H Books

I forgot how long Curious George books are. I remembered them being short when I was a kid. Anyway, my 4 year loves the cartoon and show on PBS so I thought I would give these a try. She really likes these books w/ CD. She can follow along on her own. Audio and Narrators are very good. My 4 year old has a long attention span. Some of these books can be up to 30 minutes. If your child cannot sit still that long, it may not be for you.

I bought this set for my 4 year old boy. Little did I know that this would also be a mommy sanity saver gift as well. I gave this to my little boy with a cd player to enjoy. On the first day he opened it, I had forgotten that he was in the house beacause he was so quiet, for a whole hour. And well my little boy is like Curious George, always into something. So for him to be quiet and out of trouble for an hour was a glorious event in my house. He enjoys the book and cd so much that now it's his own little word of reading and enjoying. He even brings it in the car to take with him to enjoy. What an incredible gift this turned out to be. I highly recommend to anyone. I will definitely keep on my list to buy again as Birthday presents in the future. Trust me all your friends with thank you endlessly.

My Grandson loves Crious George and I am always satisfied with my purchases from Amazon.

Tells when they need to turn the page. My 4 yr old loves it. Him and my 2 yr old love Curious George!

We use books on cd as an alternative to using a dvd player in the car... and these cd's work perfectly for that! The narrator tells you what the picture is on the page where the story starts if you want to follow along with the book (which my kids sometimes do). I like that they have the sound that lets you know when to turn the page (if you choose that track, every other track has the page turn sounds)... some kids' books on cd/tape don't do that and if you have a kid that isn't a reader yet, it makes it harder to follow along without a reader's assistance. These are also great for bedtime... we will read one story, then turn out the lights and the kids can go to sleep to another one (without the page turning sounds).

I wish that all kids collections were available like this one.

Two years ago, while in high school, I formed an Independent Study class with a couple other students to learn Esperanto. It's a relatively esoteric subject for most people, so we were worried we would be unable to find an effective text book. We ultimately decided on Esperanto from the Teach Yourself series, and were pleased beyond our expectations. I was amazed by not only how easy the language is to learn, but by the wonderful format and selection of vocabulary presented by the book. The book does not patronize you with repetitive material, and instead uses every page to pack in more of the language. Complete with wonderful appendicies (and a comprable dictionary), I felt that I learned more from that book than I did from my first three years of formal classes in Spanish. Although I have used a more advanced textbook since, shortly after finishing the TY Esperanto book, I had very little trouble tackling La Hobito (the Hobbit), Genesis, and poetry in Esperanto to test my success and build vocabulary. I fear, if interest fades or not enough materials like this remain available, this wonderful experiment with linguistics will die. Don't be afraid to help Esperanto stay alive, and Teach Yourself Esperanto.

I ordered this book through my local library, because I was interested learning about Esperanto. Once I had it, I realized I would need a permanent copy for myself. I searched everywhere on the internet for it, but because it is out of print the only place I found it was here, on Amazon.com. The price was $30.68, which is outrageous for a book of not even 200 pages. But I paid it, because this book really is priceless!
If you want to learn Esperanto, you need this book.

The Teach Yourself Series is a great modality for learning and/or acquiring a second language. Esperanto: A complete course for beginners, is exactly what it says! I have used other TY books, and the quality and level of material learned is excellent for adult learners either studying alone or in a group setting.

Definately worth the money.....recommended without reservation!

This was one of only two Esperanto books at my local Borders. I bought both, and loved this one. After merely months I can chat online and read web pages and (simple) books! I bought it without the tapes, which I didn't know existed until several months later, but that's my only regret. The alphabetized word lists in the back serve as a surprisingly helpful (for the size) dictionary until you buy a full one, which I still haven't yet. You can't go wrong with this book! Acxetu gxin! (Buy it!)

I only have great things to say about this book. I'm enrolled in a free Esperanto introductory course, and I just have to say that reading this book alone has helped me get further along than the class! Of course, I can't negate that the class has been at the very least synergistically helpful. I would recommend taking a class to anyone, but even if you do, or if you can't manage that luxury, this book will be just as helpful.

For me this was an amazing discovery. I read a review of it in a literary magazine in the waiting room of my optician and when I got home I immediately ordered it from Amazon.
What caught my eye in the review were the names of the inhabitants of the February House - Auden, Britten,McCullers... in that amazing year. I knew of their work individually but to read of them living under the same roof was a revelation.What a cauldron of creativity! All against the background of the war in Europe and the period leading up to Pearl Harbour.As I read the book I felt as though I were there. I hope that someone will make a documentary about it or better still a dramatised reconstruction. The two Truman Capote films have blazed the trail.

A friend just recommended this book to me and it's fabulous!!! I live in an artist bldg and it's nothing compared to the energy of Middagh Street. The book is a great read and the research is most impressive. I cannot wait to read the one she's writing about the Chelsea Hotel!

Thomas Wolf once famously said "only the dead know Brooklyn." There might be some truth in that, but some of us know Brooklyn, N.Y.,U.S.A., pretty well,and are still very much alive. Quite a few people are aware of Brooklyn's brownstone belt, that swath of historic houses stretching from the East River to Prospect Park and beyond. Many of these people would declare Brooklyn Heights the ultimate Brooklyn brownstone neighborhood. It's beautiful, and gets scenic views of Manhattan. It's got history galore--an important Revolutionary War battle was fought here;and it's been, and still is,home to a lot of well-known important people.

