History: Fiction or Science? (Chronology, No. 1)

Book Description

Recorded history is a finely-woven magic fabric of intricate lies about events predating the sixteenth century. There is not a single piece of evidence that can be reliably and independently traced back earlier than the eleventh century. This book details events that are substantiated by hard facts and logic, and validated by new astronomical research and statistical analysis of ancient sources.

Customer Reviews:

Calculations are only as good as your numbers.......2007-08-03

Yes, we can all agree that mainstream history is nearly 100% BS due to politics, economics, ego, problems with dating techniques, and various conspiracies. Agreed. But, I've been researching the distinct possibility that human history (in terms of civilizations) are much more ancient than we've been told, so coming across this book was very interesting to me. I wondered how Fomenko could be wrong (if at all) because he is very persuasive in his presentations. Then it dawned on me. If at previous times in prehistory, due to the various catastrophies that are well documented (comets, asteroids, planetary disruptions, plasma discharge, pole reversals, etc) the Earth was in a different position in relation to the sun, different tilt on its axis, different orbit, different rotation (in terms of velocity and DIRECTION), and the continents were in different positions, then would this not cause the ancients to see the sky (constellations) differently? In other words, is Fomenko making erronious assumptions about the physics of the Earth in pre-history, which then corrupt his data with regards to dating the relevant astrology? The last event to seriously disrupt our planet occured roughly 3500 years ago, according to other good researchers, so is it possible Fomenko has been confused by this? The vastly different physics of our planet in the not so distant past may explain this confusion, which is not to say the "mainstream" version of history is correct; on the contrary. I am not an expert in these fields, but wanted to see if this idea could spark discussion.

Pants on fire?.......2007-07-19

Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.

Accepted History & Chronology Must Be Changed. .......2007-04-09

There is no doubt that history as most know it is a sham, & institution's version of History both University & Church is fradulent & inaccurate. Everything was established with an agenda, The real "Dark Ages" are now when we have access to incredible amounts of information past authorities & more important 'common folk' didn't have but our institutions & educators are slow to evolve because of what has ignorantly & arrogantly been taught for too long. This is on many subjects not just Chronology.

For anyone to question "Why would a Mathematician have anything credible to say of History?" The answer is from Dr. Fomenko's preface in the book: "It would be worthwhile to remind the reader that in the XVI-XVII century Chronology was considered to be a subdivision of Mathematics." These volumes could possibly be some of the most important works to date & should be read by everyone with an interest in History, especially professors & educators who have a duty to the public. I have read both books & must say that 'Chronology 1' has some very eye opening & revolutionary information. Even if these volumes are part true the implications are profound & opens the doors to further investigations & questions which must be done. I speak several different lanquages & must say the logic Dr. Fomenko uses with "inflection" of words & words being read from left to right in one region & right to left in another then written backwards, the removal of vowels & get down to basics of words, or different cities & locations having the same name etc. is correct. Vowel usage has always been optional & varied, actually complicating linquistics & study. The first thing one has to understand is that words never had a fixed spelling in history like we do now, the spelling of words was mutable & regional, as well as names & titles of people were vast, varied & changed, NOTHING WAS FIXED or understood linear. Matters of Life & Death as well as financial profiteering yesterday & today were & are made with ignorant, illogical & conspiratorial views of history & reality, it's time people get closer to the Truth & society collectively grow up.

Very Interesting.......2007-03-07

It is a good proposal and I believe it will mature into something even better in the future. I think it deserves to be read.

History as Science Fiction.......2007-01-10

Anatoly Fomenko has written a very intriguing book, full of pictures, charts, and computer 'proof' of his thesis: backwards of AD900 we don't really know what happened or when. Between AD900 and AD1600 there is more certainty, but there is still a lot of fuzzy ground, and things don't get reliable until we get past the 1600's where the printing press made it very difficult for the perpetrators of this timeline manipulation to change anything that had been committed to print. The Dark Ages did not happen. Books were burned for a reason. One organization has doubled the actual length of its existence by expanding the real chronology. Read why.

