Art History Books

Like the book about Nefertiti by Joyce Tyldesley, this is a must for any modern believer in the Amarnian people - Akhenaten, Nefertiti, etc....and the Aten religion. If you have or haven't seen the related exhibition, then this book is still wonderfully illustrated and interestingly detailed and can be read again and again ! A MUST !!!!

for those of you like me who may never have the opportunity to travel and see all the various places the many artifacts of egypt are kept worldwide, this brings it all together. the book is basically a nice bringing together of text with information about this time period in egypt as well as fabulous imagery of the artifacts so far discovered. many of these are overseas and i know personally i may never get there to view them in person. a great find, particularly those who want specific info or pictures of tutankhamun, nefertiti, akhenaten, and others all involved in the 18th dynast of egyptian rule

Published as a compliment to the "Pharaohs of the Sun" exhibition that has been making its way across the country this year, this book is a wonderful catalog of Amarnan art, including what lead up to the style change and how it affected art afterwards. It's full of beautiful color photos of all the masterpieces included in the exhibition, plus many other artefacts from the reigns of Amenhotep III, Akhenaten, and Tutankhamen. It also features 14 essays on Akhenaten, his city Akhetaten, and the radical changes he made in religion and art while he was pharaoh. This book is a "must have" for anyone interested in ancient egyptian art.

This is the finest exhibition catalogue for Egyptian art this reviewer has ever seen. The text is a monument of scholarship for the always-challenging Amarna period, and the objects are sensitively photographed and well explained. The book is also beautifully designed and printed. A must-have for the devotees of Akhenaten, Nefertiti, and Tutankhamen.

An intriguing account of the life and rule of Akhenaten, one of the most controversial figures in Egyptian history. Akenaten, who is widely credited with being the world's first monotheist, rejected the well-established pantheon of gods and Egypt's capital to establish a new religious and government center at Aketaten, the "Horizon of the Aten." The authors attribute this to the fact that the priesthood, especially that of Egypt's most powerful god Amun, had grown so as the threaten pharaonic power, and Akenaten's closing of the temples was designed to eclipse this threat.

Much has been written about Akenaten's possible physical deformities, due to the appearance of surviving sculptures and paintings. The slack belly, prominent hips, almond-shaped eyes, long face, and large lips, not only of Akenaten but of other members of the royal family as well, have engendered discussions as to whether Akenaten actually appeared this way, or if he wished to depart from the traditional methods of depiction in Egyptian art. When Akenaten abolished the old system of worship, and set up the Aten, the disc of the sun, as the one true god, he also appointed himself as the sole intermediary between Aten and the people, thereby deifying himself in the process. (This deification of the person of the pharaoh was not without precendent. Akenaten's father, Amenhotep III, enjoyed such status in his lifetime.) The authors suggest that the unusual appearance of Akenaten was to give himself an instantly recognizable iconography appropriate to his divine status, much like the other gods' peculiar attributes, such as Osiris' mummiform body and green skin. This theory is supported by the fact that Akenaten's appearance in artworks changed throughout his reign, moving from relatively usual examples toward the most extreme depictions in the "high Amarna" style, before returning to a more traditional appearance before the end of his rule. The authors also note the continuing influence of the Amarna style for centuries after Akenaten's death, most notably in the tomb treasures of Tutankhamen.

The art of Pierre et Gilles shows beauty, sensual, intimate, contemporary and quality works made for two individuals that becomes an author in a perfect union. They create fantastic worlds with photography and paint. Their works talks about their dreams, lifes, obsessions, pleasures, pains, loves, friends, interests. They shows a unncommon vision of the contemporary world through topics related to religion, sexuality, mithology, personalities, and their own lifes. This is one of the most beautiful art books ever made, every single detail have been realized carefully.

The art of Pierre et Gilles shows beauty, sensual, intimate, contemporary and quality works made by two individuals that becomes an author in a perfect union. They create fantastic worlds with photography and paint. Their works talks about their dreams, lifes, obsessions, pleasures, pains, loves, friends, interests. They shows a unncommon vision of the contemporary world through topics related to religion, sexuality, mithology, personalities, and their own lifes. Even like an object, this is one of the most beautiful art books ever made, every single detail have been realized carefully.

The art of Pierre et Gilles shows beauty, sensual, intimate, contemporary and quality works made for two individuals that becomes an author in a perfect union. They create fantastic worlds with photography and paint. Their works talks about their dreams, lifes, obsessions, pleasures, pains, loves, friends, interests. They shows a unncommon vision of the contemporary world through topics related to religion, sexuality, mithology, personalities, and their own lifes. This is one of the most beautiful art books ever made, every single detail have been realized carefully.

The photography of Pierre and Gilles is absolutly fantastic. This makes a stunning coffee table book.

