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Download Empath: A Complete Guide for Developing Your Gift and Finding Your Sense of Self

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Empath: A Complete Guide for Developing Your Gift and Finding Your Sense of Self

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Audible Audiobook

Listening Length: 1 hour and 59 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Judy Dyer

Audible.com Release Date: January 29, 2018

Whispersync for Voice: Ready

Language: English, English

ASIN: B079C1X1XV

Amazon Best Sellers Rank:

Its an ok book, but lacking in detail. The description gives the impression there will be exercises and guidance. Not enough information, i left the book for google often

Pragmatic book. You can easily label it as "out there" but if you take the time to try some of the things without fiddling with the ideas they work very well. Take the time out to try some of the ideas, they're worth it.

The book has some good advice and a free book too! Could use some more tips on different ways to ground and more ways to hone in to specific abilities, but it’s geeat place to start.

This is an interesting and informative book. I just wish there was more detail. I was recently told that I am an empath. I was not sure what that meant. I identified with the descriptions given here. Now I know why I become overwhelmed in large crowds and become overwhelmed by emotions sometimes.

The only problem with this book is that more people are not aware of it.I found this book to be extraordinary in many ways.The world is changing and this book is one that can help many understand some of those changes in- the world- themselves- and/or- those in their lives.I think everyone should take a look. It will help you understand yourself or someone you know.Good book- great read- well written.

I enjoyed this book quite a bit, it has a lot of great information. It even has recipes for helping protect oneself. I just wish there were more to it. The book was shorter than I was hoping for. Otherwise, fantastic read, I highly recommend to all empaths. Especially the lost ones. Blessed Be

Thank you for writing this.Very informative and spoken from a true empath. I wish someone would have written this earlier. It would have saved me from a lot of emotional trauma as a child and young adult.Well written, short and to the point...love it!

Years of knowing something about me was different and not quite being able to put a finger on it... this book guided me where I needed to go! I AM an empath! Judy does an excellent job in giving confirmation where I needed it most by sharing her knowledge and giving me a great starting point in this book! I cannot thank her enough! A must read if you are unsure if you are an empath or not. I cannot wait to order her other books and read them as I go along this journey in my life! Happy readings and merry blessings be with you as you journey your empathic abilities in life too!

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Get Free Ebook Rough Road to the North: A Vagabond on the Great Northern Highway (Tramp Lit Series)

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About the Author

Jim Christy’s life and adventures began on the streets of South Philadelphia. Over his 73 years to date, Christy has asserted his freedom of spirit as a vagabond adventurer, latter-day hobo, journalist, private eye, actor, musician, and artist, in over 50 countries around the globe, and still found time to write 30-plus books. He adopted Canada as the home of his soul and resides in Vancouver.

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Product details

Series: Tramp Lit Series

Paperback: 197 pages

Publisher: Feral House; Reprint edition (September 24, 2019)

Language: English

ISBN-10: 1627310827

ISBN-13: 978-1627310826

Product Dimensions:

6 x 9 inches

Shipping Weight: 1.1 pounds (View shipping rates and policies)

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Amazon Best Sellers Rank:

#1,139,126 in Books (See Top 100 in Books)

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Ebook Free Something Wonderful: Rodgers and Hammerstein's Broadway Revolution

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Something Wonderful: Rodgers and Hammerstein's Broadway Revolution

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Audible Audiobook

Listening Length: 10 hours and 53 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: Blackstone Audio, Inc.

Audible.com Release Date: April 3, 2018

Whispersync for Voice: Ready

Language: English, English

ASIN: B078SZGLGQ

Amazon Best Sellers Rank:

