Artists Books

i was introduced to Mark's images through her wonderful work in the picture book of the film BABEL. I was very impressed with her Magnum-esque images and after purchasing this book, i was equally as impressed by her talents. he Book whilst quite compact, beautifully presents some very strong and memorable images.

This is yet another in a spectacular series of Phaidon 55 books devoted to some of the most important photographers of our time. This terse volume on Mary Ellen Mark's work includes all of her major documentary photography essays, ranging from her landmark series on homeless teens in Seattle, featuring Tiny, the waifish prostitute she'd befriend, to circus performers in India and Mexico. Indeed her work truly demonstrates her strong interest and compassion for people, depicting homeless Americans, Irish Tinkers (Gypsies) and India's impoverished masses with much interest and empathy for each of her subjects. This splendid book truly captures the immense breadth and depth of Ms. Mark's work. For years I have greatly admire her work and am pleased that some of her finest images are available now in this inexpensive book. Photographer and writer Charles Hagen has a superb introductory essay on Ms. Mark and her career. Without question, this fine volume is an exceptional introduction to Mary Ellen Mark and her critically acclaimed documentary photography.

I read about the Phaidon 55S series in Popular Photography and thought I would check out the volume on Mary Ellen Mark. I have been drawn to her photographs for years and had recently seen an exhibition of her work in NYC. She has Walker Evan's gift for capturing moments in people's lives and she finds the life beyond the smile or grimace of the subject.Her subjects are lively and a bit wicked at times, but there is supreme truth in her photographs. This series gets its title from the fact that each book has 55 photos by the subject. The price is excellent for someone who wants to collect some great art for a low price. Great introduction to a talented artist....highly recommended.

Summary: These black-and-white images are produced on wonderful paper and with great quality. They explore the underlying human qualities we all share. The work is introduced by a Maya Angelou poem, and is concluded by an excellent essay in which Ms. Mark explains her work. Her subjects are mostly people of the economic and social underclasses as they pursue their hopes and dreams, while dealing with their day-to-day problems. Viewing these photographs will draw you closer to people who, on the surface, are quite different from you. The models are often captured over time and in alternative settings to help explain their lives and personalities.

Content Caution: The images in this book contain a few involving minor female nudity that would earn its contents an R rating if it were a motion picture.

Review:

"I note the obvious differences

in the human family."

" . . . but we are more alike, my friends,

than we are unalike." -- Maya Angelou

The theme of this poem nicely captures the focus of this book of loving photographic images. As Ms. Mark says, "I much prefer to photograph people I care about." She wants to "build a rapport with my subjects." In studying them, "I am guided by what moves and surprises me." That final element will affect you as well. Too often, we mentally pass by those around us. Ms. Mark's images make us want to reach out with our hearts and minds.

The book shows people from all parts of America over the period from 1963 through 1999. The photographs portray all kinds of races, creeds, colors, and political and sexual persuasions. Ideas that you may not like are portrayed involving people you will probably find appealing. That juxtaposition of people and issues will cause you to rethink how you relate to others. It will probably make you more modest and humble, and that's good. Special themes involve the mentally ill, twins, homelessness, beauty contests, political rallies, and families over time.

My favorite images in the book are as follows:

Santa Claus at Lunch, New York City, 1963;

Marky Mark concert, Jersey City, New Jersey, 1993;

Hot Tub, West Orange, New Jersey, 1999;

Bodybuilder, Daytona Beach, Florida, 1991;

Russell, Kansas, 1986;

Mary Frances in the tub, Ward 81, Salem, Oregon, 1976;

Jail, Houston, Texas, 1977;

Husband and wife, Harland County, Kentucky, 1971;

Jesse Damm, Llano, California, 1994;

Hurstie Laxton after the flood, St. Louis, Missouri, 1993;

Million Youth March, New York City, 1998;

Lakiesha, South Dallas, Texas, 1988;

Clinton Albright and his father, Santa Clarita, California, 1982;

Nightclub off of Highway 61, Michigan, 1991;

Vashira and Tashira Hargrove, twins, H.E.L.P. Shelter, Suffolk, New York, 1993; and

Tiny, pregnant, Seattle, Washington, 1985.

After you see these photographs, you will probably agree with Ms. Mark that she has been on "a long and blessed journey" that has opened her heart and ours.

Seeing these photographs should encourage you to become acquainted with people you see who you would normally not think to speak to. Try living that way for a day. If you enjoy the experience, keep on going -- taking it . . . one day at a time.

Find the common ground . . . wherever you go!