Pierre et Gilles set a new standard when it comes to their combination of photograpy and painting. No wonder photographers like David La Chappelle try to knock off their style (imitation is the highest form of flattery). I found this massive coffee table book to be thorough, entertaining, titillating, and funny. I would recommend it to anyone interesting in modern "pop" art and portrait photography. The imagination of these two is priceless as is this collection of their work.

I have visited the Big Bend more than two dozen times over more than that many years and have never found a book that captured the land and the people as well as this one by Bill Wright. I remember years ago searching for something like this. I could only find a photo book of the canyons back then but this is a book with much greater depth and it did not stop at just the geological. Wright does a top notch job of introducing the wild characters who inhabit the spaces between mountain and desert; the ones who live on the sand road that goes back behind the mesa. You won't regreat adding this book to your home library.

I live in the greater Big Bend area; and, was surprised to discover my newest neighbors were Bill and Alice Wright. Bill's reputation is that of a great photographer; but, it will become immediately apparent to you when you read this book, that Bill is a great story teller. You will not soon lay this book down, nor forget the colorful stories revealed in his experiences of the Big Bend area.

This fine book will give the reader a good look and feel for the Big Bend of Texas.

Although I am a native Texan, I have never visited Big Bend. Through the author's experiences with the people he met along the way, Big Bend has become more than the awesome pictures. I'm planning a trip. Bill Wright is a wonderful writer as well as photographer - I hope there are more books to come. Sounds as if he has travelled the world.

Photographer and writer Bill Wright comes from the West Texas town of Abilene: roughly eight hours drive at a steady seventy from his beloved Big Bend National Park. In Texas that, along with the fact that he's been visiting the park since childhood, pretty much makes him a local.

Texas has a considerable modern history, quite apart from it's more ancient nomadic inhabitants, and Wright maintains a consciousness of this in his travels through these southern borderlands of the USA. Passport controls do indeed exist at the border bridges into Mexico, along with stern warnings that it is illegal for Texans to carry guns into the neighbouring country, but the border patrols continue for nearly sixty miles across the desert into the USA with major checkpoints ocurring at the towns of Marfa and Marathon. The area South of these checkpoints, where Wright's portraits were made, are known as The Badlands and have been for the past 150 years.

Put simply Wright has an abundance of curiosity, the essential requirement of the documentary photographer; and a considerable degree of patience in the fact that he only really began making this book after a lifetime of visits. Be he visiting with the photographer Etta Koch, writing about "Crazy" Angie, who apparently isn't and operates the theatre at Terlingua Ghost Town, or photographing the rancher Buck Newsome, the white hat line on whose forehead clearly explaining how his life has been spent, Wright, while mentioning the people he was with and the details of the trip, never puts himself over the people or places he introduces to his readers. The border in West Texas might be described as permeable, with several unguarded but regularly used fords exisiting along the river. One such ford exists at a place called Lajitas, today a resort town bought lock stock and barrel by a billionaire and now boasting "the world's only international golf course", but Bill Wright digs deeper under the surface harking back to the time when the ford was an important crossing on the trail from Mexico city to the Spanish province of Nueva Viscaya. He remarks upon the "politically constructed" nature of the border between the States and their Southern neighbour, and the fact that locals continue to move freely across the Rio Grande even to this day. In an aside his thoughts wander to the realisation that where in the past Texas Rangers patrolled these areas, to keep international cattle rustling to a minimum, today the trade is reversed and the border patrols and enforcement agencies are more concerned with preventing the importation of illegal drugs. But for the local populace life continues much the same and Spanish remains the predominant language.

In many ways the story as a whole is about Wright and his experiences, but more about the manner in which the place molded him over the years than any form of personal recollection. For Texas is very much about the land. He has been absolutely true to his subjects and in this book he presents that very rare sort of travelogue that will be enjoyed by visitors, people who only ever visit far flung lands from the comfort of their own living rooms, and especially the residents of the Big Bend itself; who will understand.

Excellent modern history of the US military from the Vietnam War up until 1995 or so. The history is told through semi-biographies of officers who began their careers around the time of the Vietnam War and chose to stay in the military, despite all of the problems that were evident in Vietnam. The draft, which brought in sub-standard service members, was a disastrous way to build a military. Thankfully, a number of dedicated people stuck around to see the military made stronger. From the all-volunteer military, to the GI Bill, to the Reagan defense build=up, to the Goldwater-Nichols Act, to the Gulf War, highly motivated and intelligent men helped improve the military so that it could overwhelm the Iraqi forces in the 1991 Persian Gulf War.

One of the officers who was featured quite prominently was Barry McCaffrey. I have come to appreciate his interesting analysis on television, but I never knew his life story. Though it didn't surprise me as I knew he retired as a general, but what an impressively courageous man he has been throughout his military career! What he went through in Vietnam is enough to amaze even the gutsiest American.