One little-known fact is that a number of celebrated people shared a house on Middagh Street, in 1940-41, right in the middle of the Second World War. That house, which came to be known as February House-- a number of its residents had February birthdays-- has long since been torn down to make room for the Promenade that provides storied views of Manhattan. But among occupants of February House were poet W.H.Auden, writer Carson McCullers, writers Jane and Paul Bowles,composer Benjamin Britten, and stripper Gypsy Rose Lee.

Writer Sherill Tippens has produced an interesting, pleasantly gossipy book about the house's residents and their accomplishments. Jane Bowles began "Two Serious Ladies," her only completed novel here. The young lesbian Carson McCullers had just tasted, at the age of 23, great success with her novel "The Heart is a Lonely Hunter." She began two other great successes, "The Member of the Wedding," and "The Ballad of the Sad Cafe," between drinking bouts, right here on Middagh Street.

Auden and Britten, both homosexual, but not involved with each other, were being raked over the coals at the time by the British press for choosing to sit out World War II in the U.S. But they were working: they collaborated on the opera "Paul Bunyan,"not critically well-received. Auden who continued to live in the Heights, on his own, to pursue his lifelong, unrequited love for the young American Chester Kallman, was working hard in the interstices of his personal soap opera: He produced "The Double Man" in February House. Britten produced "Peter Grimes;"considered one of the great masterpieces of 20th century opera. Meanwhile, he pursued his own personal soap opera: many critics believe this opera echoes developments with his partner, tenor Peter Pears, at the time.

The most unexpected resident of February House would have to be Gypsy Rose Lee, burlesque artiste. She was talked into joining the fun by George Davis, homosexual himself, fiction editor of "Harpers Bazaar" magazine, whose idea February House was, and who worked hard to keep it alive. Davis had published some of his own writing, but he was best known for the talented writers he kept on discovering.

In Gypsy Lee's case, she brought some money, a lot of common sense,and a cook to Middagh Street. The house's residents needed all the above. Her reward for her support: George Davis, great editor, midwifed her book, "The G-String Murders," a publishing sensation for many years.

George Davis continued to live at 7 Middaagh Street after its time as an artistic commune had passed. After Kurt Weill's death, Davis married his widow, Lotte Lenya, and devoted his life to introducing America to Weill's great works,such as "Three Penny Opera,"from which we get "Mack the Knife."

There are some informative photographs, extensive notes and acknowledgements in February House. Tippins evidently did a lot of primary research, but she managed to organize the voluminous results in a very readable style. February House well rewards the reader.

Sherill Tippins has done an amazing job of finding the significant narrative threads in the chaotic convergence of creative lives that occurred in the months before Pearl Harbor when Harper's Bazaar editor George Davis and British expatriate poet W.H. Auden rented a brownstone on 7 Middagh Street in Brooklyn Heights and actively recruited other creative artists to live with them. Among the co-renters were Carson McCullers who had recently published her highly acclaimed first novel, "The Heart Is A Lonely Hunter," soon-to-be famous British composer Benjamin Britten and his parnter, singer Peter Pears, unpublished novelists Paul and Jane Bowles, Broadway set designer Oliver Smith, writer Richard Wright and his wife, and burlesque sensation Gypsy Rose Lee, who it turns out was the most reliable in the rent-paying department and joined the little "creative commune" on the condition that she could bring her own cook and maid. Her fiscal reliability and drive along with Auden's willingness to take on the unpleasant role of house disciplinarian (collecting rent and other "dues" and establishing and enforcing many house rules) are probably sufficient explanation for why this menage managed to last the two or three years it did.

Tippins wisely focuses her attention on the leading figures (without neglecting to name the many others who partied but did not reside at 7 Middagh--Salvador and Gala Dali, Lincoln Kirstein, George Balanchine, Erika Mann and her brothers Klaus and Golo, to name a few). One passer-through, Anais Nin, christened the dwelling "February House" because so many of the residents had February birthdays. Tippins has a good knowledge of the works of these creative people and is able to see how one of the artists intentionally or inadvertantly influenced a subsequent work of one of his or her co-residents. For example, McCullers was struggling with the novel that would later become "The Member of the Wedding" when she was able to appropriate an experience from Chester Kallman's childhood to explain her heroine's profound sense of alienation and abandonment (Kallman was Auden's lover).

Tippins other great achievement here was her ability to slice through history and palpably recreate the political atmosphere in pre-war New York and to do so in a way that reflects on both British and US perspectives. She takes a good hard look at the criticism expatriates like Auden, Christopher Isherwood, Britten, and Pears faced from the British press and fellow artists who chose to remain in Great Britian during the war. She is similarly insightful in her analysis of the role the Mann family had in trying to get an apathetic America to respond to the European crisis. A lesser writer might not have bothered with these issues and chosen to report only the salacious and saleable anecdotes about the goings-on of the February House residents.

I highly recommend this book to anyone even passingly interested in one of the artists who lived at 7 Middagh Street (you're sure to learn something new), to anyone who ever wondered how great works of art come about, or to anyone interested in knowing how history and art intersect. I'm sure I'm going to use Tippins's Selecte Bibliography as a basis for future Amazon.com purchases.

