5 comments about A History of the Modern World, with PowerWeb.

1. The book arrived within a week after I placed the order. As advertised, it was in very good condition. No highlighting or pen/pencil marks on the interior pages. Was a little surprised by the deteriorating binding near the back of the book which is only noticeable if you open the back cover and turn to the last page of the index. Surprised but not upset as this is to be expected in such an old book. Just happy that the pages are in pristine condition and the rest of the book is in pretty good shape.



2. I am not exceptionally scholarly, although I would have to say that it takes some scholarly motivation to read over 1000 pages of dense historical writing in one's free time. Yet I found this book, which is often used as a textbook, very easy to read. It doesn't quite read like fiction as some lively historical accounts can, but that would be a difficult task given this broad a subject.
   
   Palmer leaves very few questions unanswered. He adds a good amount of political commentary and speculation to keep it interesting and to show the relevance of events to today's world, but not too much that you feel he's biased in any way. He also gives short, informative bios on important individuals so that, even though he doesn't have time to delve deeply into any particular one, you get a feel for the personal motivations of all. His maps are fabulous, perhaps the best feature. They help to visualize the changes over time. Also, when he discusses territories he tends to explain them in terms of today. This is important because with the territories changing hands so often in history, it is difficult to conceptualize how these past kingdoms relate to the modern nations of Europe. He also is very clear in distinguishing between the natives and the conquering groups, including language differences. This is crucial to understand today, as nationalism movements flourish again after the breakup of the stabilizing and static bipolar international system (i.e. the breakup of the Soviet Union). Palmer's book is very good for this purpose.
   
   I highly recommend it to anyone looking to brush up on their knowledge of history (who has some time on their hands). It's really an excellent book! I plan to use it as my history bible and reference it often. I will also use it as a jumping-off point for further reading. At the end of the book, Palmer includes a comprehensive, 91-page "suggestions for further reading" covering every topic he discusses for further reading/research. It is a goldmine of reading material!



3. This book has no idea what should be prioritized and what shouldn't. Also, the narrative is a rambling mess.
   
   Ex: They spend 10 excruciating pages on Stalin's agricultural and industrial reforms, but contrive to cover the entire holocaust in all of 10 LINES! 'Nuff said!
   
   I got a 5 on the AP exam quite comforably, but no thanks to this ridiculous book.



4. After many years of textbooks in both public and private school I have always hoped that one day a textbook that was interesting to read would be assigned. Some textbooks have succeeded, A History of the Modern World has a bit of work to do. The pages are tightly pact with tiny print and the occational pictures. The pages are hard to read with the print size and single spacing. (I have to take breaks often to rest my eyes.)
   
   If you are planning on reading this book cover to cover you will get a ton of information. I advise taking good notes with page numbers, otherwise you will not easily find the information again. Althought there is a lot of good information, the index and table of contents makes for difficult referencing, (definitely a book you will want to tab with sticky-notes.) On the insides of the covers there are world maps for reference, but unfortunately the publishers did not take into consideration that the binding would effect the images (this included images inside the pages too) and there are countries that are either not on the map, not labeled, or the labeling method was difficult to determine to which country the name goes to.
   
   For the student that carries multiple books, you will dread the weight on this one. This book weighs around 5 lbs and has the standard size of a hardback novel and is about 1.5 inches thick.



5. First off, I use this book for AP European history. I find that it is generally good, yet at times there will be very vague sentences, such as this one: "They sought French aid, and the French barely failed to land a sizable arguments." There have only been 3 typos in the first 8 chapters. Though a few funny sentences such as "The French, naturally uninterested..."
   
   In all its a decent in depth book about European history, and to all other students, I would like to share a link:
   
   [...]

5 comments about Wicked Irish.

1. This book isn't for the serious language student. Thankfully, I can't imagine ever using any of the phrases in it. Also, if you find ethnic stereotype humor distasteful, you might not enjoy this book. But, it has its entertaining moments.



