[D544.Ebook] Ebook Download God, Gulliver, and Genocide: Barbarism and the European Imagination, 1492-1945, by Claude Rawson

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We are obsessed with "barbarians." They are the "not us," who don't speak our language, or "any language," whom we despise, fear, invade and kill; for whom we feel compassion, or admiration, and an intense sexual interest; whose innocence or vigor we aspire to, and who have an extraordinary influence on the comportment, and even modes of dress, of our civilized metropolitan lives; whom we often outdo in the barbarism we impute to them; and whose suspected resemblance to us haunts our introspections and imaginings. This book looks afresh at how we have confronted the idea of "barbarism," in ourselves and others, from the conquest of the Americas to the Nazi Holocaust, through the voices of many writers, including Montaigne, Swift and Shaw.

• Sales Rank: #541529 in Books
• Published on: 2001-08-02
• Original language: English
• Number of items: 1
• Dimensions: 8.40" h x 1.20" w x 5.60" l, 1.31 pounds
• Binding: Hardcover
• 440 pages

Review

"Rawson's excellent book analyses 'the spectrum of aggressions' that exists between such figurative use of the language of extermination and its actual fulfillment in historical genocides over the last six centuries."--The Guardian"

"[An] erudite, passionate book...learned, wide-ranging and acute.... [Rawson is] one of the finest 18th-century specialists, who...is also a critic of striking flair and delicacy."--Terry Eagleton, London Review of Books

"Never a scholar to be bound by conventions of periodization...Rawson has written a book of major importance for genres ranging from Renaissance encounter literature to modern Holocaust fiction. But his greatest gift has always been for torpedoing the prevailing assumptions of eighteenth-century studies, and in this bold new account of Swift, and the implications arising for other writers, he has done it, explosively, again."--The Times Literary Supplement

"[Rawson's] important new book...might at first blush seem to have certain similarity to...fashionable criticisms of Western values and actions, but it could not be more different from them in its freedom from ideological agendas, its refusal to cook the evidence, its ability to see moral nuance, and its steady sense of the complexity of historical causation. Rawson has long been one of our most illuminating authorities on eighteenth-century English satire and on Swift in particular; but in his new book he casts a much wider net, exhibiting the same meticulous erudition in his treatment of Montaigne and Wilde and Shaw as he does in his discussion of the English Augustan writers."--The New Republic

About the Author

Claude Rawson is Maynard Mack Professor of English, Yale University. His works include Henry Fielding and the Augustan Ideal Under Stress; Gulliver and the Gentle Reader: Studies in Swift and Our Time; Order from Confusion Sprung: Studies in Eighteenth-Century Literature from Swift to Cowper; The Collected Poems of Thomas Parnell, with F. P. Lock; Satire and Sentiment 1660-1830; and Cambridge History of Literary Criticism: Volume 4: The Eighteenth Century, with H. B. Nisbet.