I was fortunate enough to see the exhibition of these photographs at the International Center of Photography a few days ago. If you can, go to see the show before it closes. If you can't, buy this book and get a glimpse at the power of a photograph.

Though no expert, I enjoy the art of photography. I am particularly interested in portraits of real people. Mary Ellen Mark has the ability to capture people with extra-ordinary depth and feeling. Almost without fail, her images are moving. With a skill beyond the normal artist, however, her images have the ability to be thought-provoking.

Consider a photo labelled "Aryan Nations, Hayden Lake, Idaho, 1986." Three pleasant-looking, smiling women--the cherubic face of the woman on the far right particularly draws the eye--set in counterpoint to their white supremacist garb. Or consider the series of photographs of Tiny who has clearly experienced many things in her life but who face, amazingly, holds the same soul in each image. Or consider the contrast between the photographs of Julie d'Aquili and Cynthia Galves despite their similar poses. Julie is a healthy young woman but her somber expression stands out starkly against the cancer-ridden Cynthia who still manages a smile.

I believe that I could write something about every single photograph in this collection. Let me instead just say that these photographs will grip you and hold your attention for hours. You will come back to them again and again. And, unlike reproductions of paintings in a book, photographs do not suffer from the process nearly as much. I would encourage anyone with an interest in photography to take a look at this book.

I've had one of these beautiful calendars on my desk since 2000 and look forward to one each year. They make a nice gift too!

I bought this as a gift for my mother, an Elementary School Secretary, and she just loves it. She often uses the inspirational quotes in the daily bulletin for her school. Wonderful Optimism.

I got this one year and it made a huge difference in my life. I thought I outgrew it the next year and didn't get one. Then felt like a baby if I bought it again the following year. I tried to get mature challenging calenders. I finally treated myself to this again this year and I feel so much better already. It's a way to treat yourself well. Adds sweetness and kindness and simple pleasure to the daily grind. It helps make me a better person in my day. Get it, give it. It's a treat worthwhile.

This is the 5th year my desk has been graced with a Mary Englebreit calendar. The artwork and printed thoughts (sometimes very thought provoking) bring sunshine to the start of every day. I have purchased others throughout the years, but keep coming back to Mary's. I enjoy the smile it brings to my heart on a daily basis. Try it, you'll love it!

Last year I purchased 20 of these calendars for all my girl friends. Owning this calendar is akin to having a little bit of personal sunshine in your life, each and every day. Very positive, happy, cheerful stuff and strangely enough, personally relative, quite often. If you need a "bright spot" in your day, this is the calendar page to turn. I've had one of these calendars every year for so many I can't remember and have turned many others on to her--who subsequently become hooked. I can't imagine a year without ME's upbeat quips and uniquely happy artwork.

"Meanwhile..." ismuch more than justa biography of MiltCaniff. It pro-vides an insight tocultural attitudesimmediately prior toWWII, during the war, and on into thelatter part of the20th Century. Whileit brings to lifethe creative geniusof Caniff, it alsoprtrays his abilityas a masterful bus-iness man followingsuccess upon successin the managemeentand promotion of hisproduct.I eagerly followedthe exploits of Ter-ry and the Piratesas a youth as wellas Steve Canyon dur-ing my Air Forcecareer and was fas-cinated with Caniff's pursuit ofaccuracy in portray-ing service life andthe role that theAir Force Associa-tion played in as-suring he was keptabreast of the lat-est developmentsthat might affectColonel Canyon.It is a book I willkeep on my referenceshelf and use often.

