~~ Fee Download Three Guineas, by Virginia Woolf

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Three Guineas, by Virginia Woolf

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The author received three separate requests for a gift of one guinea-one for a women’s college building fund, one for a society promoting the employment of professional women, and one to help prevent war and “protect culture, and intellectual liberty.” This book is a threefold answer to these requests-and a statement of feminine purpose.

• Sales Rank: #132160 in Books
• Brand: Harvest Books
• Published on: 1963-05-01
• Released on: 1963-05-01
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .45" w x 5.31" l, .39 pounds
• Binding: Paperback
• 192 pages

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• Great product!

Review
Like Virginia Woolf's better known A Room of One's Own, Three Guineas is still timely and well worth the effort required to read it. In this book-length essay, an English writer responds to a letter - from a society for preventing war and protecting culture and intellectual liberty - which asks "How in your opinion are we to prevent war?" and requests a one guinea donation. Her response examines this and two similar requests, one from a women's college building fund, and the other from a society promoting the employment of professional women. Each request for a guinea is seriously and thoroughly considered by questioning, in detail, why each of the needs exists: Why doesn't the English government support education for women? Why are women in England barred from professional work? And why is World War II imminent? With scathing humor, boundless dignity, and engaging detail, Virginia Woolf finds the answers to all three questions in the same source: "...we can best help you to prevent war not by repeating your words and following your methods but by finding new words and creating new methods... to assert 'the rights of all - all men and women - to the respect in their persons of the great principles of Justice and Equality and Liberty.'" -- For great reviews of books for girls, check out Let's Hear It for the Girls: 375 Great Books for Readers 2-14. -- From 500 Great Books by Women; review by Jesse Larsen

From the Publisher
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From the Back Cover
The highly controversial Three Guineas was Virginia Woolf's most explicit statement of her feminism. Forming part of the prestigious Shakespeare Head Press series of Woolf's works, this authoritative new edition includes her carefully considered selection of photographs, her discursive endnotes and extensive new annotations of her references and allusions.

In an illuminating introduction, editor Naomi Black guides the reader through this allusive, highly artful book, discussing its structure and argument and tracing the history of its composition and critical reception. She analyses the text as a representation of Woolf's feminism, including the way in which the book's form subverts male conventions of scholarship. All variants and emendations are listed, but the text itself is free of interventions.

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7 of 7 people found the following review helpful.
Great & important book, but false advertising
By Hilda Doolittle
First, about the false advertising: Amazon promises the Kindle edition is the Annotated Edition. In fact, it is not. I read this book at least every year, and have several paperback editions of it, including the annotated one. I wanted the annotated in kindle to teach from, but when it came, I was disappointed to see it's the one without original pictures & annotations. I tried to get Amazon's attention about this, but the online communications proved too cumbersome to work through.

This work's mportance is immense; it is a 1938 update of and response to Mary Wollstonecraft's A VINDICATION OF THE RIGHTS OF WOMAN (1792).. If you find the reading difficult at first, read it aloud to yourself until you get a sense of Woolf's style and voice. This is a sequel to A ROOM OF ONE'S OWN, much more potent than that canonized work.

Read it!

16 of 21 people found the following review helpful.
It All Boils Down To Money!
By V. Marshall
Early feminism begins to emerge in this essay written by Virginia Woolf in 1938 as a follow up to her wonderful book "A Room of One's Own."

Woolf received requests for three guineas from a women's college, from a society for promoting professional women and finally from a group requesting the prevention of war. This essay is Woolf's answer to those requests. While it is extraordinarily cumbersome to read the bottom line suggests that a society which promotes only one aspect of itself and suffocates anything else will never be advanced enough to protect its own culture and intellect from revolutions and wars. And because the idea of fighting rests in the very aspect so highly promoted (male dominated society) all of the laws and practices contain this strife and will until other parts of society are allowed a fair voice. The interesting concept is how little society has advanced from this original idea and the strife continues to be a factor today. Woolf suggests war exists as a profession and an act that offers "happiness and excitement" for the very society it falls under. In fact she goes as far to suggest that men would deteriorate without the outlet of war to contend with. Woolf discusses patriotism as a purely male act because of the fact that women simply cannot be patriots in a culture that suffocates their voices and refuses to educate them (remember this is 1938). The disturbing thought is that women are now able to vote, work and fight in wars but our culture remains basically the same with white males in domination. How slow we are to advance!

Virginia Woolf believed that war could only be prevented through an educational system that stopped the glamorization of it and instead taught the inhumanity of the act. She found that poor educational systems actually taught better because they allowed art and creative processes to flow rather than the pomp and circumstance of wealth and the art of dominating, killing and capital acquirements. Sadly one of Woolf's most profound ideas applies today, "There we have an embryo the creature, Dictator as we call him when he is Italian or German, who believes that he has the right, whether given by God, Nature, sex or race is immaterial, to dictate to other human beings how they shall live; what they shall do." From a society of slavery, racism and suffering emerges a great savior promoting freedom? It seems an oxymoron does it not? Woolf continues, "And what right have we, Sir, to trumpet our ideas of freedom and justice to other countries when we can shake out from our most respectable newspapers any day of the week eggs like these?" The futurism of Woolf is astounding in this book as she finally suggests that women be labeled "outside" society so that her country is the entire world and her patriotism allowed to be the same. In a visionary profoundness Woolf manages to find an answer towards true freedom outside of the fascination of a few guineas.