I had always wondered why Christ died about AD33 and yet men waited until the 11th century to form the Knights Templar, the Cathars, etc and go after the Holy Land by force. Why the 1000 year gap? Turns out there wasn't more than a 10-12 year gap and he proves it using astronomy. This also implies that the planet is not as old as we have been told, and current Christian and other creationist scientists are already championing that idea without being aware of Fomenko's book. The two groups, creationist scientists and the Russian mathematical analysts corroborate each other. Fascinating.

Of course, all this flies in the face of what we have been told traditionally is the 'proper' chronology of western civilization, and most readers will experience 'cognitive dissonance' in reading this book. It means that our history going backwards from AD1600 becomes progressively more incorrect and unreliable until it cannot be trusted at all... in the space of 700-800 years.

Naturally, the curious, open-minded reader will want to know WHO did this, WHY, and did any of the events we think of as really ancient ever happen?
Dr. Fomenko is a respected scientist/mathematician at Moscow State University who has already answered these questions to the satisfaction of his initially skeptical colleagues. Most of them are now believers, a few still refuse to believe (the usual diehards), and of course the western press has ignored Fomenko's work -- for obvious reasons when you read the book. The ones who perpetrated this chronology ruse have a lot to answer for. They are still with us. That's why this book is a well-kept secret.

I gave the book a 4-star rating because I was unable to check out some of his claims; those I checked were as he said. But if even 1/3 of his claims are true, this punches a big hole in what we think is our history, the meaning of western civilization, our educational process (for repeating the ruse as gospel), and the trustworthiness of the organization that perpetrated this ruse, well-intentioned or not.

This book relates to current research into a Young Earth paradigm, to John Keel's discoveries about our planet, and Fr Malachi Martin's insights (in his now out-of-print books). We are indeed sheep who are manipulated and kept ignorant -- for a reason. While knowing what these men have to say may be the "booby prize" (as in: 'what can you do with this knowledge?'), it will provide interesting reading. Didn't someone say: "...and the Truth will set you free."?? For you to judge if this book contains the truth.

Duino Elegies and the Sonnets of Orpheus

Average customer rating:

Brilliant poem, horrible translation

Duino Elegies and the Sonnets of Orpheus
Rainer Maria Rilke
Manufacturer: Mariner Books
ProductGroup: Book
Binding: Paperback

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ASIN: 0618565892

Book Description

Long considered the definitive English translation of Rilke's brilliant and haunting masterworks, A. Poulin's edition of Duino Elegies and The Sonnets to Orpheus provides an essential introduction to some of the most passionate and intensely creative visionary poetry of the twentieth century. With a new foreword by the esteemed poet Mark Doty and a fresh new design, Poulin's revered translation is certain to acquaint a new generation of readers with the works of Rilke.

Customer Reviews:

Brilliant poem, horrible translation.......2007-05-07

The Duino Elegies is one of the most breathtaking turns of 20th-century poetry (I don't want to say "great" or "canonical" here) but it has suffered a long history of bad translations into English that push the agendas of translators over faithfulness to the text. You're better off finding an early translation than picking this up, at least until a (good) poet takes the project on--Jerome Rothenberg, where are you when we need you?

The Gaze of Orpheus: And Other Literary Essays

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The Gaze of Orpheus: And Other Literary Essays
Maurice Blanchot
Manufacturer: Station Hill Pr
ProductGroup: Book
Binding: Paperback

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The Space of Literature: A Translation of "L'Espace litteraire"

ASIN: 0930794389

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The Hymns of Orpheus
Ron Charles Hogart
Manufacturer: Phanes Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0933999410

Book Description

These beautiful hymns to the Greek divinities are attributed to Orpheus the ancient musician and poet who founded the Greek Mysteries. While no one knows where or when the Orphic hymns were written or by whom, all agree that the mystical hymns represent a living source of insight into the nature, attributes, and symbolism of the ancient gods and goddesses. In this first English translation Hogart brings these ancient writings to life.

Orpheus Dis(Re)Membered: Milton & the Myth of the Poet-Hero

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Orpheus Dis(Re)Membered: Milton & the Myth of the Poet-Hero
Rachel Falconer
Manufacturer: Sheffield
ProductGroup: Book
Binding: Hardcover

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ASIN: 1850756090

Four Plays: Summer and Smoke; Orpheus Descending; Suddenly Last Summer; Period of Adjustment (Signet Classics)

Average customer rating:

A lovely collection
The best of the best
It was amasing.
Amazing. (This review is for "Suddenly Last Summer" only.)