First, some truth in reviewing. I have known Bob Harvey since we worked together on our college newspaper, and I have long admired his writing skills. We correspond occasionally, and see each other about every two years. And yes, I paid for my copy of Meanwhile...
That said, Harvey has written a fine, highly readable book, and a great one for anyone interested in comic strips and particularly Caniff's great creations, Terry and the Pirates and Steve Canyon. Indeed, you can think of Meanwhile... as two books in one: A long biography of Caniff and a short history of American comics in the 20th Century. Caniff's career spanned the high and ebb tides of newspaper comic strips, particularly the era of high-adventure strips. And that is no coincidence. Caniff helped pioneer that variety strip and he raised it to an art form. Indeed, I think Harvey demonstrates that Caniff, in his own right, ranked with such icons of American popular culture as George Gershwin, Frank Sinatra, and Humphrey Bogart.
Meanwhile... is not a perfect book. It is long, occasionally repetitious, and in need of judicious editing. Detail is important in nonfiction writing, especially biography. But Harvey, at times, overdoes it. I, for one, could do without a full-page listing of the books on Caniff's shelves or seemingly endless reprinted letters praising him. And as a nonfiction writer, I disagree with the author's decision not to footnote the book extensively.
When I raised these thoughts with Harvey, his return e-mail delved into what he sought to accomplish with the book.
Just as every novelist wants to write the Great American Novel, I wanted to write the Great Biography of an American Cartoonist. Having a suitable subject, Caniff, I next pondered how to achieve my next goal, which was to make the reader "live" Caniff's life as Caniff led it, or some such. I wanted to enable a reader to experience what it was like to be Caniff, to be "a cartoonist." One of the ways I thought a reader's experience of reading, of getting into another world--of being "a cartoonist"--could be intensified was to give the reader verbal information that would engage his or her imagination. As you read, you imagine the things the words are naming; the more concrete those things are, the more imagining you do, the more intensely you experience the "world" of the book you're reading. So when Caniff moves out into "the country" on South Mountain Road [in Rockland County, N.Y] in the 1930s, I scoured around to find out what the vegetation would be along South Mountain Road--what sorts of trees and bushes abounded there and so forth. And when I found out, I put those trees and their undergrowth into the book. In the chapter covering World War II, I quote lots of the letters that Caniff received--because he said somewhere that getting letters was the way he connected to the outside world, the world beyond his studio.... Now you know why I put them all in there.
Harvey, more than most authors, largely succeeds in fulfilling his ambitious goal.
Surprisingly, Caniff emerges from the pages of Meanwhile... as a writer first and an illustrator second--a stunning conclusion, considering Caniff's great innovations in comic strip art and his obsessive attention to detail and accuracy (whether military metals, weapons, or Asian clothing) that won him the admiration of his fellow cartoonists and shows in art galleries.
Harvey argues persuasively that what first carried Terry and the Pirates and later Steve Canyon was not just Caniff's superb craftsmanship and his inventive approach to illustrating, but his talent for plotting his story lines and writing dialogue. Caniff created memorable characters of depth and personality with the deft hand of a short story writer, so much so that some readers believed that Pat Ryan, the Dragon Lady, and Happy Easter actually lived and breathed. As the author puts it: "In fact, he [Caniff] enhanced our experience of his adventure stories by giving his protagonists enough personality to be fully human without complicating them beyond easy recognition: we like them, and because they are conventional, we know they are each `one of us.' And our identification with them engages and holds our interest."
In his analysis of what made Caniff extraordinary, Harvey describes in detail many stories lines of Terry and Steve Canyon (worth the price of the book alone) to emphasize the elements that encompass the development and growth of Caniff's career and talent. The reader is drawn along through Harvey's synopsis, not just by Caniff's story line, but by the author's own talent for making the descriptions intriguing. He is aided by a large number of reprinted strips, which enliven the book and illustrate the many points he makes. Reading them together, you see clearly the evolution of Caniff's writing and illustration skills over the years, as well as the growing depth of his main characters.
Caniff was Midwest born and raised, and he the never lost the sense of patriotism, honor, moral principals, humility, and striving for success that characterized so many people from that part of the nation during his formative years. His environment nurtured him. As Frank Stanton, a Caniff friend throughout their adults years, told Harvey: "It was during his days in Columbus that he developed three sets of central skills essential to his sensational success as the creator of Terry and Canyon: story teller, artist, and actor. He is remarkably efficient in each, and each of these skills reinforces and enhances the other two in his work. It is a rare combination in a rare guy."
--Patrick Young
.

This is the definitive history of Milton Caniff's life as one of the greatest contributors to the art of the comics. It is well-written & complete in detail.

As cartoonist biographies go I daresay that there has never been, and will likely never be, another of the length and depth of R.C. Harvey's "Meanwhile...". Coming in just shy of a four digit page count it could scarcely be otherwise. Even more so when you consider that the impressive heft of the tome is not substantially padded with photos and art. To be sure the book is indeed well illustrated, but only with visual aids directly related to the narrative -- there are no long reprints of Caniff's strips here or lengthy portfolios of miscellaneous art.

It is the nature of any successful cartoonist that they spend the bulk of their life hunched over a drawing board, endlessly skrith-skratching away. This is not the sort of lifestyle that would seem to lend itself to a lengthy biography. When we consider that there are plenty of well-rounded biographies of political figures, film stars, activists, people whose lives are filled day by day with the fodder of the biographer, that manage to tell their stories in a shorter page count, we have to wonder just what in the world Harvey is on about in a page count that rivals the King James Bible.