3 of 3 people found the following review helpful.
Execrable Digitization
By T. Walsh
This pertains only to the Kindle edition of Three Guineas by Virginia Woolf (ASIN: B004TC0GRC) and not to the book itself or the related print edition.

It appears that the text of the Kindle edition was entered by optical character recognition and was not reviewed either by a human being or even by a spell-check program. After noticing, but not marking, a significant number of obvious typographical errors, I began marking them in a distinctive manner to distinguish them from other notes and marks. After finishing the book I went back and counted the typographical errors so marked and arrived at approximately 90. It is safe to say that estimating the unmarked errors comes up with a total of well over 100, or an average of at least one for every other page. These include word substitutions, word misspellings and punctuation errors. I only marked obvious and indubitable errors and did not mark spellings that might be attributable to British English or punctuation that is merely questionable, possibly by reason of Woolf’s idiosyncratic punctuation style.

This shoddy edition is an insult to the memory of one of the greatest writers of the 20th century and to readers as well. The constant barrage of errors makes it impossible to read the book for itself.

I don’t know whether the responsibility for quality control lies with the publisher or with Amazon, but I think it should be with both. The book publisher has the same responsibility for care about the quality of its product no matter what the medium in which its product will appear, print or digital. Amazon markets the product as a “Kindle edition”, and has a responsibility to protect the integrity of its trademark, as well as a commercial interest in doing so.

I recognize that this book falls into a category resulting from a low price and low-volume where additional expense of production is difficult, and I would not like to see that additional expense result in the failure to publish such works. However, I feel that Amazon should come up with a way to deal with this issue. One possibility would be to label publications that have not been subjected to quality control as “Beta” Kindle editions. In this way the potential reader would be warned that he might encounter such problems. Another possibility would be to offer a bounty to readers for identifying errors so that they could be corrected.

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! Free Ebook Mastery of your anxiety and worry: Therapist guide (TherapyWorks), by Richard E Zinbarg

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This 13-session program incorporates new procedures to help clients learn to monitor their anxiety, gain control, and initiate needed change through cognitive restructuring, progressive muscle relaxation, and direct confrontation of unnecessary worry using imagery and In Vivo Experience. The videotape helps therapists gain a better understanding of cognitive behavioral therapy for the treatment of generalized anxiety disorder. In this program, clients will learn to control their "out-of-control" worry and anxiety. The program is divided into 13 components or lessons. In each lesson, clients will learn specific skills. The skills will build on each other so that in each new lesson, they will use skills learned in earlier lessons. The types of skills that they will learn include reducing physical tension, controlling excessive worry, and dealing with real problem situations. The program is obviously structured, but within that structure, there is room for individual tailoring, since individual differences are very important for understanding what will help each client the most. At the end of each lesson, there is an exercise and a self-assessment section that is there for clients to see if they have learned the important information. If not, it is a sign for them to go back over the material again. Most people go over the lesson repeatedly. In addition, specific exercises are outlined at the end of each chapter.

• Sales Rank: #5817923 in Books
• Published on: 1993
• Original language: English
• Binding: Paperback

About the Author

Richard E. Zinbarg is an associate professor in psychology at Northwestern University and a licensed clinical psychologist specializing in the treatment of anxiety and panic disorders. He is the Patricia M. Nielsen Research Chair and co-director of the Anxiety and Panic Treatment Program at The Family Institute at Northwestern University. He received his PhD from Northwestern in 1989. He also directed the Oregon Program for Anxiety Study and Treatment at the University of Oregon. For the past 15 years he has published and presented extensively on anxiety disorders.

Michelle G. Craske received her PhD from the University of British Columbia in 1985 and has published over 100 articles and chapters in the areas of anxiety disorders and fear. She recently completed an advanced level text, Anxiety Disorders: Psychological Approaches to Theory and Treatment. Currently, she is professor of psychology in the department of psychology at the University of California, Los Angeles, and director of the UCLA Anxiety Disorders Behavioral Research Program. She continues to serve on the DSM-IV Anxiety Disorders Workgroup Subcommittee, which is charged with revising the text that accompanies the diagnostic criteria; is a consultant to various national organizations in their efforts to develop and disseminate practice guidelines for panic disorder and other anxiety disorders; and has been awarded NIMH/NIH funds for the study of anxiety disorders. Her research focuses on furthering the understanding of fear and anxiety and in developing more effective treatments for the anxiety disorders.

David H. Barlow received his Ph.D. from the University of Vermont in 1969 and has published over 400 articles and chapters and over 20 books. His major interests over the past 30 years has been the study of anxiety and its disorders, and developing new psychological procedures for practice settings. Prior to his current position as Professor and Director of the Center for Anxiety and Related Disorders and Director of Clinical Psychology Programs at Boston University, he founded clinical psychology internships at Brown University and the University of Mississippi Medical Center. He is the recipient of the 2000 American Psychological Association (APA) Distinguished Scientific Award for the Applications of Psychology. Other awards include the Career Contribution Awards from the Massachusetts and California Psychological Associations, and a MERIT award from the National Institute of Mental Health for long-term contributions to the clinical research effort. During the 1997/1998 academic year, he was Fritz Redlich Fellow at the Center for Advanced Study in Behavioral Sciences in Palo Alto, California. He is Past-President of the Society of Clinical Psychology of the American Psychological Association, and the Association for the Advancement of Behavior Therapy. He was also Chair of the American Psychological Association Task Force of Psychological Intervention Guidelines, a member of the DSM-IV Task Force of the American Psychiatric Association, and was Co-Chair of the Work Group for revising the anxiety disorders categories.

