make!, 08 Oct 2008
Make!by Cath Kidston

I have just received this book, I have been eagerly waiting for it (ordered on pre-order - received earlier than expected!) and when I saw the lovely cover I was not disappointed! The book is full of clear colour photos on a lovely quality thick paper. This will be coveted by all ardent Cath fans to add to their collection, and with the added bonus of the plain tote bag supplied ready for you to customise, it will bring a smile to those writing their Xmas wish lists. It also comes with a Cath Kidston pencil and a skein of red embroidery thread to get you going!
I was expecting the content to be slightly different, as the book was advertised as making items using Cath Kidston fabrics. This is not strictly true. The contents heavily feature customising items such as bags, clothes, slippers, cushions, blankets etc using a variety of templates (at back of book - nice and clear) in the STYLE of Cath Kidston not necessarily using her prints. It does not show entire items made from the famous prints. Most projects involve simple applique using hand-stitching. This said it is a quality book at at reasonable price and one to inspire all sewing abilities.

make!, 08 Oct 2008
Make!by Cath Kidston

I have just received this book, I have been eagerly waiting for it (ordered on pre-order - received earlier than expected!) and when I saw the lovely cover I was not disappointed! The book is full of clear colour photos on a lovely quality thick paper. This will be coveted by all ardent Cath fans to add to their collection, and with the added bonus of the plain tote bag supplied ready for you to customise, it will bring a smile to those writing their Xmas wish lists. It also comes with a Cath Kidston pencil and a skein of red embroidery thread to get you going!
I was expecting the content to be slightly different, as the book was advertised as making items using Cath Kidston fabrics. This is not strictly true. The contents heavily feature customising items such as bags, clothes, slippers, cushions, blankets etc using a variety of templates (at back of book - nice and clear) in the STYLE of Cath Kidston not necessarily using her prints. It does not show entire items made from the famous prints. Most projects involve simple applique using hand-stitching. This said it is a quality book at at reasonable price and one to inspire all sewing abilities.

Essential, 04 Sep 2008
Really great book that can be used throughout A level study or as a last minute revision guide.

This would be a good investment, 23 Mar 2004
I'm studying Hamlet at the moment and due to the nature of Shakespeare's over descriptive and complicated yet beautiful language, it's quite hard to follow and concentrate upon the plot. Though when I got this guide, I easily grasped what was happening and was able to concentrate more on the themes and language etc which you have to comment on in exams. It is helpful and gives lots of hints and info into what you're supposed to be focusing on in the scenes. It gives you ideas and pushes you in the right direction if you are struggling. It even has a glossary to simplify meanings and words. A more thorough understanding can be made from Hamlet and in the end you'll wonder why you didn't get this sooner. For five pounds, it's worth it, if you get an 'a' in your exams.

Getting to the Heart of Hamlet?, 23 Feb 2004
This is one of the most thorough study guides on the market, not likely to confuse anyone and particularly well informed on the latest developments in critical approaches to the play though never too dense for the average school student to digest. The scene summaries and commentaries are models of clarity and precision whilst the textual analyses are searching, provocative and incisive. There is an excellent bibliography and useful pointers to websites, films and theatrical tradition. An invaluable introduction to advanced studies and a handy revision tool for teachers pressurised to work on the play at short notice!

Nice clear summary of the action, 15 Apr 2002
The best aspect of this guide to Hamlet is the careful scene-by-scene summary of the action. The plot seems not so tricky to follow, after all. It's also good to be reminded of the significant differences between the quarto and folio versions of the play. Perhaps the authors should have devoted a bit more space to the really big issue raised by the play: the intermingling of good and evil in human existence. The assessment of Ophelia's character is strangely thin, as well. But it's very helpful, all in all.

A difficult task, 10 Apr 2000
To make an "informative" notebook on such a vast and complicated work, will never be easy. There are simply too many interpretative opportunities. But York Notes list up most of the basics, in a comprehensive manner.

make!, 08 Oct 2008
Make!by Cath Kidston

I have just received this book, I have been eagerly waiting for it (ordered on pre-order - received earlier than expected!) and when I saw the lovely cover I was not disappointed! The book is full of clear colour photos on a lovely quality thick paper. This will be coveted by all ardent Cath fans to add to their collection, and with the added bonus of the plain tote bag supplied ready for you to customise, it will bring a smile to those writing their Xmas wish lists. It also comes with a Cath Kidston pencil and a skein of red embroidery thread to get you going!
I was expecting the content to be slightly different, as the book was advertised as making items using Cath Kidston fabrics. This is not strictly true. The contents heavily feature customising items such as bags, clothes, slippers, cushions, blankets etc using a variety of templates (at back of book - nice and clear) in the STYLE of Cath Kidston not necessarily using her prints. It does not show entire items made from the famous prints. Most projects involve simple applique using hand-stitching. This said it is a quality book at at reasonable price and one to inspire all sewing abilities.

Essential, 04 Sep 2008
Really great book that can be used throughout A level study or as a last minute revision guide.

This would be a good investment, 23 Mar 2004
I'm studying Hamlet at the moment and due to the nature of Shakespeare's over descriptive and complicated yet beautiful language, it's quite hard to follow and concentrate upon the plot. Though when I got this guide, I easily grasped what was happening and was able to concentrate more on the themes and language etc which you have to comment on in exams. It is helpful and gives lots of hints and info into what you're supposed to be focusing on in the scenes. It gives you ideas and pushes you in the right direction if you are struggling. It even has a glossary to simplify meanings and words. A more thorough understanding can be made from Hamlet and in the end you'll wonder why you didn't get this sooner. For five pounds, it's worth it, if you get an 'a' in your exams.

Getting to the Heart of Hamlet?, 23 Feb 2004
This is one of the most thorough study guides on the market, not likely to confuse anyone and particularly well informed on the latest developments in critical approaches to the play though never too dense for the average school student to digest. The scene summaries and commentaries are models of clarity and precision whilst the textual analyses are searching, provocative and incisive. There is an excellent bibliography and useful pointers to websites, films and theatrical tradition. An invaluable introduction to advanced studies and a handy revision tool for teachers pressurised to work on the play at short notice!

Nice clear summary of the action, 15 Apr 2002
The best aspect of this guide to Hamlet is the careful scene-by-scene summary of the action. The plot seems not so tricky to follow, after all. It's also good to be reminded of the significant differences between the quarto and folio versions of the play. Perhaps the authors should have devoted a bit more space to the really big issue raised by the play: the intermingling of good and evil in human existence. The assessment of Ophelia's character is strangely thin, as well. But it's very helpful, all in all.

A difficult task, 10 Apr 2000
To make an "informative" notebook on such a vast and complicated work, will never be easy. There are simply too many interpretative opportunities. But York Notes list up most of the basics, in a comprehensive manner.

a fine translation., 23 Jul 2004
Following a battle for supremacy, Eteocles and Polyneices, the two sons of Oedipus, kill each other, leaving Creon, the brother-in-law to Oedipus, as ruler of Thebes. Since Polyneices lead the attacking force against Thebes, Creon labelled him a traitor and denied him any funeral rites. Anyone who countermanded this law would do so on pain of death.

This is the backdrop to The Burial at Thebes, formerly know as Antigone, the last play in the Oedipus trilogy by Sophocles.

It is a play of desperate and wrenching simplicity. The eponymous Antigone, sister of Polyneices, is faced with a choice: to choose between obeying the dictates of family love, in giving burial to her slaughtered brother, or to obey the laws of the state, as represented by King Creon. Her choice is made without hesitation, to honour the dead and defy the state. This is done at a terrible cost. She not only relinquished her own life but also her betrothed's, Haemon son of Creon, who fell on his own sword when he saw her dead. Following Haemon's death, Creon's wife, Euripides, takes up Creon's sword and after cursing her husband kills herself. Creon ends the play a broken man. His pride, his stubbornness in refusing to rescind the death penalty, ultimately cost him his wife and only son.

Many elements of the play lend themselves to modern times and dilemmas, but unlike some other translators, Heaney has the sense to trust in the original, and adds little in the way of anxiously contemporary signposting. He keeps the lines taut and clear, making the effect of this play all the more powerful. Antigone contains some choruses which are among the most famous in all Greek tragedy, and Heaney gives a very impressive account of these, adding a kind of dark burnish to the verbal atmosphere of his translation.

If you are an admirer of Greek tragedy I wouldn't hesitate to recommend this book. Also, if you enjoyed Heaney's Beowulf, you will like this too. It is another great reinvention of a classic.

make!, 08 Oct 2008
Make!by Cath Kidston

I have just received this book, I have been eagerly waiting for it (ordered on pre-order - received earlier than expected!) and when I saw the lovely cover I was not disappointed! The book is full of clear colour photos on a lovely quality thick paper. This will be coveted by all ardent Cath fans to add to their collection, and with the added bonus of the plain tote bag supplied ready for you to customise, it will bring a smile to those writing their Xmas wish lists. It also comes with a Cath Kidston pencil and a skein of red embroidery thread to get you going!
I was expecting the content to be slightly different, as the book was advertised as making items using Cath Kidston fabrics. This is not strictly true. The contents heavily feature customising items such as bags, clothes, slippers, cushions, blankets etc using a variety of templates (at back of book - nice and clear) in the STYLE of Cath Kidston not necessarily using her prints. It does not show entire items made from the famous prints. Most projects involve simple applique using hand-stitching. This said it is a quality book at at reasonable price and one to inspire all sewing abilities.

