D Books

Excerpt from review on bsmDigest.com:
"Mark Lutchen's groundbreaking book continues to influence technology leaders with its vision for building mature IT organizations. As more CIOs and CEOs grapple with the challenge of applying effective management processes to their increasingly critical technology organizations, this engaging book offers very practical advice for doing it successfully. Drawing on his experience both as an actual CIO managing a large, global IT organizations and as a management consultant working with many large organizations, Lutchen delivers a clear, integrated vision for enlightened IT management."

Great help for someone that has just upgraded
from IT Management to a CIO role and needed to
upgrade as well his agenda. Excellent source of inspiration
and perfect guide for a profession that is still
under transformation. Definitely a must have.

The book is focused (and written by) on world class CIO positions,
but I found it equally useful for smaller scale CIOs.
It's exactly there that it lacks some information
on the organization of smaller IT groups (<20 persons).

If you are a CIO then buy it. If you are an IT manager
you need something else.

In the fall of 2003, the Harvard Business Review published an article advancing the proposition that "IT doesn't matter." The article's author suggested that because IT was now a commodity, and everyone had it, it no longer conveyed any distinctive competitive advantage and therefore, strategically, did not matter. In fact, at many companies, IT doesn't matter as much as it should - not because it is a commodity that other companies also use, but because most companies don't get every potential benefit from their IT. To advance your business agenda effectively, make IT a real part of the business. Author Mark D. Lutchen shows managers, particularly CEOs and CIOs, why IT is not fully a part of business at the moment, and what it will take to turn IT into a competitive, strategic asset. We recommend this useful, well-written, clearly organized book to anyone whose job involves decisions on IT budgets, organization, investments or strategy.

This is a fabulous book for experienced or aspiring IT managers whose goal is to prepare for ascension through the ranks, especially to the CIO level. In simple yet rich language, Mark presents a clear picture of the future of the IT organization and the competencies needed in the CIO and senior team heading up this professional services operation. The examples and case studies are rich with insights. In short, this book is pragmatic and weighty, yet also highly readable and I dare say outright enjoyable. I highly recommend it as a must read for anyone who wants to develop an effective IT career roadmap. Thank you Mark Lutchen.

Joe Santana,
Co-author Manage IT

I have only one simple statement - where were you Mark when I started my IT career 17 years ago? Today I would have been a CIO! I highly recommend this book for those starting out their careers in IT as it gives a big picture look to the field. Own it and refer to the clear and relevant graphics in the book.

I love the connections, briefly and elegantly painted, between people in this book. Great story, so well written. Highly recommended. Not the average kind of historical fiction.

I basically agree with all the reviews so far. I read this in my teens and it left a lasting impression on me. I've re-read it since on a fairly regular basis. Brilliant evocation of an early culture far removed from our own but peopled with those whose emotional reactions one can so empathise with - doubt, uncertainty and deepening friendship.

I am delighted it is back in print, although a bit ambivalent about the cover design. When will "The Sword at Sunset" be re-printed - preferably unabridged and with the map that some of the early editions had?

Even though I am adult, I have read a lot of books by this author. I find that with this author, the fact that it was written for young adults just means she is leaving out stuff I would rather not read about anyway (graphic rape scenes, graphic torture scenes, or whatever). The characters are good, plots are generally good, and pacing good. However, this book is not one of my favorite Sutcliff books. The plot is about the main character taking the place of the heir "horse lord" who was blinded by a rival years before. Sort of a "prince and pauper" storyline. Didn't like it and didn't find it believable. The heir's family was dead and he hadn't been seen in years, but it really wasn't believable to me that he could fool anyone who had known the heir before. I would recommend Eagle of the Ninth or Frontier Wolves instead.

The "Mark of the Horse Lord" is a beautifully written story of loyalty, honor and sacrifice. The ancient Scottish setting and characters are masterfully portrayed and the story line grabs the reader on the first page and holds on tight to the very end!
Rosemary Sutcliff writes wonderfully engaging historical novels. While her books give the reader a great feel for the time period and setting, story line is never compromised! Most of her books are written for children and young adults, however, this book is more appropriate for adults and older teens. Younger readers may find the wording a little difficult to follow. Highly recommended!

I really love this book. I picked it up in high school for a book report and got sucked into Rosemary Sutcliff's world. I'm glad to see a new printing is coming out, because you couldn't find this book anywhere, and the copy I have I stole from school, that's how much I love this book. I also highly recommend The Sword and the Circle, a telling of the Arthurian legend.