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~ PDF Download Open Closed Open: Poems, by Yehuda Amichai

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In poems marked by tenderness and mischief, humanity and humor, Yehuda Amichai breaks open the grand diction of revered Jewish verses and casts the light of his own experi­ence upon them. Here he tells of history, a nation, the self, love, and resurrection. Amichai’s last volume is one of medi­tation and hope, and stands as a testament to one of Israel’s greatest poets.
 
Open closed open. Before we are born, everything is open
in the universe without us. For as long as we live, everything is closed
within us. And when we die, everything is open again.
Open closed open. That’s all we are.




—from “I WASN’T ONE OF THE SIX MILLION:
   AND WHAT IS MY LIFE SPAN? OPEN CLOSED OPEN”

• Sales Rank: #1045719 in Books
• Published on: 2006-11-06
• Released on: 2006-11-06
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .51" w x 5.25" l, .50 pounds
• Binding: Paperback
• 204 pages

Features

• ISBN13: 9780156030502
• Condition: Used - Very Good
• Notes: 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

Amazon.com Review
In the centerpiece of Open Closed Open, the Israeli poet Yehuda Amichai ponders his most treasured keepsake, "a triangular fragment of stone from a Jewish graveyard destroyed / many generations ago." This object is, needless to say, more than a souvenir: throughout the zigzagging lines of "The Amen Stone," it allows Amichai to reconstruct bits and pieces of the past, "fragment to fragment, / like the resurrection of the dead, a mosaic, / a jigsaw puzzle. Child's play." The ensuing narrative leads the poet directly into his nation's history. Yet this is not merely a political but a personal resurrection, for Amichai sees himself as the stone's well-weathered counterpart, a byproduct of time. And he, too, has experienced an inevitable erosion: "Jewish History and World History / grind me between them like two grindstones / sometimes to a powder."

Throughout the collection, Amichai returns again and again to this convergence. In "Once I Wrote 'Now and in Other Days.' Thus Glory Passes, Thus the Psalms Pass," for example, he chronicles the destruction of Huleh swamp, an open ecosystem drained by the Israeli government during the 1950s to fight malaria and provide arable land: Now half a century later they are filling it with water again
because it was a mistake. Perhaps my entire life
I've been living a mistake
Indeed, Amichai's misgivings seem to extend to the very foundations of the modern Israeli state. Might not the "bright-colored birds" who fled the swamp "for their lives" be figures for the displaced Palestinians? Huleh, we learn, was eventually restored. But sowing the seeds of peace is as precarious an enterprise as rebuilding a fragile ecosystem.

Elsewhere, "My Son Was Drafted" records a father's concern and fear for his military-age child. Amichai wishes his son were joining an army without a war, where soldiers serve as decorations around monuments, where the ornate and impractical replace the camouflaged and tactical. But here, too, the father has a few spiritual heirlooms to pass on to his son, which incidentally allow him to open up yet another closed system: I would like to add two more commandments to the ten:
the Eleventh Commandment: "Thou shalt not change,"
and the Twelfth Commandment "Thou shalt change. You will change."
My dead father added those for me.
A man, Amichai suggests, is more pliable once he has been opened up, refreshed, newly defined. Cultures, alas, are not so flexible. But the rich language of Open Closed Open, which has been meticulously translated by Chana Bloch and Chana Kronfeld, holds out the hope that nations, too, might submit to the Twelfth Commandment. --Ryan Kuykendall

From Publishers Weekly
Constructing a lineage in which to place himself, Amichai begins these verses of personal and cultural history with a stone from a destroyed Jewish graveyard; and moves on to enact the story of David, recall poems by Ibn Ezra, and even consider Jesus as an instance of "Jewish Travel." Within this vast context, the 25 longish poems of the collection, originally written in Hebrew, offer everyday acts of alternately joyous and somber reverence for God, "with the same body/ that stoops to pick up a fallen something from the floor." Amichai, who emigrated to Palestine in 1936 and is now 76, places imagined Holocaust memories ("I wasn't among the six million who died in the Shoah./ I wasn't even among the survivors") adjacent to irreverent reconfigurations of Torah characters, investigates "The Language of Love and Tea with Roasted Almonds," and asks "Jerusalem, Jerusalem, Why Jerusalem." The English-only text is generally well-rendered by poet Bloch and Hebrew scholar Kronfeld, but the rhymes can show jingly signs of strain: "Our father Jacob, on the beaten track/ carries a ladder on his back// like a window washer to the VIPs./ He does God's windows, if you please." Despite the moments of levity, mortality dominates each anecdote, whether it be a story of romantic, familial or ancestral love: "The memorial forest where we made love/ burned down in a great conflagration// but the two of us stayed alive and in love in memory of the burnt ones the forest remembered." The book becomes more personally confessional as it progresses (poem 22 is titled "My Son Was Drafted"), as the poet reminisces on his youth, first love and adoration of children. Death, finally, becomes a form of remembrance, where "not even a single act of remembering will seep in/ and disturb memory's eternal rest." This is a searching late book from a writer who acknowledges the high stakes of writing and of life as lived daily.
Copyright 2000 Reed Business Information, Inc.