"You ask too much of people who have been successful, and they are human too," Richard Rodgers once remarked. In "Something Wonderful," Todd S. Purdum' s absorbing account of Rodgers and Hammerstein's Broadway revolution, he restores humanity to R and H. He also celebrates their sincerity, the very quality that later made Rodgers And Hammerstein musicals unfashionable to the critical elite. Elliott Norton observed, "When you mention Rodgers and Hammerstein to almost any normal American with a sound heart and good hearing, he thinks at once of songs and scenes and shows which they have written--and which have given him great and abiding pleasure." So it was and so it may always be. The Rodgers and Hammerstein musicals have become such a part of pop culture fabric, they are almost taken for granted. They never should be. Purdum doesn't knock Rodgers and Hammerstein off their musical theatre pedestals. He does not want to. Ethan Mordden effectively did that in his scholarly, heavily illustrated, coffee table book. Purdue's book is much more fair and much more fun to read. And it's because Purdum writes from a human perspective. It turns out, these Masters Of Musical Theatre were mere mortals after all. They were astonishingly talented, creative, driven, ambitious men, complete with flaws and all. It really doesn't matter that they were geniuses of their craft. Without their humanity, their flaws, and their simple, honest sincerity, the public never would have responded to their shows at all. Richard Rodgers and Oscar Hammerstein II met each other long before their partnership, and each began to sew the seeds of their Broadway revolution with other partners. Hammerstein was literally born into the theatre. Rodgers was a musical prodigy from a cold, emotionally distant and abusive home. That coldness became part of Rodgers' nature. Hammerstein wrote Broadway's first really serious musical "Show Boat" with Jerome Kern in 1927. After "Rose Marie", Hammerstein had nothing but flops, spent several unproductive years in Hollywood, and suffered a nervous breakdown due to his turbulent personal life. Rodgers had nothing but hit after hit with his other Big "H" partner Lorenz Hart from the mid 1920's throughout the 1930's. Their 1940 musical "Pal Joey" was more worldly and sophisticated than anything Broadway had seen before. But Hart was a genius who was hell-bent on self-destruction, and he did exactly that. Rodgers couldn't take it anymore and Hammerstein needed a hit. The success of "Oklahoma!" was never predestined or a safe bet. But Purdum brings into sharp focus how Rodgers and Hammerstein came together at exactly the right time and, combining their years of theatrical experience, created "Oklahoma!", a musical that America not only needed by 1943, but also wholeheartedly embraced. Their next musical "Carousel" was even more risky. "Oklahoma!" was essentially about a picnic-party. "Carousel" was about life, death, spousal abuse, poverty, suicide, and a few other things in between. "Carousel", their darkest musical with their richest, most operatic score, remains their most problematic-- but somehow they pulled it off. Purdum celebrates their deserved successes and is fair minded about their Broadway flops ("Allegro", "Me And Juliet" and "Pipe Dream") and their personal flaws and failings. At some point, they stopped being Richard Rodgers, composer, and Oscar Hammerstein II, lyricist and librettist, and became trapped victims of their own success. This is, after all, a story of show business, and R & H became a business-- an entertainment empire, really. R & H were business men. Rather stingy business men who had prickly relationships with talented people in the R & H business. Purdum finally gives orchestrator Robert Russell Bennett, music arranger Trude Rittmann and scenic designer Jo Milzner their long overdue credits. Playwright and director Josh Logan was treated worst of all. Logan wrote the book to the masterpiece "South Pacific" with Hammerstein in bursts of inspired and manic creativity. Logan received co-author and director credit , but was cheated out of royalties. Hammerstein attempted to correct things by asking Logan to direct "The King And I." Wounded by his "South Pacific" experience, Logan refused. But Logan remained, by choice, a close friend in Hammerstein's circle. Hammerstein poured out his frustrations about Rodgers to Logan, and asked him for advice on shows. Hammerstein ignored Logan's advice on how to improve "Allegro", and it flopped. He took Logan's advice on how to make "The King And I" more warm and entertaining, and it was a huge hit. As far as knowing what stories to musicalize and how, Rodgers And Hammerstein were indeed ONE with a great track record of success and a few flops. As men and "friends", they hardly knew each other at all. Interestingly, R & H were both married to women named Dorothy. Both Dorothy R and Dorothy H were interior designers. And they didn't like each other, either. They kept up a cool if distant facade, however. By the mid-1950's, a coolness came into the R & H relationship that lasted until the end. After writing a bubbly and unpretentious score for "Cinderella" for CBS TV in 1957, Rodgers suffered a severe depression (nervous breakdown) and his first battle with cancer. R & H had one more "lucky hit" in them, "Flower Drum Song", which is seldom staged today. Mary Martin, the star of "South Pacific", brought "The Sound Of Music" to R & H. When rehearsals began, Hammerstein was diagnosed with cancer. If cancer had not killed him, critical response to "The Sound Of Music" might have. One critic said the show was too sweet for words and music. Hammerstein died in 1960, and "The Sound Of Music" became R & H's most popular "popular success." After great success and an entertainment empire, it became fashionable to knock the R & H empire and everything in it down. After Hammerstein's death, the critical elite dismissed R & H shows as conventional, pandering, condescending, and worst of all, childish. Purdum ponders how and why R & H fell into critical disfavor. It actually happened a few years before Hammerstein's death, and Purdum says the middlebrow movie versions of "Oklahoma!", "Carousel, and "South Pacific", which muted the innovations in the shows and maximized the schmaltz, do not help at all. "The King And I", with Yul Brynner and Deborah Kerr, is the best R & H movie adaptation, and "The Sound Of Music" starring Julie Andrews is the biggest R & H movie mega-hit. The modest Julie Andrews seems to be at a loss to explain to Purdum why "The Sound Of" Movie remains such a wildly popular success. Purdum feels that the major R & H hit shows are not bad at all, but for many years, productions and the packaging of them, were terrible. Recent productions of "Carousel" and "South Pacific" sparked a major R & H re-evaluation. I am sure readers will agree with Purdum that the R & H revolution was something wonderful indeed, and their shows are still relevant and worthy of serious discussion and artistic appreciation.

Just as Oklahoma! was to war-weary audiences in its day...THIS book is the tonic I needed in a time when the world around me has ceased to make sense. I'm not even into Broadway musicals all that much, and found it enchanting. Now I find myself downloading original cast albums, just to try to relive some of the magic myself. Mr. Purdom did a fine job. Thanks to NPR's "Fresh Air" to alerting me to this release.

I've read extensively about Broadway history since I was in my teens and I'm an "honored citizen" now (aka "old"), so I wondered when I first saw this book whether it would add anything to what I already know. I was ultimately persuaded to buy it by some of the rave reviews I read. I'm glad I did. There were details about the lives of Richard Rodgers and Oscar Hammerstein I had not come across before, plus some real insight into how they worked together and what their work gained from their synergy. For those who loved their shows, you'll never find such detailed stories of the step-by-step creation of the hits and the flops as well. Broadway music has been the soundtrack of my life and it all started with a friend back in grade school who invited me over to hear the Original Cast recording of "Oklahoma." Reading about the creation of that landmark show took me right back to that wonderful moment in my life. It really was the first time I fell in love with a form of art. The affair continues to this day.