Sherill Tippins' volume fills a tantalizing gap that fans of Auden, McCullers, Britten, and Gypsy Rose Lee have long wished could be filled. Most overdue is Tippins' portrait of George Davis: failed literary wunderkind; editor extraordinaire (who "discovered" McCullers and got much-needed writing jobs for her and W. H. Auden in the lean months before Pearl Harbor); husband to Lotte Lenya and the catalyst that re-invented her for American audiences in Marc Blitzstein's staging of Weill's "Threepenny Opera"--the list goes on and on. Davis and Auden are central to Tippins' account and to the amazing colony of artists who called 7 Middagh Street in Brooklyn Heights their home in 1940-41. But Tippins gives everyone in that circle his/her due. Her depictions of Auden's rocky romance with Chester Kallman, of Benjamin Britten's coming to terms with his artistic destiny in England, not America, and Gypsy Rose Lee's ability to charm and disarm everyone she met are more than engaging--they are extremely moving.

Tippins' research is exhaustive and impeccable, and she lets her characters speak naturally and eloquently. I could not put this book down and practically read it at one sitting. I was hungry for the kind of information Tippins delivered, and I finished the book with the deepest satisfaction. Gracefully written, carefully organized and researched, and extremely relevant: this book wins on all counts.

Maybe it's not the first of the civ building type games, but it's the first rule set for those games. Played between H.G. Wells' kids, with him as moderator, this nation versus nation in combat and comerce game is still fun to play. It's very family oriented and a good way to bond with parents and kids. Since everything is physical there is no ambiguous rules to be misinterpreted, this helps belay blow ups between siblings. A fun fun game for all!

Loved the book and the game! Thanks Skirmisher for bringing HG Wells back to the masses!

I am long-time gamer and also a great fan of H. G. Wells. When this reprint came out, I knew I just had to have it. It is really neat. Thanks to Skirmisher Publishing for making it available again!

If you haven't read H. G. Wells's "Floor Games" (and the later but better known "Little Wars") you owe it to yourself to check them out. They're funny, creative, insightful, and elegantly written--a century-old testament to Wells's genius. Kudos to Varhola and Skirmisher Publishing for rescuing these classics from obscurity.

I must admit I had not heard of "Floor Wars" prior to reading "Little Wars". The book predates "Little Wars" but is often considered a companion to the other book. It focuses more on the collecting and building of settings than actual wargaming. The books compliment each other well. "Floor Wars" sparked my imagination even more...taking me back to the little countries and armies that I used to think up in my youth. It was amusing listening to Wells go on about how good figures for certain periods and ranges were not available. I guess nothing really changes after all!

Rooted in both vigor and simplicity, this chemistry text will amaze you. Pauling is very mindful of how the student ought to recieve information and in that he carefully picks the order of topics. Too often people disreguard the importance of the presentation of information. It's a shame because they are being willfully ignorant to techniques that catalyze and promote learning. Our brains are more responsive to associative learning because biologically that's what goes on in neural circuitry. Anyways, it's best I don't spur off into a tangent. Buy this book. It taught me chemistry.

Nothing to say about this well known book as a hi level introduction to general chemistry.
What it's amazing is to buy such new book at such price !

This book will never look old. Its still much more clear than many (college) chemistry books. In my opinion this volume should be suggested as a reference for a general chemistry college course.

This is an interesting, if somewhat dated and eccentric textbook by the man who was probably the leading chemist of the twentieth century. It is full of interesting insight, and written with real flair, so much unlike the typical textbook today produced by the textbook publishing machines.

Let me give a couple of examples, good and bad, of what makes this book interesting, but also exasperating.

The book is the only freshman chemistry text I know of that has a derivation of the Boltzmann distribution P ~ e^(-E/kT), a very basic relation in the kinetic theory of gases and in fact in all of statistical physics. The derivation is simpler than most, which makes it a real jewel especially at this level, where most people would think it doesn't belong.

On the other hand, the section on chemical bonding, which is actually where Pauling made his reputation, is very eccentric, like the author, so much so that it makes the book unsuitable as the sole text for a course. It is all based on sp3 hybrid orbitals. As far as I can tell, sp2 and sp hybrids are never mentioned. With the sp3 story, Pauling is able to account surprisingly well for some systematics of bond lengths. Whether this is fortuitous or not, I don't know, but it is interesting. On the other hand, without sp2 and sp hybrids, he is completely unable to give the standard, very simple, beautiful account of bond angles. A student learning introductory chemistry from this text who then went into organic chemistry would soon be at a disadvantage without knowing the theory of hybrid orbitals that everyone else would get from any of the standard contemporary texts.

My recommendation: use this text as a very insightful, quirky supplement. The price is certainly right.

The text that comes closest, in my opinion, in seriousness, if not eccentricity, is the contemporary text by Oxtoby and coauthors. It is too highbrow though for most college introductory chemistry courses.

This is by far the best introductory book I have seen so far. It is very concise and thorough. There are no flashy pictures or cool sidenotes with the practical applications of the concepts. But the basic concepts are very well explained with lots of helpful diagrams. Also, the price of the book is very good. Hooray for Dover Publications for publishing this masterpiece as such reasonable price!

While The Golden Key may not be my all-time favorite book, it certainly has a strong connection to the book that I treasure most of all (well, second to the Bible). You see, George MacDonald, author of The Golden Key, was in fact the mentor of Lewis Carroll, who wrote my favorite non-Biblical book, Alice's Adventures in Wonderland. That's a very powerful and indeed shocking connection if you ask me. But you can kind of see it if you look closely. I mean, the kids in the Golden Key grow both old and young. Alice in Wonderland grows big and small. Kinda similar there.