I for one certainly approached the book with trepidation. I've been a fan of Harvey's work for years, but my enjoyment of his work is tempered with the caveat that he is on occasion guilty of going over the top. When he goes into critical analysis mode he is always perceptive and thoughtful, but he can also beat a horse within an inch of its life. I was concerned that here Harvey would be shooting the works, analyzing Terry, Steve and their creator ad nauseam.

That fear, I'm happy to say, was completely groundless. Despite the enormous page count this book is, wonder of wonders, a tightly written narrative. In the tradition of classic biography, what critical analysis there is is grounded in the opinions that Caniff himself discussed with Harvey and others in interviews. Given that Harvey says the book in its original form was some 700 pages longer (!) than the final revision, I'm guessing that any extended author's analysis fell victim to the editor's red pen. If so, the book is better for it.

So what exactly does lurk between the distantly separated covers of this volume? Well, Harvey was lucky enough to be tapped by Caniff himself as his offical biographer in the early 80s. This afforded the author with ample opportunity to question his subject at great length. While Caniff was, as Harvey relates, not a particularly forthcoming interview subject, by dint of persistence the author eventually ended up with a treasure trove of Caniffiana. The book is, as we might expect given the size, an impressively complete chronicle of Caniff's life and the times in which he lived. However, completeness doesn't necessarilty translate to interest-sustaining or entertaining, and that's where Harvey's book truly amazes. I've read plenty of long form biographies where it got to the point that I was rooting for the subject to kick the bucket to cut the narrative short. That's not the case here. While I couldn't say that every single page is riveting, edge-of-the-seat reading, Harvey does an expert job of keeping the reader involved and interested all the way through. Any reader who is at least moderately interested in comic strips, even those not particularly fans of Caniff, will undoubtedly find the book fascinating.

Speaking of being a fan of Caniff, I should admit that I am not numbered in that legion. Of course I recognize Caniff's importance in the history of comic strips and the artistry of the two strips for which he is most famous. However, I think Caniff's writing is far too precious, heavily laden with hokey slang and tortured vernacular that I find grating and distracting. His subject matter, primarily military adventure, is just not my cup of tea. His cartooning, after a relatively short but glorious period in the early 40s when he was first influenced by Sickles' innovation of chiaroscuro comic strip illustration, later takes things too far for my taste, turning the strip into a series of ink-blots (not entirely Caniff's fault, of course - the comic strip was shrinking more rapidly than he could adjust his art style to suit, finally ending up so small that no one, not even Caniff, could possibly do a realistically rendered adventure strip).

The point is that you don't need to be a Caniff fanatic to thoroughly enjoy the book. I recommend it not only to the ardent Terry or Canyon fan, but anyone with more than a passing interest in the art and business of the comic strip in America. Caniff's story is, after all, the history of the adventure comic strip in particular, and the newspaper comic strip in general. Harvey does a superb job of weaving all the various aspects of the story of American comic strips into the narrative. We see Caniff marketing his comic strips (and find out just how tireless a promoter he was), we see him coping with the miniaturization of his daily and Sunday spaces, we gain a deep understanding of the relationship between the creator and syndicate. We learn one cartoonist's reaction to the unforgiving daily deadline pressure, and how assistants and ghosts can become indispensible in the process of producing a strip that doesn't have the luxury of relying on simplistic art and daily gags. We learn the intricacies of producing an integrated daily and Sunday storyline, a balancing act that is one of greatest tests of skill that any writer could ever face. We see one cartoonist's bold reaction to the demonization of his art form when accused of being, bizarrely, a cause of juvenile delinquency. We see how a cartoonist deals with the use, and misuse, of his creations in other media like movies and television.

I have only a few minor criticisms of the book, most worth mentioning if only so that this review doesn't seem utterly slavish in its support. First, the book is divided into just nine epic length chapters. It would have been more reader-friendly had it been broken up into more manageable chunks that could be read at one sitting. And although there are illustrations throughout the book, usually well-placed to coincide with the related narrative, each chapter ends with a gallery of additional illustrations. These sections would have been better broken up and dispersed throughout the text, if only to relieve the long stretches of type-dense pages.

The narrative flow drags a bit for a hundred pages or so near the end of the book. By this time Caniff was constantly being lured away from his drawing board by an endless procession of accolades and honors from every organization under the sun. Harvey unwisely devotes a considerable amount of space to the details. This section, while it does have occasional interesting points, could have been considerably shortened. If the purpose was to show that Caniff was revered by his peers and his fans, well, that wasn't much of a secret anyway.