I bought this rather expensive book after reading the review in The Economist. Nevertheless I feared I had another of those dry, fact filled books (to show the author worked very hard and knew everything) but no, I was fascinated from beginning to end and am very glad to learn so much about the music and the movies I always enjoyed so much. I never saw one o the musicals because I always lived to far away; now I feel I have seen them all! Highly recommended, which I don't do very often. Thank you Mr. Purdum!

What a wonderful and engaging book. It takes me back too. The first live play I ever saw as a little girl was Oklahoma at the Oriental theater in Chicago. So interesting and easy to read.Judy Myers

Do you remember a time, roughly 1943 to 1963, when the composers Richard Rodgers and Oscar Hammerstein practically owned American musical culture? When I was a small boy, “Cinderella” played on CBS, “The Sound of Music” was headed from Broadway to Hollywood, and songs from shows like “Oklahoma,” “The King and I” and “Carousel” played on the radio and were sung everywhere from schools to taverns and elite performance halls. The record clubs of the era even had a separate membership category called “Broadway Sounds,” “Tin Pan Alley” or something like that.Even if you don’t recall those days, author Todd Purdum takes us there for all of that, and also gives credit to the composers who influenced them ("Larry" Hart and Jerome Kern, among others) and those whom they influenced (particularly "Stevie," later Stephen Sondheim, who was a frequent house guest of the Hammersteins from his childhood on). Well researched and written, admiring but not fawning, SOMETHING WONDERFUL would make a fine present for the budding Broadway fan or performance wannabe. It shows how the "RH Factor" was formed, clicked, and serves almost as a “you-are-there” for each show’s inception, creation, performance and afterlife.If, after reading this biography, the reader's appetite for more Broadway is whetted, here's a good follow-up book: Anything Goes: A History of American Musical Theatre.

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Free Download The Odyssey, by Homer

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The Odyssey, by Homer

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Review

“A masterpiece . . . An Odyssey worthy of the original.” ―William Arrowsmith, The Nation“Here there is no anxious straining after mighty effects, but rather a constant readiness for what the occasion demands, a kind of Odyssean adequacy to the task in hand.” ―Seamus Heaney

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About the Author

Robert Fitzgerald's versions of the Iliad, the Aeneid, and the Oedipus cycle of Sophocles (with Dudley Fitts) are also classics. At his death, in 1988, he was Boylston Professor of Rhetoric and Oratory at Harvard.

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Product details

Paperback: 515 pages

Publisher: Farrar, Straus and Giroux (November 5, 1998)

Language: English

ISBN-10: 0374525749

ISBN-13: 978-0374525743

Product Dimensions:

5.5 x 1 x 8.3 inches

Shipping Weight: 1.1 pounds (View shipping rates and policies)

Average Customer Review:

4.3 out of 5 stars

4,087 customer reviews

Amazon Best Sellers Rank:

#44,320 in Books (See Top 100 in Books)

REVISED 11/07/16: Homer's ILIAD should be read by every literate person who strives to be well-educated, and Caroline Alexander's 2015, modern translation is an excellent way to read it. It is sound, solid, clear and direct, and respectful of Homer's original. Her English syntax is natural and flowing, understandable but not (as in some other recent, modern versions) flippant or too colloquial. I rate the translation 5-stars, though I was initially tempted to rate this ebook edition of it at least one star lower because of its formatting.As very good as Alexander's translation is, this ebook edition doesn't do it justice with regard to its textual formatting. Between indents and long-line carry-overs, the left margin unevenly zig-zags in-and-out on a Kindle screen. Just when I thought I had it figured out some double-indents appeared to add to the confusion. Sadly, downloading a sample won't reveal this; the sample will only provide pages from the Introduction, whose modern prose is quite properly and comfortably presented. It is the poetry of the ILIAD itself whose indented lines are so annoyingly erratic, and this will only be evident to those who actually purchase it and read beyond the sample. Interestingly, in the very first few screens of this ebook (which do appear in the sample), a note from the publisher appears concerning this matter, apparently recognizing it as a possible source of confusion but essentially saying (in effect) that's how it is on a small-screen device, it's the nature of the beast, and readers must try to get used to it. And so I am trying, mollified somewhat by the fact that I paid only $.99 for it -- rather than $14.99 (its original price) -- during a special sales-promotion period. But more importantly, I have since discovered the formatting is IDEAL if the text is viewed in wider-screen, landscape mode on one's Kindle device. If you are able to make that adjustment (something my Kindle Paperwhite could not do until the last upgrade), the formatting problem is virtually solved and the long lines appear comfortably normal.I have read dozens of different translations of the ILIAD, and though I find Alexander's translation to be highly commendable, there ARE other great ones available (even one or two good FREE ones), many of them identified under FYI at the end of this review. Nevertheless, because this one is particularly well-done and desirable, you may even wish to obtain a hardcovered ($39.99) or paperback ($19.99) edition of it as a "keeper copy." (I intend to seek a less expensive used copy.)There have been numerous translations of the ILIAD in recent years, but while I suspect in time many of them will fall by the wayside, this one may not. Caroline Alexander's stands a good chance to remain, not only because it is THE best among most recent ones, but because it is ONE of the best among ALL translations of the ILIAD. But great though it is, it will survive in the economic marketplace only if it is competitively priced with those others. Happily, its ebook price has come down from $14.99 to $12.99 and more recently to $8.99 (making it a strong contender).Caroline Alexander is also the author of THE WAR THAT KILLED ACHILLES: THE TRUE STORY OF HOMER'S "ILIAD" AND THE TROJAN WAR (Viking Penguin, 2009). Those who enjoy her ILIAD may wish to read it.FYI: The first translation of the ILIAD was by George Chapman (1611), a formal and majestic Elizabethan English version in verse that is of interest today mainly in connection to its role in literary history. Two, free, public domain versions by Edward George Geoffrey Smith Stanley Derby (1862) and by Theodore Alois Buckley (1873) are pretty unpleasant to read; skip them. It's probably best to also steer clear of one by William Cowper (1791). Two old translations that remain popular, are easy to obtain in public domain editions, and ARE worth reading are by Alexander Pope (1715-20, in verse) and Samuel Butler (1898, in very readable prose). A once highly regarded one by Andrew Lang, Walter Leaf, and Ernest Myers (1883) was used by the Modern Library until replaced by Ennis Rees' wonderful translation (1963), my favorite. The best ILIAD translation is arguably by Richmond Lattimore (1951) with Robert Fitzgerald's (1974) being a strong contender for second-best. A 1938 one by W.H.D. Rouse is serviceable and generally okay. Likewise, Robert Graves offers a novelized version (1959) that is very readable but not a strict translation. Three excellent newer ones are by Robert Fagles (1990), Peter Jones (a superb 2003 revision of E.V. Rieu's popular 1950 version), and this one by Caroline Alexander (2015). Peter Green's highly literate translation (2015) is technically excellent but not as readable as the three just mentioned. Several other good, recent ones are by Michael Reck (1994, but now hard-to-find), Ian Johnston (2006), and A.S. Kline (2009). Three recent ones that I don't particularly care for are by Stephen Mitchell (2011, who omits too much textual content), Stanley Lombardo (1997), and Barry B. Powell (2013). These are just SOME of the other translations available.