Four Plays: Summer and Smoke; Orpheus Descending; Suddenly Last Summer; Period of Adjustment (Signet Classics)
Tennessee Williams
Manufacturer: Signet Classics
ProductGroup: Book
Binding: Paperback

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ASIN: 0451525124

Customer Reviews:

A lovely collection.......2001-08-28

Although I bought this book just for a quick read of Suddenly Last Summer but found all of the other plays in this volume to be delights in their own respect. Each has their ups and downs, but all are undeniably in the style of Tennessee Williams. I think this book is a must read for any true Tennessee fan as it give any reader a fuller look into the style that is Tennessee.

The best of the best.......2000-07-23

Tennesse Williams has become of my favorite authors, partially due to this book. I have long been a fan of the movie adaptations of his work, but they come nowhere near to the superb quality of the written word. In all of his plays you can get a sense of what the characters are feeling. In most cases those feelings are angst and despair. "Suddenly Last Summer" is by far the best play in this book, but the others are not far behind. The characters in these plays are easy to "see", thanks to Williams' wonderful development. As with every Williams' play, these have surprising twists and revelations throughout. I highly recommend these, and all other Tennessee Williams plays.

It was amasing........1998-04-21

Of the plays that I read, I found them all to have real life aplications. One of the suprising things was that his works were written several years ago but there are still points that he raises that are aplicable to today. Honestly I could not go to bed until I found out how he resolved his conflicts. I will have to read more of his work. He is not that bad for being an english paper topic.

Amazing. (This review is for "Suddenly Last Summer" only.).......1998-02-10

This is one of the best plays I've ever read or seen. Definitely one of Williams' best, though I still have not read "The Night of the Iguana," or "The Rose Tattoo." This play is definitely Williams' most brutal, most shocking play. In the introduction to "Sweet Bird of Youth," he says that he only wrote "two violent plays": "Suddenly, and "Sweet Bird..." If you read it (PLEAE do), be prepared- Williams' style is like an extremely complex poem. There are levels to this play, like all of his. Consider the subtext, the allegory... and the LANGUAGE- definitely first-rate and poetic. WONDERFUL.

Orpheus and Greek Religion (Mythos Books)

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Orphism was first and foremost a literature
an outdated "classic"
And thus... he sang...

Orpheus and Greek Religion (Mythos Books)
William Keith Guthrie
Manufacturer: Princeton University Press
ProductGroup: Book
Binding: Paperback

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ASIN: 0691024995

Book Description

The tales told of Orpheus are legion. He is said to have been an Argonaut--and to have saved Jason's life. Rivers are reported to have stopped their flow to listen to the sounds of his lyre and his voice. Plato cites his poetry and Herodotus refers to "practices that are called Orphic." Did Orpheus, in fact, exist? His influence on Greek thought is undeniable, but his disciples left little of substance behind them. Indeed, their Orphic precepts have been lost to time.

W.K.C. Guthrie attempts to uncover and define Orphism by following its circuitous path through ancient history. He tackles this daunting task with the determination of a detective and the analytical rigor of a classical scholar. He ferries his readers with him on a singular voyage of discovery.

Customer Reviews:

Orphism was first and foremost a literature.......2004-12-14

Guthrie's tentative exploration of one of the most influential mysteries of the Ancient World, together with Eleusis, is very revealing.

The author situates the origin of Orphism with a Thracean hero/singer who was adopted as founder/teacher by mystical sects and whose songs became sacred texts. Although this sects contained only a small group of devotees, some aspects of their philosophical message were taken over by Plato and influenced indirectly Christian belief.