Another interesting aspect of the book was the coverage of contentious social issues that the military has had to deal with: race, women, and gays and lesbians. Kitfield pointed out the increasingly important role that blacks and women have played in the US Armed Forces.

Regrettably we are left to wonder what happened since then when our powerful military get sucked into a war in Iraq, starting in 2003 with no end in sight, without a plan to finish it. It's easy enough to point to Tommy Franks, Richard Myers, and others, but maybe there's a larger institutional story to tell about the debacle that is now Iraq. Hopefully Kitfield will tell that story too. He has a book out about Iraq, but since it was written a year or two ago, it can't possibly accommodate for all that has occurred since publication.

James Kitfield has studied one of the most turbulent times in American military history and distilled its lessons into one tightly written narrative that is both engaging and full of tremendous insight. The passage through the ranks of the Vietnam generation officer corps molded our 1980's military into a truly revolutionary force. Their experiences in the muddle of Vietnam and the lessons they extracted colored every decision and every reform they sought in their service. In the end, while not perfect, these able officers forged a doctrine based around rapid, audacious movement, technology and local authority--all things lacking in Vietnam. The payoff came with the tremendous victory in the 1991 Gulf War.

This book needs to be read by every officer in every service. Study this, extract the lessons. Many of the mistakes made during the Vietnam-Era have now repeated themsleves in the War on Terror. Many of the lessons Colin Powell and others taught us during Desert Storm have already been forgotten.

If you are an officer, buy this book. Let it guide you through the many critical decisions you will have to face during the years ahead as you work your way through your own career. And never forget the most important lesson of all: never chose your career and its future over doing the right thing. Prodigal Soldiers pointedly demonstrates that when senior officers do that, men die needlessly.

John Bruning
Author of "The Devil's Sandbox: At War with the 2-162 Infantry in Iraq"
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I first read James Kitfield's book in 2000 and have just finished rereading it. I am recommending it to my sons, an Air Force pilot working on his master's in military science and an Army combat engineer, as one of the four most influential books on the development of the United States military since WW II. The author traces in a very readable style the coming of age of the officers of all branches of service during the Viet Nam and post-Viet Nam eras and how those experiences shaped our ability to win a decisive victory in the 1990 Gulf War. The book also reveals the back room political wheeling and dealing that goes into watershed legislation such as the sweeping reforms of the Goldwater-Nichols Act. It's a "must read" for every professional military leader and student of the art of war.

When you read a book like this and have seen the Army at its best and worst. That and have seen the gradual improvement to where the Army is today, i.e. one of the most trusted institutions and one of the greatest killing machines since the Roman Legions under the early Caesars. I just feel better and safer. That and I want to thank all those who did not turn tail and run away from the wreck of the post Vietnam War Military but stayed and fixed it. God Bless you all!

From the prologue to the epilogue, and everything in between, this book is fantastic reading. Anyone who has ever been associated with the U.S. military will have a much clearer picture of the totality of resurection within all the services after Vietnam. "Duty, Honor, and Country" does not always mean the same thing to different people, to some it means a career that spans over thirty years, to others the words are just something on a recruiting poster. To anyone who reads the book these three words will take on a much clearer meaning. Some chapters will cause tears in even the toughest of old veterans, and even the young generation of future service members will begin to understand some of the major events which have transpired in the military in the decades since Vietnam. James Kitfield tells a story that is not just a chronicle, or a documentary, but a story worthy of telling, and he does it with style.

The BEST collection of pulp genre ever. Who knows what evil lurks in the hearts of men? Is there a Doc Savage in the house? Can I get that Fu Manchu to go? how about some Lovecraft? I guess it all should have warped us, but it didn't, and all that we watch and read today has drawn strength from these wonderfully cheap reads. Totally sweet from design to content. Robinson knows his stuff and it all makes for a CHERISHED collectible book!

This is a fully revised edition of the first pictorial history of the pulp magazines to be published and the authors finally got it right. There is a complete index of magazine titles and the artists who painted their covers, the images have been rescanned to eliminate any "moire" patterns that may have degraded the paintings, and the most unusual cover ever published has now been included (a painting by John Held Jr., famous for his "sheiks and shebas" of the Jazz Age). The cover has been redesigned and features the image of a pirate far more fearsome than Johnny Depp. This is the book that started it all and the price is now more than right. --Frank M. Robinson (I'm one of the authors).

I puchased this book for 50% off, and after reading it, I can say that even at full price, it would have been worth it. Page after page of bright clear reproductions of pulp covers, many almost full-page, with any extra space filled with smaller images. The book is divided into chapters based on subject matter: Westerns, Super Heroes, Sci-Fi, Horror, Gangsters, etc. The text is informative, but minimal - it provides just enough background on each chapter's subject and then lets the art speak for itself. Each cover is accompanied with information on the issue and artist, plus some informative personal commentary from the author. Plenty of top-notch artists are included, such as Wyeth, Baumhofer, etc. Don't buy this for an in-depth analysis of pulp magazines; the star here is definitely the art, and it delivers in spades.