Essential, 04 Sep 2008
Really great book that can be used throughout A level study or as a last minute revision guide.

This would be a good investment, 23 Mar 2004
I'm studying Hamlet at the moment and due to the nature of Shakespeare's over descriptive and complicated yet beautiful language, it's quite hard to follow and concentrate upon the plot. Though when I got this guide, I easily grasped what was happening and was able to concentrate more on the themes and language etc which you have to comment on in exams. It is helpful and gives lots of hints and info into what you're supposed to be focusing on in the scenes. It gives you ideas and pushes you in the right direction if you are struggling. It even has a glossary to simplify meanings and words. A more thorough understanding can be made from Hamlet and in the end you'll wonder why you didn't get this sooner. For five pounds, it's worth it, if you get an 'a' in your exams.

Getting to the Heart of Hamlet?, 23 Feb 2004
This is one of the most thorough study guides on the market, not likely to confuse anyone and particularly well informed on the latest developments in critical approaches to the play though never too dense for the average school student to digest. The scene summaries and commentaries are models of clarity and precision whilst the textual analyses are searching, provocative and incisive. There is an excellent bibliography and useful pointers to websites, films and theatrical tradition. An invaluable introduction to advanced studies and a handy revision tool for teachers pressurised to work on the play at short notice!

Nice clear summary of the action, 15 Apr 2002
The best aspect of this guide to Hamlet is the careful scene-by-scene summary of the action. The plot seems not so tricky to follow, after all. It's also good to be reminded of the significant differences between the quarto and folio versions of the play. Perhaps the authors should have devoted a bit more space to the really big issue raised by the play: the intermingling of good and evil in human existence. The assessment of Ophelia's character is strangely thin, as well. But it's very helpful, all in all.

A difficult task, 10 Apr 2000
To make an "informative" notebook on such a vast and complicated work, will never be easy. There are simply too many interpretative opportunities. But York Notes list up most of the basics, in a comprehensive manner.

a fine translation., 23 Jul 2004
Following a battle for supremacy, Eteocles and Polyneices, the two sons of Oedipus, kill each other, leaving Creon, the brother-in-law to Oedipus, as ruler of Thebes. Since Polyneices lead the attacking force against Thebes, Creon labelled him a traitor and denied him any funeral rites. Anyone who countermanded this law would do so on pain of death.

This is the backdrop to The Burial at Thebes, formerly know as Antigone, the last play in the Oedipus trilogy by Sophocles.

It is a play of desperate and wrenching simplicity. The eponymous Antigone, sister of Polyneices, is faced with a choice: to choose between obeying the dictates of family love, in giving burial to her slaughtered brother, or to obey the laws of the state, as represented by King Creon. Her choice is made without hesitation, to honour the dead and defy the state. This is done at a terrible cost. She not only relinquished her own life but also her betrothed's, Haemon son of Creon, who fell on his own sword when he saw her dead. Following Haemon's death, Creon's wife, Euripides, takes up Creon's sword and after cursing her husband kills herself. Creon ends the play a broken man. His pride, his stubbornness in refusing to rescind the death penalty, ultimately cost him his wife and only son.

Many elements of the play lend themselves to modern times and dilemmas, but unlike some other translators, Heaney has the sense to trust in the original, and adds little in the way of anxiously contemporary signposting. He keeps the lines taut and clear, making the effect of this play all the more powerful. Antigone contains some choruses which are among the most famous in all Greek tragedy, and Heaney gives a very impressive account of these, adding a kind of dark burnish to the verbal atmosphere of his translation.

If you are an admirer of Greek tragedy I wouldn't hesitate to recommend this book. Also, if you enjoyed Heaney's Beowulf, you will like this too. It is another great reinvention of a classic.

Poetic licence, 15 Nov 2006
like in life, good but flawed.
As a collection it is exceptional, with such a variety of some poets better work, however, the cumbersome ham-handed indexing at the begining leaves something to be desired. it is indexed in the order of poets date of birth, of course suggesting anyone who reads or has to study the books contence know the date of every single poets birth. leading of course to many fun hours of frustration trying to find a single poem by a poet in the very centre of the book.
the up side is in the back the poets are listed in rank of surname first, and as well as some basics on the poets lives there is a page reference telling you where the poets are in the book.


Norton, 04 Apr 2004
Norton series are always great for students, have lots of info! This is a great book for someone studying poetry, has a good collections of poems from the main poets! Has a few from more modern poets and has been revised to include more from women and others that have before been the minority!

A good collection for a back ground on poetry, though not the best for carrying round, as is huge!!

Hannah.

A University Text That Can Be Enjoyed By Anyone, 29 Sep 2000
This book may look duanting at first sight but don't be put off! Even if you never read poetry this book has something for you. From Gilbert and Sullivan extracts, try and read those out loud, to 'The Owl and the Pussycat' this book isn't just ironic prose for english students with to much time on their hands. Of course there are extensive sections for the greats; Chuacer, Milton, Shakespeare, Tennyson, i think you've got the point. You'll also discover poets you've never heard of, Louis MacNiece is one of mine, just by opening up at a random page, more fun than doing it with the bible. And if that isn't enough this is a big book on your shelf which makes people think you are clever as hell, or maybe just a ponce. So buy this book and let your friends decide which one you are.

make!, 08 Oct 2008
Make!by Cath Kidston

I have just received this book, I have been eagerly waiting for it (ordered on pre-order - received earlier than expected!) and when I saw the lovely cover I was not disappointed! The book is full of clear colour photos on a lovely quality thick paper. This will be coveted by all ardent Cath fans to add to their collection, and with the added bonus of the plain tote bag supplied ready for you to customise, it will bring a smile to those writing their Xmas wish lists. It also comes with a Cath Kidston pencil and a skein of red embroidery thread to get you going!
I was expecting the content to be slightly different, as the book was advertised as making items using Cath Kidston fabrics. This is not strictly true. The contents heavily feature customising items such as bags, clothes, slippers, cushions, blankets etc using a variety of templates (at back of book - nice and clear) in the STYLE of Cath Kidston not necessarily using her prints. It does not show entire items made from the famous prints. Most projects involve simple applique using hand-stitching. This said it is a quality book at at reasonable price and one to inspire all sewing abilities.

Essential, 04 Sep 2008
Really great book that can be used throughout A level study or as a last minute revision guide.

This would be a good investment, 23 Mar 2004
I'm studying Hamlet at the moment and due to the nature of Shakespeare's over descriptive and complicated yet beautiful language, it's quite hard to follow and concentrate upon the plot. Though when I got this guide, I easily grasped what was happening and was able to concentrate more on the themes and language etc which you have to comment on in exams. It is helpful and gives lots of hints and info into what you're supposed to be focusing on in the scenes. It gives you ideas and pushes you in the right direction if you are struggling. It even has a glossary to simplify meanings and words. A more thorough understanding can be made from Hamlet and in the end you'll wonder why you didn't get this sooner. For five pounds, it's worth it, if you get an 'a' in your exams.

Getting to the Heart of Hamlet?, 23 Feb 2004
This is one of the most thorough study guides on the market, not likely to confuse anyone and particularly well informed on the latest developments in critical approaches to the play though never too dense for the average school student to digest. The scene summaries and commentaries are models of clarity and precision whilst the textual analyses are searching, provocative and incisive. There is an excellent bibliography and useful pointers to websites, films and theatrical tradition. An invaluable introduction to advanced studies and a handy revision tool for teachers pressurised to work on the play at short notice!

Nice clear summary of the action, 15 Apr 2002
The best aspect of this guide to Hamlet is the careful scene-by-scene summary of the action. The plot seems not so tricky to follow, after all. It's also good to be reminded of the significant differences between the quarto and folio versions of the play. Perhaps the authors should have devoted a bit more space to the really big issue raised by the play: the intermingling of good and evil in human existence. The assessment of Ophelia's character is strangely thin, as well. But it's very helpful, all in all.

A difficult task, 10 Apr 2000
To make an "informative" notebook on such a vast and complicated work, will never be easy. There are simply too many interpretative opportunities. But York Notes list up most of the basics, in a comprehensive manner.

a fine translation., 23 Jul 2004
Following a battle for supremacy, Eteocles and Polyneices, the two sons of Oedipus, kill each other, leaving Creon, the brother-in-law to Oedipus, as ruler of Thebes. Since Polyneices lead the attacking force against Thebes, Creon labelled him a traitor and denied him any funeral rites. Anyone who countermanded this law would do so on pain of death.

