Directors Books

This book was written primarily to help spiritual directors in working with their clients - first by quickly discerning their own `Faith Style' and then - also quickly - those of their clients. Speaking as someone who is not a spiritual director, I believe that the book will appeal to a much wider audience. I personally am finding it to have a major influence on how I think about my place in the spectrum of faith stances, and, importantly, how I have moved within that spectrum (or circle) over the years. The ideas in the book have also raised much interest among fellow members of my religious society - so much so that I have been urged to introduce the Faith Styles concept to a wider audience through a lunchtime interactive discussion later this year.

In an engagingly written manner, Mabry discusses six `Faith Styles', exploring for each: How is the Divine imaged? What is the nature of one's relationship with the Divine? How does one construct meaning in the world? What are the accepted sources of spiritual wisdom? How is spiritual growth assessed? Practices? Advantages? Disadvantages? In the last chapter Mabry presents the `Faith Styles Wheel' and first discusses `Companioning around the circle' (i.e. relating to those of other Styles) and then `Migration around the circle' (discussing why people move from one Style to another). As an experienced spiritual director, Mabry is very good on the psychological aspects of each Style, and as a trained theologian he is incisive regarding the theological/philosophical worlds within which each of these Styles operate. His interfaith approach is another feature that makes the book attractive.

Mabry's classification (and indeed his whole approach) is expressly designed to be non-hierarchical. Classification schemes are human constructs and can induce endless - but not necessarily fruitless - debate. Classifications that prove themselves robust should help us to understand the universe (specifically including, in this case, ourselves and other humans) a bit - maybe even a lot - better. Mabry's Faith Styles system has great potential to help us to better understand first ourselves, then others, and ourselves in interaction with others.

The most stimulating and provocative workshop presenter for me at the Spiritual Directors International annual events in April 2006 was John Mabry. Mabry's three-hour workshop presented styles of faith and believing--illustrating the various ways people approach and understand the Divine. So I put my order in early for a copy of Faith Styles: Ways People
Believe, which expands on the material presented in the workshop. After waiting expectantly for its November release, I have been generously rewarded for my patience. Mabry is reacting to perceived limitations in the "stages of faith development" work of James Fowler, Scott Peck,
and others whose work he succinctly reviews in the introduction. A difficulty he finds with Fowler's work, for example, is the assumption that one matures in faith by moving chronologically through stages into an ever higher or more mature stage of faith. Mabry deals with this by describing "styles" of faith rather than "developmental stages of faith." His typology has the advantage of being descriptive but at the same time both nondevelopmental and nonhierarchical. His careful descriptions make it easy to identify oneself with a style, and even within a style, with pointers toward where one might be heading in his or her pursuit of a deeper spiritual experience of intimacy with the Divine. In chapters 1 through 6, Mabry enumerates six styles of faith: Traditional Believers, Liberal Believers, Spiritual Eclectics, Religious Agnostics, Ethical Humanists, and Jack Believers. In his discussion of the six various styles
of faith, Mabry seeks to answer eight key questions:
(1)How is the Divine imaged?
(2) What is the nature of one's relationship with the Divine?
(3) How does one construct meaning in the world?
(4) What are the accepted sources of spiritual wisdom?
(5) How is spiritual growth assessed?
(6) What spiritual disciplines and practices are honored?
(7) What are the advantages of the style?
(8) What are the disadvantages?
The material for answering the eight defining questions is drawn from responses from a survey Mabry sent out worldwide to people of diverse faith traditions. As good and helpful as the material is in the first six
chapters, it gets better for the spiritual director in chapter 7, as Mabry reviews the problems and possibilities of spiritual direction for the various faith styles, and in chapter 8, where he reviews issues involved
in moving from one faith style to another. For me, firmly entrenched in a traditionalist style of faith, Mabry's book is most helpful in clarifying (again) who I can work with most effectively and the importance of avoiding the temptation to mold a directee into my own faith style. There is great mystery surrounding every person's unique spiritual journey, and Mabry reminds us what a great gift spiritual direction can be in the
unfolding of the mystery and what it takes to be an effective guide and companion to others along the way.

