Mr. Fielding are all eager to meet Indians, and in Dr. Aziz they find a perfect companion: educated, westernized, and open-minded. Slowly, the friendships ripen, especially between Aziz and Fielding. Having created the possibility of esteem based on trust and mutual affection, Forster then subjects it to the crucible of racial hatred: during a visit to the famed Marabar caves, Miss Quested accuses Dr. Aziz of sexually assaulting her, then later recants during the frenzied trial that follows. Under such circumstances, affection proves to be a very fragile commodity indeed.

Arguably Forster's greatest novel, A Passage to India limns a troubling portrait of colonialism at its worst, and is remarkable for the complexity of its characters. Here the personal becomes the political and in the breach between Aziz and his English "friends," Forster foreshadows the eventual end of the Raj. 

(Amazon.com Review - Alix Wilber )

Most helpful customer reviews

133 of 136 people found the following review helpful.
Extraordinary Classic
By Westley
I've read and enjoyed several Forster books, but "A Passage to India" tops them all. The plot concerns the arrival in Chandrapore, India of Ms. Quested and her potential mother-in-law, Mrs. Moore. They come to visit Mrs. Moore's son, Ronny, who is engaged to Ms. Quested. Ms. Quested and Mrs. Moore are the typical new arrivals, and they desire to see more of the "real" India than they can see with their fellow Brits, who tend to gather in the state Club and socialize only with each other. They become involved with Dr. Aziz, a local Indian physician, who promises to show them the famous, nearby Marabar caves. Dr. Aziz is solicitous toward the Brits and craves their friendship, but he clearly has negative feelings toward them also.

At the Marabar caves, an incident occurs (or does not occur) to Ms. Quested that alters all of the characters and their town inextricably. There is a trial and a bit of a mystery, but the focus is always on the characters and their conflicts. In particular, the tension between the English and the people of India is beautifully portrayed. The characters are multi-dimensional, as are their motives, which makes for a fascinating read. I found the book to be quite moving and sad - a true classic.

62 of 63 people found the following review helpful.
A masterpiece.
By medelliana
This is book is incredible, and one of my personal favorites. Its beauty is too easily overlooked, because it is so elegantly subtle. Every aspect of the storytelling is masterful: the prose is lush and nuanced, and every character is exquisitely drawn. Drawing from the slimmest of plots, Forster weaves what seems to be an isolated incident into a complex tapestry of emotion. The central focus are the characters, who are sharply realistic and utterly, utterly human. Another aspect that I liked very much is that it takes an era, the British Raj in India, which is otherwise interpreted only with the most hotly colored emotions, and presents it with a marked neutrality, presenting it only through the eyes of the characters. A marvelous read.

42 of 43 people found the following review helpful.
Hard work, amply rewarded
By Birdman
I will not summarize the plot of this intricate novel, which is freely available through authoritative sites across the Web.

If you love novels of character and theme, you will love and remember this painstakingly written novel of bigotry and colonialism before Indian independence. The concept which clothes the story: the Caucasian, very proper, very British Miss Quested accuses the Indian, Dr. Aziz, of physical assault in a cave. The facts of the event were literally invisible. The balance of the novel is a clash of cultures, biases and characters, all of which conspire to express "reality."

Forster is methodical in way he prepares his readers for the Event and its aftermath. He writes with the precision of a literary surgeon just as he did in A ROOM WITH A VIEW and HOWARD'S END.

If you'd like explore Forster's writing, this is a fine place to start. Give it a little work and it won't let you down. The author was one of the great masters of the English language and an outspoken adversary of bigotry. Most of us have experienced bias at least once or twice in our lives. For that reason alone, I'd try it.

Forster is also the great exemplar of the modern novel. Few were as consistently aware of form. Few had the ability to infuse raw emotion into such civilized prose.

Go for it.