Most helpful customer reviews

3 of 4 people found the following review helpful.
Stress Points in Rawson's Critical Study
By Wesley
In his critical work God, Gulliver, and Genocide, Claude Rawson examines what he terms "a series of stress points" in literature, mostly through the works of Jonathan Swift and Michel de Montaigne, which reflect the European imagination in dealings with the barbarous (1). Rawson offers a particularly thorough examination of Swift's Gulliver's Travels, but often in the context of Montaigne's work (and vice versa) which would make a reading of Rawson's text less fruitful unless the reader has done extensive reading of these two authors.
Some of the frameworks within which Rawson explore the European perspective of barbarism and savagery include Swift's use of alleged utopian societies, such as the Houyhnhnms. This discussion is paired with Montaigne's writing to create the distinction between how each other approaches the idea of savages -with the former dividing societies into "binary oppositions" and the latter offering a more generous spectrum (44-45).
Rawson also considers historical contexts, specifically Indians and the Irish. He includes commentary on many of Swift's shorter satires to remark on the continual themes of punishing the poor and cannibalism among the poor. He includes a selection of images (found in the section titled `Killing the poor: an Anglo-Irish theme?') in which readers can see the European imagination at work connecting savagery and barbarism to the body. These images reflect upon Rawson's section titled `The Savage with Hanging Breasts' and would perhaps have been more effective had they been placed closer to this part of the book.
There is an interesting focus on sexually charged "stress points" that Rawson points out with helpful references to the texts he discusses for a backdrop. I found his conclusions about Gulliver's encounter with the female Yahoo in the river particularly interesting having not yet considered Gulliver's comments about the girl to intimate such a social commentary (92-94). Rawson goes on to explore the autobiographical possibilities in this example and others, but does combat the biographical fallacy by pointing out parts of his discussion that are mere conjecture.
In the final section of his book, Rawson explores the religious aspects of barbarism and savagery. He examines "stress points" like the castration of the Yahoos (Swift) and the Indians' mutilation of priests (Montaigne) alongside depravity in the Bible, making the connection between religious (and religiously barbarous and savage) backgrounds in Europeans' imaginations that he finds present in the literature. One of the aspects I found most interesting and shocking in this section was the connection Rawson makes between Swift's use of castration and sterilization in the Nazi eugenics movement -which I was not expecting when picking up this book (288-90).
God, Gulliver, and Genocide offers an insightful lens for considering texts. His thorough commentary and research allow readers to understand the parallels and distinctions he draws between a wide variety of texts, although a former knowledge of Montaigne and Swift would definitely be beneficial for a reader.

0 of 0 people found the following review helpful.
Stress Points of the Text
By Sadie Jane
In his critical work God, Gulliver, and Genocide, Claude Rawson examines what he terms "a series of stress points" in literature, mostly through the works of Jonathan Swift and Michel de Montaigne, which reflect the European imagination in dealings with the barbarous (1). Rawson offers a particularly thorough examination of Swift's Gulliver's Travels, but often in the context of Montaigne's work (and vice versa) which would make a reading of Rawson's text less fruitful unless the reader has done extensive reading of these two authors.
Some of the frameworks within which Rawson explore the European perspective of barbarism and savagery include Swift's use of alleged utopian societies, such as the Houyhnhnms. This discussion is paired with Montaigne's writing to create the distinction between how each other approaches the idea of savages -with the former dividing societies into "binary oppositions" and the latter offering a more generous spectrum (44-45).
Rawson also considers historical contexts, specifically Indians and the Irish. He includes commentary on many of Swift's shorter satires to remark on the continual themes of punishing the poor and cannibalism among the poor. He includes a selection of images (found in the section titled `Killing the poor: an Anglo-Irish theme?') in which readers can see the European imagination at work connecting savagery and barbarism to the body. These images reflect upon Rawson's section titled `The Savage with Hanging Breasts' and would perhaps have been more effective had they been placed closer to this part of the book.
There is an interesting focus on sexually charged "stress points" that Rawson points out with helpful references to the texts he discusses for a backdrop. I found his conclusions about Gulliver's encounter with the female Yahoo in the river particularly interesting having not yet considered Gulliver's comments about the girl to intimate such a social commentary (92-94). Rawson goes on to explore the autobiographical possibilities in this example and others, but does combat the biographical fallacy by pointing out parts of his discussion that are mere conjecture.
In the final section of his book, Rawson explores the religious aspects of barbarism and savagery. He examines "stress points" like the castration of the Yahoos (Swift) and the Indians' mutilation of priests (Montaigne) alongside depravity in the Bible, making the connection between religious (and religiously barbarous and savage) backgrounds in Europeans' imaginations that he finds present in the literature. One of the aspects I found most interesting and shocking in this section was the connection Rawson makes between Swift's use of castration and sterilization in the Nazi eugenics movement -which I was not expecting when picking up this book (288-90).
God, Gulliver, and Genocide offers an insightful lens for considering texts. His thorough commentary and research allow readers to understand the parallels and distinctions he draws between a wide variety of texts, although a former knowledge of Montaigne and Swift would definitely be beneficial for a reader.