Douglas H. Gregg, an ordained Presbyterian minister,
holds a PhD in social ethics from the University of Southern
California, California, USA. His training in spiritual direction
is through the Haggard School of Theology at Azusa
Pacific University in Southern California.

Faith Styles is written primarily for spiritual directors and others who work with people with a range of belief systems, such as chaplains and ministers that serve an open and affirming congregation. Although I don't fit that description, I'm very interested in the different ways that people experience spiritual life and religion, so I was very interested in what the author would say. Mabry describes some of the key differences in faith styles, and arrays six "points" on a wheel to contrast the styles, giving each point a name that describes a faith style, and then providing a detailed description of each style. I found the descriptions compelling and thought-provoking. Equally important to me, I found that Mabry was able to describe the faith styles without judging one as better than another, or viewing them in a heirarchy, as some other authors have done. Instead, he validates five of the faith styles as viable, healthy positions, and highlights the advantages and disadvantages of each style drawing from his work in spiritual direction and from a survey that he did for this book. The one style that Mabry finds little positive to say about as a path is "Jack Believers," which means someone who has accepted and internalized a demanding, judging God but who is not able to come close enough to meeting the demands of that God to feel worthy of being included in the spiritual community. This sense of being an outcast can create a sense of despair that makes spiritual movement difficult. This discussion was useful to me, as the suggestions of how to relate to a Jack Believer have stayed with me. This book has given me a lot to think about, both in my own faith life and in relating to others in my church community. I also think this book would be useful to someone thinking about welcoming visitors to a church, as the different faith styles are likely to be looking for somewhat different things in their visiting experience.

I HAVE BEEN AN INSTRUCTOR FOR 8 YEARS AND THIS IS NOW ONE OF THE REQUIRED BOOKS THAT ARE INCLUDED IN MY TRAINING CLASS FOR NEW DEALERS. AT MY SUGGESTION A LOCAL POKER ROOM HAS INCLUDED THIS AS THEIR RULE BOOK AND ALL SUPERVISORS ARE REQUIRED TO USE IT. THIS BOOKS HAS COMPREHENSIVE UP TO DATE RULES. AS WE KNOW RULES MAY CHANGE FROM ROOM TO ROOM, BUT SOMETHING THAT IS CLOSE TO STANDARD THE POKER ALMANAC HAS IT ALL. TDA RULES, ROBERTS RULES, GAMES, AS WELL AS A GREAT UP TO DATE GLOSSARY. THIS BOOK IS AN ASSET FOR TRAINING NEW DEALERS. I USE THIS AND THE PROFESSIONAL DEALER'S HANDBOOK AS A REQUIREMENT TO PURCHASE.

This is a concise encyclopedia of the rules for poker. The Official Rules will particularly appeal to novices as it explains the nature of the cardroom, the equipment integral to the game, and hand rankings. Much of it is based on Robert's (Bob Ciaffone's) Rules of Poker and is elaborated upon by the author. It provides an introduction to the game as well by experienced player, Kelli Mix. The various styles of games are also discussed: limit, spread limit, no limit, and pot limit. The text covers just about everything including seven card stud high low and deuce-to-seven high low. The explanation of tournament rules is valuable because, as those of us who watch HSP already know, tournaments and cash games are entirely different animals. It even tells you what should be done with the "odd chip" in casino games. I appreciated the definition of "kill pots" and wish I would have read it before I began playing in kill limit games online, lol. This is definitely something I could have really used back in 2004 when I first began learning about the game.

Game Day highly recommends this book as the standard poker book for use during all types of poker games. This book is especially helpful to players in home games of poker, where it is important to have a way to resolve rules disputes quickly and amicably.

We at Game Day saw that there was something missing in the current field of poker books: a standard poker rule book. Before we published the Official Rules of Poker, the only authorities on the rules of poker was Scarne and Hoyle, which were written in the Nineteenth Century. The game has changed, especially in the last ten years, and we realized that it was important to have a Twenty-First Century rule book.