UPDATED 09/13/17: Homer's "Iliad" is a truly 5-star great work of literature, and I certainly agree with all the other reviewers who extol its virtues, but the person who translates this epic poem into English from the archaic Greek is all-important to one's appreciation and enjoyment of it. One needn't suffer through a poor translation when good ones are available. The public domain translation by Edward George Geoffrey Smith Stanley Derby (hereafter referred to as Lord Derby) -- FOR WHICH THIS REVIEW WAS ORIGINALLY WRITTEN -- is outdated and not particularly good; it is certainly not enjoyable to read. (For that reason, I suspect few of the rave reviewers, though they quite rightly love and enjoy the "Iliad," have actually endured THAT particular public domain translation of it.)This review is now attached to OTHER editions by (perhaps) OTHER translators; hopefully they will be identified in the Kindle Store blurb so you can choose a good one (and avoid Lord Derby's, which I have rated 2-stars). Disappointingly, the AmazonClassics edition does not identify its translator (seemingly Derby, but in any case, just as bad), though it HAS added line numbers.Faithfulness to the original language AND readability are what one seeks in any translation of the "Iliad," and the translator must strike a proper balance between the two. Greek sentences are structured differently from English sentences, and adhering too strictly to Greek word order and syntax will result in very awkward English. Throw Homer's poetic form into the equation and the result can be a very unreal English syntax. The translator has to determine what Homer said and meant (back then) in Greek and decide how BEST to communicate that to us (today) in English.There is no particular virtue in reading a sometimes convoluted Elizabethan or Victorian rendering of the "Iliad" in iambic pentameter or heroic couplets (since Homer used neither) unless one especially enjoys reading such. In fact, foundational differences in the two languages prevent a true equivalence in English of Homer's original poetic structure in Greek; that is the reason why many translators, considering any such versification to be artificial at best and dishonest at worst, render this work in prose. But at the very least Homer's poetic form was comparatively simpler and his linguistic expression was more direct than some older translators using English poetical formats make him seem; that is why other translators now often choose free verse as being an acceptable alternative to either complex metrical forms or prose.Of course, being readable or "understandable" is not the same as being "easy," and being too simple or too contemporary is no more of a virtue than being too difficult or too old-fashioned; rendering Homer's Greek into remedial-reader English or today's slangy vernacular is inappropriate, inaccurate and does the modern reader a disservice -- so one must choose one's "Iliad" (and one's translator of it) very carefully (a task not made any easier by countless Kindle Store editions -- like the one from AmazonClassics -- whose blurbs fail to identify the translator, or which seem to describe one translation but actually provide another).Below (in no particular order) are various translations (most, but not all of them, good) that I have read and can personally attest to. Several are available as ebooks; others may have to be obtained new or used in paperback or hardcover. Some adopt a poetic format; the others (which I have specifically indicated) are in prose.(1) Robert Fagles' 1990 free verse translation from Penguin is particularly readable (and the introductory information by Bernard Knox is invaluable). Perhaps due to its having been somewhat over-hyped, academicians now seem less enthralled by it than they once were, some on the grounds that Fagles does not always strictly adhere to Homer -- but usually that claim is made when comparing Fagles' to more literal translations, ones that are more scholarly but much less readable. I find his version quite sound, and I (and many others) still like it. I think it merits serious consideration as an excellent first choice and a contender for favorite translation.(2) E.V. Rieu's original 1950 prose version (from Penguin) was very understandable but in some specific instances treated Homer a tad too freely. This has been remedied in the present prose version, expertly updated by Peter Jones in 2003. I liked the original very much, but I like the update even better. This is also a very good first choice and a favorite of many.(3) W.H.D. Rouse provided a sometimes loose but generally serviceable, 1938 prose rendering which was long available as a popular, low-priced paperback. At one time this self-proclaimed "plain language" version was widely used in many public schools because it was inexpensive and considered easier-to-understand than other (pre-1938) versions then available; with newer versions today, that ease is debatable. An ebook edition of it as a Signet Classic from Penguin is currently available in the Kindle Store.(4) Ennis Rees' refreshing, 1963 free verse translation from Random House/Modern Library is my favorite and not too dissimilar in style from Fagles' but (perhaps) more straight-forward. At present, it may not be easy to locate a copy outside of a used book store since it seems to be out-of-print.(5) Michael Reck's 1994 version, from HarperCollins, stresses its adherence to the oral tradition and is an honest, solid, respectful, and understandable translation. Though it seems to be lesser known, it is faithful to the Greek yet with comfortable English syntax. It also is not easy to find; an ebook edition, available when I originally wrote this in 2012, has sadly since disappeared from the Kindle Store.(6) Alfred Hurd Chase & William G. Perry Jr., wrote a prose version in 1950 once available in paperback from Bantam and used in schools. I haven't seen this lately, but it is very readable, and I treasure my battered old copy.(7) Richmond Lattimore's VERY accurate 1951 translation is published by the University of Chicago. It is much heralded but more scholarly and more difficult to read than other modern versions; it is widely regarded as THE very best translation. While I recognize its true greatness, it is not my favorite due to its awkward English syntax (making it, for me, a chore to read).(8) Robert Fitzgerald's 1974 translation from Doubleday is very highly regarded, but it is not an easy read. Many names are spelled less familiarly (such that "Achilles" becomes "Akhilleus"). I have a love-hate relationship to this version. It would not be my first choice for story comprehension and ease-of-reading, but its rich visual imagery and keen word-play amply reward anyone willing to make the effort to read it and devote the time to fully savor it. As I become disenchanted by the shallow simplicity and flippancy of some newer translations, I find this one becoming ever more appealing to me. After Lattimore, this is generally regarded by many as the second-best translation.(9) Robert Graves made an exciting novel-like, prose "translation" in 1959 titled "The Anger of Achilles" which is literate, generally respectful to the original, and particularly enjoyable. This lively version is great fun to read -- though debatably not a "true" and proper translation -- and an ebook edition will be found in the Kindle Store.