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~ Fee Download Banjo: A Novel, by Claude McKay

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Lincoln Agrippa Daily, known on the 1920s Marseilles waterfront as “Banjo,” prowls the rough waterfront bistros with his drifter friends, drinking, looking for women, playing music, fighting, loving, and talking - about their homes in Africa, the West Indies, or the american South and about being black.

• Sales Rank: #432925 in Books
• Published on: 1970-10-21
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .84" w x 5.25" l, .85 pounds
• Binding: Paperback
• 336 pages

Features

• ISBN13: 9780156106757
• Notes: 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Review
"'An unforgettable picture of waterfront life in Marseilles' The Nation 'A vigorous and full-blooded piece of writing... extraordinarily well done... packed with incident' Times Literary Supplement"

About the Author
Claude McKay was born in Jamaica on 15th September, 1890. He began writing poetry as a schoolboy. He worked as a policeman in Spanish Town and when he was twenty-two had his first volume of poems, Songs of Jamaica (1912) published. In 1912 McKay moved to the United States where he attended Tuskegee Institute in Alabama and Kansas State University. He continued to write poetry and in 1918 his work was praised by both Frank Harris and Max Eastman. The following year, his poem, If We Must Die, was published in Eastman's journal, The Liberator. Frank Harris encouraged McKay to obtain writing experience in England. In 1919 McKay travelled to England where he met George Bernard Shaw who introduced him to influential left-wing figures in journalism. This included Sylvia Pankhurst, who recruited him to write for her trade union journal, Workers' Dreadnought. While in London McKay read the works of Karl Marx and becomes a committed socialist. In 1921 McKay returned to New York and became associate editor of The Liberator. Over the next year the journal published articles by McKay such as How Black Sees Green and Red and He Who Gets Slapped. He also published his best known volume of verse, Harlem Shadows (1922). In 1922 McKay went to Third International in Moscow where he represented the American Workers Party. He stayed in Europe where he wrote Trial by Lynching: Stories About Negro Life in America (1925) and Home to Harlem (1928), a novel about a disillusioned black soldier in the US Army who returns from the Western Front to live in a black ghetto. This was followed by other novels such as Banjo (1928), Gingertown (1932) and Banana Bottom (1933). McKay gradually lost faith in communism and returned to the United States in 1934. Employment was difficult to find and for a while he worked for the Federal Writers' Project. McKay's published work during this period included his autobiography, A Long Way From Home (1937) and Harlem: Negro Metropolis (1940). Unable to make a living from writing, McKay found work in a shipbuilding yard. In 1943 he suffers a stroke and the following year was baptized into the Roman Catholic faith. In 1945 his essay, On Becoming a Roman Catholic, was published. Claude McKay died in Chicago on 22nd May, 1948.

Most helpful customer reviews

27 of 28 people found the following review helpful.
Distorted Version of a Brilliant Text
By Ernest J. Mitchell II
Formed in 1992, the X Press intends "to become not only Europe's biggest, but the world's number one black book publisher." Judging by their 2000 edition of McKay's Banjo: A Story Without a Plot (1929), we will have much to fear if they succeed.

The X Press edition is rife with errors and silent emendations, beginning with omission of the book's crucial subtitle: "A Story Without a Plot." This edition also omits McKay's dedication ("For Ruthope"), along with the table of contents and the chapter titles. Worse still, the publishers frequently tamper with McKay's prose, changing punctuation, omitting clauses, and converting McKay's carefully constructed dialect passages into Standard English. Consider the book's second paragraph:

X Press: "It sure is," he noted mentally; "the most wonderful bank in the ocean I ever did see."
Original: "It sure is some moh mahvelous job," he noted mentally; "most wonderful bank in the ocean I evah did see."

X Press omits an entire phrase ("some moh mahvelous job"), blurring two separate thoughts into one and making McKay's semicolon seem ungrammatical. Banjo's vernacular "evah" becomes "ever," far from a minor point since the characters in Banjo frequently reflect on the nature of language and slang. The X Press edition does not eliminate all uses of dialect, but it does efface many. For example, there are eighteen silent emendations of dialect on page 252.

