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Renato Martorelli martorelli1971 — 2.5 stars A few people have already pointed this out and I have to agree- this book is based on some pretty whacky and unlikely coincidences. The main character must be the luckiest man alive, that's all I can say. Some parts of the book were absolutely hilarious. The first segment which was based in Ireland was B-O-R-I-N-G and a complete waste of words. The Las Vegas segment was my favourite, probably because I had seen alot of what he explained first hand when I travelled there recently. I stayed at the Bellagio as well, so it was awesome to read about his experiences there. Some of the graphic explanations of golf and poker had me drifting off and the writing style was distinctly 'male'. I have no doubt the author did that so his book would appeal to men over women. All in all, it was very funny in parts, but the quality of writing just wasn't there the whole way through the book.

Wenzhi Lee liwenzhi — Space: I’m in Coolidge’s mind space digging on the various resonances of this simple word with the poetry contained within the book of this title. It helps that the epigraph is a direct transcription of a dictionary entry of SPACE. It’s an open word, capable of encompassing the specific and the unspecified. It is an emptiness but also a thing. It’s like the number “zero” in the realm of things. There is so much going on in this simple word that the dictionary entry could be a complete poem in itself. The title of the collection itself is a stroke of genius, let alone the poems that make up the space of Space. The book is divided into four distinct sections that in my analysis travel a rough progression from a poetry of things, of things of the world, to a poetry of fragments of pure word. In my mind it traverses a similar narrative arc as Kubrick’s 2001: A Space Odyssey – from earthy apes with feet firmly planted on earth to astronaut fragmenting into ethereal space baby (the last "word" in the book is nize - and as it came out two years after the film for all I know the film was one of the ten thousand things in Coolidge’s mind as he put this book together. Though this is poetry very much constructed out of individual lines which themselves are constructed out of individual words (or even word fragments), as opposed to poetry constructed out of overarching ideas or concepts, it can not be readily illustrated by individual lines, as it is also a poetry of cumulative rhythmic effect and composition; but the following four lines are examples of each of the four sections of the book: roughen the skin around the lapel, the lemon what buck last cattle lap form pits lock mix deem or the and dense Instead of picking these at random I could have searched for lines that more directly illustrated my idea of the progression of the poetry through the book, but I liked the idea of randomness, and I think there is some indication here of my premise, of a progression from direct tactility of things (however hard to actually envision) to a tactility of pure words. Here is a complete poem from section four that is one of my favorites in the book: OUR We’ve the doesn’t. This suspension. This this. Then but. Back at a. If the: here which, now why. Because they. Out. Mode they. They they. That I we’ve. We’ve risking. We’ve and. Nothing but words. Not an image here. But if you read the book in order by the time this poem is reached your mind is so full of Coolidge’s extreme concision and denseness and tactilenss of language, and rhythm, especially rhythm, that all these “filler” words, words with no tactile resonance or associated imagery or even simple meaning, actually become overblown with significance and feel and music, which all add up to a meaning that is more music meaning than language meaning (if one is unaccustomed to regarding language as music rather than functional meaning). This book is Cooldige at his best, and as it’s also his first book, I do wonder how he managed to produce other bests after it, but do it he did, and do it he did in spades. Through a long career, which is still continuing, poetry such as this, with infinite variations, has appeared from him, while managing to remain a more intuitive than theoretical poet, which for me is generally a higher aesthetic level. Of course it is also a poetry of extreme subjectivity (in language that is; he very rarely proceeds from a psychological space, which is usually what I associate with subjectivity), and so is elusive even to people who have been reading him for twenty years, such as myself. But it is also a poetry of mystery, of deep aesthetic mystery, as in “What in the hell is he doing?! And why do I like it so much!?”. <<<review truncated, must get back to work...>>>

龚 欢 23622740303ce2 — Brilliant. Not that you can probably teach yourself Latin without assistance, but this book is simply grand with teaching! The progression from chapter to chapter is ideal and enables one to speak simple phrases very quickly, and eventually to be able to use all the basic grammar. Starting with the simple -s, -m, -t sentence, it quickly works its way up to the complexities of poetry. With a little bit of story thrown in. The late Orberg is to be commended for doing such a good job!

Derrick Cage _errickcage — it would be really great if every one has such a feeling to his own Matilideh.like neruda.

Rob Pace robpace — Molly Ivins is a great story teller and a great writer. She had a keen eye for the truth and absurdity in daily living and in politics. I only wish more people had listened to her insights on W.