Yet, I did not know about the relationship between the two books until AFTER I had finished The Golden Key and decided to do some research on its origin. I simply read The Golden Key like I would any other book, and developed some commentary on the work as a whole that I would now like to communicate:

First, the book is very short. I finished it in two days. And because its so short, events move incredibly fast to make room for heavy amounts of whimsical feeling and fantastical description.

But again I have to go back to the Alice thing. I noticed how SO many sentences in the story turned the reader upside down and made him say, "huh?" It was as if the Fairy World did everything it could to stay all out of whack. Whether it was to make speech that could be heard without ears, or to make the oldest people in the world look like little kids, the topsy-turvy nature of everything couldn't help but instill an amazing sense of awe. Truly, The Golden Key opens eyes to such incredible abstract possibilities of the imagination, and perhaps even life itself.

The out of whack sense of awe, while wonderful in this book, developed into full maturity in the Alice books. While The Golden Key merely mentions things that make no sense, the Alice books actually attempt to explain the senselessness of senseless things.

I hope I will always have a special place in my heart for MacDonald's prototype of Alice in Wonderland. Oh, if we only knew how much the imagination behind The Golden Key has really changed the world. I think we would all be very surprised.

I purchased this book as a Christmas gift for my 20-year-old daughter. It was one of her favorite books as a child and she frequently checked it out of our local library until it disappeared from the shelf there, never to be seen again. She was very excited when she saw that she had her own copy and she took the book back to college with her after Christmas break. Although I haven't actually read the book myself, I can tell you that my daughter thinks it is great!

This book is like a drink of the freshest, clearest water on the brightest, bluest spring day you can imagine. It was lovely every step of the way, somehow beautifully sad and wonderful at the same time. With the aid of the creatures of fairyland, mistreated Tangle and adventuresome Mossy go on an enchanting journey which takes them straight through to a wisdom and sense of wonderment that is somehow greater than that found in adulthood (or childhood). George MacDonald truly had an eye for the worlds of fairy, and an unsurpassed talent for expressing beauty in all things. The stories are not always meant to be understood, but deep in that inner place in one's heart, they make sense.

the tale of tangle and mossy, two child like creatures on the adventure of the ages. alone - together - parting - re-uniting, until which is which becomes forgotten and un-threatening, and best; so unimportant. Simply, this is The Best Fairey Tale I have ever read.
It is a classic.
If you know anyone with fantasy and imagination, regardless of age, this whould be a most welcome gift....

Addendum: To - "A Reader"
It is difficult to respond to a question after the questioner has left the room. Who is Dr. Peter Kreeft and what makes his opinion so important to you? It is sad that such a beautiful and wonderful story is so assaulted by a need to find the incarnation of GOD himself within it. Not that he/she is not; but please, isn't that the "Bible's" role? I think you last three comments point to your problem; that is, you really want someone "to tell you" what this book really means. Suggestion: Perhaps if you read the story to a child or a very old person over the course of three or four day, you might find it much more appealing.....
best regards.

An earlier reviewer mentioned the difficulty of understanding the imagery of the story and another suggested (perhaps rightly) that the golden key represents Christ. C.S. Lewis believed it represented "the talent for loving", and having read the book numerous times, especially to nephews and nieces, I agree. Without giving away too much, notice the differences between Mossy's and Tangle's journey after their separation (physical death), especially how they saw the Old Man of the Sea. One might need to have read more of MacDonald's works (especially Unspoken Sermons) to get at his view of how love affects our ability to "see". His "At the Back of the North Wind" contains another wonderful example when North Wind explains to Diamond why she had to appear as a dreadful wolf to an old woman.

Joshi is the foremost student of Lovecraft, and in this volume he has written the unsurpassable biography of the man whom Stephen King himself called "the twentieth century's greatest practitioner of the classic horror tale."

For myself, I can only say it's been a long wait. I first discovered Lovecraft at my local library in eleventh grade. I picked a book decorated with some macabre illustration off a twirling bookstand, checked it out, and rode my bike home with the volume tucked under my arm. That evening I sat with it in the big white reading chair in our home's living room. The first story I read was "The Picture In the House."

I was hooked.

Within the year I'd read every story Lovecraft wrote excepting one--"Herbert West: Reanimator". (I finally got to that earlier this year.) I became, in a way, obsessed with Lovecraft. I wanted to know who he was, so I read Frank Belknap Long's Howard Phillips Lovecraft: Dreamer on the Nightside. The stories and poetry I was writing at the time became increasingly colored by (or downright imitative of) my hero. Somehow, the man infected my consciousness in a way no other writer--before or since--ever has. I guess it's because in so many ways my inner life has been--with some important exceptions--a parallel to Lovecraft's. I see him as a kindred spirit.

That being the case, it's hardly surprising I relished--nay, wallowed in--this biography. It is detailed beyond imagining. Here we follow Lovecraft on his walking tours, street by street. We see his grocery lists and menu items. We read his letters and amateur publications. By the end of this text you will feel you have lived and breathed right alongside the old fellow and slung arm-in-arm with him through his nightmare worlds. No one could have done it better than Joshi, and it is doubtful anyone ever will. If you are a fan, this is a must read. If just curious, the lengthy detail might be off-putting, but you may find yourself a convert by the end.