For those readers who wish to appreciate Banjo as McKay intended it, I highly recommend the Banjo (Harvest Book) Harcourt Brace edition (1957/1970), which replicates of the original Harper & Brothers 1929 edition down to the pagination. Far from being a definitive modern re-issue, the X Press edition misrepresents McKay's authorial vision, preventing readers from appreciating one of the great novels of the 20th century.

6 of 7 people found the following review helpful.
An manifesto of Black dignity, a fun book to read
By Tony Thomas
The years after World War One were a time for youth with adventure on their minds to follow what the war showed them and seek the world. This book brings to my mind another book of this heady time of excitement, Dos Passos great _1919_. However, this book goes far beyond the interesting and humorous adventures of its protagonists to sketch a vision of Pan African.

The characters are former sailors and dockworkers on the bum in Marseilles in the early 1920s, all Black from the United States, the West Indies, French and British Africa. Some are uneduated workers and former peasants, at least one is educated, living "the life of the people" on the beach. While careening through adventures involving very much sex, more alcohol, and encounters with whites from every level of European and American society, the book takes up the issues of race and racism, not only on the part of European and American whites, but the prejudices among and within the different Black nationalities themselves.

When the book was published young Africans, young West Indians, and Black Americans, but especially Francophone Blacks like Aime Caesaire and Leopold Senghor would would craft the Black cultural and political affirmations called Negritude, would champion this book as a call for Black unity, dignity, and for looking to the warmth, joy, and passion of the culture and people of Africa and her diaspora int he Americas.

The ordinary reader will enjoy this book because it is told with wit and grace and that it humor comes from the real world. After all, the protagonists live by their wits, not by their labor, and there are enough scraps with romance, hustlers, and the police to keep the plot moving.

I read it because its comments on culture and race are important to my own research, but once reading it, I found myself hungry for its pages every time I put it down, wanting to get through the current adventure and into the next.

0 of 0 people found the following review helpful.
A Story Without A Plot
By Robert
This is easily one of the worst books I've ever been forced to read.

It's like trying to read "The Twelfth Night" upside down... in Braille.

How something like this managed to survive into this century is beyond me.

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# Fee Download The Sitwells: A Family's Biography, by John Pearson

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John Pearson has sympathetically portrayed the often turbulent private lives of this remarkable English family of poets, memoirists, critics, and patrons, and has evaluated their literary output, in a book that is as entertaining as it is knowledgeable. Index; illustrations.

• Sales Rank: #532789 in Books
• Color: Red
• Published on: 1980-10-10
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x 1.25" w x 5.51" l, 1.56 pounds
• Binding: Paperback
• 528 pages

About the Author
John Pearson is a contributor for the following Houghton Mifflin Company Title: Sitwells

Most helpful customer reviews

7 of 7 people found the following review helpful.
Reveals many connections with key 20th Century literary icons
By northkona
Sometimes when one reads a book of over 500 pages it turns out a lot of the content isn't that interesting after all. I enjoyed this treatment of the Sitwells both to find out more about them but also to see how so many other writers, composers, and artists fitted into the first few decades of the 20th Century. Lots of the people brought into the story I knew a little bit about, but this book really helped group them together in a more meaningful way. The author writes well, it doesn't get boring. About the only criticism I have is that the word "facade" shows up too many times. Edith Sitwell and her brothers put together a performance of poetry and music with this title, and I think the author let himself get carried away with use of the word. You do notice it jumping off the page, but it's a minor criticism of a good book. I'm glad I read it, and the price was right because I got an excellent used copy right here at Amazon.

10 of 10 people found the following review helpful.
Engaging family bio
By Dennis Petticoffer
During the first half of the 20th Century, the Sitwells (Edith, Osbert, and Sacheverell) established themselves as one of England's most eccentric and noteworthy families. In defense of modern poetry, they emerged as a distinct literary cult ("the curious Chelsea trinity"), rivaling such Twenties cliques as the Algonquin Round Table, the Bloomsbury group, and the self-exiles in Paris. The Sitwells' impressive output of poetry and criticism was spiced by a generous sprinkling of controversy and scandal. Pearson's engaging biography shows how the family inspired and nurtured its own myth. Along the way, he exposes some less publicized truths which hovered behind the family facade. This book is full of interest and information: a worthy addition to any Anglophile's library.