Finally I have to question Harvey's use of invented conversations. In the first half of the book the author occasionally uses a device where he stages a conversation, usually set in Caniff's favorite watering-hole, in which we eavesdrop on a group of cartoonists shooting the bull. Harvey uses the device to impart some information in a presumably more entertaining method than dry prose. The device falls flat, though, because the conversations are stilted and too obviously staged for our benefit. And although Harvey makes no secret that the conversations are his own inventions, in a scrupulously researched work otherwise factual throughout I found these passages somehow discomforting from the standpoint of journalistic ethics. Call me a stick in the mud.

These are all picayune little quibbles, though. Harvey's work is, quite simply, a masterpiece of biography. He has set the platinum standard by which all future cartoonist biographies will be judged. Most, likely all, will be found wanting in comparison. It is one thing to produce a thick book, and not necessarily a good thing at that. It is an entirely different thing that Harvey has achieved here. He has produced a work of lasting merit, eminently readable, brimming with meticulous research, a work that must be atop the required reading list of every cartooning fan and cartoonist.

I've been waiting for R.C. Harvey to publish his biography of Milt Caniff ever since he casually mentioned it in the pages of his fine book, "The Art of the Funnies", over ten years ago. The resulting book is not only one of the finest comics oriented biographies but it's a great book in and of itself. I have to admit that after it arrived I was a little intimidated by it. It is after all a massive door stopper of a book and I left it sitting on my desk for a week before I finally cracked it open and began reading it in earnest. Despite its considerable length the pages flew by and I was soon at the end with the distinct feeling of disapointment at the prospect that it was over. Harvey literally transports his readers to an earlier age when there was no TV, no cable, no satelite, no computers and no internet. The general public got their entertainment by means of reading books and magazines, going to the movies, listening to the radio and reading the comics page in the local paper. The Great Depression was battering the country and war clouds were starting to appear over the skies of Eurpope and Asia. Out of those troubled times Milton Caniff became one of the greatest and most widely read storytellers of the age. This is his story and Harvey succeeds in telling it well.

I love the illustrations in this book. They reflect such joy, love, and contentment. A treasure!

An old woman is sitting on her porch with her cat and is dreaming of her husband, lost at sea. Her dreams lead to new ideas for the quilt she is making, and her life takes on new purpose and reflection as she stitches in the changes in this warm title of an old woman's activities.

I just received this book and it is already becoming a favorite of mine as well as my 3 year old daughter. The story reads beautifully and delicate, like an enchanting poem. It stirs all the senses, and the gorgeous illustrations bring it all together in a warm, cozy feeling. I'd call this a "home cooked" book. It truly feels like we own a little piece of magic in this book. A great bedtime read.

THE MOON QUILT by Sunny Warner is enchanting! It's the story about the last few months in the life of an older lady. In the story she is referred to as the "old woman."

Her days are spent sitting with her cat and dreaming. When she's awake the cat sleeps and when the old lady sleeps the cat is awake! The lady is dreaming of her old man who was lost at sea. In her dreams he is crossing from his boat to a rainbow which reaches to the moon. She decides to sew her dream into a lovely quilt. The old woman never forgets her daily chores and also works in the garden and plants pumpkins. Her evenings are spent working on her quilt. Her quilt is becoming a story and she sews a picture of herself and her cat onto the fabric.

When Halloween comes she makes delicious pumpkin pies for children who live nearby. The children arrive dressed in costumes and have a fun evening carving pumpkins and eating pie! The old lady sews the entire Halloween experience with the children into the quilt.

One evening as winter approaches the old woman and her cat sit outside watching the moon and they both fall sleep. The last illustration shows where they went.

The story is told simply and the book has many colorful pictures. This book is proof that good and meaningful stories are being written for young children

This is a beautiful book, with many of the illustrations looking like they are fashioned from snippets of cloth, as a quilt top would be. The story is gentle and cheerful. Here is the old woman working in her garden, and here she is entertaining a group of happy youngsters at Hallowe'en. Clearly she has a full and fulfilling life. And then in the next-to-the-last frame, after she has added her cat and herself to the quilt, they sit down together under the moonlight and...die??? I guess i'm used to authors who clobber you over the head with the punchline. I had to go back and read the story again to make sure i'd reached the right conclusion. Then i had to go look at some reviews of the book to see if other reviewers reached the same conclusion. I suppose that this book can be used to show children that death is a gentle thing when it comes to those who have lived a long and useful life...except that the ending really startled and upset me. I guess i didn't see it coming, and i didn't want the story to turn out that way. I would only recommend reading this book to children if you are prepared to have a potentially upsetting discussion about death and dying.

definitely worth the price tag. Book is packed with period medical photographs, which while grotesque are also very artistically framed. All of the pictures are together, a page per picture so you can flip though the images without text interrupting the artistic presentation. The back of the book is devoted to thorough captions for each photo. Some of the photos look staged but this too fits the period represented.