When we put out the word that we were looking for an editor and for such a book, Kelli Mix came forward. Ms. Mix, or "Poker Mom" as she is known at the poker table, eagerly took up the challenge of gathering and writing the rules to suit the modern game of poker. This turned out to be a gargantuan task. Ms. Mix researched each rule, making sure that they were found in at least five independent sources. Mix turned out to be a wonderful choice as editor and author of the Game Day Poker Almanac Official Rules of Poker.

Mix is a professional poker player. She is still under most poker players radar, but she is quietly climbing the ranks of tournament poker players (she finished 11th in the 2007 World Series of Poker Texas Hold 'Em Women's tournament in a field of more than 1,200 players). However, she is more likely to be found at cash games, playing high stakes.

The Official Rules of Poker includes all the rules of poker, from the most basic hand rankings to the most obscure tournament rules.

Contents:
1: Elements of Poker. This chapter covers the most basic rules of poker, and also describes the way poker is played in casino card rooms. Mix wrote these rules in a way that makes them easy to use while playing a game.

2: Professional Poker Rules. These rules cover more of mechanical means of acting in a poker game, giving the finer definitions of what constitutes a raise, a call or a fold. They also discuss the penalties of rules infractions. There are four parts to this chapter.

a) Robert's Rules of Poker. These rules were written by professional poker player and authority, Bob Ciaffone, as a standard set of rules of cash games in casino card rooms. While local laws may require changes to these rules, and some casinos use their own rules, these rules are often cited as the official set of rules in professional play.

b) Robert's Rules of Poker for Private Games: This is Ciaffone's "Robert's Rules of Poker" which he adopted to home games where no impartial dealer or floorperson is present.

c) Poker Tournament Director's Association Rules (TDA Rules). Each year, the Professional Poker Tournament Directors Association updates its rules, which most casinos and poker leagues use as their official rule book in tournament play. Tournament rules add a new layer of rules to poker, as tournaments are about eliminating players, not about accumulating money.

d) World Series of Poker Rules: The World Series of Poker is considered the premier poker tournament event. Due to its sheer size and commercialism, the rules for WSOP tournaments are different than TDA rules. Many poker leagues use WSOP rules instead of TDA rules, as the WSOP rules are more popular among those who learned poker from television.

3: Poker Etiquette. There are types of behavior frowned upon in poker games, due to the fact that poker is a highly competitive game and may involve large sums of money. In some games of poker, violating etiquette may result in ejection from the game.

4: Variant Poker Games. Includes 69 different versions of poker, including 5-Card Draw, 5-Card Stud, Cincinnati, Chicago, Baseball, Anaconda, Mexican Stud, Chinese Poker, Iron Cross, Guts, English Stud, Kansas City Lowball, California Lowball, Pineapple,Spit, Three-Card Draw, and the ever-hilarious Indian Poker. Also includes rules for declaring wild cards and using jokers. WhIle professional poker players and casino card rooms will never play most of these games, home games are notorious for playing "dealer's choice" where the dealer chooses which of the many variations of poker will be played that hand. (Note: Mix and I had a really good time finding out about all of these games.)

5: Glossary. Again, Mix was very thorough in her research. Poker terminology is highly colorful and is a lingo all its own. from the Nuts to the Fish. Mix used multiple sources, as there are many local poker terms and terms used that do not last more than a few months. She excludes popular names for two-card Texas Hold 'Em hands, purposefully, although we plan to have a separate glossary for hand names in future editions. Still, this is one of the most complete glossaries I have seen in a poker book anywhere.

6. Index: Okay, I did the index. I believe that indexes should be thorough, and so I did my best to make the index easy to use in the heat of play. Still, this was a fairly easy index to create, as Mix's presentation of the rules and her organization of the material was straightforward, allowing me to easily pick out the rules.

The Official Rules of Poker has been wonderfully received. Professional poker dealers have been clamoring to get this edition. When we released the book at the WSOP 2007 in Las Vegas, the WSOP dealers practically knocked me over trying to get their own copy.