This is the backdrop to The Burial at Thebes, formerly know as Antigone, the last play in the Oedipus trilogy by Sophocles.

It is a play of desperate and wrenching simplicity. The eponymous Antigone, sister of Polyneices, is faced with a choice: to choose between obeying the dictates of family love, in giving burial to her slaughtered brother, or to obey the laws of the state, as represented by King Creon. Her choice is made without hesitation, to honour the dead and defy the state. This is done at a terrible cost. She not only relinquished her own life but also her betrothed's, Haemon son of Creon, who fell on his own sword when he saw her dead. Following Haemon's death, Creon's wife, Euripides, takes up Creon's sword and after cursing her husband kills herself. Creon ends the play a broken man. His pride, his stubbornness in refusing to rescind the death penalty, ultimately cost him his wife and only son.

Many elements of the play lend themselves to modern times and dilemmas, but unlike some other translators, Heaney has the sense to trust in the original, and adds little in the way of anxiously contemporary signposting. He keeps the lines taut and clear, making the effect of this play all the more powerful. Antigone contains some choruses which are among the most famous in all Greek tragedy, and Heaney gives a very impressive account of these, adding a kind of dark burnish to the verbal atmosphere of his translation.

If you are an admirer of Greek tragedy I wouldn't hesitate to recommend this book. Also, if you enjoyed Heaney's Beowulf, you will like this too. It is another great reinvention of a classic.

Poetic licence, 15 Nov 2006
like in life, good but flawed.
As a collection it is exceptional, with such a variety of some poets better work, however, the cumbersome ham-handed indexing at the begining leaves something to be desired. it is indexed in the order of poets date of birth, of course suggesting anyone who reads or has to study the books contence know the date of every single poets birth. leading of course to many fun hours of frustration trying to find a single poem by a poet in the very centre of the book.
the up side is in the back the poets are listed in rank of surname first, and as well as some basics on the poets lives there is a page reference telling you where the poets are in the book.


Norton, 04 Apr 2004
Norton series are always great for students, have lots of info! This is a great book for someone studying poetry, has a good collections of poems from the main poets! Has a few from more modern poets and has been revised to include more from women and others that have before been the minority!

A good collection for a back ground on poetry, though not the best for carrying round, as is huge!!

Hannah.

A University Text That Can Be Enjoyed By Anyone, 29 Sep 2000
This book may look duanting at first sight but don't be put off! Even if you never read poetry this book has something for you. From Gilbert and Sullivan extracts, try and read those out loud, to 'The Owl and the Pussycat' this book isn't just ironic prose for english students with to much time on their hands. Of course there are extensive sections for the greats; Chuacer, Milton, Shakespeare, Tennyson, i think you've got the point. You'll also discover poets you've never heard of, Louis MacNiece is one of mine, just by opening up at a random page, more fun than doing it with the bible. And if that isn't enough this is a big book on your shelf which makes people think you are clever as hell, or maybe just a ponce. So buy this book and let your friends decide which one you are.

Makes the most of what little there is to know, 26 Sep 2008
A neat little book exploring what little we know about Shakespeare's life. Bryson hasn't had the easiest of tasks, trying to work a coherent life out of such scant information and vague references to Shakespeare during his lifetime, and all in all he's done well.

It starts a little dry, and the small details get a bit overwhelming - but then, there is little emotive material to work with so detail is there is to offer. Where Bryson excels is in fleshing out these patchy details with other interesting information about the theatrical conventions of the time, life in Stratford and London, and other literary types who surrounded Shakespeare. In doing so he turns this into a much more interesting biography than it would otherwise have been. The last chapter, relating to the various theories that Shakespeare didn't write the plays and sonnets attributed to him, is where Bryson's wit and sharp humour really come into their own as he batters them down one by one, and the book thus ends on a vibrant note which made me laugh aloud and left a lasting smile!

Much Ado About Nothing, 21 Sep 2008
Although his name is oft bandied about as a must read this is the first time I've ever had the chance. Bryson that is not Shakespeare! This serves as a nice intro to Shakespeare the man with a "just the facts ma'am" approach. And as he admits, this slim volume is a testament to the fact that what we can take as absolute fact about Shakespeare is very little at all.

For a giant in literary terms Shakespeare has left very few footprints. However as Bryson points out this isn't as odd as it might sound, one can't reasonably expect records dating 400 years ago to either be in a sturdy condition or to be legible or even to have survived numerous calamities over the years from natural fires to German bombing campaigns. The fact that the actual early copies of manuscripts of Shakespeare's plays account for about 15 % of all surviving plays from the late Elizabethan / early Jacobean period is pretty remarkable in and of itself.

The author obviously allows room to discuss the speculation of other scholars or this would be a very very slim volume indeed, but he clearly demarcates between what is established fact and what is theory. From his early years we get the speculation of his education and whether he was a secret Catholic, to the sparse years in London before becoming an established writer taking in such romantic fancies that he sailed with Drake.

The one thing Bryson holds no stock in at all is the theory that Shakespeare is not the author of the plays and though he dutifully covers all the potential others he is quite clear on the lack of any tangible evidence that anyone other than William of Stratford wrote the plays

The Perfect Layman's Biography of Shakespeare, 13 Sep 2008
Well, I suppose the big beardy Anglophile yank had to do it sooner or later.

As Bryson himself says in his introduction, the world doesn't really need another book on Shakespeare. From the incredibly specific and obscure to the uselessly vague and general, from the trivially lightweight to the inaccessibly somber, the Bard of Stratford is the subject of literally dozens of new books of facts, biography, analysis, opinion, theory and conjecture, every damn year.

For all that, this was a worthwhile book to have written, which is more or less all we'd expect of Bryson, who is a clear, clever and witty writer who rarely fails to please.

Bryson has chosen biography as his goal. The book is written in more or less chronological order, with chapters covering distinct periods in Will's life. Bryson starts by characterising the period, analysing the (usually scant) evidence available, then raising and scrutinising the various popular interpretations about what is known. He detours occasionally into anecdotal discussion about his researches or funny or impressive stories about other people's attempts at research, which all over helps it from getting too dry and to remain a very Bryson book.

Throughout he's diligent about the distinction between evidence and interpretation. The problem is, we actually have pretty slender information about Shakespeare's life: a veritable wealth of data by the standards of Elizabethans in general, but still very little from which to derive any reliable idea of the facts of his life. Inevitably, this means foraying into conjecture from time to time; a practice at which Shakespearean academe excels, but a dangerous one. Bryson gives an example of the famous deer-poaching incident, a romantic guess made in the eighteenth century that was repeated as solid fact in Shakespeare scholarship for more than a hundred years after. Bryson, by contrast, while happy to include reasonable and useful guesses as to how to interpret what is known, is very careful to let you know what's fact - and where it's from - and what's conjecture and how it was arrived at.

If you're seriously into your Shakespeare scholarship, this book probably doesn't have anything new to tell you (although Bryson's research is up to date, and he has access to facts I didn't have at Uni), but if you're only likely to buy one Shakespeare biography in your life, this isn't a bad one to choose.


A good introduction to the Bard!, 11 Sep 2008
As someone who has only `discovered' Shakespeare in her 40s, I think this book is the perfect introduction to him and his life.

I didn't really know an awful lot about Shakespeare apart from the fact that he died on St George's day, and that this date is popularly given as his birth date too. This is taken from the Christening records which show he was baptised on 26th April. It was usual for babies to be baptised within a few days of birth due to high infant mortality rates. Oh, and obviously I knew he was the Bard from Stratford-upon-Avon, but there my knowledge ended!

This book also contains interesting facts about the Elizabethan and Jacobean periods of history, all told with Bryson's trademark wry humour, albeit that it's not as funny as some of his other offerings. I certainly wouldn't recommend it to anyone know knows Shakespeare's life well, but to a novice, it's definitely a great place to start.

There's small choice in rotten apples, 11 Aug 2008
Bill Bryson is more or less superman in today's literary world. He transcends subjects in a single bound and the globe in another. He's a talented critic, writer and humourist. It's a good job, to use modern vernacular, that he's the daddy because, with this one, he's taken on the mother of all literary subjects.

He's done so wisely. He's not attempted to become an original researcher and posit new theories about the man's identity or his plays and other works. He has essentially evaluated and sumamrised the existing state of Shakepearian debate and study, providing his own critique of what is compelling and credible. Thankfully, Bryson was born without a 'boredom gene' and the book reaches any audience, reading so easily. The man does not do dull.

Typically, Bryson's prose is litered with diverting and revealing anecdoes, we get a potted physical history of the theatre alongside the exposition of the central figure. Bryson is expert at demonstrating the lack of hard information about Shakespeaare (I spelled that incorrectly, but then, so did the Bard...) and the vulnerability about the claims and surmises made about his life and character. That will no doubt ruffle feathers. I found it interesting to learn that Shakespeare had thieved so many of his stories from others. As also did I find the battle for written English over Latin. The fact there were lost plays is new to me too. So to non-Shakespeare scholars this offers a lot.