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A novel set in three parts, beginning in the 1920s and ending in the 1950s, that follows the lives of two friends from the prewar years in Germany through an apocalyptic period and its startling aftermath. Translated by Ralph Manheim. A Helen and Kurt Wolff Book

• Sales Rank: #611302 in Books
• Color: White
• Published on: 1989-10-16
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x 1.44" w x 5.50" l, 1.61 pounds
• Binding: Paperback
• 576 pages

Features

• ISBN13: 9780156261128
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Review
Dog Years is a meditation on modern history in the guise of a novel, a study of Germany before, during and after the Second World War, a tale of the interrelated fortunes of two friends, Walter Matern, Aryan, and Eddi Amsel, half-Jew. In its well-nigh stupefying length, in its almost ritual use of distortions, shifting perspectives, and completely unaccommodating, dispassionate weaving of minutiae (at once quaint, brutal, and poetic), and in the terrible geniality of its denunciatory spirit and in its disgusts, it is without doubt one of the most astonishing literary performances since Finnegans Wake. It is also, naturally, one of the most troubling. By comparison, The Tin Drum is a mere roller coaster ride through the Absurd. Grass' technique- a mingling of Beckett, Brecht, and his own half-solemn, half-winking naturalism- Juxtaposes the traditional order of character and situation with quasi-allegorical effects: e.g., the recurrent word play on Heideggerian concepts; the deadpan caricature of mass media, the cool nightmarish descriptions of industry; the quirky, staccato close-ups of front line fighting; above all, the underlying canine metaphor whereby a stud dog, involved in the adolescence of all the participants, fathers der Fuhrer's favorite hound, Pluto, later picked up by Natern on his hellish post-war Journey. Lupus est homo homini etc...??Matern, of course, represents history's adjustable man: protector and tormentor of his "sheeny" friend, battered about the Left and Right ("I was red, put on brown, wore black, dyed myself red. Spit on me..."); Amsel, of course, is his alter ego. Dog Years is a product of the Cold War, in which absolutes boringly teeter on the brink, in which men (who have become sociologized "topics of discussion") scowl at each other or try to touch through a thick universal pane of glass. An important book which will receive an important press. (Kirkus Reviews)

Language Notes
Text: English, German (translation)

About the Author
GÜNTER GRASS (1927–2015), Germany's most celebrated contemporary writer, attained worldwide renown with the publication of his novel The Tin Drum in 1959. A man of remarkable versatility, Grass was a poet, playwright, social critic, graphic artist, and novelist. He was awarded the Nobel Prize for literature in 1999.
 

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28 of 30 people found the following review helpful.
The amazing conclusion to the Danzig Trilogy
By Robert Beveridge
First: If you decide to tackle the Danzig Trilogy, Reddick's critical analysis is indispensable. I suggest tackling it the same way I did: read The Tin Drum, start Reddick's book at the same time you start Cat and Mouse (Reddick reads faster than Grass, and you'll get through a lot of Reddick while tackling Grass), and when you've caught up, read Reddick's section on Dog Years and the actual novel concurrently.

Those of you who feel the revelation of anything having to do with a book before you get to that part in the book is a spoiler should probably avoid this technique; Reddick revelas the major "mystery" in Dog Years towards the end of his section on Cat and Mouse. However, one cannot really consider Dog Years a mystery, despite the various things that happen within it; while there are some elements to it that keep the reader guessing, Dog Years is, more than anything, a savage satire on Germany during the WW2 years. And as such, finding out the main mystery-that's-not-a-mystery should not detract at all from one's appreciation of the book itself.