This collection of photographs and plates are some of the most concise findings on the medical world I have ever seen. It has opened my eyes to these people and has given me something new and interesting to learn about. I really enjoy seeing how far we have come in the field of medicine but also the advancement has diminished the frequency of medical oddities that are found in this book. I really recomend this to anyone who has an interest in the medical field and all of its mishaps.

This book of stunning, yet disturbing, photographs of medical anomalies spanning 100 years from the mid-19th c., may not be for everyone. It is a comprehensive visual essay into things that we find fascinating, yet repulsive. Unlike a carnival sideshow, however, the purpose of this wonderful book is not to cynically trivialize the individuals illustrated. Like the Mütter Museum, (Mütter Museum: Philadelphia College of Physicians, 19 South 22nd Street, between Chestnut and Market Hours: Mon-Sat 10am-4pm, Sun 12-4pm), Stanley Burns' book is a window into the 19th century propensity to gather esoteric information of all types, organize it and, ultimately, to exhibit it as the means to greater knowledge.

Stanley Burns is a physician and a collector of medical history photographs. You may remember his previous book of mortuary photographs entitled "Sleeping Beauty" which is long out of print and fetches incredible sums among used book dealers. (Fortunately, a sequel - "Sleeping Beauty II" is more readily available.) "A Morning's Work" is a collection of 127 vintage medical photographs from 1843 to 1939 along with a helpful narrative explanation of the photographs and their cultural significance. Although some of the pictures are more historically significant than interesting, the bulk of the images are of medical curiosities - and some of them are absolutely head-scratchingly bizarre. Among the images featured are mortuary photographs, images of amputations, surgical procedures, disfigurement, and a wide assortment of congenital and acquired diseases. The title "A Morning's Work" is taken from an image of a pile of amputated limbs taken during the Civil War, when the horrific wounds inflicted by the large leadshots used at the time resulted in amputations for even the most minor of injuries. Many of the photographs take us back to the Dark Days of medicine, before antiseptic procedures were implemented, and when a small wound could result in a deadly infection in a matter of days.

The narrative explanations of the photographs add a special poignance to them. For example, a photograph of a dead man would not be nearly so interesting were it not for Burns' explanation that the man was Dr. James Howe who contracted Cholera while treating patients during the St. Louis epidemic of 1849 and was fatally afflicted. That one sombre portrait seems to symbolize the bravery and sacrifice of physicians the world over during times of pestilence, and if there's anything that you come away with after viewing this book, it's a newfound appreciation for modern medicine. All told, "A Morning's Work" is a fascinating book - and a must for enthusiasts of the bizarre and medical historians alike.

This book is very harsh, unpleasant, but impressive. Not at all for anybody because you need to have the guts to keep your glance at the pictures mirroring the abnormal, the illnesses, the horror of nature, the facts of the old times of surgery. As Bacon's paintings these pictures have a very sui-generis aesthetics, based upon the ugly and the deformity.

I had this book as a child and I can remember making my parents read it to me over and over. I used to bring it to babysit with me and read it to the kids that I was watching. I recently purchased this book for my children, ages 1, 3 and 5 and they really enjoy it. It has cute pictures and a great lesson about determination, a dream and trying your best!

This is an excellent children's book. I totally disagree with Hook's assessment that this is uninspired. It has inspired our family. Anytime something is difficult my 5 year old states "anything is possible with a little practice and determination".

This cow makes her dream possible even in the face of others laughing at her. A good lesson in "not having to go along with the crowd and peer pressure".

This is one of the few Jack Kent books currently in print. Buy it now before it, too, is OOP! Jack Kent was not only a delightful story teller, but he was a wonderful illustrator. Cute story sure to please toddlers & preschoolers (even young elementary).

My parents bought this book for me in 1973. It has always inspired me to try harder no matter what. I now share my copy with my children and plan to buy a copy for each of them. This book would make a wonderful first book for any child (a baby shower gift for my brother)or an addition to any adult's book collection. Buy it, share it and live by Ms. Mooley's moto "all it takes is a little practice and determination"

Several times a day my two year old will place himself squarely in front of my wife or myself and simply demand "Mrs. Mooley!"