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[Z498.Ebook] PDF Ebook Create Success, by Jon Doyle

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Create Connections, Create Success

• Sales Rank: #1082408 in Books
• Published on: 2012-06-06
• Original language: English
• Number of items: 1
• Dimensions: 10.80" h x .60" w x 8.50" l, 1.80 pounds
• Binding: Paperback
• 416 pages

About the Author
Jon Doyle is SAS Institute Distinguished Professor of Computer Science at North Carolina State University, Raleigh. He received a Ph.D. in Artificial Intelligence from MIT and has held research positions at Stanford University, Carnegie Mellon University, and MIT. He is the author or coauthor of over 140 publications. His main research interests center on the foundations and practice of artificial intelligence, computation, decision theory, and logic. Prof Doyle is a Fellow of the American Association for Artificial Intelligence (AAAI). He has served as a member of the AAAI Executive Council, as chairman of ACM SIGART, as a director, president, and conference chair for Principles of Knowledge Representation and Reasoning Inc., and as a member of several editorial boards.

Most helpful customer reviews

1 of 1 people found the following review helpful.
kind of dirty and used looking
By Jenil Bonnen
Besides the fact that I got the book and it was in decent condition, it says that the book is NEW. So, it should've included the online CONNECT code that I really needed. Once I received it, not only did it not appear to be brand new: It was an off white, kind of dirty and used looking, and the cover pages weren't flat, the code wasn't in the book either. Assuming the book is NEW, it shouldn't look like that or lack the code. Kind of annoyed :/

0 of 0 people found the following review helpful.
Five Stars
By Diego Mora
Great book for the price

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[J514.Ebook] PDF Download Blood Bound (Marko Delacroix #2), by Alaska Angelini

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****This is book 2 in the Marko Delacroix series. If you have not read Prey, do NOT read this book.****

It was supposed to be easy—Tessa was meant to be my prey. In the end, she almost killed us both.

Forever tied to a slave I don’t want, the small piece of humanity buried deep inside clings to the hope of loving her. Outside forces have other plans for our future, and Hunter is determined to make her his, but I’m ready to fight to keep what is mine.

Fate, on the other hand, has its own agenda.

Can I accept our bond and overpower the monster within? Will the plans being conspired take Tessa away from me? Or will my vampire prove blood is thicker than desire?

Nothing is for certain, and in a world where greed and power rule, Tessa may show she has what it takes to betray us all.


***WARNING***This book contains adult content, very graphic violence, disturbing situations, and very strong language. Intended for mature audiences.

• Sales Rank: #277452 in eBooks
• Published on: 2015-04-08
• Released on: 2015-04-08
• Format: Kindle eBook

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2 of 2 people found the following review helpful.
Amazing sequel to Prey. Can not WAIT for the next book.
By nicole johnson
Blood Bound is phenomenal, action packed, with conflicted characters, an absolute page turner from beginning to end. I was sucked in from the beginning and it held my attention throughout. I feel that Blood Bound is better than the first book, Prey. There are a few turns of event that I didn't see coming and that made the reading experience more enjoyable. You are left once again hanging in the midst, uncertain about Tessa, Marko's and Hunter's future. I can't wait to read the next book in this series. I'm addicted to Marko and Tessa's story. Please be sure to read Prey BEFORE Blood Bound. Wonderful erotic romance with a side of vampire.

1 of 1 people found the following review helpful.
Marko Bites so good
By Miranda BookWhore
Review for Blood Bound by Alaska Angelini

Blood Bound is a dark paranormal erotica. It is not a standalone, you will need to read Prey first. Warning: If you are squeamish about mixing blood and smut, you should probably turn away now. However, if you love your vampires dark and twisty — filled with blood lust and sexual magnetism then this series is for you and you’ll find yourself down the rabbit hole and wandering the underground.

“No, you love how much you hate me. You love this right here
whether you want to admit it or not.”

Blood Bound picks up directly where Prey leaves off. Prey ended with an unholy bang and Blood Bound instantly takes you back into the insanity. I’m not even sure if this book can be classified as a roller coaster ride, it’s so much more than that. There are moments in this book that I swear you’re thrust right into the bowels of hades with how tortured the characters are. I cried for Tessa and Marko, for the injustice. For what Marko did to Tessa. For what Tessa might do to Marko. For Hunter and the consequences of his actions.