(10) Stanley Lombardo's well-received 1997 translation is one I didn't fully read, because what I did read of it didn't impress me. Both in tone and in linguistic style, I found it to be an odd and inconsistent mix of formal and informal, noble words and deeds juxtaposed with jarring colloquialisms. I am probably in the minority, but I did not like this version.(11) Alexander Pope's classic version (1715-1720) is arguably more Pope than Homer, though some people love his heroic couplets, and it IS truly a poetic masterpiece in its own right. For many Pope fans, THIS is the one and only "Iliad," and if Homer didn't write his this way, he SHOULD have.(12) William Cowper's 1791, blank verse version demonstrates, by comparison, just how good Pope's is. Cowper's rendering results in awkward English syntax that is not as much to be read as deciphered. When I have to mentally re-translate a translation, I seek another.(13) Stephen Mitchell's 2011 translation demonstrates that being new and easy isn't necessarily always better. Like Lombardo, he uses too much inappropriate and sometimes jarring colloquial English, but unlike all the others, he expunges quite a few sections (and one entire book) of traditional text he feels are post-Homeric additions. (But what if he is wrong?) Given the accretive nature of this epic at virtually every stage in its development and transmission to us, this excision seems ill-advised. Being thus different in material-content from ALL the others, this ipso facto abridgment causes it to be something of a secondary or niche translation.(14) Andrew Lang, Walter Leaf, and Ernest Myers rendered the "Iliad" into late 19th century, "modern" English in their 1883 prose version. Although slightly old-fashioned in style, it is quite readable and has a reputation for accuracy. My copy is an old Modern Library Giant.(15 & 16): Two new translations currently available in the Kindle Store, one by Ian Johnston (2006) and the other by Barry P. Powell (2013), I have only sampled. I found nothing dramatically wrong with either of them, except a colloquialism or two in Powell's that seemed incongruous to me, such as when he has Agamemnon say to his men, "So don't rub me the wrong way" (Book 1, Line 33). Both pass muster in that Homer is generally honestly and powerfully rendered, but I personally don't care for Powell's translational flippancy and style. Neither translator offers a significant qualitative improvement over other recent translations, though Johnston comes close, and I prefer him to Powell.(17) Caroline Alexander's 2015 translation from HarperCollins DOES offer a superb and significant improvement over other recent translations, and I highly recommend it. Without a doubt the best among new ones, it is also superior to many old ones. Though solid and true to Homer, her English syntax is direct and natural, never flippant or colloquial. The ebook formatting of its long lines, necessarily divided on small-screen, Kindle-type devices, is uneven and distracting -- but that is easily remedied by switching to landscape mode.(18) Peter Green's 2015 translation, published by the University of California Press, is rightly praised for its faithfulness to Homer's Greek (not unlike Lattimore) and its lush poetic imagery, but because of that, its English syntax is not always as smooth or direct as might be desired. Nevertheless, it is superior in many ways to other recent versions mentioned above (by Johnston, Lombardo, Mitchell, and Powell), but NOT (in my opinion) to Caroline Alexander's (which I find more readable).(19) A.S. Kline's 2009 translation provides a version for the average, non-specialist reader and is currently bargain-priced at only $1.99, but his heavy use of commas offsetting every phrase makes for choppy reading.(20) George Chapman was the first translator of Homer, and his formal but majestic, Elizabethan verse edition of 1611 was (and by some, still is) highly regarded. Today, its interest to us is more in the realm of literary history than as a practical choice for general reading.(21) Theodore Alois Buckley's public domain version (1873) is no better than Lord Derby's, and like it, should probably best be avoided.(22) Samuel Butler's sturdy, 1898 prose version is worth considering (and I will say more about it below as a public domain alternative to Lord Derby's).The above list is by no means complete -- there are MANY others -- but it hints at the number and variety of translations that exist. Each of these translations (whether prose or poetry) has particular strengths and weaknesses as well as supporters and detractors, and none is perfect. That, not unexpectedly, creates some robust debate among readers of them. But, in my opinion, most of them are preferable to the public domain version by Lord Derby.I would certainly encourage you to consider trying some or all of the above, but I might suggest (purely as a practical and inexpensive starting point) the public domain, prose translation by Samuel Butler, available for free from various online sources. A free verson may not be currently offered in the Kindle Store, but several well-formatted editions are sold there for as little as $.99, and for that low price some even include Butler's translation of "The Odyssey." Although a well-known, late 19th century translator of Homer's two epics and the favorite of many readers, Samuel Butler isn't necessarily the scholar's favorite, and (like virtually every other translator of Homer) he has a few idiosyncrasies [see the NOTE below]. Therefore, he may not be considered the "best" translator from an academic perspective, but Samuel Butler's English IS straightforward, comparatively easy-to-read, and appropriately majestic but quite understandable; you will certainly be able to better appreciate and enjoy the drama and sweep of the "Iliad" in HIS version rather than struggle with the awkward English of Lord Derby's.NOTE: One of Butler's idiosyncracies (which is by no means unique to him) is a preference for using the names of Roman deities rather than the Greek (as in "Jove" rather than "Zeus"). He did so because he felt readers of his time were more familiar with the Roman names; today, the opposite is true. I do, however, own two hardcovered editions of Butler's translation in which all the Greek names have been restored, so presumably there MAY be a similarly treated ebook available (though I haven't yet found it). Not all (nor even, most) Greek names have been so treated by Butler; "Achilles," for example, remains "Achilles" (though "Odysseus" does become "Ulysses"). But for most readers the occasional appearance of a Roman name should prove to be little more than a minor distraction from an otherwise enjoyable text. Since no translation is perfect, at least this imperfection is quite bearable.ADDENDUM: Today the distinctions between poetry and prose treatments are fading due to the replacement of old, rigid metrical forms with new, free verse translations that are as direct, pleasant and comfortable-to-read as their prose counterparts. By going with the flow and reading the text as written, adhering to punctuation, pausing at commas and stopping at periods, but NOT slavishly and artificially stopping at the end of lines UNLESS punctuation dictates, readers should find in these free verse translations language as natural and understandable as that contained in prose versions. With so many wonderful translations currently available (whether in prose or in poetry), NOW is truly a great time to find and read an "Iliad" that's just right for you.