2. When you think you might want to learn a new language, first read How To Learn Any Language. You'll find a path to follow for learning languages. One tool is the phrasebook. This phrasebook, however, isn't really what you're looking for. It is funny, outrageous, and it has a pronunciation guide. There are a lot of golfing references (strange enough), and really interesting bits of background history of the country. I just can't imagine ever saying "That goes down like the nun's knickers!" in a pub, no matter how strong the whiskey.
   It is funny to see it laid out in Irish's horrific grammar.
   
   Get this book to lighten you up a bit as you slosh through Learning Irish (the best Irish course out there).



3. If you are considering getting this book as a fun way to add some vocabulary to your study of Irish, don't. It's very funny, but even with my very (!) limited knowledge of Irish I've found a mistake - so now of course I don't take anything it says at face value.
   
   Specifically (leaving out the marks that are difficult to type), p. 59, Social Ireland, Kiss My Aphorism:
   "May the road" = "Go n-eiri",
   "rise to meet" = "an bothar",
   "your face" = "i t'aghaidh"
   Apparently they just cut apart the phrase, without regard for grammar.
   
   Well worth the price as a general humor book. A nice thing to leave on the coffee table to amuse your friends. Just don't try to learn from it.



4. This is the type of book you would read on the long flight to Ireland if you're leaving from the US. No real practical use but it will delight your friends in Ireland if you share some of the phrases. Reading this book is a good way to relax and just have fun. Don't expect anything more.



5. I have been teaching myself Gaelic for the past year or so but felt my instruction was lacking something; where was all the slang? How could I possibly make it in Ireland without knowing how to say that I've given up congealed blood for Lent, in Gaelic? What would I do if I was in a pub making eyes at a gentleman and couldn't tell him that I was spellbound by his deltoids, in Gaelic? How could I properly yell at a Dubliner without knowing to call him a Jackeen?
   
   Wicked Irish is a pocket sized little book and its 64 pages are filled with some hilarious phrases. It gives you pick up lines, things to say at a wake, in church, on the golf course or in the pub. Mixed in with all the fun and frivolity is an equal amount of useful Gaelic sayings, if you're inclined to try it out on the locals. Each word is phonetically written out so if you are not familiar with the language you will have no problem pronouncing the words.
   
   This book doesn't cost very much and the entertainment I have received from it was well worth the price and then some. One night after a few too many Guinness, my sister and had a grand time reading through it and shouting insults at each other and our husbands; laughing the entire time. If anything, this book is a great conversation starter. Enjoy!

5 comments about Medieval Europe: A Short History.

1. Short and Sweet review:
   
   This book is THE starting point for understanding Medieval History. Professor Hollister does a wonderful job of explaining the ins and outs of medieval history.
   
   My one complain is that Professor Bennett has tamed Hollister's odd sense of humor. In previous incarnations, Hollister presentes an painting of an emporer (I want to say Charlemagne, but I don't think that's right) holding a sceptor with an orb atop it. He suggests in the caption that this is evidence that the early midevals didn't think the world was flat - otherwise he'd have been holding a spatula! Bennett got rid of that and not it flatly says to the effect of: "here we see a mid 10th century representation of Charles the Great, yada yada yada."
   
   Earlier versions may be the ones to buy - and I've not read the latest edition. But for the reasonable used prices on this edition (which I own), I can see little reason why - if you're reading this now - you don't just buy the book.



2. I bought this to take on a trip around Western Europe. Mr. Hollister has excellent prose. Normally, history books are written in a convoluted style which is indecipherable and dry. Medieval Europe however, is infinitely readable and a great resource. It was a pleasure to read. I will definitely look for more of Mr. Hollister's work and would welcome the recommendation of other works by good history authors.



