This is the story of the journey of an idea - that of engineering a society conceived as an organism - from its roots in the romantic movement with Michelet to Lenin, the ultimate man of action, on the threshold of power. Only Edmund Wilson, whose erudition as an autodidact was unsurpassed in his time, could have pulled this off: the ideas and inspiration pulse with life on every page. You get to know Marx, ENgels, and scores of other characters intimately as they dream of building a socialist order that would fundamentally re-order society and its economy. WHile I was never a sympathiser for communism, this most certainly gave me a feeling for the seductive beauty of the dream. THere is even a forward by Wilson, who admits to being overly optimistic, that what he chronicled with such excitment actually led to "one of the most horrible tyrannies in the history of mankind." THis is intellectual history at its very best, freed in the hands of a master writer from the pedantry and puffery of academia, and unflinching in the audacity of its partisan interpretations. Also beautifully written, it is a window into the hopes and dream of the 20C.

Warmly recommended.

It is a singularly ironic fact that one of the most important books of the 20th century, written and published in 1940 by one of its most perceptive, intellectually gifted, and universally accepted authors, Edmund Wilson, would, until very recently, find itself sadly out of print. To my mind this is a scathing indictment of our current level of intellectual prowess. Or, perhaps it is more properly a reflection of the decreased public and academic interest in communism based on the collapse of the former Soviet Union as well as the curious transmogrification of China into some version of a politically correct socialist state practicing along the margins of capitalism. Yet in truth this book is such a marvel of intellectual achievement and writing skill that it should be read, if not devoured, by anyone with any serious interest in non-fiction writing as an avocation.

Edmund Wilson has suffered the same fate as the book, which is equally as curious. Of course, he was not as notorious as literary figure as one of his 20th century colleagues, H.L Mencken, who is still largely in print and in vogue, but Wilson so towers over all of his contemporaries that it is indeed mysterious that he has fallen into relative obscurity both as a writer and as a critic, as well. Yet Wilson was truly a renaissance figure, a gifted and talented poet, playwright, novelist, historian, and critical reviewer for a variety of magazines and periodicals such as the New Yorker, Vanity Fair, and The New Republic, a man able to articulate his position with regard to a plethora of social and political issues with great power and verve.

Yet it was in tomes such as this that he achieved his greatest powers of exposition, in this penetrating, quite detailed, and absorbing review of all the chief philosophical, political, social and economic elements of the chief architects of the Soviet revolution. Wilson had been a great student and admirer of the collected works of Karl Marx, and brought his immense intellectual and reporting skills to bear in describing the men, the ideas, and the issues of the so-called October revolution of 1918. It is the single best source of information regarding all of the various components of the massively important revolutionary process, neatly synthesizing the ways in which the various personalities, political circumstances, philosophical predispositions, and historical happenstance combined in the moist unlikely of revolutions in what Karl Marx considered one of the least likely of states, one so rural, so backward, and so vastly composed of uneducated ragged proletariat.

And in this stunning exploration we find new reason to understand and appreciate the power of individual personalities in the historical process, and the way that exceptional figures like Lenin, Trotsky, and Stalin, and the ways in which various aspects of Marxist theory were used and abused in promulgating what would become Soviet socialism's dogmatic approach to creating a worker's paradise. As we thread our way through the particulars of Marxian theory Wilson is so intricately familiar with, we begin to understand his fascination with both Marx's genius and the subtleties of Marx's exposition. Too many of us forget how bastardized and vulgarized the versions of Marxism promulgated by Stalin were, and how much they worked against the inexorable truths Marx found ticking away in the universal time-clock he saw operating behind history's time.

So, too, is Wilson's examination of Lenin a wondrous thing to read through, with his thoughtful if perhaps too sympathetic explanations of Lenin's goals, motives, and frustrations in trying to set the revolution on course and on-mark with the needs of the modern socialist state he envisioned to grow from the original seizure of power. Unfortunately, he never lived to see the radical experiment through to its fruition, nor the fateful poisoning of the spirit of the revolution accomplished by Stalin in his paranoid and sociopathic manipulations and purges. This is an absolutely magnetic reading experience, one that will illustrate just how powerfully and how memorably a writer with extraordinary gifts and an incredible intellectual acumen can be. I highly recommend this book for anyone aspiring to a serious education about the events of the 20th century, of which the Soviet revolution of October 1918 is certainly an extraordinarily important part. Enjoy!