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I had long wanted to read Hannah Arendt's (1906 -- 1975) study of the Eichmann trial, "Eichmann in Jerusalem: A Report on the Banality of Evil" and was prompted at last to do so when I found the book on sale at my local library. As I read, the controversial nature of Arendt's book was brought home to me. I decided I needed to read Arendt in tandem with a recent study of the trial, "The Eichmann Trial" (2011) by historian Deborah Lipstadt. The Eichmann Trial (Jewish Encounters) Lipstadt devotes a lengthy chapter to analyzing Arendt's book. Lipstadt, perhaps with the passage of time, sees the trial and its significance differently than does Arendt. Her treatment of Arendt is critical but balanced. She offers many of the criticisms of Arendt's book that were made when the book was published but finds a good deal to praise in Arendt's account. Although Arendt's and Lipstadt's book take opposing positions in many respects, this is not at all unusual in serious historical study. There is much to be learned from both books. They are better read, I believe, as complementary, rather than as opposed. For all its flaws and datedness, Arendt's book remains tough minded, provocative, and deeply thoughtful. Even for readers who disagree with Arendt or who become angry with her, the book is worth reading and pondering.Arendt was a political philosopher who received an extraordinary education in pre WW II Germany. Her teachers included the philosophers Martin Heidegger (with whom she had an affair) and Karl Jaspers. Arendt immigrated to the United States in 1941 and soon became a famous public intellectual.On May 11,1960, Adolph Eichmann was captured by Israeli operatives in Argentina and brought back to Israel to stand trial for his activities in the Holocaust. The capture and kidnapping of Eichmann resulted in substantial international controversy as did the trial itself. Eichmann's trial began in April, 1961, with the accused sitting in a bullet-proof glass both which became famous in itself. The trial was held before three distinguished Israeli Judges, each of whom had received their legal training in Germany. The chief prosecutor was Israeli Attorney General Gideon Hausner. Eichmann was defended by counsel of his choice, Robert Servatius, who had also been a lawyer for Nurenberg defendants. After a lengthy trial, in which Eichmann testified and was cross-examined in great detail, the court found Eichmann guilty and sentenced him to death in December, 1961. The Israeli Supreme Court rejected Eichmann's appeal on May 29, 1962; and Eichmann was hanged two days later on May 31, 1962. Arendt covered the trial for "The New Yorker". Critics point out that she was not present for the entire trial. Her book is based not only on observation of the trial but upon Arendt's reading of the transcripts, affidavits and other materials, including Eichmann extensive pretrial statements, that Israel's government made available to the media at the time as well as upon additional sources.With all the criticism the book received at the time, Arendt's account of the trial was careful. The book is difficult to read and, in spite of her protestations to the contrary, is as much a work of political philosophy as it is a journalistic account of a trial. Arendt criticized the kidnapping of Eichmann and the manner in which prosecutor Hausner conducted the trial. She praised the Israeli judges and their approach to the case. It is sometimes overlooked that Arendt found that the Israelis were in the right in kidnapping Eichmann and in trying him before an Israeli court. Arendt found that Eichmann amply deserved the sentence of death, and she approved of the Israelis carrying the sentence out expeditiously in the face of widespread arguments for commutation.Among other things, Arendt is criticized for applying the term "banal" to Eichmann. He appeared to her and to others as a mediocrity interested in his own career and in carrying out his orders rather than as a rabid Nazi and anti-Semite. She emphasized as do many modern writers the pervasive character of evil in WW II Germany and the lack of resistance. Documents that were not available to Arendt suggest to some historians that she overstated Eichmann's "banality", and that he was a far more committed Nazi and vicious anti-Semite than she realized. Arendt was also criticized for emphasizing the lack of resistance of the Jewish victims and the alleged cooperation of the Jewish leaders with Eichmann in carrying out the transports to the camps. Her manner of presentation was thought to be insensitive and ahistorical. Arendt attempted, with some plausibility, to respond to these criticisms. I don't think Arendt was as insensitive or as mistaken as her strongest critics suggest. There is still, as Lipstadt acknowledges, a great deal of historical discussion about the means in which the Holocaust was carried out. Arendt's tone, however, was that of a detached academic, and it sometimes became provocative and unduly combatative.The main issues raised with Arendt's book seem to me her understanding of the purpose of the trial and her view of the nature of the Holocaust and of Eichmann's crimes. The prosecutor, Hausner, wanted to use the trial to educate the world further about the nature of the Holocaust. He put on the stand 100 witnesses, most of whom were Holocaust survivors. Many of these witnesses offered testimony that had little to do with Eichmann or that was unreliable. The Israeli court frequently grew impatient with Hausner and criticised his conduct of the trial, describing it as "picture painting." For Arendt, the trial was a legal proceeding that should have been focused on a single question, the actions of the accused and his guilt or innocence of the charges. She found overwhelming evidence to convict Eichmann. In this, the Israeli court at the time agreed with her. Many more recent scholars, including Lipstadt praise Hausner's approach to the trial.Arendt saw Eichmann's guilt as a "crime against humanity" directed against the Jewish people against the background of a long history of anti-Semitism. Her approach tended towards universalism. Lipstadt and Hausner, in contrast, see the Holocaust as the final and direct result of centuries of anti-Semitism and violence. She, of course, does not deny the universal character of the Holocaust. The different approaches are important but matters of emphasis. It is here that I think that Arendt and Lipstadt may both be right.Arendt's book remains worth reading as a historical document and for the views, sometimes ingraciously expressed, about the nature of law, government, evil, and personal responsibility.Robin Friedman