Unlike De Camp in his earlier biography, Joshi doesn't consider HPL to be a failed version of what he might have been had he at various key points in his life been just that little bit more commerce-minded: instead he accepts Lovecraft as he was and goes on from there. I think Joshi brings out what it is about Lovecraft & his work that continues to fascinate today: the curious fact that an erudite, scholarly autodidact should, from an early age, have been so caught up in a melodramatic 'pulp' aesthetic that for the rest of his life he focussed the entirety of his self-expression - emotional, intellectual and philosophical - through that aesthetic. Hence Lovecraft's stories have, even at their most garish & mechanical, an (admittedly sometimes near-subliminal) intellectually rich underpinning, and it is this bleed-through of a higher aesthetic that lifts them above the acres of hackwork that surrounded them when first published in Weird Tales, (try reading even a 'best of' by those other writers today!), gives them a psychological curiosity, and has given them their unexpected longevity.

Joshi's analysis of the 'Cthulhu Mythos' is, I think, exactly right: he defines the Mythos (not HPL's coinage, of course), as 'a fictional technique' for presenting Lovecraft's philosophy - which Joshi defines astutely as 'an anti-theology' which makes manifest (as we see with the cultists in Call of Cthulhu) the delusive nature of all religious belief, and asserts the meaningless of human existence in a vast, uncaring, mechanistic universe.

This analysis justifies what would otherwise be an excessively lengthy exploration of Lovecraft's political and philosophical beliefs, given that he published no significant writing on those subjects, and was only considered a great thinker by his friends and epistolary correspondents. It also highlights the unalloyed perversity of August Derleth in imposing a Catholic-inflected cosmology onto Lovecraft's atheistic vision. How strange that he was so fascinated by HPL & his work, but couldn't accept what Joshi rightly points out is its absolute core!

Joshi manages to address various differing opinions in the world of Lovecraft Studies without becoming pedantic or petty, and takes trouble to credit other researchers and academics for their insights.

As a biography this book is full of interest, and Joshi's pursuit of detail is relentless - occasionally to the point of obsessiveness, it has to be said, but some of the details he uncovers are highly revealing. His account of Lovecraft's death I found surprisingly moving, but I did not, as I did on finishing the De Camp biography, regret his life - except in the single matter of his clinging on to racist beliefs and self-diminishing prejudices.

I have very few criticisms. There are no photographs, and I think the cover is horrid - & certainly is not a good likeness of HPL. Occasionally Joshi is so aesthetically aligned with his subject he indulges him (as he does with certain of his amateur endeavors); occasionally Joshi is over-definitive in his judgment of the merits of various yarns. I think he slightly misses the mark at various points when he comments of (eg the denoument of Herbert West) that HPL must have been sending up his own style to *intentionally* comic effect. This, I think, is not quite right: rather, it seems to me, he allowed his discipline to slip, and reverted to the garish style of the Argosy yarns that he had read as a child, the style of which had so fundamentally informed his entire notion of the form of aesthetic and psychological self-expression that he could never quite discard it. Lovecraft knew it was a failing on his part, but sometimes let it off the leash regardless. I'm sure he never thought of his verbal pyrotechnics as anything other than, on sober reflection, accidentally funny.

Aside from those very modest quibbles, I found Joshi's judgments & assessments at all times perceptive and thought-provoking, and his 'Life' a highly-readable achievement in biography.

Wow, this must have been quite a few hours of work for Joshi! The fonts are below even standard book-fonts, AND I hear it's an abridged version but still the book is almost 700 pages. But don't get me wrong, in many ways I wish it was longer. The book is a fine introduction to Lovecraft's life, and to most Lovecraft-readers, probably quite enough in itself. It chronicles on an annual basis, highlighting and describing any interesting incidents or activities revolving around Lovecraft and his circle of friends and family that happened over the years. There's not much to say about this, its very good and solid biographical work by a fine devotee of Lovecraft; S.T Joshi. Its not often reading a biography makes me sad, but reading the final chapter on Lovecraft himself "The end of one's life" made a certain Norwegian man quite sad. Apart from some points I'm about to take up, I have no doubt that this is a biography that Lovecraft himself would have approved of. It could have been more detailed in its description of how the various fiction came to be, and more analysis of this area, but it IS after all a biography, so that was of course Joshi's prerogative.

Now to the bad; as a little background to the author of the book, he is in fact an immigrant; an Indian living with a miscegenating Euro-American female. This explains why he constantly abuses Lovecraft for his conservative and racialist views. He conjures up non-sense frequently when talking about this subject; somehow concluding that theories about race and miscegenation etc were definitively debunked by the "scientific work" of Franz Boas. This is of course complete nonsense, like Kevin MacDonald has shown in his excellent work "The Culture of Critique". Franz Boas had specific racial reasons himself for carrying out his campaign against the use of "race" in academia, and the reasons for this were far from what the Western standard of science represents.

So even though I highly recommend the book, I wish Joshi could have been so intellectually honest that he admitted in the book that his status as a non-European immigrant himself has biased him, and made him write the book with an extreme liberal and secular slant. So if you manage to ignore this part of Joshi's book; you'll have on your hands an excellent and well-written account of Howard Phillips Lovecraft and a good introduction to his writing.