It has been twenty years since I read "To the Finland Station", a story of the rise of communist thinking, from its earliest beginnings to Lenin's triumphal return to St. Petersburg. I don't recall much of it, except this: it is the best work of history I have ever read.

Anyone who wants to know what it means to be a writer should read this book, regardless of his or her interest in the subject. As night follows from day, those who are interested should read it, as well. It is a perfect illustration for one who believes that how a story is told is ever as important as the story, itself, and who wants to study an example where both are exceptional.

The content will prove valuable to anyone concerned with modern world history.

I, unfortunately, found the book after our recent trip. I had to laugh at so many of the customs and especially the traits, as I am of Finnish decent. It was light hearted, and I found it to be right on the mark, especially in helping me find out why I am the way I am. Have passed the book around and everyone agrees that it's a winner!

I read Deborah Swallow's book after I'd been to Helsinki twice and it was a delight to read a book by someone who seems to like the place as much as I did. The book is a very entertaining mix of facts, personal anecdotes and advice. Well researched and well written! So if your friends wonder if you are crazy to travel to a remote, cold place like Finland: hand them this book and they'll understand!

I'm leaving in August to be an exchange student to Finland and this book told me everything the Lonely planet guides were afraid too! This book was divided into nicely planned sections with a wonderful section dedicated to doing bussiness in the country. No book about Finland would be complete without the sauna chapter- and this book spares nothing. It has been by far the best preparation book I've read. The only downfall is that it is written by a Brittish woman- but she makes both Bristtish and American comparisons whenever possible.

All too often, Finland has been unfairly treated by many snobbish travel writers - too clean, too expensive, too Northern. For many of those identifying Finland only with mobile phones, the history, the architecture and the landscapes of this brave, spectacularly handsome and exceedingly talented country is largely unknown. This guide tells the story and shows the pictures in a friendly, seemingly effortless and hugely informative way.

The book - in common with other Insight Guide publications - is as beautiful as the cover picture suggests. They do not cut corners on buying top quality photos or commissioning informed articles, and it shows. The writing does not have the cynicism and grumpy attitude of shoestring-travel guidebooks: instead, it offers warmth and genuine attempt to look into the country and its people (not only to list its cheapest accommodation).

Insight Guides is quite laconic about basic survival within the country, but the pages that are there fully fit the task suffice. Moreover, in Finland, where the knowledge of English is practically universal and the system of public information about transport and other facilities is second to none, you do not need too much hand-holding anyway.

This beautiful and informative book is worth every penny.

I lived in Helsinki for 4 months and traveled around a bit (to Kuopio, Karigasniemi and Ivalo, as well as eastward to St. Petersburg). This is the best guide to Finland I've seen in English. They give not only important tourist information (maps, restaurant and hotel recommendations, attractions, tips, etc.), but also great cultural and historical information that will help put all the tourist stuff in perspective for you.

Finland can seem surprisingly foreign if you're expecting it to be just like Scandinavia or the rest of western Europe. But with a little help from the Insight guide you'll find it unique and exciting and beautiful rather than frighteningly different. Get ready for all the stereotypical pleasures (like the sauna and amazing architecture) and some less stereotypical ones like cutting edge, world class design, beautiful birch forests, spectacular lakes, and really weird yogurt-like stuff and juustoleipä!

Finland, here you come!

With vivid descriptions of cultures and places, superb maps, expert historical discussions, and delightfully charming photographs from cover to cover, this guide offers the reader everything needed to visit this magnificent, magical country.

I read Friberg's translation, along with every other available one in English, as research for my picture book retelling _The Maiden of Northland_. Friberg's was simply the best, by far. Someone please bring it back into print!