Hard-boiled Detectives, mysterious heroes, shadowy villains, evil oriental masterminds, and dames in distress...they are the stuff of the pulp magazines and the subject of this wonderful book by Frank Robinson which traces the history of pulp magazines and provides covers to hundreds of these great pulp magazines, so many lost in the antiquity of time...not to mention paper drives of the 1940's war years.

Robinson begins by tracing the roots of the pulps back to the dime novels of the late 1800's. Argosy would premiere as the first true pulp back in 1896 and before long dozens of competitors would emerge such as Popular Magazine, All-Story Weekly, New Story and so many more. Street & Smith, long a major publisher of dime novels would convert their Nick Carter series into Detective Story Magazine in 1915. The pulps were born!

Early on, adventure pulps were the most popular as they transported readers to strange and exotic lands in a time when few would ever leave their own state. It's where we first read the exploits of Tarzan, and heard the names of writers such as Burroughs, Mundy and Rohmer. Adventure magazine was among the most popular of those early days and they even had their own organization you could join called "The Legion" which would one day evolve into the American Legion. Adventure printed more than just fiction, they had many regular columns including "Wanted: Men & Adventurers" where real life mercenaries could advertise their skills for hire.

In the 1930's, detective pulps became the most popular as there were literally dozens of detective pulps being published. Among the most prominent pulps of the day was Black Mask Magazine, started by prominent newspaperman and political commentator H.L. Mencken. But he considered the pulps so low-brow that he didn't want his name associated with them. Still, Blackmask was a breeding ground for some for some of the great mystery and detective writers ever to pen a story including Dashiell Hammett, Erle Stanley Gardner, Lester Dent, and Raymond Chandler.

Robinson's narrative moves from one pulp genre to the next, with a short, but concise history of each. He examines the Western pulps and the interesting history of the man known as Max Brand. Brand was the most prolific pulp writer ever, appearing in 622 issues of Western Story magazine from 1920 - 1935. From there it's on to the hero pulps and the birth of the most famous pulp characters of all including "The Shadow", "Doc Savage", and "The Spider". The Shadow's covers were always among the most evocative and terrifying, especially those by the great George Rozen.

But the genre that gave us the most outrageous and grisly covers of the pulp era belongs to the "shudder pulps". Bondage, torture, sadism, nudity...nothing was held back in covers for such pulps as "Terror Tales" and "Horror Stories". These pulps are some of the most sought after today by collectors.

Romance, spicy adventures, sports, war...all of these get their just do in Pulp Culture but it's the sci-fi and fantasy section that will be a major appeal for many fans. It was here where some of the most famous and long-running pulps made their mark. Hugo Gernsback would usher in the age of Sci-fi pulps in 1926 with Amazing Stories. Soon there were dozens of competitors including Wonder Stories, Astounding Stories, and many more. And then there is perhaps the most famous, most collectible of all pulps, Weird Tales. Weird Tales would unleash the enormous talents of Robert E. Howard, H.P. Lovecraft, Robert Bloch, August Derleth, and countless others with stories that would endure, and continue to be reprinted, decades after their original publication. There are dozens of covers provided featuring the works of artists like Margaret Brundage and Virgil Finlay.

Robinson closes his book by providing an appendix to a handful of pulp dealers and notes on pulp values. This book would be worth the $40 price tag alone JUST for the hundreds of stunning covers re-printed, but Robinson's concise history of pulps just adds to the luster of the book. Simply a magnificent book for any fan or collector of pulp magazines.

Reviewed By Tim Janson

This book is a marvelous journey to a time that will not come back.Guided by two wonderful connoisseurs: writer ,pulp magazines scholar and collector Frank M. Robinson and Lawrence Davidson,"PULP CULTURE" was a beautiful gift that I bought(via Amazon.com ,from the NIGHT OWL CAFE Bookshop in North Hampton,NH) for myself.Reviewing this work for January magazine,David Middleton said:"For me it's mostly about covers.Those lurid,sensational covers." Well,for me it's about everything.I love the covers,of course(see the HANNES BOK painting for the November 1941 cover of WEIRD TALES),but I admire, too,the stories and writers.The adventure tales written by H.BEDFORD JONES and TALBOT MUNDY;the mystery and detective stories created by legends like DASHIELL HAMMETT and RAYMOND CHANDLER;the western yarns concocted by pulp giants like MAX BRAND and FRANK GRUBER.And the Magazines!It's titles!It's alluring titles:THE ARGOSY,THE ALL-STORY,BLACK MASK,DIME DETECTIVE MAGAZINE,ADVENTURE,THE BLUE BOOK,THE POPULAR MAGAZINE,WESTERN STORY,THE SHADOW MAGAZINE,G-8 AND HIS BATTLE ACES,TERROR TALES,HORROR STORIES,STRANGE STORIES,AMAZING STORIES,ASTOUNDING STORIES,FANTASTIC ADVENTURES,FAMOUS FANTASTIC MYSTERIES,THRILLING WONDER STORIES,PLANET STORIES and so on...I have a good envy of collectors like Frank M. Robinson who owns hundreds and hundreds of these shiny magazines with their garish covers,a happy guardian of these rare and precious popular art objects.
The books published by Collectors Press are already much sought after for it's exquisite design and intrinsic quality."PULP CULTURE" is one of them.