3. I am a graduate student who has recently begun teaching first-year undergrads. The Hollister and Bennett book is the main text book for a Medieval Period General course, and the students use it to supplement their core readings. The textbook, a general synthesis of the history of Western Europe, is decent and fairly comprehensive, written and updated by experts in the field. However, it has been a long time since I've read a general textbook, and found the lack of footnote references a bit unnerving. The book does, however, provide lists for further reading at the end of each chapter, but these are very selective.



4. This book is a great overview of medieval Europe. It is packed with information and is a dense read, but worth it.



5. I used this book in an introductory medieval history class. The narrative in offered by this book is straightforward, coherent, and for the most part, an easy read. The chapters have clearly defined themes and chronologies, and the authors do a good job exploring many issues, events, figures, and concepts of the medieval ages.
   
   At times it was difficult to keep track of all the various names, as many medieval figures shared similar names. I felt the authors could have done a better job laying out more distinct biographies of some of the figures.
   
   There were also times when I had to reread parts because I lost interest due to the tendency of the book to devolve into a simple reiteration of events, ie: The church did this, then certain kings responded in this manner, which caused this event. Whether this is the fault of the writers, something endemic to the material, or my own indolence is debatable, but I still feel the book would benefit with some more color/vibrant writing.
   
   Overall, I found it useful in my studies because it offered coherent organization (making content easily accessible), and it was an easy read (for the most part.)

5 comments about Why I Write (Penguin Great Ideas).

1. Why I Write is a collection of four pieces by one of the best writers of the twentieth century. George Orwell is best known for his political fables Animal Farm and 1984, but was also a prolific essayist and author of numerous short stories, many of them based on his own experiences in British-controlled Burma. This books includes three essays--"Why I Write", "The Lion and the Unicorn", and "Politics and the English Language"--and the short story "A Hanging."
   "Why I Write" offers the reader a look into one great writer's motivations for writing, as Orwell lays out the only real reasons anyone writes. "The Lion and the Unicorn" is fascinating, not only for its often humorous descriptions of the British national character, but for the political ideas expressed in it and the knowledge, made clear by Orwell at the beginning, that this was written in the midst of the Blitz. "Politics and the English Language" is a brief guide to the fatal flaws of modern writing--all of which have lasted beyond Orwell--and how to mend them. "A Hanging" is reminiscent of another of Orwell's famous short stories, "Shooting the Elephant," as it describes an otherwise mundane action in ominous, metaphoric terms.
   While hardly exhaustive, this collection of Orwell's essays is a good introduction to Orwell, his writings, and his political views. Makes very good reading for a trip, which is where I read it.
   Highly recommended.



2. Although I grew tired of "The Lion and the Unicorn," the two other essays and the one short story made up for it and then some. It's a fantastic example of good writing and makes clear the reason why George Orwell, who died in 1950, is still a relevant writer today.



3. This short (120 pages) book of 4 essays from one of the great modern writers is worth the read for three reasons:
   
   1. The last essay, 'Politics and the English Language' should be required of all political writers and business writers as well. Though 50 years old it is equally pertinent today; well summarized in the 6 rules in the next to the last page.
   
   2. The Hanging showed his descriptive skills, "Eight o'clock and a bugle call, desolately thin in the wet air, floated from the distant barracks." His description of the hanging of a Hindu man had more clarity than any modern photograph.
   
   3. The Lion and the Unicorn, the longest of the essays, described the state of the English culture and its challenge from the growing European Fascists. It is an excellent picture of the British before their moment of truth. "It is a land of snobbery and privilege, ruled largely by the old and the silly.... A family with the wrong members in control." " A nation trained to think hedonistically cannot survive amid peoples who work like slaves and breed like rabbits, and whose chief national industry is war." Orwell's solution is democratic socialism; more acceptable in its day, less convincing 50- years later with the hindsight of many failures in socialism.
   
   These essays are valuable to students of writing and to those who want to know more about the background of a great modern writer known for the classics Animal Farm and 1984.