Friberg does a good job of translating the Kalevala into a readable English form. The Kalevala is a collection of 'Runos' or poems that were sung by storytellers. Friberg's translation is of the spirit of the stories. Some translations have tried to translate both the verse and the story making both dry and uninteresting. Frieberg concentrates on making the story read well in current English.

This translation if folksy and sensitive to the feel of the original. Although not encumbered with scholarly precision, it is right on the mark for continuing the ancient tradtions of the Finns. This was a major resource for me in the writing of my book Finnish Magic. The illustrations too are delightful

One of the most interesting things about this book is the sheer variety of aircraft involved. One cannot help but feel admiration for the author and his compatriots for the courage and bravery they showed in spite of the odds they faced. What they lacked in numbers they more than accounted for in skill. Although often equipped with aircraft that were considered obsolete by the "great powers", they still managed to outfly there opponents who were usually equipped with technically superior aircraft.

Another admirable trait is the authors modesty. Unlike many combat pilots, Luukanen gives a great deal of credit to the humble mechanics and ground crew who kept his aircraft flying in spite of often poor conditions. All in all, an excellent story.

I first read this book 15 years ago, intrigued by the cover. It tells the experiences of a fighter pilot and his unit during the two wars between Finland and the Soviet Union 1939-1945. It describes the incredible bravery and skill of the Finns, as they fought to preserve their independence from Stalin's empire - an endeavour in which they were largely successful. Despite being vastly outnumbered and equipped with obsolete aircraft, the Finns managed to destroy an incredible amount of Soviet aircraft, while protecting their vulnerable cities from bombing. This book stands as another testament to the rugged spirit of the Finns during WWII.

I first ran into this collection two years ago, when taking a course on Finnish literature. Poetry has always made up a large part of my reading fodder, and this is one of the best. The poets here aren't well know outside of Finland, but they all should be. Edith Sodergran is absolutely mesmerizing. Her "Vierge Moderne" is one of the most powerful works ever written in any language. Now I just wish I knew Swedish so I could read these in the original, although from what I can tell, McDuff's translations are incredible. (And who can beat that title! ) I know this book isn't readily available on this site (when I ordered it, it was unavailabe, and I had to get it from an--ahem--rival site), but it's well worth the trouble of tracking down.

Very few American readers are likely to be familiar with modern Finland Swedish poetry (unfortunately), Bo Carpelan and Edith Sodergran being the only authors with any international reputation. This book is a very rewarding introduction to some of the leading 20th century writers. McDuff combines solid translations with good short essays discussing the writers lives. I could quibble about minor points (the inexplicable omission of Tua Forsstrom or Ma"rta Tikkanen), but this is a great book. We need a volume 2 now, covering Forsstrom, Tikkanen and new poets such as Henrika Ringbom.

Beautifully illustrated and written, an unusual story of magic, nature, and the age-old battle between good and bad, with the bad being a grumpy, tantrum-throwing, but all in all, rather endearing witch. My daughter's favorite for many, many years.

I learned to read with this book, and now, as an adult, i am still in love with it. It has beautifull illustrations and a great plot.

In an effort to broaden my horizons in epic and mythological literature, I bought two books on a whim: The Kalevala, a Finnish epic poem with roots in prehistoric oral tradition, and Njal's Saga, the thirteenth century prose account of the lives and tribulations of a group of families and friends in late tenth and early eleventh century Iceland. After reading about 100 pages of Njal's Saga and nearly perishing from sheer tedium, I turned to The Kalevala and received a pleasant surprise.

The Kalevala is a non-rhyming poem consisting of fifty cantos ranging over about 670 pages. The cantos are meant to be sung and were collected in the nineteenth century by Finnish scholar Elias Lönnrot as he traveled around Finland listening to old men sing from memory. The actual number of such collected stories is mind boggling and only a small fraction comprise the loosely connected plot of The Kalevala. Lönnrot even modified some of the stories himself to make the poem a more satisfying piece of literature in its own right. The story follows an amazingly small number of major characters who can loosely be described as warrior-wizards: an old wise singer, a talented metal smith, a foolhardy and womanizing young man, a tragic orphan boy, and a trouble-making woman who plays the antagonist throughout. Together they can conjure up armies by singing, build boats and musical instruments out of virtually nothing, and even shape shift into giant winged creatures. In this land of long ago, ships can talk, pike grow to be the size of houses, and people can be brought back to life by stitching their body parts together! Yes, my friends, it doesn't hurt to be a little open minded with a book like this.