That's about the best endorsement I can give for a children's book.

This tale is of a cow who is inspired by a misplaced book of nursery rhymes to accomplish one -- the cow jumping over the moon.

All of the other animals laugh at Mrs. Mooley as she practices for her attempt. Their laughter turns to wide eyed adoration as she clears the moon on her final attempt, just as dawn is breaking over the barnyard.

As Mrs. Mooley states: "all it takes is a little practice and determination."

Though it's written in the context of a story about two lovers, the deeper message of the book is one for every human, every critter.

The book is a beautifully simple but profound little story that whispers a reminder to us all at our deepest levels to remember our soul origins and our energetic connection to Every Thing that is. All-One.

Book is so perfect I sent it to a couple of friends and bought an extra copy for myself!

The illustrations are sweet and juvenile. Gets the point across!

Well written and presented in a simple yet fun way. This story can particularly touch somebody who can relate to the story. I can think of several couples whose love story mirrors this book! Love the illustrations and simplicity of it all!

After flying through this book you'll want to read it again and again. The simple but profound message about love, and the clever, beautiful illustrations have a lasting effect. The perfect gift for anyone with a heart.

Stine's song of love is one of the few volumes you will tuck in your rucksack as you head for a desert island. Its soulful words grow effortlessly from earthy, tropic-toned pastels. It is about our journey, together and alone, our rites of discovery, as revelation leads to transformation. Save your shrink money. Read the book and cherish its timeless song.

I didn't know what to expect when I was given this book. I must say that its simple message is indeed powerful and a quick page turner to boot! It comes off as a children's book, but no, no, no, it is certainly not.

This book will make the feelings that you are trying to articulate easy to understand without going overboard. The person who gave it to me was trying to do just that.

And succeeded.

Amazing artwork, possibly the best artist working in the RPG market. Having seen his work in some Rackham productions, I was pleasantly surpised by his older work for Games Workshop, FASA and other companies.

As a long time fan of fantasy artists I was struck by the detailed art of Mr. Bonner. I was aware of his work from Warhammer and other gaming lines but this is a excellent showpiece of his ability to bring both whimsy and talent to a crowded genre.

This book is one of the best reference books I have. There is a lot of really insightful introspection about Paul Bonner's illustrations, which are absolutely breathtaking. This book is a great glimpse of Paul Bonner's imagination and world that is very inspiring, not just for other illustrators but for anyone with an imagination.

This review is short and to the point: a beautifully illustrated and constructed book that I will use frequently for reference and ideas!

I'm not really much of an art critic, but here goes anyway.
For those of you used to seeing an abundance of Elves in your fantasy, be warned! There is only one present in this entire book! See if you can spot him! Which is strange, considering that both Rackham and Games Workshop feature Elvish Armies!
Mostly Mr Bonner draws a large number of hideous creatures. But what of the humans, and the dwarves? I can hear you say? True, yes, there are lots of those too. But the most stunning illustrations are the ones centered on something truly ugly, somehow painted to resemble beauty. Quite an astonishing feat! Take a look at all those orks he did for the Games Workshop. So full of character, and even a cute form of bumbling savagery. Exhuberance for killing practically seeping from their pores! And you can't tell me those little goblins aren't adorable! Me wanna hug one!

Most of the work contained herein is from these three companies: Games Workshop (where he started) to Riotminds and Rackham (both current, I think). Thematically, the three companies are similar, containing orks, dwarves and dragons. There's also a bit of FASA, as well. The latter touches mostly cyberpunk, with magic around the edges. And what Edges! As my brother (an art major) pointed out, the main thing here is contrast. Lotsa dark, lotsa bright vibrant colors. Almost exaggerated, but really, isn't that the point of fantasy? The bad are worse, the good are better!

Aside from a whole lot of Fantastic Fantasy pics, Bonner also apparently illustrated some dinosaurs! Never seen them before, but they're quite breathtaking! Also a few cover illustrations, followed by posters for LotR and the Prydain Chronicles. A real treat for fantasy buffs. My only complaint with this volume is it doesn't contain my favourite Bonner pic, one from the GW where this Tzeentchian Sorceror is ripping across the battlefield with a sickle. Big old Moon head. It's Magic, seriously. Maybe in some other volume. *sniffs*

This remarkable tale appeals to all ages. It's about the wisdom that comes from reflecting on history, the value of courage in facing one's fears, and the importance of love. Best of all, it features an artist who happens to be Chinese and demonstrates that "the brush is mightier than the sword," even in "slaying" a dragon.