To those who are scholars I am not sure it will be depthy enough to satisfy but they are not the prime audience I'd suppose. Bryson's great economy of expression, wit and clarity mean he is less self-indulgent in this book than perhaps any other of his that I have read (which is all but one, that being the African diaries). Although always near the surface, his trademark wit is less in evidence, reserved for a full scale assault on those who feel Shakespeare was somebody else. That business is clearly a cottage industry and I know Bryson has trodden on somebody else's cucumbers here by reason of the ridicule he heaps on the alternate theories.

It is a short book. There could have been more. But how much more was truly needed? And at whatever point should he have stopped on an almost inexhaustible subject populated by many including purists and pedants? Nevertheless one gets the impression he made a judgement about the length that possibly excluded a little more hard work examining various omissions from the life of the Bard and those who knew or worked with him.

Bryson's book has one central curiosity. It is really the oppositite of a biography - more a book about what we don't know than what we do - and that is refreshing in itself. I think he's done a first rate job here given how well aired the subject is.

And for his next trick...?

Incidentally, the title I gave to this is a quote from one of the Bard's plays and seems to convey Bryson's attitude to much of the literature he discovered!

make!, 08 Oct 2008
Make!by Cath Kidston

I have just received this book, I have been eagerly waiting for it (ordered on pre-order - received earlier than expected!) and when I saw the lovely cover I was not disappointed! The book is full of clear colour photos on a lovely quality thick paper. This will be coveted by all ardent Cath fans to add to their collection, and with the added bonus of the plain tote bag supplied ready for you to customise, it will bring a smile to those writing their Xmas wish lists. It also comes with a Cath Kidston pencil and a skein of red embroidery thread to get you going!
I was expecting the content to be slightly different, as the book was advertised as making items using Cath Kidston fabrics. This is not strictly true. The contents heavily feature customising items such as bags, clothes, slippers, cushions, blankets etc using a variety of templates (at back of book - nice and clear) in the STYLE of Cath Kidston not necessarily using her prints. It does not show entire items made from the famous prints. Most projects involve simple applique using hand-stitching. This said it is a quality book at at reasonable price and one to inspire all sewing abilities.

Essential, 04 Sep 2008
Really great book that can be used throughout A level study or as a last minute revision guide.

This would be a good investment, 23 Mar 2004
I'm studying Hamlet at the moment and due to the nature of Shakespeare's over descriptive and complicated yet beautiful language, it's quite hard to follow and concentrate upon the plot. Though when I got this guide, I easily grasped what was happening and was able to concentrate more on the themes and language etc which you have to comment on in exams. It is helpful and gives lots of hints and info into what you're supposed to be focusing on in the scenes. It gives you ideas and pushes you in the right direction if you are struggling. It even has a glossary to simplify meanings and words. A more thorough understanding can be made from Hamlet and in the end you'll wonder why you didn't get this sooner. For five pounds, it's worth it, if you get an 'a' in your exams.

Getting to the Heart of Hamlet?, 23 Feb 2004
This is one of the most thorough study guides on the market, not likely to confuse anyone and particularly well informed on the latest developments in critical approaches to the play though never too dense for the average school student to digest. The scene summaries and commentaries are models of clarity and precision whilst the textual analyses are searching, provocative and incisive. There is an excellent bibliography and useful pointers to websites, films and theatrical tradition. An invaluable introduction to advanced studies and a handy revision tool for teachers pressurised to work on the play at short notice!

Nice clear summary of the action, 15 Apr 2002
The best aspect of this guide to Hamlet is the careful scene-by-scene summary of the action. The plot seems not so tricky to follow, after all. It's also good to be reminded of the significant differences between the quarto and folio versions of the play. Perhaps the authors should have devoted a bit more space to the really big issue raised by the play: the intermingling of good and evil in human existence. The assessment of Ophelia's character is strangely thin, as well. But it's very helpful, all in all.

A difficult task, 10 Apr 2000
To make an "informative" notebook on such a vast and complicated work, will never be easy. There are simply too many interpretative opportunities. But York Notes list up most of the basics, in a comprehensive manner.

a fine translation., 23 Jul 2004
Following a battle for supremacy, Eteocles and Polyneices, the two sons of Oedipus, kill each other, leaving Creon, the brother-in-law to Oedipus, as ruler of Thebes. Since Polyneices lead the attacking force against Thebes, Creon labelled him a traitor and denied him any funeral rites. Anyone who countermanded this law would do so on pain of death.

This is the backdrop to The Burial at Thebes, formerly know as Antigone, the last play in the Oedipus trilogy by Sophocles.

It is a play of desperate and wrenching simplicity. The eponymous Antigone, sister of Polyneices, is faced with a choice: to choose between obeying the dictates of family love, in giving burial to her slaughtered brother, or to obey the laws of the state, as represented by King Creon. Her choice is made without hesitation, to honour the dead and defy the state. This is done at a terrible cost. She not only relinquished her own life but also her betrothed's, Haemon son of Creon, who fell on his own sword when he saw her dead. Following Haemon's death, Creon's wife, Euripides, takes up Creon's sword and after cursing her husband kills herself. Creon ends the play a broken man. His pride, his stubbornness in refusing to rescind the death penalty, ultimately cost him his wife and only son.

Many elements of the play lend themselves to modern times and dilemmas, but unlike some other translators, Heaney has the sense to trust in the original, and adds little in the way of anxiously contemporary signposting. He keeps the lines taut and clear, making the effect of this play all the more powerful. Antigone contains some choruses which are among the most famous in all Greek tragedy, and Heaney gives a very impressive account of these, adding a kind of dark burnish to the verbal atmosphere of his translation.

If you are an admirer of Greek tragedy I wouldn't hesitate to recommend this book. Also, if you enjoyed Heaney's Beowulf, you will like this too. It is another great reinvention of a classic.

Poetic licence, 15 Nov 2006
like in life, good but flawed.
As a collection it is exceptional, with such a variety of some poets better work, however, the cumbersome ham-handed indexing at the begining leaves something to be desired. it is indexed in the order of poets date of birth, of course suggesting anyone who reads or has to study the books contence know the date of every single poets birth. leading of course to many fun hours of frustration trying to find a single poem by a poet in the very centre of the book.
the up side is in the back the poets are listed in rank of surname first, and as well as some basics on the poets lives there is a page reference telling you where the poets are in the book.


Norton, 04 Apr 2004
Norton series are always great for students, have lots of info! This is a great book for someone studying poetry, has a good collections of poems from the main poets! Has a few from more modern poets and has been revised to include more from women and others that have before been the minority!

A good collection for a back ground on poetry, though not the best for carrying round, as is huge!!

Hannah.

A University Text That Can Be Enjoyed By Anyone, 29 Sep 2000
This book may look duanting at first sight but don't be put off! Even if you never read poetry this book has something for you. From Gilbert and Sullivan extracts, try and read those out loud, to 'The Owl and the Pussycat' this book isn't just ironic prose for english students with to much time on their hands. Of course there are extensive sections for the greats; Chuacer, Milton, Shakespeare, Tennyson, i think you've got the point. You'll also discover poets you've never heard of, Louis MacNiece is one of mine, just by opening up at a random page, more fun than doing it with the bible. And if that isn't enough this is a big book on your shelf which makes people think you are clever as hell, or maybe just a ponce. So buy this book and let your friends decide which one you are.

Makes the most of what little there is to know, 26 Sep 2008
A neat little book exploring what little we know about Shakespeare's life. Bryson hasn't had the easiest of tasks, trying to work a coherent life out of such scant information and vague references to Shakespeare during his lifetime, and all in all he's done well.

It starts a little dry, and the small details get a bit overwhelming - but then, there is little emotive material to work with so detail is there is to offer. Where Bryson excels is in fleshing out these patchy details with other interesting information about the theatrical conventions of the time, life in Stratford and London, and other literary types who surrounded Shakespeare. In doing so he turns this into a much more interesting biography than it would otherwise have been. The last chapter, relating to the various theories that Shakespeare didn't write the plays and sonnets attributed to him, is where Bryson's wit and sharp humour really come into their own as he batters them down one by one, and the book thus ends on a vibrant note which made me laugh aloud and left a lasting smile!

Much Ado About Nothing, 21 Sep 2008
Although his name is oft bandied about as a must read this is the first time I've ever had the chance. Bryson that is not Shakespeare! This serves as a nice intro to Shakespeare the man with a "just the facts ma'am" approach. And as he admits, this slim volume is a testament to the fact that what we can take as absolute fact about Shakespeare is very little at all.