Thank you for considering The Game Day Poker Almanac Official Rules of Poker. I personally hope you will find it to be of great use, and that the book will provide you with years of fun--and fair--poker.

David A. Rozansky
Publisher
Game Day (an imprint of Flying Pen Press)

Hilarious, frequently savage comic novel about an American couple in Mexico who are forcibly befriended by Leander Starr, an expat American movie director -- clearly based on Orson Welles -- on the run from the IRS, more than one ex-wife, and his estranged daughter. Starr, egotistical, brilliant, and endlessly charming, contrives to put together an epic film of Mexican history, financed by a local drug lord and starring another ex, in hopes of salvaging his fortunes. Written with all Dennis's typical droll wit, this is a must for fans of Welles, who will recognize a cunning roman à clef of Welles's (mis)fortunes in the 50's and 60's.

Patrick Dennis's "Genius" is a jolly romp, wildly improbable yet oddly convincing. It is a much funnier book than "Auntie Mame," with much more interesting character development. I laughed till I cried in his description of the Mexican movie producer "who lived under the sad delusion that toenails took care of themselves . . ." Buy it, you'll like it.

Along with "The Joyous Season" this may be one of the best books by Patrick Dennis. Now, don't throw your copies of "Auntie Mame" at me, I defend that lady to my dying breath, but this book has a narrower topic and allows Dennis greater depth to skewer customs and mores of not one, but two countries.

In two other books, "Little Me" and "First Lady" he uses the broadest strokes to ridicule the foolish and stupid.This time we've a new set of the foolish and the stupid, but they have the virtue of not-quite-being caricatures and having some semblance of reality on their side. As is his custom, Dennis, this time with his wife, serves as the narrator telling a wildly amusing tale about a down and out movie director/producer trying to make a comeback. One may wonder, given the selected subject material, a come back to what but this is only the venue on which to layer interesting, funny, worldly people doing human, if mis-guided, things.

The dialogue is sharper, the social humor-always his greatest asset-more biting and more carefully examined. And the plot stays just close enough to the edge of reality to be plausible.

While the plot drives the book, it isn't much to worry about. Dennis' enormous ability to observer people and convey them is the story here. Imagine the greatest story teller you ever knew, over a Brandy by a roaring fires saying, "Well, once upon a time in Mexico, we got involved in the most inane ....."

Oh, and keep an Ace bandage handy to bind up the ribs you'll break either laughing or falling down while laughing.

This truly is the best novel I've read in a while. It seems dense at first, but goes fast - once I past the half-way point I couldn't put it down. The style is descriptive, but not too thick. Every point is there for a reason. The stories in this book were on my mind for days once I reached the end. I was so emotionally attached to the story line that I was quite disapointed to be finished with it. For the first time in a long time I can say that I will be reading this book again & cannot recommend it highly enough. thank you!!

This is a tense and gripping book. The characters are revealed in a paced, measured way. Brumbaugh's wry humor and sensitivity in his portrayal of the lost souls who form the subject matter of the novel makes great reading. Highly recommend it.

This is a great book. It is sometimes really funny and sometimes really sad and always beautiful. The writing and the characters (like people you might know but just a little more unique and extreme) make it hard to put the book down once you start reading.

A good performing troupe is only as good as its weakest link, and a weak producer will sour it more than anything. "Great Producers: Visionaries of the American Theater" is a guide to effectively producing live theater. With advice from many of the best producers in American theater today, it acts as both a set of tips for aspiring producers and a look backstage for fans. "Great Producers" is a highly recommended book with a dual appeal.

"Great Producers" may be the first book that looks in-depth at the role producers play in mounting plays and musicals on- and off-Broadway. The subjects range from past legends like David Merrick to modern impresarios like Cameron Mackintosh, as well as many others who aren't household names, yet have been responsible for producing some of the most successful and important shows of the past few decades. What's really impressive about the different subjects is what they all have in common: a genuine love for the art of theater. I was struck by how difficult it is to raise and recoup money producing shows, yet the producers interviewed for the book keep at it for the love of being attached to something they truly believe in. Whether it's a serious play by an obscure playwright, or a big-budget Disney musical, every production is a financial risk with the odds stacked against making a profit. Yet all of these producers come back again and again, making this book not only a fascinating read but, ultimately, an inspiring one.