4. This book provides a good overview of who Orwell is, in terms of both a writer and a man, in his own words. He explains why he writes, his political views and the imporance he subscribes to political writing. If you are looking to fulfill your curiosity with respect to the above no other book does it better. The only weak spot of the book (why I give it 4 instead of 5 stars) is that it has references to many historical events/facts that, unless you are a student of history (particulary Orwell's times) are not common knowledge. The editors should have placed more footnotes to assist non-students of history. If you are very knowledgeable of the history of the times, however, it should be a five star book for you.



5. 1984 is my most favorite book out of anything I have ever read. After learning about this book I bought it immediately, I'm a writer and I thought i would learn a lot from this authors book.
   
   I was greatly disapointed. I wish i could say i wasn't, because I love him SO much, and I read the first page reviews of it and thought it would be awesome. i was expecting a book about george orwell, about how he came to write, why he wrote and maybe tips or something, but the first four or five pages speak of writing, and that's about it. After that, the entire book is very long and honestly quite boring, all he talks about is politics and war and "england this, england that, england people are unified, and they do this..." and i was like... where's the writing?
   
   I'm not saying you might not like it, im just saying that you might only like it if your interested in war and england and politics. And england, of course.
   But if your a writer and your expecting a book all about writing, im seriuos, you might as well just read the first page reviews and that's it.
   :/ i wish i could give it more stars.

5 comments about Translations: A Play (Faber Paperbacks).

1. This is without doubt my favourite play by Friel and one of my favourite plays of all time. However, what I find really frustrating about it is the fact that is nearly always interpreted as being simply about the death of the Irish language and the colonial relationship between the English and the Irish. In other words, it is constantly being interpreted as "uniquely Irish" and I feel this does the play a serious injustice by failing to underline its international appeal. I personally have always read the play as showing that the relationship between a word and what that word designates is not a purely arbitrary one, i.e. a rose by any other name would definitely not smell the same! For example, if someone suddenly started calling me John or Michael instead of Damian, I would feel that a vital part of my identity had been lost. The intricate link between language and identity is of universal significance - it is by no means restricted to Ireland! In fact, the play reminds me a lot of "Le premier jardin" by Anne Hebert and "Lost in translation" by Eva Hofmann.



2. Friel does a wonderful job of using the beginnings of the
   Irish Potato Famine and the callous attitude of the English
   government as a backdrop for the far more interesting issue
   of language and history- more specifically, how the words
   we use can only imperfectly capture the feelings and connections
   we feel about the object itself; and how the stories we
   tell about history can be more important than what actually
   happened. What is most poignant and touching to me is
   the relationship between Maire, who speaks only Irish, and
   Yolland, the British soldier who attempts to learn Irish
   as they fall in love.
   The politics that undo their relationship seem almost to
   happen as an afterthought- the moments they share, and
   their ability to communicate beyond language, make the
   play sad and joyful.
   Although this to me is certainly a very Irish play, its
   impact and meaning(s) cannot be confined to Ireland. It
   poses questions to all of us and the worlds we inhabit.



3. an eloquent, moving play about the love of one's native language (Irish) and the plight of lost languages (Latin, ancient Greek, and so on). Of course, it was written after the largely successful revival of the Irish language. There's your delayed "happy ending."

   the nice thing about friel's play is that he conveys the machine of colonialism with the appropriate complexity--it isn't "bad Englishman, good Irishman," but something much more complex. sometimes people like Owen, unwittingly or not, sell out their own. Sometimes others, for example the English soldier here, are part of the colonial apparatus, but not consciously or intentionally--and such people may end up being the colonized culture's greatest champions.

   I liked it better than Dancing at Lughnasa, though i haven't had the chance to see this one performed. It reads well--and a lot of plays don't.




4. I enjoyed reading other reviews, but i was constantly getting the feeling that there was a real ingorance to the underlining theme of the play. On the surface it is about human emotions and the trials a change in culture can have on a society. Friel also challenges the sugnificance of language itself and forces us to seek the relevance of the communication we use. It is thought provoking causing us to realise that everything is subject to human perception, making us questionwhether any liguistic source is reliable, is language just a guise for the truth? Must read for anyone challenging the relevance of everything we know to be real.