From Booklist
Amichai, Israel's best-known poet, is now in his mid-70s, and he writes with the casual wisdom and generous humor of a master. The glide of his lines, translated so adeptly into English, usher the reader into the complexity of his thoughts and the shifting shadows and light of his emotions as surely as music cues a dancer. His imagery is vital and unexpected, and many poems possess the power of compassionate sermons. Amichai writes that he feels as though he's being ground between two grindstones--Jewish history and world history--and, indeed, the past, be it biblical or Holocaust-bound, is everywhere present in his work. In fact, his touchstone is a shard from a broken tombstone on which the word "Amen" is carved, and his poems deliberately bridge the chasm between remembering and forgetting. "Change is God," Amichai intones, but "prayers are here to stay." Donna Seaman

Most helpful customer reviews

23 of 24 people found the following review helpful.
Poetry for the soul
By Larry Mark MyJewishBooksDotCom
The English translation of Yehudah Amichai's 1998 book of poetry. This is a magnum opus. A poet would be needed to describe the genius of his words. I never "get" poetry. It doesn't work for me. But then I read a poem by Yehudah Amichai and it made sense. Then I went to hear him at a reading at NYU several years ago, and it clicked. One wants to fall in love for the sole reason that one could then use one of his poems. Then I read an excerpt from this book last Fall in "The Forward," and for the past 6 months I have been anxious for this book's release. I bought this book and I consumed it. Reading his poems is like praying, like meditating. Here is one tiny excerpt that is reprinted with permission. If it clicks for you, get the book. "Tova's brother, whom I carried wounded from the battle at Tel Gath, / recovered and was forgotten because he recovered, and died / a few years later in a car crash, and was forgotten / because he died. And even if my bloodied hands / had been prophets then, my eyes saw not / and my feet knew not what the grain in the field knows, / that green wheat ripens yellow. / That's the life prophecy of a field of wheat."

11 of 11 people found the following review helpful.
The Perfect Ending
By BPD
This, the final of Yehuda Amichai's works, lays to rest a life and career memorable to no end. Open Closed Open is about the Israel that is and has been -- tensions that have not faded -- complexities that have not eroded -- and loves that remain in spite of it all. It is, in every sense, a book of poetry, of poetics unequalled. Please read Open Closed Open.

3 of 3 people found the following review helpful.
The day-to-day Israeli poetry
By Daniel Waisberg
Yehuda Amichai was the greatest Israeli poet. While he does write about Jewish values, feelings, and pains, he writes as an Israeli, not only as a Jewish person.

In his poetry, he intertwines subjects such as love, holocaust, the bible, and day-to-day life, in a subtle way. His metaphors are amazingly beautiful, especially due to the fact that he uses really simple vocabulary. He plays with ideas, not with words.

In "Open Closed Open", I like the way he writes about bible figures as men (or women) and for a moment reminds us of their reality, not their power and superiority. I also love the comparisons he builds between orthodox and non-observant customs. IMHO, this is his best book.

I have read the book both in Hebrew and in English, and this version is very well translated, even though the translator changes the order of the poems (I cannot understand the reason).

If you want to learn Hebrew, he is a very good source. I know that in Israel there are several bilingual versions of his books (not this one, unfortunately). You should look for them. That's the way I did it!

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^^ Ebook Download America's Greatest Places to Work with a Law Degree (Career Guides), by Kimm Walton

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Law school administrators around the country were asked "Where do your happiest graduates work?" The responses revealed the employers profiled in this publication. You'll learn about a variety of places, including the 250 best law firms to work for, traditional and non-traditional employers, glamorous sports and entertainment lawyers, or other jobs that sound too good to be true, as well as companies where law graduates love to work. Beyond learning about incredible employers, you'll also learn expert tips for making the most of your job, no matter where you work.

• Sales Rank: #1379465 in Books
• Published on: 1999-01-01
• Released on: 1999-01-01
• Original language: English
• Number of items: 1
• Dimensions: 8.98" h x 1.75" w x 6.04" l, 3.05 pounds
• Binding: Paperback
• 1146 pages

Most helpful customer reviews

37 of 38 people found the following review helpful.
This Book is like Bread: if it's not Fresh, it's Worth Less
By Joseph
A terrific resource for jobs you wouldn't have otherwise considered. But it is so outdated I find myself not trusting its accuracy. For example, it considers one $80,000 job the highest paying position available to first-year associates (that's inaccurate by about $70,000). Given inaccuracies like this, should I trust the basic information printed in the book, like the addresses for where I should send my resume? It is a great place to get ideas, but you'll have to double-check everything. A new edition would get 6 stars.

57 of 64 people found the following review helpful.
An indispensable guide to legal employment opportunties
By A Customer
My only regret concerning my purchase of this book was that it was published after I graduated. Walton provides a very thorough review of what you can really do with that law degree, including opportunities you may not have known existed. Walton's tongue in cheek approach is a relief from traditional employment manuals. After reading this book, I've left private practice and am an attorney with the Department of Justice. Had I not read this book, I would have never given the DOJ anything so much as a nod, but I think I've finally found my niche!