Have you ever considered the advantages to having your nose on your face? Or what life is like for a boneless chicken? Or lamented a night of homework? Then this book is for you! Jack Prelutsky's collection 107 poems are silly, catchy, and classic. Readers bounce from poem to poem, carried along by James Stevenson's squiggly illustrations. Though this is a fast read, Prelutsky's odd characters, like the Underwater Wibblies and Drumpp the Grump, will keep you giggling.

These quirky poems will entertain readers both young and old. Prelutsky's poems are made for reading aloud, and audiences will enjoy listening to the made-up names and punchlines. Stevenson's artwork, which can also be found in The New Yorker, fits perfectly with the singsong style of the poems. The black and white drawings wobble and flutter around the text, interacting with it. Prelutsky's work, combined with Shel Silverstein's, makes for an excellent introduction into the world of poetry for young readers.

This is a great book to share with friends and families because it is funny and a lot of the poems seem true to what kids are thinking and feeling. Some of our favorites were, "An Alleycat with One Life Left," "Homework! Oh, Homework!," "The Nothing-Doings," and "I Wonder Why Dad is so Thoroughly Mad." This is a great book for everyone!

My child came home from her gifted/talented school requesting the book. She loved it in her classroom and has already read most of it.

This book introduced my son to poetry at age eight and he became an avid fan. He became so enthralled with poetry that he began to write poetry himself. He even wrote a very insightful poem as one of his college entrance essays. Prelutsky retains his inner child and writes from a child's point of view--hard for children to resist. A must have for your home library.

I think that this a great way to introduce poetry to kids that may believe it to be boring or stuffy. My son would ask me to read these to him over and over. We did a lot of giggling over some of them.

The Oxford Companion is a must-have shelf reference for anyone intending to seriously study the Second World War. As with many encyclopedias, this means that the amateur or buff will use the entries themselves, and the expert will use the bibliography and suggestions for further reading. It is, at least at this moment, quite reasonably priced for such a serious work of reference, and I likely would not have bought it otherwise. The only drawback is that in changing over to the current edition, the editors seem to have removed the full-color maps that used to be placed at the end of the volume. I do not remember enough of those maps to tell if they are now among the black and white maps placed throughout the body of the work; I do know that the color maps were one of the highlights of the old edition and are much missed by this reviewer.

the Oxford Companion to World War II is very complete and simple to use for poeple who study the WW2, he contains a hundred maps, stats and chronological fact, englobing the totality of the allies or the axes. he's the best way to find all the information you'll need.

I have both the current and first edition of this book (in hardcover). As far as I can tell, the new edition is only shorter because it uses a smaller typeface, allowing several more words per line.

However, the new edition is also a bit easier to read despite the smaller size, because the new edition uses a glossy paper and the text seems more sharply defined on the page. This is particularly noticeable in the text of the maps, which I have struggled to read in the first edition, but seem clearer in the new edition.

As an aside, I agree with the general view that this is the single best reference book on World War II. I can't really tell what is changed in the new edition, although it may just be minor corrections, since the several longer articles I have compared seem identical.

This is a wonderful one volume encyclopedia of WWII, covering all fronts, participants, and major events. This outstanding work is an absolute must have for any serious student of World War II in my opinion. More than 100 scholars and professional historians contributed to this book. This work is certainly detailed, well written, and well researched, but it is not comprehensive (how could one describe WWII in one volume of about 1000 pages?). I think the description of this book as a `Companion' is entirely appropriate, it has been my companion for more than ten years now. I've flipped through pages of this book several times a week for the past ten years and (effectively) read the entire book through at least half a dozen times. This book is filled with an unbelievable amount of information. There are major sections on each of the combatants that include discussions about the military, political, economic, and cultural developments and changes that took place throughout the war. All the major battles are discussed, as well as people, equipment, and events. In my opinion, this is not a reference book, it is a learning book. If you already know a great deal about the Battle of Kursk or Uboats, for example, you will not find much new here. You will find, however, a wealth of information about all aspects of the war that you probably weren't even aware of. I have no complaints about this book and would consider it a bargain at twice the price. My only warning is that this book is probably not suited to someone who has only passing interest in World War II; if Steven Ambrose is your idea of a good historian, you probably aren't going to like this Companion.