5. I'll admit I had expected this play to be another political statement about disappearing languages and the hegemonic powers that threaten them--either that or a celebration of Irish Gaelic (I'm more with Joyce than Yeats when it comes to provincial sentimentality about a nation's older tongue). But Friel manages to make the reader/spectator ponder the seriousness of what can be lost in the translation of the marginal language into the majority discourse. In some instances, the signifer and signified, the sign and its referent are irrevocably separated. In such cases, the resulting loss is not merely to the "richness" of a country's culture but to human consciousness itself. What we can't say we can no longer know or even think.

5 comments about Rhyme's Reason: A Guide to English Verse.

1. This is a clever and masterful book. The author demolishes the new fashional nonsense about rhyme being creatively passe. Rhyme is not necessarily restrictive or formulaic. It can still be powerful, enjoyable and richly expressive.



2. Bit too witty to learn anything. The author is too busy being cute to explain anything very well. Also, only marking stressed syllables only does half of the job of scansion; marking both stressed and unstressed syllables provides a complete visual aid for discerning meter. Add to that the author's party-line views on free verse and you have a rather lame book. Consider this a book-length version of Coleridge's horrible little piece on meter. Timothy Steele's All the Fun's in how you Say a Thing is much better.



3. I bought this book for a class and it is my favorite of all our poetry texts. It is just plain fun to read. Hollander presents poetic forms by using them as he explains each concept. I noticed that some people thought this was "too witty" to learn from, but I found it helpful in that I forgot that I was trying to learn and simply just began playing with language. Which is as it should be when writing poetry!
   
   Overall a great book, I recommend it for beginning poets especially. But I'm guessing it would be a fun refresher for veterans of word-craft as well.



4. Read _Rhyme's Reason_ as one delights
   In proper forms the poet writes.
   With this attention getter
   (A rondeau would be better)
   I recommend this handy guide.
   
   John Hollander, by way of me,
   An humble reviewer, as you can see,
   Makes sense of verse terrifically.
   Read _Rhyme's Reason_.
   
   My third edition brings my applause!
   A good deal of poetic laws.
   Find more familiar poetry
   In history and society.
   Shop wisely - heed the ooh's and ah's.
   Read _Rhyme's Reason_.
   All The Funs In How You Say A Thing: An Explanation Of Meter & Versification



5. Hollander's book is a solid little primer on some of the major issues of poetry. Using the technique of "formal self-description" Hollander provides examples of various meters, rhetorical figures, and forms of verse. The writing is clever, and the self-descriptions are insightful.
   
   That said, I think the book is not super useful for teachers, as a textbook that is. Were I to teach a poetry or literature course, I would probably only copy those sections out of the book that cover specific rhetorical figures and stanzaic forms that I planed to teach in my class. Otherwise, a lot of the material will seem superfluous to the work you're doing.

1 comments about Western Civilization: Sources, Images, and Interpretations, from the Renaissance to the Present.

1. This book is unique in its balance of primary sources and their interpretations. All the figures you'd expect are present: Macchiavelli, Luther, Locke, Paine, Engles, Freud, etc. And with secondary sources coming from Fromm, Ulam, et. al, the data is clearly and comprehensively analyzed. What readers will appreciate are the generous illustrations throughout the text which give you some idea how the philosophies/theories/values of the times are reflected in visual media. What some readers won't appreaciate is the single-spaced type that changes font and styles so often that one might get motion sickness. It's a minor point that has nothing to do with the value of the texts presented, but it does interfere with the pleasure of reading. Still, this is a great history book to teach from or just as a casual read/refresher for the history fan.

5 comments about The Situation and the Story: The Art of Personal Narrative.