42 of 48 people found the following review helpful.
Very good resource
By A Customer
I read this book before I went to law school and during my recruiting season, and found it to be a very helpful and comprehensive resource. The book discusses many different employers, ranging from law firms, companies, clerkships, government jobs (including some agencies that people may not be aware of), small firms, public interest jobs, trade associations and law school administration jobs. Most of the companies/firms, etc. listed contain a brief factual description of the workplace, comments by lawyers and a description of the workplace environment. There is also advice on how to obtain some of the more unusual positions.
Although I usually do not like to comment on reviews written by other people, there are a few things written about this book that I believe are unfair to the author. First of all, yes some of the salary numbers and hiring numbers are out of date - this is to be expected when these numbers change yearly. That information is easily found on the internet. Second, please do not let people's political agendas distract you from a wonderful resource. The DOJ is still a great place to work in terms of legal jobs - any lawyer who wants a job where they only take on cases they fully support will probably be disappointed in the profession. Next, Ms. Walton made a strong effort to find firms all around the country to profile - she explicitly says that she could not find many NYC firms that fit her criteria (and to the person who complained about the ethics of Texas firms - you might want to check out the ethics of NYC firms!). Finally, Ms. Walton's point about the foreign service is not that it is the "best job" for lawyers wanting to work internationally, but rather one that many law students don't consider. She specifically recognizes the fact that American law students can work outside the U.S. in law firms, but mentions the Foreign Service as another excellent option (and it is absolutely true that many students who say they want to practice "international law" discover that they don't really like "international business law" in a firm). Finally, having worked at CEELI just two summers ago, I can verify that their expansion into nations other than Eastern Europe and the NIS states is very recent and therefore could not have been published in the book when it went to press. Again, the book was meant to be used as a resource and jumping-off point, and updated information can easily be found on the internet.
I highly recommend this book to anyone thinking of entering law school, in law school, or practicing law. It is an excellent career resource and may open your eyes to possibilities you did not realize were out there.

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With passion, wit, and good common sense, the celebrated poet Mary Oliver tells of the basic ways a poem is built-meter and rhyme, form and diction, sound and sense. Drawing on poems from Robert Frost, Elizabeth Bishop, and others, Oliver imparts an extraordinary amount of information in a remarkably short space. “Stunning” (Los Angeles Times). Index.

• Sales Rank: #2893 in Books
• Brand: Oliver, Mary
• Published on: 1994-08-15
• Released on: 1994-08-15
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .44" w x 5.31" l, .40 pounds
• Binding: Paperback
• 130 pages

From Publishers Weekly
National Book Award winner Oliver ( New and Selected Poems ) delivers with uncommon concision and good sense that paradoxical thing: a prose guide to writing poetry. Her discussion may be of equal interest to poetry readers and beginning or experienced writers. She's neither a romantic nor a mechanic, but someone who has observed poems and their writing closely and who writes with unassuming authority about the work she and others do, interspersing history and analysis with exemplary poems (the poets include James Wright, William Carlos Williams, Elizabeth Bishop, Marianne Moore and Walt Whitman). Divided into short chapters on sound, the line, imagery, tone, received forms and free verse, the book also considers the need for revision (an Oliver poem typically passes through 40 or 50 drafts before it is done) and the pros and cons of writing workshops. And though her prose is wisely spare, a reader also falls gladly on signs of a poet: "Who knows anyway what it is, that wild, silky part of ourselves without which no poem can live?" or "Poems begin in experience, but poems are not in fact experience . . . they exist in order to be poems."
Copyright 1994 Reed Business Information, Inc.

From Booklist
Why another such handbook, when Babette Deutsch's and John Hollander's are more than sufficient? Because Mary Oliver does more with this book than simply review the difference between a haiku and a tanka, between free verse and blank. She starts in at poetry's real beginning, discussing the need for patient application: the need, in brief, to write and to do so regularly. She immediately proceeds by insisting on the necessity of reading poetry and of imitating favorite poets, and she even includes a chapter on the usefulness of workshops. Her chapters on those basics, sound and meter, are brief but exact, and she offers an entire chapter on free verse, another on poetic diction. But it is not really the book's contents that make it such a treasure: it is rather the pithiness and perfection of Oliver's expression. She so deeply knows her craft that she can describe it with perfect simplicity and concision. Pat Monaghan

About the Author
Mary Oliver is one of the most celebrated and best-selling poets in America. Her books include Red Bird; Our World; Thirst; Blue Iris; New and Selected Poems, Volume One; and New and Selected Poems, Volume Two. She has also published five books of prose, including Rules for the Dance and, most recently, Long Life. She lives in Provincetown, Massachusetts.

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74 of 74 people found the following review helpful.
Poetry Handbooks written by poets
By J. Finnerty
Mary Oliver is a well-known, distinguished poet. Her book "A Poetry Handbook" was recommended to me by a professor from my current MFA Poetry program and it has been both a surprise, and a confirmation that poets themselves (not academics and critics) have the deepest insight into how to write a good poem. Oliver suggests that poetry is like a current ready to flow through you. It is not merely "an acquisition," a skill, or something outside yourself - but more a combination of punctuality in "showing up" to do the work, and an opening of the heart (or,as Oliver calls it: "that shy factory of the emotion.")

Each chapter addresses component parts of poetry writing: line, sound, diction, imagery, voice and more. Oliver's choice of poets: Whitman, Bishop, James Wright, Frost, Pound, are all strong choices, their poems providing supportive examples of her discussion of craft.

Most importantly, however, she provides the best piece of advise in her opening chapters: read, read, read poems. To be a good poet, you must read a range of poetry, spanning history and geography and style. And after that, Oliver provides the surprise (a heady permission I learned in my very early years of writing which has held fast through many moments of flagging confidence and motivation) "Imitate." We read, we imitate, and from this process we find our own voice and style. As Oliver tells us: "It demands finally, a thrust of our own imagination - a force, a new idea - to make sure that we don't merely copy, but inherit, and proceed from what we have learned."

Though beautifully simple and straightforward, I would not categorize this book as being for any particular level of writer: beginner, or accomplished. The beginner will learn well and happily, and the more accomplished writer will find again and again, much needed resonance for the continuing passion of writing poetry.