Dog Years can also stand on its own, without being read as a part of the Danzig Trilogy, but the reader's appreciation of many facets of this novel-- most notably Edouard Amsel's character and the satire itself-- are more easily appreciated when you have The Tin Drum and Cat and Mouse under your belt as comparisons. Amsel, the main protagonist of Dog Years, stands as a direct comparison to both Oskar and Mahlke, and his character is more easily understood when those two have already been assimilated by the reader.

The plot of Dog Years is a simple enough one; it charts, through the use of three narrators, the frindship of Edouard Amsel and Walter Matern from grade school through their early thirties. Amsel, the intellectual one, is picked on constantly by his classmates (including Matern) until one day, for no apparent reason, Matern befriends Amsel and chases away the others. It's a typical buddy-relationship in that Amsel is the brains and Matern is the brawn, but we don't get the bonding we've come to expect from seeing too many Hollywood buddy films. The relationship between Matern and Amsel is far more complex than that, and Reddick has done a passable job of interpreting it, one which I won't attempt to recreate here (it would be ludicrous to attempt something that complex in such a forum as a review). In an odd lapse, though-- especially given how much emphasis Reddick has put on Grass' enmity and stire of the Roman Catholic Church in the previous two books-- Reddick seems to have overlooked one of the most obvious interpretations of Amsel's character (and also that of the more minor protagonist Jenny Brunies), as a christ figure. In the novel's central scene, both Amsel and Brunies (who are both made out, in the first half of the novel, to be almost comically fat) undergo a transformation that transforms Brunies into a ballet sensation and Amsel into another character entirely, the omnipotent Goldmouth; while there is no physical crucifixion here, the path taken by Amsel's character through the rest of the novel certainly implies the path of christ after the resurrection, until his assumption into, in this case, Berlin. For the next hundred or so pages, Goldmouth is never actually seen, only referred to in the good deeds he does for others, and he achieves an almost legendary status among the rank and file for his goodness, his power (in postwar germany, his power is in his connections; who he knows), and the fact that no one really sees him much, but everyone is aware of his presence and his acts. However, Reddick, in his attempt to (successfully) parallel Amsel's character with that of Grass himself, never examines this aspect of Amsel.

This lack also leads to Reddick drawing the conclusion that Dog Years is the weakest of the three books, while still proclaiming that as a whole they rank as the finest piece of modern German literature extant today. I feel Reddick is giving Dog Years short shrift here; while the book does, in fact, have its faults, they are faults shared by the other two novels as well, and I came away from Dog Years thinking that, to the contrary, it was the strongest and most absorbing of the three. While it was more difficult than the other two, it was also more rewarding and more absorbing; it's not often I'll put in three months on one novel, but at no time did I feel that it ever stopped moving me along, and at no time did I ever feel that it was time to put the book down for good.

Keeping this seeming oversight of Reddick's in mind, I still have to recommend his book as a perfect accompaniment to Grass' most famous three novels, and all four of them deserve the attention of every serious student of literature.

17 of 18 people found the following review helpful.
His masterpiece
By A Customer
As good as 'Tin Drum' but far more accessible and direct in its impact on the darkness and light in the German psyche. The only author from Germany to honestly address the issues of what led to WWII and its aftermath. There is a hilarious and brilliant passage towards the end of the second part of the book which takes a savage poke at Heidegger and German love for abstraction. A gem of a book.

9 of 12 people found the following review helpful.
Hate it and love it, love it and hate it
By A Customer
Grass uses wonderful, dense, invented words and peppers his novel with wonderful, dense, twisted imagery. Which is why I admire the work and why I was determined to finish the book although it was as intellectually heavy as a brick and occassionally tried my patience. This is not a book for an MTV-hyperactive attention span. More than a reflection of German mentality, it is a journey into the German mind, because so many times it follows a stream-of-consciousness approach. Sometimes it feels as if you're on a rollercoaster ride through the tunnels of a character's mind. Which is why I hated it too. I felt that many times the book became self-indulgent... that is, Grass wasn't writing for the reader but for himself or as a catharsis for his characters.
I only realized Dog Years was part of a trilogy after I bought it, and I enjoyed The Tin Drum much more because I read it after seeing the movie (it relieved the mind from loads of exertion). Although I am immensely relieved to have finally finished Dog Years, I still can't wait to read the other book of the trilogy, Cat and Mouse. Love to hate Grass.