Like many other religions, Orphism's basis was man's aspiration of immortality.
The sacred texts included dogmas and precepts. Dogmas were a belief in a god as a creator and supreme ruler of the universe, man's original sin, a belief that purity of life and observance of the rites would be rewarded by perfect divinity (immortality) eventually after a cycle of rebirths and that punishment awaited the uninitiated and impure.
The precepts were directed towards eradication of sin through ascetism and prohibitions (e.g. meat-eating).
Life was considered as a period of trial and a practise for death. It was seen as a punishment for the soul for previous sins, wherefore the soul was fettered to a body. The body was seen as a source of evil.
Other important characteristics were the emphasis on free will and personal responsibility as well as misogynism.
Each individual had a divine part and a part prone to sin. He had to make a choice between them.

Guthrie explains clearly the crucial differences with Christianism. Orphism excluded the possibility of the resurrection of the body. It had no social ethic. It was selfish for one could save only his own soul.
He also shows the difference with the Eleusian Mysteries. The latter were only a ritual, whereas Orphism was a way of life.

This is a very rich book which treats also other important aspects of religion (e.g. syncretism).
It contains excellent illustrations and a very interesting introduction by Larry J. Alderink.
This book is an essential read for the understanding of a very influential Ancient Mystery.

an outdated "classic".......2004-06-29

As Alderink acknowledges in the Forward, a whole lot of new evidence and new scholarship has seen the light of day since the book's publication in *1935*, particularly the discovery in 1962 of the all-important Derveni papyrus and the discovery in the 1970s and 80s of revealing new gold burial leaves/plates.

(The present edition is a reprint of the second (1952) edition of Guthrie's book. Alderink says, "In the preface to the 1952 reprint, [Guthrie] remarked that he found major alterations unnecessary; his confidence in his earlier conclusions enabled him to use a supplement [pp. 275-278] to mention new writings on Orphics and to make minor corrections and additions" (xxiv). Guthrie's own explanation of this is: "No striking new evidence has appeared on the subject or is likely to appear" (xxxix). So, he explains, "[with regard to the new evidence/literature that has surfaced since the first edition] I have summed up my position, with some reference to later discussions, in ch. xi of my book _The Greeks and their Gods_ (Methuen, 1950), which there is no need to repeat" (xxxix-xl).)

As Alderink points outs, "Some of Guthrie's conclusions will stand and some will fall as new evidence and new interpretations put his work to new analyses" (xxxiii).

So this evidently is not the best place to start (unless one is interested specifically in history of scholarship), and certainly not the best place to finish. For a brief, excellent, and up-to-date overview of the evidence, see Robert Parker's "Early Orphism" in Anton Powell's _The Greek World_ (1995).

And thus... he sang..........2001-09-18

This work contains excellent notes,
supplements, and photographic plates, as
well as illustrations in the text itself
which have been taken from vases, reliefs,
and other sources.
Guthrie's work is an excellent source of
knowledge, insight, and inspiration concerning
Orpheus, this ancient figure who was poet,
harmonic musician, priest, prophet,
and oracular magus all in one.

Average customer rating:

Read the German
Praising, That's It!

Sonnets to Orpheus
Rainer Maria Rilke , and Edward Snow
Manufacturer: North Point Press
ProductGroup: Book
Binding: Hardcover

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ASIN: 086547611X

Book Description

Breathing, you invisible poem!
World-space in pure continuous interchange
with my own being. Equipose
in which I rhythmically transpire.

Written only four years before Rilke's death, this sequence of sonnets, varied in form yet consistently structured, stands as the poet's final masterwork. In these meditations on the constant flux of our world and the ephemerality of experience, Rilke envisions death not only as one among many of life's transformations but also as an ideally receptive state of being. Because Orpheus has visited the realm of death and returned to the living, his lyre, a unifying presence in these poems, is an emblem of fluidity and musical transcendence. And Eurydice, condemned to Hades as a result of Orpheus's backward glance, becomes in Rilke's universe a mythical figure of consolation and hope.

Edward Snow, in his translations of New Poems, The Book of Images, Uncollected Poems, and Duino Elegies, has emerged as Rilke's most able English-language interpreter. Adhering faithfully to the intent of Rilke's German while constructing nuanced, colloquial poems in English, Snow's Sonnets to Orpheus should serve as the authoritative translation for years to come.