I’d be the keeper of his deepest, darkest secrets.

Tessa. Tessa. Tessa. Her strength and stubbornness is both a blessing and a curse. The struggle between giving into her Bond and searching for the Marko she thought she knew was a dangerous game. She was brave … bordering on stupid … I have to give her character credit though, I would have rolled over like a submissive puppy and begged for mercy. She just kept pushing.

…I would not love this version of him. I couldn’t.

Marko. I just don’t even know where to begin. I thought I had a love/hate relationship with him in Prey, well, that was just multiplied in this book. I have no idea how Angelini managed it, but somehow I lost the hate and fell head over heels for Marko by the end. I didn’t think it was possible. Now, don’t get me wrong, it isn’t a healthy kind of love. I’m probably some kind of dark and twisty for thinking this man is even partially redeemable, but he won me over.

I was hers, eternally, and there was nothing me or
anyone else could do about it.

The Marko Delacroix series is proving to be one of the darkest paranormal erotica series that I have ever sunk my teeth into. I can’t seem to get enough of the depravity that Marko serves up. With all of the twists and turns in the storyline it’s hard to predict where this is all leading. And despite my guesses I found myself wrong more often than not. I love that Angelini has gone so far out of the box with this one. If you’re looking for originality, you must read this series. Five Stars and Five Drenched Panties for a book that will have you questioning your own sanity.

Review by Miranda at Mommy’s a Book Whore.

1 of 1 people found the following review helpful.
Twisted and intense
By Joy Remson-Johnson
If you haven’t read Prey, the first book in this series, stop now before you read any further. Blood Bound starts right off where Prey ends. Tessa is now Marko’s unwilling blood slave. She’s been bound to him without her permission and now she’s stuck in a life she fears with a man she loathes yet lusts after.

Tessa and Marko are the poster couple (if you can call them that) for dysfunctional relationships and I’m not sure either of them truly understands what it means to love someone. They both understand what it means to obsess, lust and dominate but love. Love seems to be a concept to them that is built in confusion and a need to maintain control and obtain power.

Marko’s power changes have turned him into an even darker being than he was before he took Tessa as his slave. His desire to possess Tessa has become an obsession of anger and darkness. He doesn’t want her yet he needs to own her. He’s a stalker with murderous intent. The two hold so much contempt for one another it’s a bit cringe worthy when they do show signs of caring for one another. Marko spends most of the time putting Tessa through physical, emotional and psychological pain. Tessa despite this continues to care for him hoping she can change him for the better but the more she learns through her connection to him the more she understands that Marko wasn’t a good man when he was a human and he may never be a good man as a vampire.

Her only hope for escaping from Marko and exacting revenge upon him is to become the concubine of another the Dark Prince and risk becoming the very thing she detests and fears, a dark vampire. There are so many twists and turns in the story that it makes for an impactful read. I don’t like most of the characters. They all seem to be abusive and selfish. The only one who I feel for is Marie. Poor, Marie has really tried to do right and had her heart handed to her numerous times over. However, even though I find the choices the characters make appalling and I think Marko is the biggest jerk ever, I like the story.

It’s twisted, dark and full of force. It’s akin to turning on the weather channel and watching a natural disaster take place. You feel offended and emotionally shocked in a negative way by the damage but you’re glued to the TV watching every second and you can’t turn away. That’s how I feel about Tessa and Marko, a natural disaster causing an immense about of substantial damage and destruction but I can’t help watching it all go down. I’m not sure there is a happy ending to be had in this series but I can imagine things are going to get even more intense and there will be more blood shed, lives lost and hearts torn to pieces.