The good: Until S.T. Joshi's book, the only serious biographical information on HPL apart from his letters was 'H.P. Lovecraft; A Biography' (1975) by L. Sprague de Camp, which left many gaps and open questions. Joshi's book fills in the gaps and then some. It is the closest thing we have to a definitive Lovecraft bio, and if you're a Lovecraft scholar of any seriousness, you'll eventually need to read it.

The not-so-good: While Joshi's book reads like a rigorously well-researched first draft, I wish he'd consulted with a manuscript editor before publication. This massive, expensive and ponderous 708-page book could perhaps be edited into a more readable and reasonably-priced 300-page book, with another 100 pages of small print endnotes, merely by removing Joshi and his scholarship from the foreground and replacing them with Lovecraft. For example:

- Joshi includes himself in the story, using the first person pronoun on nearly every page. "I..." this and "I..." that. While Joshi is likely the world's foremost Lovecraft scholar, and I appreciate his excellent and exhaustive efforts as a researcher, I did not plunk down such a hefty cover price to read about his adventures in scholarship. Easily 200 pages of this 708 page book are about the adventures of Joshi, Lovecraft scholar. That information belongs either in a short appendix or separate article. He'll print a quotation and then add, "To this analysis there is really very little to add...," or "I don't think I can add much to this.," seemingly for no other purpose than to return the spotlight, which had momentarily alighted on Lovecraft, to himself. On nearly every page I felt that trapped "captive audience" feeling you get with professors who use class time to speak at length about their personal lives. Surely by now it has become standard practice for biographers to not include the personal "I" in their biographies, at least when they've never met the subject.

- While most biographies focus on the subject and relegate sources and disputes to footnotes and endnotes, Joshi foregrounds the sources and points of contention, which has the odd effect of almost burying the subject. You'll often read four paragraphs of sources and conjecture containing a single sentence of actual biographical information. If Lovecraft did X, but there's some dispute, I'd prefer the main body to say "Lovecraft probably did X," with a small-print footnote citing sources and contentions. I paid to read about Lovecraft, not Lovecraft scholarship. I often feel like I'm being punished, forced to read 708 pages to get 300 pages of information.

- As another reviewer pointed out, Joshi frequently expresses his editorial positions in a tone suggesting that he believes his personal opinions to be indisputable fact. Especially disconcerting is Joshi's careful habit of never missing an opportunity to denigrate Lovecraft himself. A tiny sampling of Joshi's descriptions of Lovecraft and his work includes: clownish error, clumsily, embarrassing, paranoia, pompous, pseudo-philosophical, trying to do too much, moping, overly given to histrionics, offensive, dubious and pathetic. It's almost as though, while Joshi must have some respect for Lovecraft, he is careful to constantly place himself "above" Lovecraft emotionally. I can sympathize with Joshi, who as a serious scholar must sometimes find himself exasperated by uninformed intellectuals who still underrate Lovecraft's genuine contribution. However, I feel that the body of a biography is not the best place for Joshi to distance himself from Lovecraft's pulpier and sillier decisions. Why are Joshi's opinions in the book at all? Doesn't he trust his readers to form our own opinions? Almost once per page I felt some resentment at being forced to play captive audience to Joshi's unwelcome editorial opinions and emotional self-positioning in order to gain access to his excellent scholarship.

- Joshi provides "spoiler" summaries of most stories. While these are welcome, it would have dramatically improved readability to cut these from the main body and provide as sidebars. This would also allow readers who wish to avoid spoilers to skip them easily, as well as reduce the book's almost oppressive density.

In closing, I hope this book is re-released soon with S.T. Joshi's presence as a character, editorial opinions, emotional self-positioning and research experiences either cut entirely or summarized in an appendix or endnotes. Then it wouldn't hurt to have a professional book doctor rewrite with an eye to smoother prose and readability. THAT edition will be the definitive Lovecraft biography.

Clocking in at 654 pages, this sprawling biography will teach you everything you ever wanted to know about the horror scribe -- along with some things you'll wish you hadn't discovered, like how Lovecraft was a more zealous racist than was the norm in his day. Joshi is long-winded, for sure, like the grandfather who, when you ask him how the light switch turns the lamp on, proceeds to tell you the history of electricity, starting with two sticks being rubbed together. You'll be hard-pressed to remember all the details afterward, but the story of Lovecraft's life is smartly woven, divulging the world as viewed through the writer's eyes and those around him. Like a criminologist apt at identifying with a killer, Joshi truly seems to understand his subject down to the crumbs on his coat.

The work points to many of the negations in the current health
care delivery systems in the USA. It spends too much money and
the paperwork is burdensome, generally uninformative and
inefficient. The system needs a separation between the doctor
and the pharmaceutical industry because the needs of the general
public demand an independent attitude on the part of physicians.
Emergency rooms are utilized instead of patient clinics.
This contributes to bloated costs. The HMO co-pay can be burdensome for patients. In addition, there is a slow migration
toward the universal health care coverage in order to correct
some of these inefficiencies and distribute the resource to
persons uncovered or undercovered by the present protocols
and medical delivery systems.