Customer Reviews:

Read the German.......2005-08-26

Reading in translation always makes me suspicious. I am among the faithful who believe that a translator should be a translator above all--and a poet second. To dismiss the words of a renowned author and supplement your own is blasphemy and arrogantly disrespectful. I, for one, believe that it *isn't* impossible to capture the spirit of the work and the actual wording.

Edward Snow does a fairly good job of keeping pace with Rilke, and in some places he shines brilliantly. However, he strays too far in other areas for my comfort. I have trouble following his reasoning in some of the translated passages, which are altered without apparent benefit to meaning or beauty. Also--and perhaps here I am again missing some greater point--he once changes the tense of a verb (I do not mean the konjunktiv) from past to present. Why? Really?

Anyway, Snow is good (this is actually the only translation I've read, so he's really the best I know) enough; for English-only speakers, you will get not only the gist but the passion. But I'll stick to the German part. Students of German: do not rely on it to be strictly accurate.

Praising, That's It!.......2005-02-20

Praising, That's It!
by Tom Goff,
Carmichael, CA

Rainer Maria Rilke: Sonnets to Orpheus. Translated by Edward Snow. $22 (hb). 122p. North Point Press, 19 Union Square West, NY 10003. Published 2004. ISBN # 0-86547-611-x.

For some years now, Edward Snow's free-verse translations of Rilke have allowed that German-speaking Czech poet (really an almost stateless wanderer for much of his life) to speak in English as the modernist he was at heart, his mastery of the sonnet, the elegy, and other verse forms notwithstanding. Chances are that if you know the two books of New Poems-their sculptural intensities inspired by Rodin-you know them in Snow's version; and he has had equivalent success with Rilke's earlier Book of Images, as well as the Uncollected Poems, his terrific choice of works the poet mysteriously failed to unify.

So much does Snow emphasize the unknown Rilke, the poet of unsuspected toughness, of constant flickers of poetic improvisation, that he risks slighting the writer's pet projects. In particular, Snow would like to revise the myth Rilke himself generated: that after beginning the Duino Elegies in high style in 1912-ready to utter his whole vision of life's and death's interconnectedness-he fell helplessly silent for almost ten years. Silent, that is, until (working furiously in a secluded tower in Switzerland) he recaptured his touch in one magic February, in 1922. Inspired as perhaps no other poet has ever been, Rilke poured forth the mystical utterances that would complete the Elegies, prompted by a creative icebreaker: the fifty-five Sonnets that are our subject. So goes the legend, much of it true, if we credit Rilke's account of his suffering and triumph.

But Snow's introduction to his recent (2000) translation of the Elegies should be read between the lines: it's clear that this sequence of ten poetic meditations in the grand manner is not completely to Snow's taste, nicely rendered as his version is. So it's a relief to see enthusiasm return as Snow now discusses, and then renders, the Sonnets to Orpheus, with a clarity and (unrhymed) musicality these intimate poems-often inspirational teachings-require.

The Sonnets came to the poet as he pondered the last letters of Vera Ouckama Knoop (a friend of the poet's daughter Ruth); these described vividly the leukemia that ended this talented dancer-musician's life at nineteen. Thoughts of Vera's fate mingled with musings about the mythic poet Orpheus, and with certain experiments in the sonnet form Rilke had recently been attempting (so much for the notion of total prior "blockage"). Once Rilke was started, there was no stopping the singing, as this example illustrates:

Wait..., this taste...Already it's escaping.
...A bit of music, feet tapping, a hum-:
You girls, with your silences, your warmth,
dance the knowledge of the tasted fruit.

Dance the orange. Who can forget it,
the way it fights, drowning in itself,
against its sweetness. You've possessed it.
Its deliciousness has entered you.

Dance the orange. Fling the warmer landscape
out from you, so the ripe fruit may glow
in its native breezes! Aglow yourselves, peel

perfume from perfume! Create a kinship
with the pure, reluctant rind,
with the juice that fills the happy fruit!

[First Part, Sonnet 15]

Fine as this poem is on its own, it also benefits from the context. Other sonnets help adumbrate its theme: how life's intensified by death, so that this poem's images might emanate from an "orange" realm habitable only by the dead, conjured into being by Orpheus (the Greek poet-musician, spirit of resurrection and transcendence); Vera may be among the "girls" the speaker summons, as if in the person of Orpheus himself. (Snow, to be sure, would emphasize that "may be" and that "as if.")