For a giant in literary terms Shakespeare has left very few footprints. However as Bryson points out this isn't as odd as it might sound, one can't reasonably expect records dating 400 years ago to either be in a sturdy condition or to be legible or even to have survived numerous calamities over the years from natural fires to German bombing campaigns. The fact that the actual early copies of manuscripts of Shakespeare's plays account for about 15 % of all surviving plays from the late Elizabethan / early Jacobean period is pretty remarkable in and of itself.

The author obviously allows room to discuss the speculation of other scholars or this would be a very very slim volume indeed, but he clearly demarcates between what is established fact and what is theory. From his early years we get the speculation of his education and whether he was a secret Catholic, to the sparse years in London before becoming an established writer taking in such romantic fancies that he sailed with Drake.

The one thing Bryson holds no stock in at all is the theory that Shakespeare is not the author of the plays and though he dutifully covers all the potential others he is quite clear on the lack of any tangible evidence that anyone other than William of Stratford wrote the plays

The Perfect Layman's Biography of Shakespeare, 13 Sep 2008
Well, I suppose the big beardy Anglophile yank had to do it sooner or later.

As Bryson himself says in his introduction, the world doesn't really need another book on Shakespeare. From the incredibly specific and obscure to the uselessly vague and general, from the trivially lightweight to the inaccessibly somber, the Bard of Stratford is the subject of literally dozens of new books of facts, biography, analysis, opinion, theory and conjecture, every damn year.

For all that, this was a worthwhile book to have written, which is more or less all we'd expect of Bryson, who is a clear, clever and witty writer who rarely fails to please.

Bryson has chosen biography as his goal. The book is written in more or less chronological order, with chapters covering distinct periods in Will's life. Bryson starts by characterising the period, analysing the (usually scant) evidence available, then raising and scrutinising the various popular interpretations about what is known. He detours occasionally into anecdotal discussion about his researches or funny or impressive stories about other people's attempts at research, which all over helps it from getting too dry and to remain a very Bryson book.

Throughout he's diligent about the distinction between evidence and interpretation. The problem is, we actually have pretty slender information about Shakespeare's life: a veritable wealth of data by the standards of Elizabethans in general, but still very little from which to derive any reliable idea of the facts of his life. Inevitably, this means foraying into conjecture from time to time; a practice at which Shakespearean academe excels, but a dangerous one. Bryson gives an example of the famous deer-poaching incident, a romantic guess made in the eighteenth century that was repeated as solid fact in Shakespeare scholarship for more than a hundred years after. Bryson, by contrast, while happy to include reasonable and useful guesses as to how to interpret what is known, is very careful to let you know what's fact - and where it's from - and what's conjecture and how it was arrived at.

If you're seriously into your Shakespeare scholarship, this book probably doesn't have anything new to tell you (although Bryson's research is up to date, and he has access to facts I didn't have at Uni), but if you're only likely to buy one Shakespeare biography in your life, this isn't a bad one to choose.


A good introduction to the Bard!, 11 Sep 2008
As someone who has only `discovered' Shakespeare in her 40s, I think this book is the perfect introduction to him and his life.

I didn't really know an awful lot about Shakespeare apart from the fact that he died on St George's day, and that this date is popularly given as his birth date too. This is taken from the Christening records which show he was baptised on 26th April. It was usual for babies to be baptised within a few days of birth due to high infant mortality rates. Oh, and obviously I knew he was the Bard from Stratford-upon-Avon, but there my knowledge ended!

This book also contains interesting facts about the Elizabethan and Jacobean periods of history, all told with Bryson's trademark wry humour, albeit that it's not as funny as some of his other offerings. I certainly wouldn't recommend it to anyone know knows Shakespeare's life well, but to a novice, it's definitely a great place to start.

There's small choice in rotten apples, 11 Aug 2008
Bill Bryson is more or less superman in today's literary world. He transcends subjects in a single bound and the globe in another. He's a talented critic, writer and humourist. It's a good job, to use modern vernacular, that he's the daddy because, with this one, he's taken on the mother of all literary subjects.

He's done so wisely. He's not attempted to become an original researcher and posit new theories about the man's identity or his plays and other works. He has essentially evaluated and sumamrised the existing state of Shakepearian debate and study, providing his own critique of what is compelling and credible. Thankfully, Bryson was born without a 'boredom gene' and the book reaches any audience, reading so easily. The man does not do dull.

Typically, Bryson's prose is litered with diverting and revealing anecdoes, we get a potted physical history of the theatre alongside the exposition of the central figure. Bryson is expert at demonstrating the lack of hard information about Shakespeaare (I spelled that incorrectly, but then, so did the Bard...) and the vulnerability about the claims and surmises made about his life and character. That will no doubt ruffle feathers. I found it interesting to learn that Shakespeare had thieved so many of his stories from others. As also did I find the battle for written English over Latin. The fact there were lost plays is new to me too. So to non-Shakespeare scholars this offers a lot.

To those who are scholars I am not sure it will be depthy enough to satisfy but they are not the prime audience I'd suppose. Bryson's great economy of expression, wit and clarity mean he is less self-indulgent in this book than perhaps any other of his that I have read (which is all but one, that being the African diaries). Although always near the surface, his trademark wit is less in evidence, reserved for a full scale assault on those who feel Shakespeare was somebody else. That business is clearly a cottage industry and I know Bryson has trodden on somebody else's cucumbers here by reason of the ridicule he heaps on the alternate theories.

It is a short book. There could have been more. But how much more was truly needed? And at whatever point should he have stopped on an almost inexhaustible subject populated by many including purists and pedants? Nevertheless one gets the impression he made a judgement about the length that possibly excluded a little more hard work examining various omissions from the life of the Bard and those who knew or worked with him.

Bryson's book has one central curiosity. It is really the oppositite of a biography - more a book about what we don't know than what we do - and that is refreshing in itself. I think he's done a first rate job here given how well aired the subject is.

And for his next trick...?

Incidentally, the title I gave to this is a quote from one of the Bard's plays and seems to convey Bryson's attitude to much of the literature he discovered!


Honest Accounting, 13 May 2008
I won't give a synopsis since this has already been done ably by other reviewers. Why this autobiography 'worked' for me is that Mr Ballard has reflected his past experiences to his present situation so movingly, and with characteristic modesty. As a young man he considered his unusual childhood to be of little interest to anyone; only late on in his life has it provided him with explicit material for fiction - and now, with this account - for fact - only latterly has he recognised that he had unconsciously used his childhood experiences as literary motifs.

Judging by his enthusiasm that came through in the middle part of the book, I suspect that Mr Ballard derived most satisfaction in his life from raising his three children on his own following the tragic death of his wife whilst on holiday - an event that he describes briefly, yet deeply movingly.

He doesn't say a great deal about his actual writing (apart from, in his earlier years, writing a short story between dropping off his children at school in the morning and picking them up in the afternoon) although he does refer interestingly to some of his books and short stories, and to his literary acquaintances. With some exceptions (Kingsley Amis, Michael Moorcock, Ian Sinclair and Will Self) he appears to have been more 'at home' with avante garde artists than with fellow writers.

I spent some time in a British expatriate community as a youngster, albeit some twenty years after Mr Ballard's time, so I could relate to this part of his life. I'm familiar with the type of people he observed, although I don't recall the grown-ups as leading nearly such dissipated life styles, neither did I witness such extremes of poverty and affluence as existed in pre-war Shanghai ... and neither was I interned by 'the enemy' for two years.

Miracles of Life is not in the slightest bit pretentious, it is simply written and lacks in any real rancour, which is so refreshing, given some of the back-biting one comes to expect from autobiographies these days, and I thoroughly recommend it to anyone interested in what lies behind a considerable writer.

Beautifully told, 18 Mar 2008
This is a curious mixture of a book. Granted that it was written under strained and special circumstances, it is both revealing and concealing in equal measure. If you are familiar with Ballard's work and have taken an interest in him over the years, you will find nothing new here. It is, however, a joy to have it in one volume. And for all its apparent superficiality, we learn a great deal about Ballard from the structure and level of content of this work.

Nearly half the book is devoted to Ballard's first fifteen years, the time he lived in Shanghai and experienced the strange life of an expatriate community as well as internment by the Japanese. This is also the most fluent and vibrant part of the book.

It may well be that writing of his early life in his fiction, especially in Empire of the Sun, means he is well rehearsed. But it is clear these formative years are seared not just into his memory, but also his psyche. The things he saw and experienced have re-appeared time and again in his writings, sometimes filtered, but always from the same roots.

Elsewhere, there is a reticence, a shyness that produces a sketchy feeling, as if we are seeing an early draft. A pioneer of explorations into the sf of `inner space', his own inner space is closely guarded. Yet what he chooses to conceal is revealing in itself. He speaks of family life, for example, but whilst it is clear that his family was the bright sun at the centre of his universe, dimmed for a while by the sudden death of his wife, it is also clear that the rest is nobody's business but his own and theirs. I find this wonderfully refreshing - we are strangers, after all, those of us who read his books.