An absolutely fascinating book detailing all that happened in front of and behind the CBS cameras of the ill-fated Judy Garland Show. Also, every episode of the show is examined in detail, and the author takes a straight-down-the-middle approach to the book's subject matter.

The Judy Garland Show consisted of twenty-six shows that aired in the CBS Sunday night line up in the 1963-1964 season. The network considered it an immediate and expensive failure and the series was canceled as soon as contractual obligation allowed. Isolated exceptions aside, the series was neither syndicated nor re-run and, with the exception of various "art" screenings it seemed to vanish completely.

Nonetheless, The Judy Garland remains one of the single most discussed and written-about series in broadcast history. Garland biographies aside, it is inevitably touched upon--and often focused upon--in histories of broadcast television, where it is usually held up as an example of how even the greatest talents, biggest budgets, and best intentions can be exploded by mismanagement, network politics, and in some instances pure spite.

Two major publications have focused on the series. The first was the 1970 OVER THE RAINBOW WITH JUDY GARLAND ON THE DAWN PATROL by Mel Torme, the respected singer-songwriter-composer, who contracted to write and arrange special musical material and make three guest appearances during the first season. Torme places blame for the series' failure squarely upon the shoulders of Garland herself, painting a frightening portrait of a greatly talented but extremely unstable and often vicious star self-destructing through booze and pills and determined to drag all those around her down with her. Although denounced as grossly inaccurate by many associated with the series, it was for many years generally accepted as authoritative.

The second was 1990's RAINBOW'S END by Coyne Steven Sanders. Amassed from meticulous research and seventy-five interviews with individuals directly involved in the series, it explodes DAWN PATROL with the force of an atomic bomb. Sanders freely acknowledges that Garland was a tempestuous individual with profound chemical dependencies--but his interview subjects note that, far from being difficult, she actually withstood a great deal more unpleasantness from others than she actually caused herself.

What ultimately emerges is a story of Garland's mismanagement, first at the hands of agents Begelman and Fields, then at the hands of such employees as Mel Torme, but ultimately and most destructively at the hands of CBS executives James Aubrey and Hunt Stromberg--each with their own self-serving agendas and all determined to drain The Judy Garland Show to further them. It is also a story of great talents and opportunities simply thrown away.

With the advent of DVD, The Judy Garland Show at last began to reach a wide audience, and the actual product bears out Sanders' contentions. At its best, it was extraordinary, offering not only Garland very near the peak of her vocal talents, but a host of great performers that read like a Who's Who of 1960s show business--June Allyson, Tony Bennett, Vic Damone, Bobbin Darrin, Lena Horne, Ethel Merman, Peggy Lee, Jane Powell, and Barbra Streisand, to name but the most obvious, most of whom Sanders interviews to great effect. But the program was "fiddled to death" by constant CBS reformatting, too often saddled with inept writing and insipid guest stars booked on studio demand, and ultimately unable to establish any consistent formula acceptable to both Garland and CBS.

According to Sanders, Garland did indeed spiral out of control toward the end of the series--but given the madhouse into which she was thrown it is amazing that she did not run screaming down the street at the very beginning. And, as Sanders so astutely points out, she has had the last laugh after all. Few series television programs of the early 1960s, including those that bested The Judy Garland show in ratings, have survived in the public memory. But The Judy Garland Show, for all its flaws and faults, seems to become more greatly respected with each passing year.

After reading Sander's meticulously documented assessment of The Judy Garland Show, you'll never again look at broadcast television with quite the same eye. Very strongly recommended, not only for Garland fans, but for any one with an interest in the medium.

GFT, Amazon Reviewer

Over the years I have read every book about JUDY and excluding the 'book' written by Mel Torme' many have been decent. But, not until this book has the talent, the class, the POWER that was JUDY GARLAND been properly conveyed!The book is informative about what went on in front of and behind the scenes of THE JUDY GARLAND SHOW. But also, it shows how at certain points JUDY wanted certain things done a certain way for a specific reason!!! Case in point, her singing 'THE BATTLE HYMM OF THE REPUBLIC'. She knew why it had to be done, she knew how it had to be done, and she knew that it had to be done!!!! AND SHE DID IT!!!! And what 'we' see on video during that performance is what JUDY was, is, and always will be!!! A performer who should have been left to do what she did-SING!And reading this book, you'll see why she is what she is, and how she got what will always be hers! LEGEND!!!!