Copy provided for review.
Reviewed by Joy for Crystal's Many Reviewers

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“Poisoning & Drug Overdose belongs in every emergency physician’s workroom.”
--Academic Emergency Medicine reviewing earlier edition

“…a great addition to any emergency department library when rapid reference is needed to treat and diagnose the poisoned patient.”
-- Annals of Emergency Medicine reviewing earlier edition

An instant-answer guide you can turn to for on-the-spot treatment of poisoning and drug overdose

A Doody's Core Title for 2015!

Poisoning & Drug Overdose, Sixth Edition delivers critical information on effective diagnosis and treatment of drug-related emergencies and chemical exposures.

Divided into four sections, easily identified by dictionary-style tabs:
Section I covers initial emergency management, including treatment of complications; physical and laboratory diagnosis; and decontamination and enhanced elimination procedures
Section II provides detailed information on 150 common drugs and poisons
Section III describes the use of antidotes and therapeutic drugs to treat poisoning
Section IV describes the medical management of chemical and occupational exposures, with a table of more than 500 industrial chemicals

Poisoning & Drug Overdose, Sixth Edition is enhanced by numerous tables, charts, and a comprehensive index featuring generic, chemical, and brand names, making it an essential resource for anyone responding to drug-related emergencies and chemical exposures.

• Sales Rank: #167167 in Books
• Published on: 2011-09-23
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x 1.12" w x 5.50" l, 1.80 pounds
• Binding: Paperback
• 832 pages

About the Author

Edited by
Kent R. Olson, MD, FACEP, FACMT, FAACT
Clinical Professor of Medicine and Pharmacy
University of California, San Francisco
Medical Director, California Poison Control System
San Francisco Division

Associate Editors
Ilene B. Anderson, PharmD
Clinical Professor of Pharmacy
University of California, San Francisco
Senior Toxicology Management Specialist
California Poison Control System
San Francisco Division
Neal L. Benowitz, MD
Professor of Medicine
and Chief, Division of Clinical Pharmacology
and Toxicology
University of California, San Francisco
Associate Medical Director
California Poison Control System
San Francisco Division
Paul D. Blanc, MD, MSPH
Professor of Medicine and Chief,
Division of Occupational and Environmental Medicine
University of California, San Francisco>
Richard F. Clark, MD, FACEP
Professor of Medicine
University of California, San Diego
Director, Division of Medical Toxicology
and Medical Director,
California Poison Control System
San Diego Division
Thomas E. Kearney, PharmD, ABAT
Professor of Clinical Pharmacy
University of California, San Francisco
Managing Director
California Poison Control System
San Francisco Division
Susan Y. Kim-Katz, PharmD
Clinical Professor of Pharmacy
University of California, San Francisco
Senior Toxicology Management Specialist
California Poison Control System
San Francisco Division
Alan H.B. Wu, PhD
Professor of Laboratory Medicine
University of California, San Francisco
Chief, Clinical Chemistry Laboratory
San Francisco General Hospital

Most helpful customer reviews

9 of 10 people found the following review helpful.
DO NOT BUY FOR KINDLE.
By HD
The only chapters indexed for kindle are sections 1, 2, 3. None of the numerous drugs or antidotes can be found in the table of contents making the manual impossible to use efficiently. A complete waste of money. If you buy the book, spring for the paper version. I cannot even comment on the content because it is so impossible to use that I have barely accessed it at all.

3 of 3 people found the following review helpful.
Great info
By ER resident
For all ER, IM residents doing their tox rotation. This book is pretty high yield.
If you read Section one prior to your rotation, you will shine in your first week.
Even during the rotation, I'm coontinually going back to this book.

A book that I will also bring with me to my ER.

0 of 0 people found the following review helpful.
Great resource!
By Beej52
As one newer to the field of toxicology, I am very pleased with this resource. The information is very concise and in alphabetical order. This book is available at my place of work and several of my colleagues, nurses and physicians, have their own copies for reference. I recommend this book to anyone who wants a concise source of toxicological information.

See all 14 customer reviews...

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For the first time, Alan Ayckbourn shares all of his tricks of the playwright's trade. From helpful hints on writing to tips on directing, the book provides a complete primer for the newcomer and a refresher for the more experienced. Written in Ayckbourn's signature style that combines humor, seriousness, and heady air of theatrical sophistication that Noel Coward would envy, The Crafty Art of Playmaking is a must-have for aspiring playwrights and students of drama.