173 of 193 people found the following review helpful.
A solid text for readers and writers
By Michael J. Mazza
"A Poetry Handbook," by Mary Oliver, is a nonfiction prose text about the art of writing poetry. In the book Oliver, herself an excellent poet, gives a clear and painless introduction to some structural aspects of poetry. She defines many technical terms: alliteration, onomatopoeia, alexandrine, caesura, quatrain, persona, etc. She also discusses various poetic forms: sonnet, free verse, etc. Other topics addressed include imagery and diction. Throughout the book, Oliver illustrates her points with poetry by some of the greatest practitioners of the craft: Robert Frost, Walt Whitman, William Carlos Williams, Elizabeth Bishop, etc.
The book is aimed at both readers and writers of poetry. For the latter, Oliver reflects on such practical issues as revision and participation in poetry workshops. The book reflects Oliver's own philosophy of poetry. She stresses that poetry is a craft that requires work and discipline, and encourages the reader to think of poets as constituting a "tribe" that transcends all geographic and cultural boundaries.
The book is not without flaws. I found it quite Eurocentric; she never discusses the haiku, a Japanese verse form that has been embraced by many in the English-speaking world. Other non-Western forms are similarly neglected.
Some of her opinionated pronouncements also seem open to debate. She notes that a poem "gives pleasure through the authority and sweetness of the language," but I think some poems are effective conduits of rage or outrage and make use of unpleasant language to shake up the reader. Regarding the revision process, she notes that sometimes "it is simply best to throw a poem away" -- but, I ask, who is to make that decision? Something a poet might want to discard may in fact be a great poem in another's eyes.
Also, although she gives many good examples of good poems, it might have been interesting if she had included some bad ones to illustrate her points further.
Despite its flaws, however, I think that "A Poetry Handbook" would be a solid text for both individual reading and classroom use. And I think that some of Oliver's questionable statements could trigger productive discussion! Ultimately, I appreciate Oliver's declaration that poetry "is a life-cherishing force [...] as necessary as bread in the pockets of the hungry." Recommended as companion texts: Audre Lorde's essay "Poetry Is Not a Luxury," from her collection "Sister Outsider," and Pablo Neruda's prose collection "Passions and Impressions."

55 of 59 people found the following review helpful.
an inspiring guide to writing poetry
By alex2@plainfield.bypass.com
Mary Oliver's poetry itself can do some teaching on its own, but we can be grateful she's chosen to articulate the writing process so richly in this book. The book will almost certainly will wring some writing out of you; it will also inspire you to examine your work habits and technique. Oliver's intelligence shines through, and will make you a better reader of poetry. Small note on the previous review: Mary Oliver does, indeed, teach, at Bennington College currently. If you can't enroll there, this book is your next best choice.

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Porter’s reputation as one of americanca’s most distinguished writers rests chiefly on her superb short stories. This volume includes the collections Flowering Judas; Pale Horse, Pale Rider; and The Leaning Tower as well as four stories not available elsewhere in book form. Winner of the National Book Award and the Pulitzer Prize.

• Sales Rank: #109435 in Books
• Brand: Porter, Katherine Anne
• Published on: 1979-09-19
• Released on: 1979-09-19
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x 1.38" w x 5.31" l, 1.04 pounds
• Binding: Paperback
• 495 pages

Features

• Paperback - gold color with maroon lettering and design of roses.

Review
"Here is the ideal spoken word cassette to enrich your reading of The Letters of Katherine Anne Porter...The moral edge to these tales is as cutting as that in Nathaniel Hawthorne's fabulations." -- Living Room Learning, July 1990

"The four selections included in this high quality audio tape provide an excellent introduction to the short stories of this popular Pulitzer Prize-winning author. The tape also serves as a showcase for the talented stage actress Siobhan McKenna, a life-long friend of Porter. McKenna's reading is flawless. The voice of each character in the four stories is distinctive...Porter's keen observation of the inner lives of her characters is clearly presented in this dramatic reading. Highly recommended." -- Kliatt, January 1992

About the Author
Katherine Anne Porter (1890-1980) was the author of many volumes of short stories and the novel "Ship of Fools. Winner of the National Book Award and the Pulitzer Prize, she is one of America's most distinguished women of letters.

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58 of 61 people found the following review helpful.
Nobody Writes Like Porter: Incredible
By Jon Linden
This book is perhaps the best written 500 pages bound in one place anywhere. Porter has a unique style of writing, that is hers alone. Her use of long, but salient and understandable sentences is terrific. Her use of simile and metaphor is almost unequaled. And her observational abilities and articulation of inner feelings makes her stand out as one of the best American writers of all time.
The book consists of 19 Short Stories/Long Stories/Short Novels and they are all extraordinary. In a shockingly well written story, she writes in "Pale Horse, Pale Rider" a description of going into a depressive pit, the likes of which I have never seen before, fact or fiction. Her style is so good, she leaves the reader guessing what is fact and what is fiction, in her fiction, with respect to her plot line in this very surreal story of a lady going into depression. Her characters are so intimately real life, as to make the reader feel they know them, almost personally. But what we readers know truly, is how wonderfully Porter expresses herself, and how incredible are her endings and beginnings, as well as wonderfully written middles.
No appreciator of American Literature should pass up the opportunity to read this book. In paperback, it is one of the true bargains in America today. For about 15 to 25 hours of extreme reading pleasure, this book fits the bill quite perfectly.