This book, which accompanies the box set (Vol 1) of Judy's TV series, is an invaluable resource for any serious Judy Garland fan. The writing is clear and concise, the approach is objective (but with great empathy for Judy), and the research conducted by the author is impressive. Until this book was written, the only documented history of this landmark TV show was the book written by Mel Torme, which was mean-spirited and by no means a balanced account of what really went on. Congratulations and much gratitude to Mr. Sanders for a very memorable read.

Coyne Steven Sanders is, undeniably, _under_ the rainbow with this treatment of Ms. Judy Garland. In a good sense. First, one must respond to the treatment here of Micky Rooney, without whom we would still probably be responding to Ms. Garland in the same way. In the birth of the cliche, there is a moment when the idea itself is not a cliche but is instead an archetype. In this way cliches are to be honored as original ideas so fitting to such a large number of {events} that they become, through no fault of their own, a cliche. Sadly, this treatment of Micky Rooney in relation to Ms. Garland does not recognize the fact that Mr.Rooney was a cliche _from the beginning_. He personified the cliche by occupying one from the moment he embarked on his character--the same wide-eyed, over-eager, lifelessly hyperbolic grating dunce he dusted off every time the cameras were stupid enough to have him within their frame. If only Steven Sanders would have bitten into this none-too-tender tendril of the gas that was Micky Rooney! Instead, it is waived away like a bad odor that the reader imagined should have dissipated 5 minutes earlier. By failing to contextualize Ms. Garland within this necessary border, Coyne Steven Sanders renders a full quarter of this book into a wide pie of plums and pits; into a full line of outergarments best suited for intemperate climes. Three cheers for Coyne! Because, after all, this author is able to, in this book, show us why we should all, as I do, love Judy Garland with each breath we take. I love her. Yes. I love this book, and I love Judy Garland.

This book was a great reference tool for starting my 'chicken raising experience'.

This is a great book, growing up on a poultry farm I can agree with the author - it's not easy!

Hens can be difficult, getting the feltch balance is so hard, just how much do you give them? And should it be straw fed?

Managing cocks is just plain difficult! Cocls tend to get trapped in small places and rarely do what you want. If I had 10c for every time I have trapped a cock in the door I wouldn't need pocket money!!

Overall though a good book.

I think this book is great for starting out. It shows everything you need to know. Check it out!

I own a small hatchery and poultry farm. We sell hundreds of baby chicks every month. When someone with little or no poultry experience asks for some good reference material for their new chicks, I point them to this book. Will Graves covers every aspect of raising poultry in great detail, but does not bore his reader. This book is also a great reference item for the current poultry owner. If I have a question, I turn to Mr. Graves first. I highly recommend this book.

My four Rhode Island Reds are my first ever to care for and this book helped me to quickly know what to do without having to take a college course. It is helpful in building of and requirements of a coop, requirements for the growing chick into adulthood (food, lighting, temperature, water, protection and cleanliness.)I highly recommend this book and also bought one for a christmas present for an owner of a small flock.Plus there is much more information like, illness& diseases, butchering, ducks, turkeys, and incubation.

If you're into swords, this is a must have book. It's more than a catolog of styles of medieval swords but also explains the developement of the weapons and how swords and armour influenced each other. It also explains the difficulty in dating a weapon by the style of blade and hilt.

Ewart Oakeshott in this pictorial guide takes you by the hand
in a enjoyable trip along the classification created by him
on the european medieval sword: The Oakeshott Typology. You'll be delighted by the pictures of dozens of vintage pieces and you'll be inspired to forge your own swords based on the different pieces depicted in this book. A useful reference for the advanced sword enthusiast and an excellent introduction to the novice.

This book contains a life-time's work and research of the sword. All the way from the early Scandinavian sword to the swords of the Renaissance and gives full in-depth summary and description on each piece. The author, Ewart Oakeshott is the leading expert of medieval swords and has taught me plenty (if not more) from his previous works. I am satisfied with the latest one here. "Records of the Medieval Sword" is well suited for a sword expert as well as for beginners and is for all to enjoy. The only thing I have to complain is that the binding of the book isnt done very well, but then again it could just be mine only. But then again, it should stop you from purchasing one.

Ewart Oakeshott was unsurpassed in his understanding of medieval swords. Unlike the majority of weapons curators who focus exclusively on the hilt and try their hardest to pretend that the sword was never a practical tool, he appreciated the whole sword. Oakeshott's typology is based on blade shape, i.e. on how the sword handles and what it can be used for. Because of this Ewart was loved by re-enactors and historical swordsmen who view swords as a beautifully designed tool that comes to life in their hands.

