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Stewart Edward White (1873-1946), an American author, was born in Grand Rapids, Michigan. He earned degrees from University of Michigan (Ph. D., 1895; M. A., 1903). From about 1900 until about 1922, he wrote adventure travel books. Starting in 1922, He and his wife Elizabeth "Betty" Grant White wrote numerous books they claimed were received through channelling with spirits. They also wrote of their travells around the state of California. His works include: The Claim Jumpers (1901), Conjuror's House: A Romance of the Free Forest (1903), The Forest (1903), Blazed Trail Stories, and Stories of the Wild Life (1904), The Mountains (1904), The Silent Places (1904), Arizona Nights (1907), The Riverman (1908), The Rules of the Game (1910), The Land of Footprints (1912), The Sign at Six (1912), African Camp Fires (1913), The Gray Dawn (1915), The Leopard Woman (1916), The Forty- Niners: A Chronicle of the California Trail and El Dorado (1918), and The Killer (1919). --This text refers to the Paperback edition.

I sat fishing. I had not caught anything of course-I rarely do nor am I fond of fishing in the very smallest degree but I fished assiduously all the same because circumstances demanded it

I read this book the first time when I was about 12, and it totally changed the way I thought. Basically, it's about perception, about the way we filter all our thoughts through our already existing experiences. By doing so we miss opportunities to process truly new information. Although I recommend this work on the strength of what I got out of it, it also works simply at the level of a good story: well written, easy to read, creating a believable future world. I certainly agree with the assesment of another reviewer that this classic deserves to be much better known!

本书故事发生1867年的英国。富家子弟、化石学业余爱好者查尔斯·斯密森增小镇莱姆会见已经与他订婚的欧内斯蒂娜·弗里曼小姐，在海边，他遇见被人们称为“法国中尉的女人”的萨拉·伍德拉夫。据说这个女子“很堕落”，然而她身上那种极富女性魅力的特殊气质使查尔斯倾倒；他热烈追求萨拉，导致他与欧内斯蒂娜·弗里曼的婚约被解除，不过萨拉虽然好不容易找到她时，她却已经在一位名人的保护之下，成了一个强调自由和男女平等的“新女性”。约翰·福尔斯在小说中批评了英国维多利亚时代社会的发展不平衡、科技进步没有造福于大多数人民等种种弊端，尤其猛烈抨击了当时社会道德意识上的守旧和虚伪，人们没有自由，相互之间缺乏理解，因此本书具有深刻的社会意义。这部作品创作手法上的两大特点引人注目：一是在叙述过程中作者插入各种议论；二是作者为故事设计了三个不同的结尾，他认为这样更接近生活的真实。

This is a book of stories. For that reason I have excluded all purelylyrical poems. But the word "stories" has been stretched to its fullestapplication. It includes both narrative poems, properly so called; talesdivided into scenes; and a few pieces of less obvious story-telling import in which one might say that the ramatis personae are air, clouds, trees, houses, streets, and such like things. It has long been a favourite idea of mine that the rhythms of `verslibre' have not been sufficiently plumbed, that there is in them a power of variation which has never yet been brought to the light of experiment. Ithink it was the piano pieces of Debussy, with their strange likeness to short vers libre poems, which first showed me the close kinship of musicand poetry, and there flashed into my mind the idea of using the movement of poetry in somewhat the same way that the musician uses the movement of music.

Where Late the Sweet Birds Sang is a science fiction novel by Kate Wilhelm, published in 1976. Parts of it appeared in Orbit 15 in 1974. It was the recipient of the Hugo Award for Best Novel in 1977, and was nominated for the Nebula Award for Best Novel in 1976. The title of the book is a quotation from William Shakespeare's Sonnet 73.

New York dilettante Philo Vance decides to assist the police in investigating the death of another man-about-town because he finds the psychological aspects of the crime of interest and feels that they would be beyond the capacities of the police, even those of his friend District Attorney Markham. Vance investigates the circumstances under which the body was found and reconstructs the crime sufficiently to determine that the murderer is five feet, ten and a half inches in height. Together, Vance and Markham investigate Benson's business associates and romantic interests until Vance manages to pierce the murderer's alibi for the time of the murder and force a confession.