In more than 20 years teaching a course focusing on analysis of American health care history and policy, I have yet to discover a more persuasive diagnosis of our health care delivery system's ills or a more convincing case for how to cure them. Dr. Lebow brings to this examination direct experience as a practicing physician from which he draws numerous stirring personal accounts. To his clinical perspective, he adds an extraordinary command of the broader economic and political issues essential for understanding the context and causes of America's current health care crisis epitomized by the alarming number of our country's uninsured--now about 44 million and growing. The book is honest, engaging, and sure to stimulate discussion with its clear prescription for change. With lively prose and strategically placed humor, he makes complex matters understandable. His humanity and passion are the earmarks of a brilliant teacher. Regardless of how deeply you presently understand America's health care system, you can learn from this book. And regardless of your political inclinations in respect to his advocacy of a single-payer solution, you can't ignore his meticulous presentation of the facts or the relentless logic of his conclusions from them.

Health Care Meltdown: Confronting The Myths And Fixing Our Failing System by Robert H. LeBow (former Medical Director of an Idaho community health center for more than 25 years and who was paralyzed in a cycling accident shortly after completing this book) is a clarion wake up call focused upon the medical care system's rampant excesses, over billings, neglects, and quagmires that floods the American health care system to near incapacitation. Over 40,000,000 Americans have no health insurance. This places an unsupportable burden on Emergency Room Care (one the most expensive health care provider resources), and while money is in unnecessary and wasteful bureaucratic and law-suit avoidance oriented testing, far to many people simply go without the medical service they desperately need. A sharply worded criticism that also offers models for reform and improvement, Health Care Meltdown should be mandatory reading for health care providers, citizen health care activists, anyone charged with the responsibility of developing policies and guidelines for managing health care services.

I'd like to give this book 4 stars, but there are just too many holes for me to do so. Dr. Lebow presents many important points, but the book simply is not the answer to our prayers regarding the current healthcare mess.

As Dr. Lebow points out, in the health insurance industry, competition among health insurers has led to less efficiency rather than more efficiency. 10 different credentialing applications, 12 different contract types, no standardization whatsoever and an administrative mess for any doctor who doesn't have the luxury of a seasoned healthcare administrator in his office. Add to that the eligibility trouble. Multiple phone calls for every patient to check eligibility for every appointment. Worst of all, the current health insurance system provides no incentive to managed care to pay for preventive care.

These are the issues that single-payer would fix for the insured population, saving billions of dollars. Dr. Lebow is right on, though I wish he spent as much time on eligibility and insurance company hassles as he did on preventive care. He also does great work in presenting the myths of healthcare today. Many of them can't be repeated enough (like the corporate welfare given to prescription drug companies).

But I have several issues as well.

My biggest complaint is that his solution only delays the inevitable a little longer. He deals only with the healthcare funding system and has little to say about the healthcare delivery system. "Market Driven Healthcare" by Regina Herzlinger and "From Chaos to Care" by David Lawrence offer real long-term solutions to the healthcare delivery problems we face in our current environment. Unless those market principles are imposed on healthcare, single payor will only delay the final implosion of medical care. Once the financial gains from single-payor healthcare are realized and exhausted, the costs will continue to spiral out of control.

Another issue is that he gives few details in the "how" of his solutions. Focusing on prevention and public health is a good and obvious point. Everybody agrees on it, but I don't think simply saying "it will happen once a grassroots movement demands it" is sufficiently descriptive of how he sees prevention and public health becoming the standard. Who will implement it? How?

Because of these problems, Dr. Lebow does not make a convincing case to those in power that change is good for them. He persuades the persuaded brilliantly, but I can't imagine why someone who opposes single-payer would change his mind after reading this book. And those in power are whose minds must be changed if change is to come.

The way I see it, healthcare as we know it is a very young industry. Only 16 years ago, managed care was almost an unkown in the healthcare world. Now, it dominates. Unfortunately, that insurance model grew so quickly there was no way anyone could have planned it properly. Imagine how the computer industry would have destroyed itself if it weren't entirely made up of systems thinkers known for their planning ability. ISO-9000 was brilliant, as is settling on the PC as the standard. Healthcare needs, and is getting, more of that now. HIPAA and state-mandated credentialing applications perfectly demonstrate the government's role in fixing healthcare. It should be a regulator, an agent for the lowly to make sure the big guys play fair, and a standard-setter to make commercial insurance more efficient. But it's entirely too early to declare the market dead and single payer as the only way out of this mess.

As an Adjunct instructor in the Concordia University system, I have had the opportunity to encourage my MBA students to read this book for my Special Topics in Health care class. After reviewing other possible textbooks during the last 6 months, I have decided to now use this text as the basis for my 8-week adult education class. Offering ample examples and 'myths' that portray our fractured health care system of today, this author has summarily provided a springboard for ongoing conversations and possible answers for this country. Granted all, the HC system will not be corrected for some time, but an accounting will be made when the public becomes a focused participant at the table.
As health care professionals, it is our responsibility to study, learn, participate and educate others, as well as ourselves.
This will begin that process and it will be well worth your effort and consideration.
Thank you
ESchwarz, RN, MBA, CCM

"Without holiness, no man shall see God."

So says the scriptures.

JC Ryle does not stray far from this verse in his examination of biblical holiness. As you read this book, the believer will be challenged to lay aside the nettlesome sins that retard our growth in Christ and seek toward a higher plain, a plain that leads to growth in holiness.

I cannot recommend this book enough. In an age when bookshelves are replete with psycho-babble and nonsense, nothing can satisfy the longing heart that the strong meat of God's word that enjoins the believer to separate from the world.