1. Gornick's approach to the subject and her analysis of personal narrative = priceless. A thoroughly engaging read for those who are exploring how to become stronger writers of essays and/or memoirs. Highly recommended.



2. Vivian Gornick never disappoints me. Her intellegence and insights abound and this is a particularly stimulating and revealing book.



3. No fault of amazon or author.



4. The Situation and the Story although easy to follow is a tough read. Gornick's book tells how to read memoirs as well as how to write them. She strives for the highest standards and lays great responsiblity on the wrier's shoulders. Beyond just relating a good story that happens to be true, Gornick expects the writer to impart wisdomto the reader gained by the writerfrom the act of writing the memoir. If the writer didn't gain wisdom, t she probably shouldn't write the memoir.
   For serious memoirist the book is a must read, and reread, and reread.



5. Gornick manages to analyze exactly what makes a personal essay successful without sounding didactic or sentimental. I'm not surprised, as she is a terrific writer herself. She uses examples of pieces and excerpts from well-known and not-so-well known writers. For anyone who has written creative non-fiction and hasn't always known what to do to improve their work, Gornick offers an unusual way of looking at things, an interesting combination of intuitive and analytical. If you are new to writing, she offers suggestions on how to read other writers, and what to look for. I would add this to "Bird by Bird," by Anne Lamott, as excellent and inspiring books for writers.

5 comments about A Sea of Words, Third Edition: A Lexicon and Companion to the Complete Seafaring Tales of Patrick O'Brian.

1. An illuminating volume to have on hand as you read the Patrick O'Brian Series. Provides back story and details of those times, along with maps and diagrams. Nauticle terminanolgy decoded. Highly reccomend, could only wish for more diagrams.



2. I bought the Patrick O'Brian anthology as a Christmas present for my husband. He has always been intrigued by the Navy and the Tall Ships and the history they played when our nation was formed. I think he vicariously sees himself as C.S. Forester's 'Horatio Hornblower'. I guess this could explain why he likes to do dishes, laundry or anything else that involves using water. He is a former Navy submariner(1957) and, me thinks, a person has to be daft or have an absolute affinity for any body of water no matter how great or how deep. In consideration of the enormity of this collection, I doubt that I will see my husband for several months as he will have his nose into these books...and enjoy riding the high seas once again.



3. It is clearly too ambitious a project to explain, in a 500-page trade paperback, every potentially confusing term and name in the Aubrey / Maturin series. But I expected a better effort than this.
   
   The introductory essays on the on the nature and structure of the British navy and time line of the Napoleonic wars was quite good; the narrative on naval medicine not so much, but passable still.
   
   The real issue is lack of content in the encyclopedic portion of the book. Simply put, you'll run across quite a few terms in any given Aubrey / Maturin novel that simply are not in this book.
   
   Examples from "The Far Side Of The World" alone, as I quickly breeze through, of words and terms mentioned there but not here: "bar-tailed godwit" (kind of bird); "shamming Abraham" (pretending to be sick, or being a thief, beggar, etc.); "St Abdon's day (Saint Abdon, a cooper, is the patron saint of coopers); "specktioneer" (on a whaler, the lead harpooner).
   
   Again, given the scope and nature of the Aubrey / Maturin series, it's beyond naive to expect any one reference book to answer every potential question the series might raise. But, at the least, all sailing terms should be explained without fail, as well as period-specific euphemisms.
   
   Given that about 85 percent of this book is encyclopedia, I really have to hold that out as the defining standard of its worth. Simply put, it fails.
   
   There are several Web-based documentation efforts for the Aubrey / Maturin series: A wiki (unforutunately, it's on a slow, unreliable Web server, which is why it's largely incomplete); a Google Earth project to point out all the places named in the series; and a hit-or-miss links page, all of which can be found at Wikipedia's Patrick O'Brian page.
   
   It seems to me that new technologies provide the best way to document O'Brian's stories of old.