In past reviews, Snow's musicality has sometimes been faulted. I beg to differ; he is true to the tone and tune of the work. If extended works of poetry have each a distinct voiceprint, the Duino Elegies would fluctuate steeply, even erratically, above and below a vocal midpoint, as the poet swings from oratorical crowd control to anguished or ecstatic soliloquy and back. The Sonnets to Orpheus have a more even tenor, yet still pulse with vibrancy. They speak, intimate, instruct, reminisce, epiphanize, epitomize, or intone, with something like Buddhist serenity.

Snow has remarked of the Elegies that these, in the poet's view, were his masterwork, the Sonnets merely an unexpected "reward or `bonus' confirming the high oracular achievement" of the former. But in Snow's new version, the Sonnets render that verdict exactly reversible: it is as if Rilke suffered his spectacular blockage and release simply to say through the Sonnets (as one of them exclaims) "Praising, that's it!" Rilke may have been summoned, like his Greek singer, to earn the right to that simple praise of life-life lived up to and over the threshold of death. So: reader, go out and get ready to dance that particular orange.

Average customer rating:

An inexpensive paperback of a wonderful volume.

Bestiary: Or the Parade of Orpheus
Guillaume Apollinaire
Manufacturer: David R Godine
ProductGroup: Book
Binding: Paperback

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ASIN: 1567921426

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An early and influential champion of cubism, the friend of Braque, Picasso, Dufy, Rousseau and Marie Laurencin (who became his mistress), Apollinaire was a seminal figure in the revolutionary art style known as "Surrealism," a term that he coined some seven years before Breton formally founded the movement.

In this charming book, published in 1910 and embellished with the graphically sophisticated and totally appropriate woodcuts of Dufy, we find the poet at his most accessible. His quatrains, printed in Dante italic and felicitously translated by Pepe Karmel, present a voice that ranges from the colloquial to the impassioned, a brisk combination of lyric imagery and bawdy humor (not surprising for a poet who, after a pious adolescence, supported himself by writing pornography). This is a small bijou of a livre de peintre, a lovely and lively ensemble of accessible poetry and striking woodcut art.

Customer Reviews:

An inexpensive paperback of a wonderful volume........2001-08-18

As an art student I am unable to purchase ... books, I was delighted with my purchase of this paperback version of Apollinaire's Parade of Orpheus, I am also thrilled with the translation and quality of the reproduction of Dufy's woodcuts.

Orpheus and Company: Contemporary Poems on Greek Mythology

Average customer rating:

Wonderful collection
Excellent collection on Myth Poems by well-known poets

Orpheus and Company: Contemporary Poems on Greek Mythology

Manufacturer: UPNE
ProductGroup: Book
Binding: Paperback

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ASIN: 0874519187

Book Description

Today's poets provide a new spin on Greek myths.

Customer Reviews:

Wonderful collection.......2002-04-17

*Orpheus & Company* is a wonderful compendium of poetry inspired by the various gods and mortals of Greek mythology.

The poems found in the book are a wonderful starting point for anyone unfamliar with mythology. They give, in some cases, just enough of the story to tease, thereby prompting you to search out a copy of Hamilton's *Mythology* to learn the whole tale. And it is also a great book for those readers that have a fondness for mythology, though not necessarily poetry, simply because the form is so befitting of the topic, and the selections were, for the most part, meticulously chosen.

I, myself, was very pleased with the collection as a whole. And that included within its pages is Louise Gluck's *The Triumph of Achilles,* well, for that alone it won me over.

Excellent collection on Myth Poems by well-known poets.......1999-10-09

This is a unique collection with selections by the most prominent poets of our time, featuring Mark STrand, Jorie Graham, Stephen Dobyns, Marilyn Hacker,Richard Howard, Nicholas Christopher, Linda Gregg, Jack Gilbert,Katha Pollitt, Rachel Hadas, Richard Jackson and others. It is borken into sections by myth and would be an excellent book to use for writing and/or literature courses. ALthough it does not cover every myth, it features the most well known.

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