• Sales Rank: #622658 in eBooks
• Published on: 2015-04-28
• Released on: 2015-04-28
• Format: Kindle eBook

From Publishers Weekly
The author of 64 plays, Ayckbourn has garnered international acclaim as a writer-director and remains one of the most widely performed living playwrights. Now he throws a spotlight on his stagecraft secrets and insights in this slim but valuable handbook on how to write and direct plays. It's designed to chronologically carry readers from a play's inspiration and creation to auditions, read-throughs, rehearsals, previews and press night. Ayckbourn covers "obvious rules" such as "Never start a play without an idea" and "The best comedy springs from the utterly serious" and explicates his dicta with brief, occasionally humorous essays. For instance, his rule that "People in general are reluctant to reveal themselves" cues a three-page explanation: "We are most of us by nature secretive creatures... In making characters reveal themselves they must be given a cause, a motive. The classic, slight corny one is to get them drunk. Otherwise, they probably open up through desperation, or anger, or deliberately to hurt each other." The pages on directors and directing cover such areas as casting, lighting, costume and sound design, choreographers, tech rehearsals and dealing with producers and stars. In addition to inserting amusing anecdotes, Ayckbourn also shares relevant passages from his own plays, including Relatively Speaking, Just Between Ourselves, Taking Steps and Season's Greetings. Rather than taking an academic approach, Ayckbourn's stylish writing conveys a feeling that readers have been invited into a near-empty auditorium to witness a private rehearsal. This book, a polished gem of theater lore, concludes with an appendix listing Ayckbourn's plays.
Copyright 2003 Reed Business Information, Inc.

Review

“...a practical and disciplined look...After 44 years at his profession, Ayckbourn knows what he's talking about.” ―Lloyd Rose, Washington Post Book World

“...amusing, thought-provoking, and helpful in turn...his experiences are well worth the price of the book.” ―Susan L. Peters, Library Journal

“...an entrancing read-no matter what part you play in playmaking.” ―Dany Margolies, Back Stage

“...a polished gem of theater lore...” ―Publishers Weekly Annex

“The New York Times on Alan Ayckbourn's recent House and Garden: As ingeniously constructed a work as the contemporary theater has to offer... House and Garden does justice not only to Mr. Ayckbourn's miraculous engineering but to his lightly astringent, not quite farcical humor as well. ” ―The New York Times

About the Author

Alan Ayckbourn is one of England's most prolific and widely performed living playwrights with over sixty plays in his catalogue. In 1997, he received a knighthood for his services to the theater. He was represented in New York this year with simultaneous productions of his plays "House" and "Garden" at the Manhattan Theater Club's two stages. He lives in England.

Most helpful customer reviews

15 of 15 people found the following review helpful.
Perhaps the best book ever about playwriting and directing
By krebsman
There are dozens of books out there on playwriting and about half that number on directing. Unfortunately for us, neither Shakespeare, Chekhov nor Ibsen wrote books on how to write a play. As a result, virtually all the authors of books about playwriting are academics who have never written a commercially produced play. One has to question the value of such people's advice when dealing with the practical realities of the professional theatre. Sir Alan Ayckbourn has changed all that. He is the author/director of (at this writing) a whopping 69 plays, a substantial portion of which have been critical and/or commercial successes on London's West End and New York's Broadway as well as being translated into numerous languages and produced throughout the world. The first part of the book is about the craft of playwriting. Ayckbourn gives his advice in a straightforward series of "obvious rules." First he states the "obvious rule" and then illustrates it with an example, usually drawn from his own work. Some of my favorites were, "Obvious Rule No. 2: Never start a play without an idea." "Obvious Rule of No. 16: Never include a character with no real function." "Obvious Rule Number 14: At least 50 percent of your play is going to be visual." "Obvious Rule No. 22: You can never know too much about your characters before you start." Ayckbourn says that he takes about a year of thinking and planning before he actually writes a word of dialogue. I found this section of the book extremely valuable. Any playwright or would-be playwright would profit from reading it.