4. Without a good sea jargon dictionary the reader will loose the essence of rolling along with any sailing author. I keep at hand when roving with Lewrie and Aubrey on the briny.



5. Sea of Words, Third Edition is the essential companion to the completed set of Aubrey-Maturin sea tales by Patrick O'Brian. You can't find these words in other dictionaries.

5 comments about Arcadia: A Play.

1. Arcadia dually covers a historical event turgid with substance and contemporary historians who would wish to piecemeal it back together into the whole that it was. In reading it, we find that something is lost and regained. The emotional content of the past, in its particularity, is lost, but it remains the subject of, and emerges around, the heat of the present; the gaps are filled in, old controversies become renewed, and old ideas are reborn in contemporary counterparts. In that sense, Arcadia is a masterwork. Stoppard goes so far as to craft an extraordinarily well-written drama out of platonic and romantic ideas that are so banal and intellectualy innocuous simply because they, themselves, have long since passed their due.
   
   I believe that Stoppard writes very well, and Arcadia is another exemplification of that fact, but I can't believe that anyone will be reading him in fifty years. His modern acclaim can only be a testament to his reaffication of already accepted modes of dramatic structure and content. He is simply the prophet of our dramatic yesterday.



2. This funny play about important things takes place in a single room, but shuttles between 1809 and 1989, ending with the two sets of characters, together but mutually invisible, revealing to us a sweet sadness.



3. Though I am very fond of "The Invention of Love," "Jumpers, " "The Real Thing," "The Real Inspector Hound," and "Rosencrantz and Guildenstern Are Dead, " this is Stoppard's best play, his most beautiful and most moving. We get the usual Stoppard erudition and the usual Stoppard wit, but these never distract us from the play's structural felicities. Or its emotional force.
   
   Idea-wise, we get order and creation versus chaos and entropy. Something not quite explicable about the arrow of time makes the tea always get colder, never hotter, and the same fate (heat death) awaits the universe and every person in it. Strangely, though, in this seemingly random, ever chillier place we find unexpected beauties, the unexpected "islands of order" that can also be found in Thomasina's equations as surely as they can in Tom S.'s imagination.
   
   The real punch of the play, though, is in the immediate rather than the cosmic. Whether we know about entropy or not, we *have* noticed that things go awry and that eventually we will, too. Even if we are lucky enough to find ourselves in Arcadia, we're still going to die. Even worse, some people are going to die before us, leaving us utterly alone. On the other hand--the pretty hand--"Arcadia" suggests that the fact that neither art nor memory need follow the arrow of time might just offer some sort of escape from futility and grief. Time can overlap with time, as love can overlap with love. Two people can synchronize in time and space in a most uncanny way, and what is this but love or dancing?



4. Very witty, very thought provoking, myriads of possible meanings and themes, the stuff the literary departments of colleges and universities worldwide base their livelihoods on -- and Stoppard gave it all the middle finger. I was a freshman at the University of Pennsylvania in '95-'96 when Tom Stoppard graciously attended a small discussion group with 20 or so engineering students, headed by a professor from the literature department. The subject was "Arcadia," his recent 1993 masterpiece about the pursuit of science, math, and ribaled sexual escapades. The presenting faculty member was laying on question after question about the hidden meanings and whether this or that was the true intent behind his wordsmithing wizadry. I'll never forget his appearance. Messy mane of gray hair, tall and skinny, the lackadaisical expression on his face, slumped back in his chair arms and legs crossed -- he just couldn't care less. He'd give very curt replies to the effect of "that's your interpretation, make of it what you will." He was extremely uninterested in being drawn in to the microscopic dissection of his work. This went on for a painful half-hour or so. He just seemed so sick of people trying to analyze every syllable, instead of just enjoying his plays as the fanciful, thought-provoking diversions that they were. I certainly enjoyed it. Thank you, Stoppard, for putting "art" in its rightful place.



5. Tom Stoppard is a genius. Math and love and English gardens and waltzing and the river of time.