I feel very fortunate to have had the chance to work with Ewart just before his death (editing a paper he submitted to the anthology Spada). Just as he reminded museum curators that the sword was a practical tool, not an art object, he reminded swordsmen that the sword was an important symbol of just might, not just a tool.

Records of the Medieval Sword is the best available book describing medieval swords (though his earlier book The Sword in the Age of Chivalry is also well worth picking up). It has clear photographs of the whole sword, and lists blade lengths. If only it had a few more measurements (weight, blade width at various points, point of balance, centre of percussion etc.) it would be a perfect resource for people who make and use swords but who rarely have the opportunity to hold genuine originals and feel their handling characteristics. Even with this minor omission, this book deserves pride of place in the library of anyone interested in the medieval sword.

Stephen Hand
Author, English Swordsmanship, Medieval Sword and Shield
Editor Spada, Spada II

Records of the Medieval Sword is a remarkable volume, representing a body of work in the subject area with no equal.

Although the information is provided in an extremely authoritative manner, it is written in a very personable way, leaving this reader with a desire to know (have known?) the author.

If I were to attempt to be overly critical of this book, I would mention that there are a few minor, but still rather annoying, typographical errors and mis-numbered illustrations that detract somewhat from the otherwise masterly scholorship presented in the volume.

Also, in my opinion, a reference such as this should be provided in a hard cover edition, with full color plates wherever possible.

I will treasure this addition to my library.

I highly recommend this well-written, balanced biography of Thomas Eakins. It would be a perfect choice for readers with any level of familiarity with Eakins' paintings. I agree with the other reviewers that the book does an excellent job of placing Eakins' work in its historical context. Eakins emerges as a fascinating personality, and a guy who would have been great to know. In my opinion, Kirkpatrick deals honestly with the controversial aspects of Eakins' character, but without dwelling on them ad nauseum.

I thought that the descriptions of the paintings themselves were especially effective. The book communicated exactly the information I wanted to read about for paintings like The Gross Clinic and Max Schmitt in a Single Scull: the main points of the design, the background and tecnhical details, the dramatic impact, and the pyschological levels. I have read very few biographies of artists that were this helpful.

The book is generously and beautifully illustrated. There are 42 color plates, and each of those paintings is described in detail in the text. There are also a number of drawings, sketches, maps, and photographs (some taken by Eakins, and others of Eakins and his family and friends). The photos in particular (such as the one of Eakins, himself nude, carrying a nude female toward the camera) underscore the independent and controversial aspects of Eakins' character.

This was a very enjoyable read, and a tribute to a great artist.

A common myth of all poor starving artists is that they will be discovered after they're dead and be venerated forever. In an age when you can get rich and famous by glueing broken crockery to canvas or stuffing a dead fish into a tank of formaldehyde, it is usually a case of a poor choice of publicists than undiscovered talent and the real loser is the poor fool who buys contemporary art for a high price only to watch the value crash when the artist moves on and his work starts to fall apart or rot.

But there was a time when truly great artists did suffer. We all know about Van Gogh, but Thomas Eakins was also a classic example. Everyone loves his sports pictures and his two group portraits of heroic doctors lecturing their students (the Gross Clinic and the Agnew Clinic) even make a Christian Scientist envy those who have chosen the medical profession.

But for my money, his portraits stake the primary claim to Eakins' greatness. His sitters usually refused to accept their portraits, some destroyed them, others refused to sit at all (Mr. Kirkpatrick quotes one lifelong friend of Eakins who always refused to sit for him because he was afraid that Eakins would uncover what he had spent his lifetime trying to conceal).

And I'd imagine that viewing your Eakins-painted portrait for the first time must have been an eerie, almost supernatural event. Looking at his splendid portraits today, you KNOW the subjects, their hardships and triumphs, their hopes and fears. These are not prettified and bowdlerized pictures to hang on a wall, these are the real thing. It is as if Eakins stripped away the skin of his sitters to reveal the pure psyche underneath. They are beautiful and informative and moving. Fifteen minutes with an Eakins is more enlightening than a month in a room of Sargeants.

Mr. Kirkpatrick's fine biography is one of the best on any subject. He manages to capture the man and his times and the man IN his times, in a way that few biographers can accomplish. He manages to make the story exciting, even as he takes the reader through an almost brushstroke by brushstroke description of Eakins' painting process.

At first, my only reservation was the title. The point of it is to show how Eakins fame after death was his revenge for the tragedy of his career (a close and valued student conspiring to replace him, loss of reputation for insisting on painting things as they are, base and highly publicized accusations [about which Mr. Kirkpatrick carefully assembles the evidence for and against, describing the scandals as fairly and dispassionately as he can], rejection of his works, etc.), but the author discusses Eakins death only two pages before the end of the book, hardly enough time to develop the world's slow acceptance of Eakins' genius.