The Holocaust is an often told story. Hundreds if not thousands of books are written about it. This book, "Eichmann in Jerusalem" has to be the book to read on the subject. The book tells the story of Adolph EIchmann's trial in Jersusalem for crimes committed in the Holocaust during WWII. This is a trial for a person who personally did not kill one Jew. He was a mere Lt. Colonel in a huge bureaucracy, buried deep down in the organizational chart. How can that be? I think the answers in the book chill the average person to the bone. It touches on some subjects out of history that are very dark. It also is frighteningly real for today's world. I know that alone will scare most as well as any haunted house they go through.This book flows very well. The author keeps the flow moving fast from chapter to chapter. She tells you the who on Eichmann, why it was important then in 1963, and goes over the events of the Holocaust. Her information comes straight from the trial transcripts. That adds a new angle to the event, closer to the timeline. I think that adds a lot to the story.Overall the book is a great history of the Holocaust. It will give you facts that you haven't read before. These facts rattled the world then and I think it would now to anyone who reads it.The book explains the whole final solution in intimate detail. It walks you through how it started as mercy killings due to low quality of life to a very large complex state owned machine. The book doesn't fill you will the horrible stories. It gives you the bureaucratic dry explanation on how the system worked. You learned how the elite was very much behind the process. That alone is something few other books offer. Through this line you learn that Eichmann was the person who made the whole system run. He made it run as only a Lt. Colonel buried in the bureaucracy who controlled very little. His office got the trains to put the Jews on. Then he coordinated with the camps to take the Jews. He did not run the camps himself. The Nazis also used the local Jews to make their system run. It was their local government which choose the names and Jews at gunpoint which guided them to the chambers in many camps. Their succession of lies to the Jews about a better tomorrow was a critical fuel that made the system run. Everyone would either trade in their neighbor or hung on in hope of a better tomorrow. German society also bore a piece of the guilt. Whole institutions jumped on board to make things happen.Hannah Arendt also gives you the context from the period. Why the Israeli's conducted trail and the reaction from the world. The process of the trial in a way shaped world attitudes even to today. It brought out the horror of the system out of the shadows to see it was more than a mix of personal stories but it was a state sanctioned machine. I think it explained the system which no one on on the outside understood.There is one thing from the book I know will upset people. The question today is how can people do this? Why would people do this. The book explains who Eichmann was. He started as a private in the SS. He was an average worker in Germany before that; a salesman. He moved up the SS chain quickly through hard work and taking full advantage of opportunities as they came. He probably would have moved to the top of any bureaucracy, Walmart, Exon, Ford, as he did with the SS. The only difference was then the mission was the Holocaust vs. selling odds and ends at Walmart. His story shows the importance of morals vs. just a good job. He was just a career climber in the business of the day. You can see how this principle of career success alone, outside of morals turns people into monsters. That element alone is what people can see happening tomorrow but won't admit it. That do that because they fear they too might do the same thing to advance or know someone who will.This book