It's difficult to characterize or critique this book because it is so unique, so different from anything I've ever read. The poetry itself is surprisingly simple and easy to read, yet oddly satisfying. When Vainamoinen, the old singer and dominant character, finds himself in a predicament, what does he do? Does he sit down and rationalize his thoughts, plan out his course of action in detail? (I'm already speaking in paired lines!). He probably does, but that's not what is narrated to us. Instead, "He thinks, considers / how to be, which way to live." (p. 202) And these two little lines, in all of their simplicity, are more poignant and powerful than any psychological exposition could be. We picture Vainamoinen, the great warrior-poet, "thinking" and "considering" as if he is momentarily stumped. He is humbled, brought down from his usual decisive and confident self, by his own sudden realization that the complexity of the world is too much even for the mighty Vainamoinen. Then he thinks about how he should "be" and about his own life, reminding us that our own way of life--our choices and decisions--defines our being, who we are. Through these lines we relate to Vainamoinen and his struggle; we are comforted by his imperfections because they make him, a wise and gracious character, closer to us.

As a text that is meant to be sung, The Kalevala is riddled with patterns, both in the form of the poetry and in the plot itself (which Bosley calls "formulas"). One of the more obvious quirks of the poem is its tendency to rephrase the previous line in the current line, giving the work a kind of lyrical quality one would find in a musical: "'Might I say something / would I be allowed to ask / what kind of man you may be / what sort of fellow?'" (p. 73) Another is the presence of repeated identical lines, especially within the context of parallelism. When Kullervo says goodbye to his family in canto 36, he addresses his father, brother, sister, and mother one by one and in an identical fashion (parallelism): to each he asks "Will you weep for me" and is answered "I'll not weep for you", then states "And I shall not weep for you." We go through this four times. From a literary standpoint this is done (evidently) for emphasis. But because the original was sung, I think it's more likely that repeating structures would serve as a sort of chorus for the listeners. When viewed from this context of song, the poem's structure makes greater sense. However, the content of the poem-particularly the more magical parts-can be difficult to relate to.

As with any work that is archaic to begin with and a translation, the reader will here occasionally feel as thought there is a major disconnect between his own purpose for reading and the purpose for which the story was originally intended. As a modern young American male with no connection whatsoever to Finland and very little knowledge of formal epic storytelling, I approached The Kalevala as if it were, at the least, a good opportunity to broaden my conception of epic literature and, at the most, an entertaining story. I say this because any work like The Kalevala will be at least a good experience if taken seriously. The question is: is it really entertaining to a modern audience? (a much greater--and probably unrealistic--expectation). Now I know that a scholar would scoff at the question, but it is a legitimate one from the standpoint of the individual who comes to the work purely out of curiosity. Setting oral tradition aside and viewing the poem as free-standing literature in the context of non-Finnish culture (I can't comment on the work's appeal in such an environment), I would say that there are parts of the poem that are entertaining. But I caution the eager adventure-seeking reader: patience is a prerequisite here. But, more often than not, this is a sign that something greater than the memory of a few hours of entertainment awaits you at the other side of the rainbow.

If this is appearing with the Magoun translation: This is a welcome paperback incarnation of a solid, reliable, standard translation, originally published four decades ago. I have reviewed the hardcover edition of this translation, and of the similar rendering of the epic's first version, "The Old Kalevala," and will summarize my views here. However, you may be seeing with the paperback of the Bosley verse translation of the (New) "Kalevala," another reputable version , to which some of my comments apply equally well.