But then I realized that the book itself is Eakins' revenge. Very few people of even the first rank ever have a biography written about them as fine as this one. This book will be read as the classic text for the next one hundred years and it should be read, merely for its quality, by everyone no matter how slim their interest in American painting.

I have read and enjoyed several of Kirkpatrick's other books (on very different subjects), and was eager to see how he would handle a subject as complicated and controversial as Thomas Eakins. Through his telling of the Eakins story, the reader becomes privy to moments of nearly cosmic dimension as well as deep emotion. It's utterly convincing, lucid and intelligent, highly informative and extremely compelling. His most moving book to date.

When I picked up this very well done bio the little I knew about Eakins was the wonderful scull portraits, the shad fishing pictures and that a vague scandal surrounded his name. Now having read almost 500 pages, I want to know even more and there is a lot more to know.

Kirkpatrick covers the whole life, giving balance to each stage. It is a full book. There is no "filler". The research and background knowledge of the author shine forth on every page. The author shows great restraint in sticking to the known facts, otherwise this would be a 1000+ page book!

For instance, Eakins' fixation with the body, down to using mechanical contraptions on dead animals to demonstrate movement to students is factually presented. It is not sensationalized or psychoanalyzed. Similarly, whether Eakins was oblivious to or had discounted the consequences of asking so many females (again and again) to pose nude in this Victorian age is not discussed. The known instances of these invitations and the resulting alienation of those who said no, and the alienation of the friends and families of those that said yes are covered. With this background we learn the known facts of the tragedy of his niece Ella, and student Lillian, and about accusations regarding his sister Margaret. There are some documented opinions of family members, but the author stays with the known record.

No wonder, the self portrait that adorns the cover shows a tortured man with barely restrained sadness and anger.

It's ironic that the lack of appreciation for Eakin's works served to maintain the integrity of the collection for future generations. It's interesting that due to the nondescript Charles Bregler's collecting and acquiring memorabilia of his beloved teacher, today's researchers have a large collection of personal letters, photos and sketches to work with.

This is a very readable book. It is rich in plates and photographs that illuminate the text. I am ready for another biography to take on the "whys" of this remarkable life.

I find all of Kirkpatrick's books to be great reads. They combine impeccable scholarship with elegant style and profound insight. As I am interested in art, I found this one to be especially powerful -- the first major biography of Eakins that brings this enigmatic man into focus for me. Kirkpatrick has filled in the puzzling gaps in Eakins's life and brought new and unexpected meaning to Eakins's artistic and personal struggles against the conservative art establishment in Philadelphia that denied him recognition in his lifetime.

Although Stephen's writing style may make it difficult for the scholar to take him seriously (he sounds more like an Info-Age
geek than a academic), he presents some extrordinary ideas that shouldn't be ignored or overlooked. For example, his list of the new elements and principles of design spawned by Info-Age art
forms is revolutionary. A must read for the Info-Age artist,
art critic, social-critic, or art educator!

I read Stephen's last summer and I'm now rereading parts of it in preparation for using video in my classroom next Fall. There's no doubt what Stephen says is true. The role of the image can often be even more powerful than the word. For example, Henry Hampton's documentary, Eyes on the Prize, conveys much more emotionally and intellectually than any book on the Civil Rights Movement. Even the most prolific readers out there are moved by powerful motion pictures and documentaries. So far me Stephen's work is only a start in terms of examining what we can be done with visual communication, especially the video.

I teach a graduate design class, and this book is a great way to let students think about their role in the fast changing world of visual communications. Stephens has a great way of putting things in perspective, and notes that each fundamental change in communication has met with resistance, i.e. we still think of TV as the Boob Tube. When I read it a few years ago, it seemed so new--it's fun to see how his theories are quickly melding into our culture seamlessly. It's been an optional read for my students--now it's time to make it mandatory!

His take that nobody has really fully taken advantage of "the language" of video because it is still in its infancy was very interesting and supported pretty well in the book. However, I felt there has to be more to developing video than the fast cuts of Pellington who he so often refers to. Also, I felt he undervalued the contribution new media will have, choosing to encapsulate aspects of interactivity and other digital technologies under the umbrella term of "video." It seems if video is going to fulfill a new function in terms of its ability to change how we get information and even think, it will do so within the framework of digital media, in which video, still images and words can each co-exist seamlessly and utilize their particular strengths.

His ideas are intriguing and challenging and his clear writing style makes the book a very good read. Even with what I felt were the weaknesses mentioned above, his challenge to video to rise above what it is now is needed and will hopefully encourage even more people to experiment with what video can do.

With TV viewing increasing, it is no wonder more people depend on television than books or newspapers. Mr. Stephens states that the image has not conquered the word yet, it may not happen at all, but he fears it will. Eloquently written and researched, with an excellent chapter 'thinking "above the stream"' that includes director Mark Pellington (Arlington Road). This book is especially useful for journalism students.