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Download PDF Postwar America: A Student Companion (Student Companions to American History), by Harvard Sitkoff

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From School Library Journal

Grade 7 Up-The articles in this volume cover events, people, documents, legal cases, and social and political movements and groups that have had an impact on our country since the end of World War II. The alphabetical entries range from one paragraph to four pages, with most under one page. Biographical articles are prefaced with mention of significant dates in the subject's life and, often, a list of accomplishments. See-also references and a short list for further reading conclude most entries. Like the other titles in this series, the attractively designed pages are formatted in two columns with generous margins. Black-and-white photographs with informative captions appear on almost every double-page spread. A chronology is followed by a three-page bibliography that includes some of the same references given with the articles and others that are more general in scope. Although there are some omissions in the index and see-also references, researchers will be able to locate the information they need and navigate comfortably. The unbiased articles will clarify concepts and help students understand this period of our history.Priscilla Bennett, State University of West Georgia, Carrollton Copyright 2000 Reed Business Information, Inc.

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From Booklist

This addition to Oxford's Student Companions to American History for an audience of age 12 and above is a collection of alphabetically arranged articles relating to the U.S. since World War II. From Abortion to Yuppies, entries focus on domestic politics, social and cultural change, people, themes of the cold war era, women's struggle for equality, and developments relating to the economy, demography, and technology. The majority of entries are biographical. There are also entries relating to specific events (Democratic National Convention; Lebanon, invasion of; Watergate); political movements, parties, and organizations (National Association for the Advancement of Colored People, Students for a Democratic Society); ideas; and movements (Anticommunisim, Black nationalism, Multiculturalism).Each biographical article provides personal data including place and dates of birth and death, education, offices held, and other accomplishments. All articles end with a brief list of recent books, as well as see also references to related topics and people. A more generalized list of recommended reading falls before the index. The articles vary in length from two to three paragraphs to up to four pages.Entries are extremely brief and serve only as a supplement to resources with much greater detail. This would be a good review for those taking a high-school graduation test in American history. Recommended as an inexpensive purchase for school and public libraries. Copyright © American Library Association. All rights reserved

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Product details

Age Range: 12 - 17 years

Grade Level: 7 - 9

Series: Student Companions to American History

Hardcover: 296 pages

Publisher: Oxford University Press; 1 edition (February 3, 2000)

Language: English

ISBN-10: 0195103009

ISBN-13: 978-0195103007

Product Dimensions:

11.1 x 0.9 x 8.6 inches

Shipping Weight: 2.7 pounds (View shipping rates and policies)

Average Customer Review:

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Amazon Best Sellers Rank:

#9,681,235 in Books (See Top 100 in Books)

Postwar America: A Student Companion (Student Companions to American History), by Harvard Sitkoff PDF
Postwar America: A Student Companion (Student Companions to American History), by Harvard Sitkoff EPub
Postwar America: A Student Companion (Student Companions to American History), by Harvard Sitkoff Doc
Postwar America: A Student Companion (Student Companions to American History), by Harvard Sitkoff iBooks
Postwar America: A Student Companion (Student Companions to American History), by Harvard Sitkoff rtf
Postwar America: A Student Companion (Student Companions to American History), by Harvard Sitkoff Mobipocket
Postwar America: A Student Companion (Student Companions to American History), by Harvard Sitkoff Kindle

Postwar America: A Student Companion (Student Companions to American History), by Harvard Sitkoff PDF

Postwar America: A Student Companion (Student Companions to American History), by Harvard Sitkoff PDF

Postwar America: A Student Companion (Student Companions to American History), by Harvard Sitkoff PDF

Postwar America: A Student Companion (Student Companions to American History), by Harvard Sitkoff PDF