As a writer myself, I confess I was disappointed that Ballard did not discuss how he wrote or consider the processes by which developed certain styles, especially his concentrated novels. I would love to have known more of those early days and the discussions he had with other writers of the so-called `New Wave'. On the other hand I am not altogether surprised. Whilst undoubtedly a highly intelligent man and a skilled and innovative writer, he has never been one of the `literati', self-dissecting and self-obsessed. His work must (and does) speak for itself - with a voice that is robust, fluent, exciting, innovative, often tackling the controversial, but always worth listening to.


A Must Read, 23 Feb 2008
I couldn't put this down. Ballard writes about his time in Shanghai and makes it seem as normal as my own childhood. Then he returns to the UK - a country he has never been to - and feels a complete stranger.

Ballard's fiction is offbeat and surreal, but completely original - and this autobiography is almost an explanation of where it all came from. Fans of Ballard will find this almost an extension to his fiction.

I could not put this down. The writing is evocative without being wordy, and every page is filled with interesting thoughts.


Poignant and beautifully written autobiography, 23 Feb 2008
Quite simply, this was a joy to read.

Ballard tells of his childhood in Shanghai, internment there under the Japanese, his university years in England, right through to his writing career and the joys and tragedies he's experienced as a father and husband, and his love of family life.

What makes this book appealing is that it's not only well written and direct, but also that Ballard tells his story with an honesty and poignancy that is so rare in many autobiographies today.

This isn't about Ballard the writer, but about the circumstances and events that shaped and formed his personal values and beliefs.

You don't have to have read Ballard's fiction to enjoy this book either (although his Shanghai reminisces provide a fascinating insight into Empire of the Sun, the novel based on his internment experiences).

What stands out above all else is his enjoyment of childhood and subsequent selfless devotion and enjoyment of family through all the joys and tragedy he experienced.

His life affirming views on childhood, fatherhood, and single parenthood set this book apart from those hundreds of other autobiographies available that only tell of how individuals found (or lost) their fame or fortune.

make!, 08 Oct 2008
Make!by Cath Kidston

I have just received this book, I have been eagerly waiting for it (ordered on pre-order - received earlier than expected!) and when I saw the lovely cover I was not disappointed! The book is full of clear colour photos on a lovely quality thick paper. This will be coveted by all ardent Cath fans to add to their collection, and with the added bonus of the plain tote bag supplied ready for you to customise, it will bring a smile to those writing their Xmas wish lists. It also comes with a Cath Kidston pencil and a skein of red embroidery thread to get you going!
I was expecting the content to be slightly different, as the book was advertised as making items using Cath Kidston fabrics. This is not strictly true. The contents heavily feature customising items such as bags, clothes, slippers, cushions, blankets etc using a variety of templates (at back of book - nice and clear) in the STYLE of Cath Kidston not necessarily using her prints. It does not show entire items made from the famous prints. Most projects involve simple applique using hand-stitching. This said it is a quality book at at reasonable price and one to inspire all sewing abilities.

Essential, 04 Sep 2008
Really great book that can be used throughout A level study or as a last minute revision guide.

This would be a good investment, 23 Mar 2004
I'm studying Hamlet at the moment and due to the nature of Shakespeare's over descriptive and complicated yet beautiful language, it's quite hard to follow and concentrate upon the plot. Though when I got this guide, I easily grasped what was happening and was able to concentrate more on the themes and language etc which you have to comment on in exams. It is helpful and gives lots of hints and info into what you're supposed to be focusing on in the scenes. It gives you ideas and pushes you in the right direction if you are struggling. It even has a glossary to simplify meanings and words. A more thorough understanding can be made from Hamlet and in the end you'll wonder why you didn't get this sooner. For five pounds, it's worth it, if you get an 'a' in your exams.

Getting to the Heart of Hamlet?, 23 Feb 2004
This is one of the most thorough study guides on the market, not likely to confuse anyone and particularly well informed on the latest developments in critical approaches to the play though never too dense for the average school student to digest. The scene summaries and commentaries are models of clarity and precision whilst the textual analyses are searching, provocative and incisive. There is an excellent bibliography and useful pointers to websites, films and theatrical tradition. An invaluable introduction to advanced studies and a handy revision tool for teachers pressurised to work on the play at short notice!

Nice clear summary of the action, 15 Apr 2002
The best aspect of this guide to Hamlet is the careful scene-by-scene summary of the action. The plot seems not so tricky to follow, after all. It's also good to be reminded of the significant differences between the quarto and folio versions of the play. Perhaps the authors should have devoted a bit more space to the really big issue raised by the play: the intermingling of good and evil in human existence. The assessment of Ophelia's character is strangely thin, as well. But it's very helpful, all in all.

A difficult task, 10 Apr 2000
To make an "informative" notebook on such a vast and complicated work, will never be easy. There are simply too many interpretative opportunities. But York Notes list up most of the basics, in a comprehensive manner.

a fine translation., 23 Jul 2004
Following a battle for supremacy, Eteocles and Polyneices, the two sons of Oedipus, kill each other, leaving Creon, the brother-in-law to Oedipus, as ruler of Thebes. Since Polyneices lead the attacking force against Thebes, Creon labelled him a traitor and denied him any funeral rites. Anyone who countermanded this law would do so on pain of death.

This is the backdrop to The Burial at Thebes, formerly know as Antigone, the last play in the Oedipus trilogy by Sophocles.

It is a play of desperate and wrenching simplicity. The eponymous Antigone, sister of Polyneices, is faced with a choice: to choose between obeying the dictates of family love, in giving burial to her slaughtered brother, or to obey the laws of the state, as represented by King Creon. Her choice is made without hesitation, to honour the dead and defy the state. This is done at a terrible cost. She not only relinquished her own life but also her betrothed's, Haemon son of Creon, who fell on his own sword when he saw her dead. Following Haemon's death, Creon's wife, Euripides, takes up Creon's sword and after cursing her husband kills herself. Creon ends the play a broken man. His pride, his stubbornness in refusing to rescind the death penalty, ultimately cost him his wife and only son.

Many elements of the play lend themselves to modern times and dilemmas, but unlike some other translators, Heaney has the sense to trust in the original, and adds little in the way of anxiously contemporary signposting. He keeps the lines taut and clear, making the effect of this play all the more powerful. Antigone contains some choruses which are among the most famous in all Greek tragedy, and Heaney gives a very impressive account of these, adding a kind of dark burnish to the verbal atmosphere of his translation.

If you are an admirer of Greek tragedy I wouldn't hesitate to recommend this book. Also, if you enjoyed Heaney's Beowulf, you will like this too. It is another great reinvention of a classic.

Poetic licence, 15 Nov 2006
like in life, good but flawed.
As a collection it is exceptional, with such a variety of some poets better work, however, the cumbersome ham-handed indexing at the begining leaves something to be desired. it is indexed in the order of poets date of birth, of course suggesting anyone who reads or has to study the books contence know the date of every single poets birth. leading of course to many fun hours of frustration trying to find a single poem by a poet in the very centre of the book.
the up side is in the back the poets are listed in rank of surname first, and as well as some basics on the poets lives there is a page reference telling you where the poets are in the book.


Norton, 04 Apr 2004
Norton series are always great for students, have lots of info! This is a great book for someone studying poetry, has a good collections of poems from the main poets! Has a few from more modern poets and has been revised to include more from women and others that have before been the minority!

A good collection for a back ground on poetry, though not the best for carrying round, as is huge!!

Hannah.

A University Text That Can Be Enjoyed By Anyone, 29 Sep 2000
This book may look duanting at first sight but don't be put off! Even if you never read poetry this book has something for you. From Gilbert and Sullivan extracts, try and read those out loud, to 'The Owl and the Pussycat' this book isn't just ironic prose for english students with to much time on their hands. Of course there are extensive sections for the greats; Chuacer, Milton, Shakespeare, Tennyson, i think you've got the point. You'll also discover poets you've never heard of, Louis MacNiece is one of mine, just by opening up at a random page, more fun than doing it with the bible. And if that isn't enough this is a big book on your shelf which makes people think you are clever as hell, or maybe just a ponce. So buy this book and let your friends decide which one you are.

Makes the most of what little there is to know, 26 Sep 2008
A neat little book exploring what little we know about Shakespeare's life. Bryson hasn't had the easiest of tasks, trying to work a coherent life out of such scant information and vague references to Shakespeare during his lifetime, and all in all he's done well.

It starts a little dry, and the small details get a bit overwhelming - but then, there is little emotive material to work with so detail is there is to offer. Where Bryson excels is in fleshing out these patchy details with other interesting information about the theatrical conventions of the time, life in Stratford and London, and other literary types who surrounded Shakespeare. In doing so he turns this into a much more interesting biography than it would otherwise have been. The last chapter, relating to the various theories that Shakespeare didn't write the plays and sonnets attributed to him, is where Bryson's wit and sharp humour really come into their own as he batters them down one by one, and the book thus ends on a vibrant note which made me laugh aloud and left a lasting smile!