If you love theater, or are interested in producing, this book is a must-read. Each chapter deals with a different producer's life and career, and Dorbian captures not only the essence of each person, but also why they are so good at what they do. It includes lots of sage advice to anyone considering mounting a show, no matter how big or small the production.

When I purchased this book, I expected it to have the script of the show. Now, I know that it is a nice biography about Cameron Mackintosh. You can learn about his life. I expected a bit more about the concert of Hey, Mr. Producer. I expected a program or something. I enjoy reading it.

When I first saw this book in a store here in Australia, it hit me that the producers had some style. A very classy coffee table book and spectacular photographs of stunning Mackintosh Productions, Hey!, Mr. Producer is what you have to have. Written in a passionate style toward musical theatre, once you pick it up - you won't put it down.

This is a really great companion book to the popular PBS program celebrating producer (duh!) Cameron Mackintosh and his endless contributions to musical theatre. It has fascinating little tidbits about show after show, including "Les Miserables", "Miss Saigon", "Cats", and "The Phantom of the Opera".

This book was fantastically entertaining! The man is as chaotic, eccentric, and strange as you would probably guess but did you know he was funny as well! Of course it is a bizarre sense of humor and some of it very nonsensical but it is interesting nonetheless. I couldn't put it down and since it is not written as an autobiography but snippets of interviews on a variety of topics--you can pick it up and begin reading on any page. I loved this book. A huge book for a huge personality and the pictures are amazing! Black and white rare photos of actors and scenes from his most memorable movies. Many of these are worthy of framing.

This deluxe edition of what renowned Fellini specialist Tullio Kezich describes as the Maestro's "spiritual testament" (in his superb foreword to the book) is bona fide Fellini-esque. Hilarious anecdotes are squeezed in beside a number of very moving meditations on old age, sex, LSD, unemployment, Trivial Pursuit, God, Dante, death and the Hereafter. The newly restored black-and-white photos capturing the Italian director's surreal world are well-served by an excellent English translation. The final entry in the lexicon is a fairy tale titled "Zio Lupo" or "Uncle Wolf" and it pretty much defines Fellini's insatiability. Highly recommended.

I think that every MBA student and practitioner should read this book not to repeat another accounting scandal and not to mess up our economy again.

I think that every MBA student and practitioner should read this book not to repeat another accounting scandal and not to mess up our economy again.

I would recommend this book to anyone interested in understanding the culture and ethics that have lead to the numerous scandals the economy has been faced with as of late. If you are an investor or the board member of company, this text is worth reading. The investor benefits from a door being opened into companies that practice unethical financial practices and provides an investment warning. A board member, or anyone hiring an executive that has more interest in the long term viability of their company than the short term gains and rapid fallout associated with using accounting tricks to mislead the public will gain insight into the type of individual and practices that should be avoided at all cost. What these companies have done goes far beyond their employees and shareholders. It has shaken the whole economy.

Breskin plainly admires the filmmakers at their best, at work and as people. He wins them into describing, with greater articulation than most, what they were thinking when they made their films and how they see art in general.

But what makes the book so worthwhile is that Breskin makes his subjects pay the piper, when they would almost certainly rather dismiss at least some of his questions with a one-liner. He is not inclined, as more "fannish" journalists would be and have been, to let them off the hook for mistakes or evasive answers.

(Revealing as well to note which of those interviewed arguably still had their best work ahead of them and which did not. The two Davids, Cronenberg and Lynch, are especially useful for this)

It's so very rare to be able to predict that a book, were it a publicly traded stock, is an investment certain to become more valuable over time, the antithesis of a kitten. Breskin has honed his ability to ingratiate ephemerally, and in this process, you will get a rare glimpse of these great directors actually moving outside of soundbite to let you in on some part of process. Very worth...worth.