To my surprise, I found the second part of the book, which deals with direction, even more valuable than the first part. Aside from Harold Clurman's ON DIRECTING, I cannot think of another book about directing that has been written by a successful director. Clurman's book is very good about reading a script and analyzing it and giving an overall view of how rehearsals are conducted. Most books on directing provide this information. But what sets Ayckbourn's book apart is that he talks mostly about dealing with actors. To the best of my knowledge, no one has written about this aspect. He tells how to handle fragile egos, how to deal with rivalries, how to state your criticism and the appropriate times to deal with certain issues. He also gives good advice on conducting auditions and what personality traits to look for when casting. Advice like this has long been needed.

The book provides valuable information, but what makes it truly brilliant is the charming way it is written. I found it delightful from start to finish, not to mention inspirational. I cannot recommend this book highly enough to any theatre professional, not just writers and directors, but actors, designers and technicians as well. Five stars plus.

8 of 8 people found the following review helpful.
More Than Just Playmaking
By DodgyUSA
Alan Ayckbourn's book on the art of the theater covers far more than just "playmaking" His years of experience as both author and director are evident as he gives "obvious rules" for writing, directing, establishing characters, and everthing in between.
Not only does he devote a substantial amount of space to the play writing process, but he also talks about casting, lighting, chosing a costume designer, working with your tech staff, and dealing with your actors during the various stages of the production.
All this is given, not as a dissertation, but with a genuine sense of love for his craft.
I found the examples of dialogue-taken from his own plays to illustrate the various points of writing-extremely helpful.
I will refer to this book again in my own writing endeavors.
Highly recommended.

1 of 1 people found the following review helpful.
Must Own for Playwrights and a create companion book
By Bexlyn Wright
Sir Alan Ayckbourn has written and produced over seventy plays, more than 40 which have been performed in the West End and ten on Broadway. This gives the British writer of Relatively Speaking and The Norman Conquests an edge over all of the other playwriting books, not only because he is so prolific, but because he approaches this book as a writer who spends more than half of his time directing and has vast production experience with his plays and others. Ayckbourn wrote his first play at the age of ten and has lived around theatre since he was seventeen, giving him a lifetime of hands-on knowledge that is valuable and makes for a fun and informative reading experience.

With his vast knowledge of theatre, Ayckbourn's approach in The Crafty Art of Playwriting isn't just for the writer; he explains everything by dividing half of the book into writing advice, the other half into everything else involving a play, from directing, casting and design to the rehearsal process and how to deal with producers. The result is that this book isn't just about playwriting but about the entire process from creating a play to previews and press night during a production. Throughout the book, which is written with a slightly humorous style, Ayckbourn gives advice though what he calls his "obvious rules" such as: "Obvious Rule No. 2: Never start a play without an idea," "Obvious Rule # 16: Never include a character with no real function," and, "Obvious Rule # 46: Never cast a celebrity." Ayckbourn also stresses in "Obvious Rule # 22: You can never know too much about your characters before you start," which he follows by mentioning that he takes about a year of thinking and planning before he writes a word of dialogue (this is a bit long for me, but every writer is different).

The organization and style is very clear, practical and to the point, and after a brief discussion on comedy versus drama, he gets to the point: "Obvious Rule # 3: If you don't have the initial inspiration, put down the pen, put the pencil back into the jar, switch off the computer and go dig the garden instead." Guiding a writer that does have an idea, Ayckbourn covers the essentials but does so with very handy tips and practical advice rather than spending time creating charts and lists of the elements of a play; there are in-depth discussions about plot or rising action, simply advice on what you should consider for character and why you need to do this. He appeals to common sense rather than requirements, knowing that if all that he discusses are applied, the requirements will fall into place.

While this is not a great "How-to" book for beginners, those that have read the standard guides will find this a VERY handy companion book in a playwriting class or for their collection.