22 of 22 people found the following review helpful.
These stories move me and touch my soul.
By A Customer
"The Grave," a story about a woman whose past is as close to her as her present, is an incredible story. Like Faulkner's brilliance, she understands that men and women cannot escape their pasts, and the actions and events of youth play an indelible role in adulthood. Sometimes that past is forgotten, but small items, such as the shape of a particular hard candy, trigger emotional and poignant memories in the protagontist. This story blows me away every time I read it, and triggers fond and sad, emotional and trivial - memories - of my own childhood.

28 of 31 people found the following review helpful.
A buffet of words
By dandeliondreamer
Have you ever gone to an all-you-can-eat buffet and overdone it? Then left feeling stuffed but satisfied? This collection of the works of KAP is sort of like that-- you can really binge because there are so many stories, and they're all of high quality. You just want to fill your plate and "eat too much."
But you should really slow down, read some again and again. Maria Concepcion is a great tale of revenge and betrayal; "Virgin Violeta" a coming of age type story... "The Martyr" story about a famous painter (Diego Rivera type) who is in love..."Magic," "Rope," "He," "Theft"-- all of these are powerful looks into human relationships and are so well done that you really feel that you know the people that Porter describes.
Read it slowly, go back and savor the spices & intricate details of every story.

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“I saw well why the gods do not speak to us openly, nor let us answer . . . Why should they hear the babble that we think we mean? How can they meet us face to face till we have faces?”

Haunted by the myth of Cupid and Psyche throughout his life, C.S. Lewis wrote this, his last, extraordinary novel, to retell their story through the gaze of Psyche’s sister, Orual. Disfigured and embittered, Orual loves her younger sister to a fault and suffers deeply when she is sent away to Cupid, the God of the Mountain. Psyche is forbidden to look upon the god’s face, but is persuaded by her sister to do so; she is banished for her betrayal. Orual is left alone to grow in power but never in love, to wonder at the silence of the gods. Only at the end of her life, in visions of her lost beloved sister, will she hear an answer.

"Till We Have Faces succeeds in presenting with imaginative directness what its author has described elsewhere as ‘the divine, magical, terrifying and ecstatic reality in which we all live’ . . . [It] deepens for adults that sense of wonder and strange truth which delights children in The Lion, the Witch and the Wardrobe, Prince Caspian, and other legends of Narnia." —New York Times

"The most significant and triumphant work that Lewis has . . . produced." —New York Herald Tribune

• Sales Rank: #5976 in Books
• Brand: Houghton Mifflin Harcourt
• Published on: 1980-07-09
• Released on: 1980-07-09
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .86" w x 5.31" l, .70 pounds
• Binding: Paperback
• 324 pages

Amazon.com Review
At once more human and more mythic than his Perelandra trilogy, Lewis's short novel of love, faith, and transformation (both good and ill) offers the reader much food for thought in a compact, impressively rich story. Less heavy-handedly Christian-allegorical than Narnia, Till We Have Faces gives us characters who remind us of people we know facing choices and difficulties we recognize. This deceptively simple book takes on new depth with each rereading.

Review
''He always tells a good story, and this is a splendid, vehement one, full of stone and wind and spears in an old country, wet mist on the hills. ... seems to sum up most of what Dr. Lewis has been telling us for years.'' --The Tablet

''One of the most eminently readable pieces of fiction that has come my way for a long time.'' --Yorkshire Post

From the Back Cover
“I saw well why the gods do not speak to us openly, nor let us answer . . . Why should they hear the babble that we think we mean? How can they meet us face to face till we have faces?”

Haunted by the myth of Cupid and Psyche throughout his life, C.S. Lewis wrote this, his last, extraordinary novel, to retell their story through the gaze of Psyche’s sister, Orual. Disfigured and embittered, Orual loves her younger sister to a fault and suffers deeply when she is sent away to Cupid, the God of the Mountain. Psyche is forbidden to look upon the god’s face, but is persuaded by her sister to do so; she is banished for her betrayal. Orual is left alone to grow in power but never in love, to wonder at the silence of the gods. Only at the end of her life, in visions of her lost beloved sister, will she hear an answer.

"Till We Have Faces succeeds in presenting with imaginative directness what its author has described elsewhere as ‘the divine, magical, terrifying and ecstatic reality in which we all live’ . . . [It] deepens for adults that sense of wonder and strange truth which delights children in The Lion, the Witch and the Wardrobe, Prince Caspian, and other legends of Narnia." —New York Times

"The most significant and triumphant work that Lewis has . . . produced." —New York Herald Tribune

C. S. (Clive Staples) Lewis (1898–1963), one of the great writers of the twentieth century, also continues to be one of our most influential Christian thinkers. He wrote more than thirty books, both popular and scholarly, including The Chronicles of Narnia series, The Screwtape Letters, The Four Loves, Mere Christianity, and Surprised by Joy.