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More than eighty contemporary American voices speaking on the eternal theme of the relationship between fathers and daughters. Included here are such noted authors as Sylvia Plath, Anne Sexton, Richard Wilbur, Gwendolyn Brooks, Raymond Car-ver, Sharon Olds, and Bob Dylan.

• Sales Rank: #6110845 in Books
• Published on: 1993-05-07
• Released on: 1993-05-07
• Original language: English
• Number of items: 1
• Dimensions: .61" h x 5.29" w x 7.96" l,
• Binding: Paperback
• 192 pages

Review
Thoughts Of A Young Girl by John Ashbery
Preface To A Twenty Volume Suicide Note by Amiri Baraka
The Dream Songs: 385 by John Berryman
To Her Father by Sophie Cabot Black
Disappearing Act by Laurel Blossom
Moving On In The Dark Like Loaded Boats At Night, Though The by Lucie Brock-broido
In Honor Of David Anderson Brooks, My Father by Gwendolyn Brooks
Alas, The Earth's Mere Measure Strains Our Blood by Hayden Carruth
My Daughter And Apple Pie by Raymond Carver
Nani Worries About Her Father's Happiness In The Afterlife by Ana Castillo
His Story by Sandra Cisneros
Sam by Lucille Clifton
Fever by Judith Ortiz Cofer
For Miranda by Gregory Corso
Sitting Here by Robert Creeley
Listening To A White Man Play The Blues by Silvia Curbelo
My Father's Desk by Kate Daniels
Poem For My Father by Toi Derricotte
To My Father - 2 by Diane Di Prima
Signal Hill by Sharon Lura Edens Doubiago
Taking In Wash by Rita Dove
Marina by Thomas Stearns Eliot
Of Your Father's Indiscretions And The Train To California by Lynn Emanuel
From Trumpets From The Islands Of Their Eviction The Spanish by Martin Espada
The Telephone by Isabella Gardner
Metamorphosis: 1. Night by Louise Gluck
Metamorphosis: 2. Metamorphosis by Louise Gluck
Metamorphosis: 3 For My Father by Louise Gluck
My Daughter Very Ill by Paul Goodman
For My Father Looking For My Uncle by Jorie Graham
My Father And God by Linda Gregg
The Hang-glider's Daughter by Marilyn Hacker
Song For My Father by Jessica Tarahata Hagedorn
Naming The Unborn by Daniel Halpern
Eve (rachel) by Michael S. Harper
Lullaby For A Daughter by James Harrison
Evening by Beatrice Hawley
How Many Times by Marie Howe
Hard Daddy by James Langston Hughes
For My Daughter In Reply To A Question by David Ignatow
An Explanation Of The Exhibit by Rodney Jones
From War And Memory 1 by June Jordan
For My Daughter by Weldon Kees
Molly by Maurice Kenny
3. by Galway Kinnell
4. by Galway Kinnell
5. by Galway Kinnell
6. by Galway Kinnell
Antique Father by Carolyn Kizer
Circling The Daughter by Etheridge Knight
The Catch by Stanley Jasspon Kunitz
On The Fifth Anniversary Of My Father's Death by Carolyn Lau
Father Son And Holy Ghost by Audre Lorde
Home After Three Months Away by Robert Lowell
A Little Tooth by Thomas Lux
Nomen (to Femi Sodipo And My African-american Ancestors) by Naomi Long (witherspoon) Madgett
Hill Daughter by Louise Mcneill
Maps by Susan Mitchell
Recognitions by David Mura
The Painter's Daughter by Carol Anne Muske
The Museum Man!... by Lorine Niedecker
Prairie Wind by Debra Nystrom
The Race by Sharon Olds
A Visitor by Mary Oliver
Exodus by George Oppen
Nicole At Thirteen by Gregory Orr
Mirru by Kenneth Patchen
Buffalo by Molly Peacock
Daddy by Sylvia Plath
Bells For John Whiteside's Daughter by John Crowe Ransom
Poem For Two Daughters by Ishmael Reed
From My Dad Is A Magician 2 by Leslie Reese
The Lights In The Sky Are Stars: A Sword In A Cloud Of Light by Kenneth Rexroth
Incanto: 1 by Stanley Travis, Jr. Rice
Incanto: 4 by Stanley Travis, Jr. Rice
After Dark by Adrienne Cecile Rich
As If Ending by James Richardson
Elegy For Jane by Theodore Roethke
Sand-quarry With Moving Figures by Muriel Rukeyser
The Taxidermist's Daughter by Nancy Schoenberger
All My Pretty Ones by Anne Sexton
My Father Is A Retired Magician by Ntozake Shange
Calling The Child by Karl Shapiro
Mercy by Bruce Smith
Sweet Daddy by Patricia M. Smith
From Heart's Needle 10 by William Dewitt Snodgrass
Kyoto Born In Spring Song by Gary Snyder
Father And Daughter by Cathy Song
Thinking For Berky by William Edgar Stafford
Waving Good-by by Gerald Stern
For Jessica, My Daughter by Mark Strand
Feel Me by May Swenson
Listen by Luci Tapahonso
From The Messenger I/the Father 1 by Jean Valentine
From The Messenger I/the Father 2 by Jean Valentine
From The Messenger I/the Father 3 by Jean Valentine
From The Messenger I/the Father 4 by Jean Valentine
From The Father Of My Country by Diane Wakoski
Condoms by Ronald W. Wallace
Morning Sad And White by Robert Penn Warren
The Writer by Richard Wilbur
The Last Deaths by Charles Kenneth Williams
A Poem For Emily by Miller Williams
Tears Of Rage by Robert Zimmerman
The River by Paul Zweig
-- Table of Poems from Poem Finder®