Much Ado About Nothing, 21 Sep 2008
Although his name is oft bandied about as a must read this is the first time I've ever had the chance. Bryson that is not Shakespeare! This serves as a nice intro to Shakespeare the man with a "just the facts ma'am" approach. And as he admits, this slim volume is a testament to the fact that what we can take as absolute fact about Shakespeare is very little at all.

For a giant in literary terms Shakespeare has left very few footprints. However as Bryson points out this isn't as odd as it might sound, one can't reasonably expect records dating 400 years ago to either be in a sturdy condition or to be legible or even to have survived numerous calamities over the years from natural fires to German bombing campaigns. The fact that the actual early copies of manuscripts of Shakespeare's plays account for about 15 % of all surviving plays from the late Elizabethan / early Jacobean period is pretty remarkable in and of itself.

The author obviously allows room to discuss the speculation of other scholars or this would be a very very slim volume indeed, but he clearly demarcates between what is established fact and what is theory. From his early years we get the speculation of his education and whether he was a secret Catholic, to the sparse years in London before becoming an established writer taking in such romantic fancies that he sailed with Drake.

The one thing Bryson holds no stock in at all is the theory that Shakespeare is not the author of the plays and though he dutifully covers all the potential others he is quite clear on the lack of any tangible evidence that anyone other than William of Stratford wrote the plays

The Perfect Layman's Biography of Shakespeare, 13 Sep 2008
Well, I suppose the big beardy Anglophile yank had to do it sooner or later.

As Bryson himself says in his introduction, the world doesn't really need another book on Shakespeare. From the incredibly specific and obscure to the uselessly vague and general, from the trivially lightweight to the inaccessibly somber, the Bard of Stratford is the subject of literally dozens of new books of facts, biography, analysis, opinion, theory and conjecture, every damn year.

For all that, this was a worthwhile book to have written, which is more or less all we'd expect of Bryson, who is a clear, clever and witty writer who rarely fails to please.

Bryson has chosen biography as his goal. The book is written in more or less chronological order, with chapters covering distinct periods in Will's life. Bryson starts by characterising the period, analysing the (usually scant) evidence available, then raising and scrutinising the various popular interpretations about what is known. He detours occasionally into anecdotal discussion about his researches or funny or impressive stories about other people's attempts at research, which all over helps it from getting too dry and to remain a very Bryson book.

Throughout he's diligent about the distinction between evidence and interpretation. The problem is, we actually have pretty slender information about Shakespeare's life: a veritable wealth of data by the standards of Elizabethans in general, but still very little from which to derive any reliable idea of the facts of his life. Inevitably, this means foraying into conjecture from time to time; a practice at which Shakespearean academe excels, but a dangerous one. Bryson gives an example of the famous deer-poaching incident, a romantic guess made in the eighteenth century that was repeated as solid fact in Shakespeare scholarship for more than a hundred years after. Bryson, by contrast, while happy to include reasonable and useful guesses as to how to interpret what is known, is very careful to let you know what's fact - and where it's from - and what's conjecture and how it was arrived at.

If you're seriously into your Shakespeare scholarship, this book probably doesn't have anything new to tell you (although Bryson's research is up to date, and he has access to facts I didn't have at Uni), but if you're only likely to buy one Shakespeare biography in your life, this isn't a bad one to choose.


A good introduction to the Bard!, 11 Sep 2008
As someone who has only `discovered' Shakespeare in her 40s, I think this book is the perfect introduction to him and his life.

I didn't really know an awful lot about Shakespeare apart from the fact that he died on St George's day, and that this date is popularly given as his birth date too. This is taken from the Christening records which show he was baptised on 26th April. It was usual for babies to be baptised within a few days of birth due to high infant mortality rates. Oh, and obviously I knew he was the Bard from Stratford-upon-Avon, but there my knowledge ended!

This book also contains interesting facts about the Elizabethan and Jacobean periods of history, all told with Bryson's trademark wry humour, albeit that it's not as funny as some of his other offerings. I certainly wouldn't recommend it to anyone know knows Shakespeare's life well, but to a novice, it's definitely a great place to start.

There's small choice in rotten apples, 11 Aug 2008
Bill Bryson is more or less superman in today's literary world. He transcends subjects in a single bound and the globe in another. He's a talented critic, writer and humourist. It's a good job, to use modern vernacular, that he's the daddy because, with this one, he's taken on the mother of all literary subjects.

He's done so wisely. He's not attempted to become an original researcher and posit new theories about the man's identity or his plays and other works. He has essentially evaluated and sumamrised the existing state of Shakepearian debate and study, providing his own critique of what is compelling and credible. Thankfully, Bryson was born without a 'boredom gene' and the book reaches any audience, reading so easily. The man does not do dull.

Typically, Bryson's prose is litered with diverting and revealing anecdoes, we get a potted physical history of the theatre alongside the exposition of the central figure. Bryson is expert at demonstrating the lack of hard information about Shakespeaare (I spelled that incorrectly, but then, so did the Bard...) and the vulnerability about the claims and surmises made about his life and character. That will no doubt ruffle feathers. I found it interesting to learn that Shakespeare had thieved so many of his stories from others. As also did I find the battle for written English over Latin. The fact there were lost plays is new to me too. So to non-Shakespeare scholars this offers a lot.

To those who are scholars I am not sure it will be depthy enough to satisfy but they are not the prime audience I'd suppose. Bryson's great economy of expression, wit and clarity mean he is less self-indulgent in this book than perhaps any other of his that I have read (which is all but one, that being the African diaries). Although always near the surface, his trademark wit is less in evidence, reserved for a full scale assault on those who feel Shakespeare was somebody else. That business is clearly a cottage industry and I know Bryson has trodden on somebody else's cucumbers here by reason of the ridicule he heaps on the alternate theories.

It is a short book. There could have been more. But how much more was truly needed? And at whatever point should he have stopped on an almost inexhaustible subject populated by many including purists and pedants? Nevertheless one gets the impression he made a judgement about the length that possibly excluded a little more hard work examining various omissions from the life of the Bard and those who knew or worked with him.

Bryson's book has one central curiosity. It is really the oppositite of a biography - more a book about what we don't know than what we do - and that is refreshing in itself. I think he's done a first rate job here given how well aired the subject is.

And for his next trick...?

Incidentally, the title I gave to this is a quote from one of the Bard's plays and seems to convey Bryson's attitude to much of the literature he discovered!


Honest Accounting, 13 May 2008
I won't give a synopsis since this has already been done ably by other reviewers. Why this autobiography 'worked' for me is that Mr Ballard has reflected his past experiences to his present situation so movingly, and with characteristic modesty. As a young man he considered his unusual childhood to be of little interest to anyone; only late on in his life has it provided him with explicit material for fiction - and now, with this account - for fact - only latterly has he recognised that he had unconsciously used his childhood experiences as literary motifs.

Judging by his enthusiasm that came through in the middle part of the book, I suspect that Mr Ballard derived most satisfaction in his life from raising his three children on his own following the tragic death of his wife whilst on holiday - an event that he describes briefly, yet deeply movingly.

He doesn't say a great deal about his actual writing (apart from, in his earlier years, writing a short story between dropping off his children at school in the morning and picking them up in the afternoon) although he does refer interestingly to some of his books and short stories, and to his literary acquaintances. With some exceptions (Kingsley Amis, Michael Moorcock, Ian Sinclair and Will Self) he appears to have been more 'at home' with avante garde artists than with fellow writers.

I spent some time in a British expatriate community as a youngster, albeit some twenty years after Mr Ballard's time, so I could relate to this part of his life. I'm familiar with the type of people he observed, although I don't recall the grown-ups as leading nearly such dissipated life styles, neither did I witness such extremes of poverty and affluence as existed in pre-war Shanghai ... and neither was I interned by 'the enemy' for two years.

Miracles of Life is not in the slightest bit pretentious, it is simply written and lacks in any real rancour, which is so refreshing, given some of the back-biting one comes to expect from autobiographies these days, and I thoroughly recommend it to anyone interested in what lies behind a considerable writer.

Beautifully told, 18 Mar 2008
This is a curious mixture of a book. Granted that it was written under strained and special circumstances, it is both revealing and concealing in equal measure. If you are familiar with Ballard's work and have taken an interest in him over the years, you will find nothing new here. It is, however, a joy to have it in one volume. And for all its apparent superficiality, we learn a great deal about Ballard from the structure and level of content of this work.

Nearly half the book is devoted to Ballard's first fifteen years, the time he lived in Shanghai and experienced the strange life of an expatriate community as well as internment by the Japanese. This is also the most fluent and vibrant part of the book.

It may well be that writing of his early life in his fiction, especially in Empire of the Sun, means he is well rehearsed. But it is clear these formative years are seared not just into his memory, but also his psyche. The things he saw and experienced have re-appeared time and again in his writings, sometimes filtered, but always from the same roots.