"Kalevala," variously translated as "Kaleva District" or "Land of Heroes," is a nineteenth-century compilation, revision, and expansion of narratives, spells and charms, and proverbial wisdom collected from the Finnish-speaking peasants and fisherman of areas of modern Finland and Russia. It is made up largely, but not entirely, of "runos," narrative songs when even then survived in isolated, "fringe" areas; ballads with clear connections with other cultures also make an appearance. The material is, for the most part, clearly pagan in origin, with hints of roots in the Viking Age, if not earlier, but processed through centuries of Christianity, Catholic and Lutheran in Finland proper, Russian Orthodox in the Karelia district. Fortunately, Elias Lonnrot, the main collector, and the man responsible for this literary version, was also engaged in laying the foundations of the scientific study of folk traditions, and the collections he made or sponsored formed the basis of a major archive, the publication of which was only recently completed. In the meantime, his popularization had become a part of the world's culture, as well as that of Finland.

The contents are various, but the main themes are the military and romantic adventures and misadventures of a handful of warrior-magicians, as quite with an incantation as with a sword. Vainamoinen, "the Eternal Sage," and a kind of demiurge who sings the Finnish homeland into being, is born old, and his attempts to find a wife lead to the creation of the mysterious and wonderful "Sampo" by the smith Ilmarinen, as a kind of bride-price. These two great heroes share the stage with the irresponsible Lemminkainen, a kind of combined Don Juan and Achilles, and the hapless Kullervo. His story, presented as a cantata by Sibelius, is one of the underpinnings of Tolkien's "Silmarillion." (When the latter first appeared, it seemed obvious that the Quest for the Sampo, and its ultimate fate, was a major inspiration for Tolkien; publication of his early versions show that most of the resemblances emerged over time, in the course of endless reworkings.)

There have been a number of abridged or retold versions of "The Kalevala" in English, and two early complete versions in verse, by Crawford (from a German translation; available on-line), and the Kirby translation (Tolkien's introduction to the work). Magoun's translation filled a need for a more literal treatment, with more supporting information. There have been two later translations of the "New Kalevala" into English verse, by Eino Friberg (1988) and Keith Bosley (1989), which many will find more appealing. But for those who want both the story and all of the details, and either don't care about, or don't care for, such things as meter and rhyme, Magoun's translation remains a first choice. For those who know the epic through other translations, it is still worth consulting. I hold it in high regard.

The Kalevala is one of the greatest (and yet largely unknown) epic poems of all times. Although relatively young when compared to the works of Homer and so forth, this Finnish epic draws deep into Finland's Shamanic heritage and is indeed based off these old myths and legends. It concerns the adventures of Vainamoinen the wise Shaman, his companion Ilmarinen the smith and the bold, young Lemminkainen. Those who have studied Shamanism will already see a Shamanic aspect in the association between Vainamoien and Ilmarinen, for in many cultures smiths and Shamans are linked together. There are many more Shamanic archetypes and beliefs found throughout this book, such as a bear sacrifice which is startlingly similar to that observed amongst the Ainu and Lapps of recent times. This book, perhaps the only real direct source of Finnish mythology and religion, explores an oft neglected culture. After all, any school child can tell you of the myths of the Greeks, Romans or Germanic peoples, yet the mythology and heroes of Finland have remained largely unknown. A real pity as this epic is filled with deciet, trechery and heroism which easily could stand beside the works of Homer, Virgil or Valmiki. This translation, perhaps the best available, both for the price and in terms of being generally accessable, is certainly worth owning. Whether you are interested in mythology, history, anthropology, Finland or just like a good story, there is bound to be something in this book which appeals to you.

This book is a must read if you have ever had a "Best friend" thier wild adventure will inspire you to wake up and want to live life to it's fullest! The author keeps you on your seat of excitment to see what happens next. Sisterchicks forever!

This book kept me up late because I didn't want to put it down. It made me laugh. It made me cry. It made me realize I am a sisterchick myself. Robin Gunn's writing is so beautifully descriptive. I almost felt as though I'd taken a trip to Finland with her. I highly recommend this wonderful book. Give a copy to your best friends!