About the Author
Jason Shinder was born in Brooklyn, NY in 1955.

His first book of poems, Every Room We Ever Slept In, was a New York Public Library Noted book and his second collection, Among Women, was published in 2001. He is the editor of several anthologies, most recently Tales from the Couch: Writers on Therapy, Best American Movie Writing, and The Poem That Changed America: "Howl" Fifty Years Later.

Shinder teaches in the graduate writing programs at Bennington College and the New School University. Founder and director of the YMCA National Writer's Voice, he is also director of Sundance Institute's Writing Program. 

Most helpful customer reviews

1 of 3 people found the following review helpful.
Horrid.
By Cheryl Walker
I picked up this book thinking it might contain some nice father-daughter poems. NOT! This is a very dark, dismall, depressing collection of "poetry". Many selections speak of death and poor father-daughter relationships. Not a nice book.

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Selected from the vast range of his work, the writings included in this anthology trace Günter Grass's development as a writer, and with it the history of a nation coming to terms with its past.
Excerpts from Grass's major novels-from The Tin Drum to Crabwalk-are included, as are numerous short fictions, essays, and poems, many of which have never appeared before in English. Grass's gifts as an observer of and participant in the social and political landscape are justly celebrated, as are his inimitable sense of humor, his consistent defense of the disadvantaged, and his mastery of the forms of expression he has employed over the years.
For readers in search of an introduction to his work or for those familiar primarily with his novels, this diverse collection offers a fresh and stimulating introduction to one of the world's greatest living writers.