Elsewhere, there is a reticence, a shyness that produces a sketchy feeling, as if we are seeing an early draft. A pioneer of explorations into the sf of `inner space', his own inner space is closely guarded. Yet what he chooses to conceal is revealing in itself. He speaks of family life, for example, but whilst it is clear that his family was the bright sun at the centre of his universe, dimmed for a while by the sudden death of his wife, it is also clear that the rest is nobody's business but his own and theirs. I find this wonderfully refreshing - we are strangers, after all, those of us who read his books.

As a writer myself, I confess I was disappointed that Ballard did not discuss how he wrote or consider the processes by which developed certain styles, especially his concentrated novels. I would love to have known more of those early days and the discussions he had with other writers of the so-called `New Wave'. On the other hand I am not altogether surprised. Whilst undoubtedly a highly intelligent man and a skilled and innovative writer, he has never been one of the `literati', self-dissecting and self-obsessed. His work must (and does) speak for itself - with a voice that is robust, fluent, exciting, innovative, often tackling the controversial, but always worth listening to.


A Must Read, 23 Feb 2008
I couldn't put this down. Ballard writes about his time in Shanghai and makes it seem as normal as my own childhood. Then he returns to the UK - a country he has never been to - and feels a complete stranger.

Ballard's fiction is offbeat and surreal, but completely original - and this autobiography is almost an explanation of where it all came from. Fans of Ballard will find this almost an extension to his fiction.

I could not put this down. The writing is evocative without being wordy, and every page is filled with interesting thoughts.


Poignant and beautifully written autobiography, 23 Feb 2008
Quite simply, this was a joy to read.

Ballard tells of his childhood in Shanghai, internment there under the Japanese, his university years in England, right through to his writing career and the joys and tragedies he's experienced as a father and husband, and his love of family life.

What makes this book appealing is that it's not only well written and direct, but also that Ballard tells his story with an honesty and poignancy that is so rare in many autobiographies today.

This isn't about Ballard the writer, but about the circumstances and events that shaped and formed his personal values and beliefs.

You don't have to have read Ballard's fiction to enjoy this book either (although his Shanghai reminisces provide a fascinating insight into Empire of the Sun, the novel based on his internment experiences).

What stands out above all else is his enjoyment of childhood and subsequent selfless devotion and enjoyment of family through all the joys and tragedy he experienced.

His life affirming views on childhood, fatherhood, and single parenthood set this book apart from those hundreds of other autobiographies available that only tell of how individuals found (or lost) their fame or fortune.

A Useful Text, 18 Aug 2006
This book has some great summary sections which are invaluable when revising and trying to learn key points of each theory. However Barry does tend to 'waffle' a bit in places, sometimes making it difficult to understand and there are some errors in the book itself. But it is definately worth getting for the summaries alone, but make sure it is supported by another text.

Great book, 29 Mar 2006
As a student at Peter Barry's institution, The University of Wales, Aberystwyth I was pleased to find that one of my own tutors had written an accessible alternative to Rivkin and Ryan. This work serves as a fantastic introduction to literary theory and will please beginners and pros alike.

5 Stars!, 04 Nov 2004
Peter Barry's book is very inspiring to read. I have brought many books to help grasp an understanding on literary theory but I have to say none have explained it quite as well as Peter Barry. Beginning Theory: An Introduction to Literary and Cultural Theory covers a wide range of areas, the language is simplistic and each theory is explained clearly and with examples. I have also gained a much better understanding on how Freudian interpretation works. HIGHLY RECOMMENDED!!! WORTH EVERY PENNY!!!

Book covers:
Liberal Humanism, Structuralism, Post-structuralism and deconstruction, Postmodernism, Psychoanalytic criticism, Feminist criticism, Lesbian/Gay criticism, Marxist criticism, New historicism and cultural materialism, Postcolonial criticism, Stylistics, Narratology and Ecocriticism.

an excellent introduction/refresher course, 22 Sep 2003
This book provides a great introduction to the world of theory which often confuses first year literature students and puts them off the study of english. It explains, unlike other texts, how the concept of theory emerges. As a postgrad student, I was aware I needed to brush up on the dreaded theory so I picked up this introduction, and was pleasantly surprised. So much more accessible than Rivkin and Ryan!

Beginning Theory, 26 Sep 2002
This faithful 'bible' was always my first port of call for all of my critical theory assignments throughout 3 years at university. For a straight answer to questions such as 'What is postmodernism' or 'What Feminist critics do' etc this is a must have book.

make!, 08 Oct 2008
Make!by Cath Kidston

I have just received this book, I have been eagerly waiting for it (ordered on pre-order - received earlier than expected!) and when I saw the lovely cover I was not disappointed! The book is full of clear colour photos on a lovely quality thick paper. This will be coveted by all ardent Cath fans to add to their collection, and with the added bonus of the plain tote bag supplied ready for you to customise, it will bring a smile to those writing their Xmas wish lists. It also comes with a Cath Kidston pencil and a skein of red embroidery thread to get you going!
I was expecting the content to be slightly different, as the book was advertised as making items using Cath Kidston fabrics. This is not strictly true. The contents heavily feature customising items such as bags, clothes, slippers, cushions, blankets etc using a variety of templates (at back of book - nice and clear) in the STYLE of Cath Kidston not necessarily using her prints. It does not show entire items made from the famous prints. Most projects involve simple applique using hand-stitching. This said it is a quality book at at reasonable price and one to inspire all sewing abilities.

Essential, 04 Sep 2008
Really great book that can be used throughout A level study or as a last minute revision guide.

This would be a good investment, 23 Mar 2004
I'm studying Hamlet at the moment and due to the nature of Shakespeare's over descriptive and complicated yet beautiful language, it's quite hard to follow and concentrate upon the plot. Though when I got this guide, I easily grasped what was happening and was able to concentrate more on the themes and language etc which you have to comment on in exams. It is helpful and gives lots of hints and info into what you're supposed to be focusing on in the scenes. It gives you ideas and pushes you in the right direction if you are struggling. It even has a glossary to simplify meanings and words. A more thorough understanding can be made from Hamlet and in the end you'll wonder why you didn't get this sooner. For five pounds, it's worth it, if you get an 'a' in your exams.

Getting to the Heart of Hamlet?, 23 Feb 2004
This is one of the most thorough study guides on the market, not likely to confuse anyone and particularly well informed on the latest developments in critical approaches to the play though never too dense for the average school student to digest. The scene summaries and commentaries are models of clarity and precision whilst the textual analyses are searching, provocative and incisive. There is an excellent bibliography and useful pointers to websites, films and theatrical tradition. An invaluable introduction to advanced studies and a handy revision tool for teachers pressurised to work on the play at short notice!

Nice clear summary of the action, 15 Apr 2002
The best aspect of this guide to Hamlet is the careful scene-by-scene summary of the action. The plot seems not so tricky to follow, after all. It's also good to be reminded of the significant differences between the quarto and folio versions of the play. Perhaps the authors should have devoted a bit more space to the really big issue raised by the play: the intermingling of good and evil in human existence. The assessment of Ophelia's character is strangely thin, as well. But it's very helpful, all in all.

A difficult task, 10 Apr 2000
To make an "informative" notebook on such a vast and complicated work, will never be easy. There are simply too many interpretative opportunities. But York Notes list up most of the basics, in a comprehensive manner.

a fine translation., 23 Jul 2004
Following a battle for supremacy, Eteocles and Polyneices, the two sons of Oedipus, kill each other, leaving Creon, the brother-in-law to Oedipus, as ruler of Thebes. Since Polyneices lead the attacking force against Thebes, Creon labelled him a traitor and denied him any funeral rites. Anyone who countermanded this law would do so on pain of death.

This is the backdrop to The Burial at Thebes, formerly know as Antigone, the last play in the Oedipus trilogy by Sophocles.

It is a play of desperate and wrenching simplicity. The eponymous Antigone, sister of Polyneices, is faced with a choice: to choose between obeying the dictates of family love, in giving burial to her slaughtered brother, or to obey the laws of the state, as represented by King Creon. Her choice is made without hesitation, to honour the dead and defy the state. This is done at a terrible cost. She not only relinquished her own life but also her betrothed's, Haemon son of Creon, who fell on his own sword when he saw her dead. Following Haemon's death, Creon's wife, Euripides, takes up Creon's sword and after cursing her husband kills herself. Creon ends the play a broken man. His pride, his stubbornness in refusing to rescind the death penalty, ultimately cost him his wife and only son.

Many elements of the play lend themselves to modern times and dilemmas, but unlike some other translators, Heaney has the sense to trust in the original, and adds little in the way of anxiously contemporary signposting. He keeps the lines taut and clear, making the effect of this play all the more powerful. Antigone contains some choruses which are among the most famous in all Greek tragedy, and Heaney gives a very impressive account of these, adding a kind of dark burnish to the verbal atmosphere of his translation.

If you are an admirer of Greek tragedy I wouldn't