"For if you love the world or the things of the world, the love of God is not even in you."

The author believes man is Justified byu Faith alone, but believes a Christian Faith is identified by its fruits. This is good, though I do think at times it may seem he believes otherwise. The book sometimes explains something in a thousand words that some may explain in two hundred. It is interesting read considering the book was written some hundred twenty years ago. He complains about easy conversersion without counting the cost of departing from your oldways (sins). That giving life to Christ is not a simple prayer but athoughtful process where you stand before God. He expresses the difference between having more Christians and having less Christians but more devoted. He also disdusses the visible and invisible Church. Those who are members of a local body of Christ but have not truly repented for sins and seek Jesus as God, Savior, and Lord. I found the exposition very interesting at times. A few times I wish he get to the point.

Excellent treatise on holiness and the Christian life. I would highly recommend it.

This book is very detailed and covers the subject very well. It is not written in the easy to read style of modern books and demands concentration. Ryle backs up his thoughts with plenty of references to scripture. His thoughts would be in line with the Puritans. The book is both challenging and encouraging.

Holiness, by J. C. Ryle is the best book on Christian living I have read to date. In an age of easy-believism that talks of a gospel free from a commitment to God, this book shows what it takes to have a satisfying and saving relationship with Christ in the way that the Scriptures teach. As the work of sancitification is largely ignored on the bookshelves of Christian libraries, this is a much needed addition. With the debate over Lordship salvation still running its course, this book gives a perspective from over 100 years ago that easily fits our situation today. Ryle expounds the Scriptures in such a way that you can not put this book down without heartily agreeing with Hebrews 12:14 "holiness, without which no one will see the Lord."
Ryle has been called a theological vertebrae, and rightly so. This work will leave you examining your walk with Christ with a desire to live for Him like never before.

I'm sorry so say that The House at Pooh Corner isn't quite as good as the Winnie-The-Pooh book that preceeds it. It spends a lot of time on the new character Tigger. Too much if you ask me. Even though Tigger is a darn cute fellow in words and pictures, I thought the first Pooh book to be much more balanced out, and to be honest, I didn't think Tigger to be as funny as the other characters. He's only funnier than Rabbit, and that's not saying much. Rabbit's darn plain when compared to that crafty Brer Rabbit of the Uncle Remus books.

Actually, maybe Tigger isn't the problem. It's just that some of the middle chapters of the book are quite bland. Two, Three, and Five don't stand out very much, and look rather ordinary. However, Eight, Nine, and Ten more than make up for the bland chapters and suddenly this book becomes well worth reading. Eeyore's even funnier in his second appearance than his first, and Milne does such a great job giving personality to even the most inanimate of objects. The man's a darn good writer, let's face it.

And, my goodness, Chapter Ten really gets you thinking. Where is Christopher Robin going? Is entering into the grown-up world really so bad? What will the forest do without him? It's very subtle, but you can tell it's important too.

I think my favorite thing about the Pooh books is the entire universe is pretty much limited to 8 or so different individuals. Pooh wakes up and says, "Let's visit everybody to wish them a Happy Thursday!" He can do that because there are only like 8 people in the whole world. It sure makes things a lot simpler having so few people.

The Pooh books make simplicity beautiful. They seem to be set in a very limited technological environment with a heavy emphasis on nature. Heck, everyone there lives in a tree, for goodness sakes.

The House at Pooh Corner is yet another book in the Pooh series. This book is ok, I say this only because it's not as good as the original Winnie-the-Pooh, (When We Were Very Young, etc.) But with A.A. Milne's storytelling and Ernest H. Sheppards fantastic drawings you can't go wrong.

I actually enjoy Winnie-the-Pooh and The House At Pooh Corner much more as an adult than I did as a child. Maybe this is because I was not properly introduced to them at an early age. I am sure that the Disney shorts set some preconceptions in my head (namely, that these are merely childish stories). I think that the original Winnie-the-Pooh features from Disney are wonderful gems, but they do, nonetheless, depart significantly in overall character from Milne's stories. It is also true that there is a great deal of cleverness and insight here that I did not discover or appreciate until I was grown up.

It turns out that these are beautiful, masterly crafted tales full of witty dialogue, lively songs, gentle landscapes, and real warmth. Shepard's lovingly rendered illustrations do not simply complement the stories, but are easily the equal of Milne's narratives.

I look forward to reading these books to my boys--when they are ready for them. In the meantime, I am quite content to snuggle up with these tales myself, again and again.

This classic is listed under the age group of four to eight, and as a Poohphile I am quite appalled that it is. Winnie the Pooh books have such wit, wisdom, and humor that gets better every time I read them. Their not just for children, they are for everyone. Over the years, Christopher Robin, Winnie the Pooh, Eeyore, Piglet, Tigger, Kanga, and Roo have become some of my dearest chums. I once heard someone say, or perhaps I read it, that "books are like dear friends, and who has too many friends?" I am quite inclined to agree with that statement. This book is a dear friend of mine and I hope that you shall make it yours. :)

I was participating in an on-line discussion on the subject of the single book that had influenced us each the most.

The book that first came to my mind was "The House at Pooh Corner". It seemed rather silly, but after considerable reflection I decided it was probably the correct answer after all.

The book was read to me by my Dad before I could read, and I still re-visit it occasionally fifty years later. In fact, I wouldn't be adverse to using it's ending as my epitath.