This is a lovely story on multiple levels with a visual presentation that captures the attention of young children. I've been reading many picture books to my little one and it's always a pleasure to find a book that honors their innate intelligence and provides a positive message. I find it one of those rare gems that delights the young and more mature alike.

This is the most wonderful children's book I have ever read. I loved it and my seven year old daughter loves it also. It tells a wonderful story about Chinese culture,love and courage. The illustration is absolutely beautiful!I've recommended it to many friends with children.

The Paper Dragon has captured the heart of all the readers I have given copies to (I am on my eighth copy). The story of a humble artist sent to task against a fierce dragon, is portayed colorfully in word and pictures. The gate style print of the pictures lend themselves to become an intergral part of the storyline.

A touching lesson is given to us all, when we find that the dragon is thankful to be released from his reign of terror, and allowed to sleep again. I have heard my five year old tell the story to her friends.

This peaceful story is a lovely way to introduce another culture to young readers, and Robert Sabuda's artwork is beautiful. Mi Fei is an artist who is content to paint scrolls and live within his community until the villagers hear that a dragon has awakened to threaten the countryside and nominate him to face the foe. After a long journey, Mi Fei finds the dragon, who offers him a series of riddles/challenges to perform. Sabuda, better known for his pop-up masterpieces, brings the story to life with breathtaking images of vibrant color and flowing imagery.

Wonderful tale.

Compulsion pulls you through the powerful woodcuts in a few minutes. Each successive reading takes longer as you discover and savor character, plot and craft. Masereel lived by the nitroglycerin theory of rhetoric--the fewer the words, the leaner the lines, the more powerful the message.

"Passionate Journey" and "The City".
Both books of woodcuts are produced by Dover Books. The presentation of both is simple but the reproduction of the woodcuts is very good. These woodcuts are as fresh today as they must have been radical when first published in 1919 and 1925 respectively. These 'books without words' are fascinating in their portrayal of the human condition. "Passionate Journey" I believe to be a true work of art. One criticism of the editions is that they lack detailed information on Frans Masereel's life and times. I would liked to have much more on the impact of his work at the time and the context with regard to German Expressionism and the Weimar Republic. These books will hopefully introduce the work of Masereel to a much wider audience. They also represent reasonable value for money.

Like the Tarot, the images here are universal and transformative. They have the additional benefit of a wry sense of humor and subtle undercurrents of a humanist sensibility.

A must have for any searcher or thinker.

When my sister gave me this book for my birthday, it was one of the greatest presents I ever received. I was inspired, comforted, and emboldened by Masereel's wordless tale of a questing spirit. Despite the fact that I've read it literally hundreds of times (almost every night when I was working in Calcutta), I always see something new in the subtle, highly expressive woodcuts. Besides the brilliance of his technique, the story Maserel tells is exciting, complex, hilarious and moving. A treaure I wouldn't trade for practically anything.

-- or is it? Masereel's remarkable little book declines to explain itself.

These 165 expressive woodcuts present snapshots from the life of one man, or so we assume. He's not all that special - he's not a great hero, leader, or lover, though he's each at one point or another. He doesn't rise above or sink below anyone else, except in the usual ways. As with Copland's "Fanfare for the Common Man," this book celebrates the ordinary. And, when seen in such detail, the ordinary becomes quite extraordinary.

The book opens with the un-named man's arrival by train. The crowd and surroundings excite him, as does the mechanism of the train itself. Then, he's off to his new life in the city. We see that life in an uneven, even surreal pace. Masereel's vivid, expressive images hopscotch through the years of his life. Sequences of unrelated images seem to compress years into just a few pages. Other times, long sequences examine individual stories in detail - the adoption of a daughter, his happiness in her, and her final illness and death may be the most moving. It's a life-changing event, and sets the anonymous man off on a lengthy voyage, perhaps to lose himself or to find himself again. He returns to the city life, and eventually retires. The imagery changes radically at this point. It suggests Van Gogh's "Sunflowers" and "Starry Night," and also hints at Van Gogh's death.

Or maybe not. The imagery speaks volumes, but speaks a different volume to each viewer - and will probably speak differently to me when I read it again. Although it's an illustrated story, it's not for children. It is for anyone who wants to see the grandparents of today's illustrated fiction, or who appreciates woodcut in itself. This Dover edition is a beautiful reproduction, with richly saturated blacks but paper opaque enough to keep each page from bleeding through. It's easy to enjoy - so go ahead, enjoy it.

//wiredweird