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• Sales Rank: #4276597 in Books
• Published on: 1971
• Binding: Pamphlet

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Various retellings, summaries. most widely use are RK Narayan, Information on full texts available on request.

• Sales Rank: #2052198 in Books
• Brand: Brand: South Asia Books
• Published on: 1998-04
• Original language: English
• Dimensions: 8.25" h x 5.50" w x .50" l, .0 pounds
• Binding: Paperback
• 300 pages

Features

• Used Book in Good Condition

About the Author
One of the best translators in India, PREMA JAYAKUMAR quit her job with a top bank in India to work on translations full time. Her latest translation, Wind from the Hills, was shortlisted for the Crossword Award 2008 and longlisted for the Golden Quill Award. Her translation of the famous Malayalam book Yakshi was picked by the BBC for their ‘Off the Bookshelf’, while her translation of Pandavapuram has inspired a Bengali movie. Apart from translations, she writes for periodicals and newspapers. Prema is also a Sanskrit scholar, with a passion for the epics Ramayana and Mahabharata.

K.R. RAJI is a professional painter. She studied Fine Arts at the National School of Arts, Manjeri, and has shown her work at many painting exhibitions. She has also participated in artists’ camps in Kerala and further afield.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Wonderful Book for Second Grade and Up
By Sonu Surya
My boys and I love this version of the Ramayan saga as it's very well-written but not complicated to follow. Children and preteens will surely enjoy reading about the adventures of Lord Ramachandra and his faithful devotee Hanuman. I love that there is a "cast of characters" section to familiarize readers with who everyone in the story is. I also very much appreciate the section in the back of the book containing comprehension and discussion questions. All in all, a highly enjoyable book for children already familiar with the Ramayan and those reading it for the first time.

0 of 0 people found the following review helpful.
A comfortable introduction to Indian literature for those of us unfamiliar with it
By Andrew Kuligowski
I confess – I was not familiar with Ramaya before receiving this book. “Back in the day” in my Eurocentric curriculum, very little time was spent during elementary and secondary school on Asian literature.

So, a basic, illustrated adaptation of Valmiki's “Ramaya” was a blessing. I could expose myself to this work during a plane flight – a SHORT plane flight, at that. Of course, that strength is also the book's biggest weakness; so much material, depth, hidden meanings, subplots, etc. must be omitted in order to squeeze hundreds of pages into 64, including illustrations and follow-up! The adaptor, Prema Jayakumar, recognizes this, and added a section documenting the major elements that were left out or tremendously shortened for this adaptation.

Given that the target age for this book is listed as 9 to 13, I wonder if some of the vocabulary might be a bit overwhelming for our younger readers. On the other hand, perhaps I underestimate their abilities, and the word selection is spot-on for them. (NOTE: Given that this book is at least in part about a newly-married couple, I would imagine that some of the trimming done by our adapter may have been in keeping with age restrictions for the targeted reader. Not having read the original, I cannot say.)

I certainly would recommend this book as an introduction to Indian literature, as long as the potential reader acknowledges that this is NOT meant to be a strict translation of the original work.

RATING: 5 stars

DISCLOSURE: I won this book in a random draw from the publisher. There was an expressed hope for a review (and implied hope for a good one), but neither was a condition set or agreed to as a condition of receipt.

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• Sales Rank: #1910115 in Books
• Published on: 1964-02-15
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .76" w x 5.92" l, .90 pounds
• Binding: Paperback
• 312 pages

Most helpful customer reviews

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By Amazon Customer
This book is a simple introduction to maps and map-reading. It is divided into two parts: getting the most out of maps, and making your own. In the first part, getting the most out of maps, Greenhood goes over the basics of how to orient yourself on a map, explaining coordinate systems, latitude, longitude, scale and direction. He then turns to content, and tells us how streams, rivers, roads, mountains, and elevations are represented on maps, including a discussion of topography. This section closes with a lengthy chapter on projections where Greenhood points out the difficulty of representing a spherical reality on a flat surface and goes on to enumerate all the various ways this problem has been addressed over the centuries.

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Department of Tropical Environment studies and Geography

James Cook University of North Queensland

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