Most helpful customer reviews

492 of 503 people found the following review helpful.
C.S. Lewis' best work of fiction
By Snickerdoodle
C.S. Lewis used fiction to lay bare the soul in ways his more apologetic work could not. The cast of characters in The Great Divorce, for example, or in the "Space Trilogy" invariably remind us of people we know - and give us insights into what makes them tick. Nowhere in Lewis' works is the soul explored better than in Till We Have Faces, Lewis' masterwork of fiction and a stunning psychological and spiritual odyssey.
TWHF retells and enriches the myth of Cupid and Psyche, although a lack of familiarity with the myth in no way diminishes from the enjoyment of the book. In Lewis' hands, the story sorts through issues of family, jealousy, gender, faith, and ultimate meaning, culminating with a frightening and yet wonderful 'face to face' scene that gives rise to, and explains, the book's title.
Readers who are looking for the kind of in-your-face Christian symbolism that characterized the Chronicles of Narnia will be disappointed with TWHF. Although I appreciate and am nourished by Lewis' Christian parables and apologetics, the theology in TWHF is pagan, at least on its surface. Underneath the surface, however, Lewis does a masterful job of intertwining the traditional beliefs of the main characters - including a stand-in for Greek rationalism - with rumors of a much more intimate and beautiful way of knowing the gods. The climactic scene itself plays off the biblical phrase, "Now we see in a glass dimly, but then face to face" - a phrase that comes, in fact, from I Corinthians 13, the famous chapter on Love in the New Testament. So Lewis does indeed lead the reader toward the One who is love, but he uses the carrot of intrigue and spiritual longing rather than the steamroller (if you will pardon the mixed metaphor) of too-obvious symbolism.
This is my favorite of Lewis' works of fiction and was, reportedly, Lewis' favorite as well. Few books can nourish the soul the way Till We Have Faces can. Just one caveat: you really will need to read it twice ... and you will understand why once you have read it through the first time.

280 of 289 people found the following review helpful.
a good slap across the face
By NotATameLion
Besides containing one of the greatest lines about being an author ever written: "I was with book, as a woman is with child", C.S. Lewis's "Till We Have Faces" also did me the service of giving me a good slap across my metaphorical face. How wrapped up we all become in our own little lives. How one-sided and self-favoring is our vision.
Though a book about many things--holiness, love, and philosophy to name a few--"Till We Have Faces" is mainly about how our perceptions can fail us. How in the name of doing what we think is right, we can do horrible things.
Orual, the protagonist of the story, spends an entire life learning what the apostle Paul meant when he said "Now we see but a poor reflection as in a mirror; then we shall see face to face. Now I know in part; then I shall know fully, even as I am fully known." The real twist in "Till We Have Faces" is that the reader, more likely than not, learns the same lesson (I know I did).
C.S. Lewis is one of my favorite authors for many reasons. This book is definitely one of them. Lewis considered "Till We Have Faces" to be his best book. I do not know if I agree, but it is certainly a great story.
I give "Till We Have Faces" a very high recommendation.

193 of 202 people found the following review helpful.
Till We Have Faces is a psychological masterpiece
By A Customer
C.S. Lewis's novel Till We Have Faces is based on the classical myth of Cupid and Psyche, however Lewis chooses to tel the story through Orual, Psyche's older sister. While Lewis does retell the well-known story of Psyche and Cupid, that is only a tiny piece of the story he creates. Till We Have Faces is actually the story of Orual's struggle to find love, and to discover her own identity. The actual setting of the story is unclear-it takes place in a country north of Greece, in a time long past, but Lewis does not choose to elaborate on that. In fact throughout the entire book, he focuses very little on sensory details; it is a story of emotion and psychology rather than action and physical description. Orual writes her own story, beginning at her childhood in her father's castle. There she leads an isolated life, surrounded only by her fathers servants, advisors, and her sisters, Redival and Psyche. Redival, with her golden curls and curvy figure, is superficially pretty, but Psyche is the embodiment of perfect and natural beauty. She is not only outwardly beautiful, she is also pure, unselfish, and loving. Orual, though, is neither pretty nor beautiful. She is, as she is constantly reminded by her father (the king), indescribably ugly. Orual never feels that she is loved by anyone, that is, until Psyche enters her life. Psyche's mother dies giving birth to her, and Orual takes it upon herself to become Psyche's guardian and to raise her. Orual loves Psyche more than anything else, but her love is selfishly and fiercely possessive. Orual is tormented by the thought of having to release Psyche from her suffocating grasp, and she does everything in her power to prevent it. After being separated from Psyche, Orual gradually comes to the realization that she (Psyche) is like the goddess Ungit-greedy, jealous, blood-gorged, and ugly of soul as well as body. She also compares herself to her father, the violent, selfish, cowardly, and dishonest king. Orual recoils from this realization, and as queen, she tries to be everything that her father, and Ungit, are not. While she is described by her subjects as "the most wise, just, valiant, fortunate and merciful" of all rulers, Orual feels that her actions are only a mask of her inner ugliness. She despairs of ever overcoming her hideousness inside. She says, "I would set out boldly each morning to be just and calm and wise in all my thoughts and acts, but before they had finished dressing me I would find that I was back in some old rage, resentment, gnawing fantasy, or sullen bitterness. I could not hold out half an hour . . . I could mend my soul no more than my face." Like the veil she wears to hide her ugly face, she feels that her good actions only conceal the hideousness of her true self. C.S. Lewis felt that we, as humans, are like rough blocks of marble. He said that suffering is the tool God uses to carve away our rough edges and to refine our souls. As Orual experiences suffering, she doesn't realize it, but she is actually coming closer and closer to becoming the perfected statue. Each trial chips away another piece of the marble that conceals the perfect form within. The title, Till We Have Faces, may refer to the process of refinement and self-realization. Till We Have Faces is a captivating book from beginning to end. As the reader, I could not only identify with Orual's struggles, I felt as though I was Orual, going through the same turmoil and inner-conflict. It is a book that I can read over and over again, each time experiencing new epiphanies and gaining deeper insight. It is impossible to adequately describe, even to a small degree, this fascinating and complex novel; it must be read and read again.

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