• Sales Rank: #3047854 in Books
• Published on: 2004-12-06
• Released on: 2004-12-06
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .80" w x 5.30" l, .68 pounds
• Binding: Paperback
• 320 pages

Review
PRAISE FOR CRABWALK
"This short yet sprawling book serves as a reminder of Grass' myriad writerly gifts."-San Francisco Chronicle
"Masterful . . . This is his most powerful book since The Tin Drum." -The Seattle Times
PRAISE FOR TOO FAR AFIELD
"It is the work of a seasoned craftsman, certain of what he wants to do, completely in control of his gifts." -The New York Times Book Review

From the Back Cover
Selected from the vast range of his work, the writings included in this anthology trace Günter Grass's development as a writer, and with it the history of a nation coming to terms with its past.
Excerpts from Grass's major novels--from The Tin Drum to Crabwalk--are included, as are numerous short fictions, essays, and poems, many of which have never appeared before in English. Grass's gifts as an observer of and participant in the social and political landscape are justly celebrated, as are his inimitable sense of humor, his consistent defense of the disadvantaged, and his mastery of the forms of expression he has employed over the years.
For readers in search of an introduction to his work or for those familiar primarily with his novels, this diverse collection offers a fresh and stimulating introduction to one of the world's greatest living writers.

Born in Danzig, Germany, in 1927, Günter Grass is a widely acclaimed author of plays, essays, poems, and numerous novels. He was awarded the Nobel Prize for Literature in 1999.

About the Author
Born in Danzig, Germany, in 1927, Günter Grass is a widely acclaimed author of plays, essays, poems, and numerous novels. He was awarded the Nobel Prize for Literature in 1999.

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Gilbert Law Summaries are America’s best selling outlines and have set the standard for excellence since they were introduced more than thirty-five years ago. It’s Gilbert’s unique combination of features that makes it the one study aid you’ll turn to for all of your study needs! Walk into class prepared with a comprehensive outline of the law, a concise capsule summary perfect for a quick review before class, charts of every kind, a text correlation chart so that you can match your specific reading assignment to the relevant pages in the Gilbert outline, and an index and table of cases. Ace your final exams with a step-by-step approach to attack your exam, exam tips, and sample multiple choice, true-false, and essay questions.

• Sales Rank: #983360 in Books
• Published on: 2002-03
• Original language: English
• Number of items: 1
• Dimensions: 10.75" h x 8.50" w x 1.00" l,
• Binding: Paperback

Most helpful customer reviews

12 of 12 people found the following review helpful.
Definitely worth it
By J. Moreau
I looked at a few different study aids for admin law, and chose Gilbert's because it seemed to break down everything into simple terms. I was not disappointed. Not only does it make admin law easy to understand, but it has several charts and tables that clarified murky areas. For example, there was a chart that broke down the difference between rulemaking and adjudication, and one that explained the various levels of deference. It also has many useful exam tips, as well as review questions and a sample exam with detailed answers. Admin law wasn't my favorite subject (let's face it, it's quite boring), but Gilbert's helped me do pretty well.

6 of 7 people found the following review helpful.
Cliff's Admin Notes
By doomsdayer520
The Gilbert series is surely the recommended supplement for all types of legal studies, though this particular book is best utilized in an encyclopedic "Cliff's Notes" sort of way. For reference and practice after the fact, this volume probably can't be beat, thanks to its breakdowns of complex topics into easily digestible chunks, and it's essential for advice on studying for exams. Note that I read this book to prepare for an administrative law class in advance, and found this to be an arduous experience due to the book's non-sequential layout and its assumptions of the reader's knowledge of technical terms and precedents. That's not a demerit because reading the book in that fashion is probably not the publisher's intention. However, I am docking the book one star for some aspects of its technical layout. Sometimes those digestible chunks of information are just too quick for comfort, with important statutes and precedent-setting cases being summed up in single anticlimactic sentences. Meanwhile the index is a real problem, especially with its use of annoying section numbers rather than page numbers. Also, the inclusiveness of the index is spotty at best, with many important and heavily-covered items not appearing in the index at all - most notably the 1981 Model State APA, which is all over the text but completely absent from the index. This book contains most of what you'll need for effective administrative law studies, but you may have some real difficulty in finding it. [~doomsdayer520~]

See all 2 customer reviews...

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