Probably the best book of director interviews since HITCHCOCK/TRUFFAUT and Andrew Sarris' INTERVIEWS WITH FILM DIRECTORS. After reading it, you want David Breskin to go around interviewing every director, immersing himself in their work beforehand, leading them into intimate and challenging conversations in which they sometimes get mad at him (even the laid-back David Cronenberg gets a little prickly at one point) but develop a grudging respect for him at the same time. INNER VIEWS collects eight interviews Breskin conducted for ROLLING STONE -- yes, children, there was a time when that magazine was worth reading -- though the pieces were significantly shortened for publication in RS, and thankfully restored to full sprawl here. I have no idea why we haven't seen more from Breskin; is he dead or retired? An interviewer this penetrating and eloquent shouldn't be allowed to ride off into the sunset.

I would be duty-bound to cherish this book simply because Breskin sits down with two of my gods, David Cronenberg and David Lynch; between their interviews here and the respective books about them edited by Chris Rodley, you will discover all you could ever want to know about these fascinating directors. But Breskin also interviews six other greats: Robert Altman, Oliver Stone, Francis Ford Coppola, Spike Lee, Tim Burton, and (in the expanded 1997 edition) Clint Eastwood. He parries amusingly with a few of them, as when Oliver Stone -- intellectual macho man that he is -- smugly breaks out a quote from Aeschylus, only to be informed by the unimpressed Breskin that Coppola had already related that same quote to him. (Stone is described as "surprised, his thunder stolen.") Breskin also gets yelled at a few times by accomplished shouter Spike Lee (this was before he became a father and mellowed) but admirably, calmly stands his ground -- yet Lee comes off not as a hothead throwing a diva tantrum but as an impassioned man who isn't used to being challenged by an interviewer from ROLLING STONE. Lee, and everyone else in the hot seat here, would discover that Breskin was much more than that.

I have been in love with theatre for a long time. Many musicals I see and enjoy, buy the CD and just listen to that. Others blow me away. Those that have that capacity I tend to investigate and become obsessed with. The Lion King was one of them. I soon became fascinated and extremely appreciative of Julie Taymor's work and pure brilliance in musical theatre, opera, and film. This book highlights every show that Julie has been involved with for her 20 years in the performing arts business. This wonderful book illustrates what true theatre is! Julie is too amazing for any human language too describe; even emotion can't portray my love and idolism for this excruciatingly wonderful woman! Anybody who loves theatre, whether it is film, opera, musical or non-musical, you will be able to love and appreciate this book for all eternity.

I love this book so much that I would dare to give it infinite stars. Now imagine this, if there were such a number, I'd give the music from these shows infinitely infinite stars!

Now, more to the book. It starts out with a quick overview of her work. Then we get into the real meat. There are pictures (both of the show and backstage!) from each and every single of her shows. Included are some original sketches of costumes, masks, and puppets. Along with the pictures are writings by both Julie Taymor and Eileen Blumenthal. This is an extravagant work of art in itself that all should have their eyes glued onto...buy it now! Also buy everything you can find that relates to Ms. Taymor. You will be fascinated! The only regret I now have is that I didn't live in Europe and Asia to see her other fascinating shows...

Hail Taymor! I will look forward to all of your work in the future!

Lastly, if anyone finds the film Fool's Fire (by Taymor), PLEASE! E-mail me at Cepheus9@aol.com...I want to buy it SO badly!

I bought this book after looking at a friend's copy, and I can say that this was one of the finest investments in my Theatre Arts library that I have ever made. This book is filled with brilliant pictures and vivid writing that will keep many in awe and almost child-like wonder at the genious of Ms. Taymore. This isn't just a book for those that appreciate theatre - I suggest it for anyone who is interested in puppetry or film, not to mention anyone who can appreciate art in general.

A facinating insight into the mind of one of the great contempary designers. A must have for all theatrically minded people. The book takes you through the creative process to achieving such powerful and passionfilled productions such as The Lion King. Disney would have flopped without Julie Taymor.