Reading this book was like taking a relaxing and entertaining vacation for a day. That sounds like a cliche, but I can't think of any more accurate way to describe it! As a twenty-something mother of a toddler, I wondered...would I even enjoy a book about middle-aged mothers of teenagers and their friendship? However, the story carried me across the world from my daily responsibilities and gave me a 24-hour vacation! I loved it!

Best friends and middle-aged mothers Sharon and Penny embark on a crazy trip to Finland to search for Penny's roots and relatives. While dealing with lost luggage and entertaining encounters with strangers (and consuming great quantities of chocolate), they each discover new sides to their identities and hidden strengths in themselves and their friendship. The hilarious chapter describing their first encounter with a Finnish sauna is worth the price of the book alone! Robin Jones Gunn has created genuine, down-to-earth, endearing, unfailingly fascinating characters. Just make sure you have plenty of time to read when you pick up this book because it will be hard to put down!

Christopher Hilton's biography of Finnish racing driver Mika Hakkinen was written before Hakkinen won the Formula 1 World Drivers Championship at the wheel of his West McLaren Mercedes last year.

Hilton opens his story with the final fateful moments leading up to Hakkinen's serious accident during qualifying for the 1995 Australian Grand Prix in Adelaide, and days later, Hakkinen's regaining consciousness in the intensive care ward of an Adelaide hospital.

He then takes us back to the beginning, retracing Hakkinen's childhood and early racing career in Finland through to his inevitable move to Britain, his progress through the junior racing formulae and the break into the big-time with the now-defunct Lotus F1 team.

The story ends towards the end of 1997 ‡ just, it can be argued, when it was getting REALLY interesting!

Hilton's style is idiosyncratic, but readers who are happy to put up with his asides and personal touches will be rewarded with an empathetic, well-researched and ultimately authoritative work on the latest F1 World Champion.

But despite Hilton's claims that Hakkinen remains one of the most accessible F1 racers of his time, this book lacks a certain something.

Hakkinen certainly comes across as unaffected, accessible and supremely talented ‡ racing a car at breathtaking speed is, after all, only ìdoing what comes naturallyí, as Hilton's book is subtitled.

But unlike biographies/autobiographies of previous world champions ‡ Alan Jones' collaboration with Keith Botsford, ìDriving Ambitioní, or Botsford's collaboration with Keke Rosberg, ìKekeí spring to mind immediately ‡ one leaves Hilton's book with a little sense of knowing the man.

Even one of Hilton's own previous efforts, Ayrton Senna ‡ The Hard Edge of Genius, gave a far greater insight into its subject. Perhaps that was an indication of Senna himself; he was known to be a man given to deeper thoughts than many of his contemporaries and rivals.

Work may be underway even now on a book by Hakkinen's own hand. But for his fans, and they are legion, for the time being at least this book is about the best there is.

Hilton has done a fair job, and shown impressive prescience in selecting Hakkinen as a candidate for a biography. It needs to be updated, to take account of the 1998 championship-winning season.

Hilton's book will sell well and satisfy the inevitable post-championship demand for information on the man of the moment. But it's not the definitive essay on Hakkinen that his fans, and fans of motorsport generally, are waiting for.

This is another great piece of work by Christopher Hilton. Now, don't think I'm a Hilton fan. I'm simply familiar with Hilton's work. I purchased this title for the simple reason that Hakkinen is my all time hero. I recommend this title to any Formula One or Hakkinen fan. Do note that it only goes up to the 1997 season, but that is what you want to know about anyway, right? Learn about Mika's "casual" living style and sometimes a little too "carefree" life as an up and coming driver. There will be laughs along the way without doubt!

Enjoy!

Now that Mika has one the World Drivers Championship (twice), this makes an interesting read.

Although seemingly distant, and lacking interest in his chosen sport, this book highlights the talents that Mika clearly has in order to achieve his dream.

With help from his boss, Ron Dennis, Hilton highlights how Dennis and Hakkinen spent many long hours coupled together, penetrating each other's heads and, ultimately, getting the best out of each other. The book's title expresses this in concise terms.

While illustration is sparse, it spares us the pointless "page filling" of many lesser books, and gets to the point.

A great read for any fan of Mika, and McLaren.