I'm a fan of the first edition (1995) of this fine book: I'm a World War Two buff, and this is the best one-volume reference book on World War Two that I know of. So why would I give only four stars to the revised edition of 2005? Here's why. Prospective purchasers of the revised 2005 edition might like to know that it is 1,039 pages long, whereas the first edition of 1995 was 1,343 pages long. That's a loss of 304 pages, representing 23% of the material in the first edition---a considerable loss.

In the case of The Oxford Companion to Music, there was a beautiful, lavishly illustrated edition of 2,017 pages of 1983; it was replaced by a revised edition in 2002 that had 1,434 pages---a whopping loss of almost 600 pages of material. In this case I know what I'm talking about, because I have both editions: the 2002 edition represents a substantial abridgement and cheapening of the 1986 edition; I doubt that anyone who had the chance to compare the two would choose the newer edition.

I don't know if the same thing is going on with this Oxford Companion to World War Two (I don't have the new edition at hand to compare the two), but the loss of 23% of the material in the first edition, and my experience with The Oxford Companion to Music described above, would incline me to approach the new edition with caution.

The Pitch That Killed was first published in 1989 and was a New York Times Notable Book of the Year. It's still in print almost 20 years later. Author Mike Sowell does of masterful job of telling the story of Ray Chapman, Carl Mays and the 1920 pennant race.

He provides the interesting backgrounds of Chapman and Mays, two players that probably couldn't have been more different. Everyone loved Chapman, while Mays had no friends and plenty of enemies. Both players are brought to life by Sowell's thorough research, his insight into their personalities and interesting observations.

Although the fatal beaning doesn't occur until page 173, Sowell keeps the reader totally engaged up to that point.

After Chapman's death, Cleveland manager Tris Speaker went into a deep depression and he called the incident, "the hardest battle I ever had in my life."

Even though the fatal beaning was ruled an accident, many players threatened to boycott games if Mays pitched for the Yankees, based on his past actions. Many felt that he had intentionally thrown at Chapman.

Despite their grief and the absence of Chapman, their starting shortstop, the Indians stayed in the thick of the pennant race. Light-hitting Harry Lunte filled in admirably for Chapman until he suffered a pulled muscle, forcing him out of the lineup and opening the way for rookie Joe Sewell.

The rise of Sewell, the exciting pennant race, what happened to Mays after the incident and what happened to Chapman's wife and daughter, make for an interesting final fourth of the book.

This book should be part of every baseball fan's library.

Since I was born and raised in Cleveland, I am well aware of the demise of Ray Chapman in a beaning by Carl Mays on August 20, 1920 in New York's Polo Grounds.
What Mr. Sowell has documented is a season of baseball which in itself stands as the most incredible epoch in Major League history. Consider these facts.
1. Babe Ruth set a remarkable record in the dead ball era of hitting 54 home runs.
2. The Black Sox were discovered and the fate of the game stood in the balance.
3. Ben Chapman was struck by a baseball to his head and died.
4. Carl Mays was a great pitcher who probably belongs in the Hall of Fame but was stigmatized by this one pitch.
5. Joe Sewell who replaced Ben Champman ends up in the Hall of Fame.
6. Tris Speaker the player manager of the Cleveland Indians, was totally devastated by Chapman's death, gathers himself and his team and leads them to a World Series triumph.
Not much has been talked about this World Series. In fact many books have been written of so called great games ie "The Shot Heard Round the World", or Kurt Gibson's "I don't believe what I've just seen" home run. But take it from me, October 10, 1920 in game five of the World Series three incredible things happened in one game.
1. Jim Bagby became the first pitcher to hit a home run in the World Series.
2. Elmer Smith hit a grand slam home run which was also a World Series first.
3. Bill Wambsganss turned the only unassisted triple play in World Series history.
All this happened on the corner intersection of East 66th and Lexington the location of League Park in Cleveland, Ohio.
Mr. Sowell has gone beyond the basics to recreate a time of American History. This book is indeed an American Classic about baseball. This truly was the most incredible season.

Everything that the other reviewers have said is dead on. This is a fascinating story, simply on the surface, but Sowell digs deeper and finds so many more interesting storylines. Even if you're not an Indians fan, there's a lot to love in this book. The 1920 season is amazingly fertile ground.

The only reason I'm holding back that last star is more because of a technical issue. While the book is clearly a non-fiction story, there are moments that Sowell writes about as if they happened, when there's no way he could know that. There's a scene early in the book between Babe Ruth and Carl Mays that has to be fictionalized as there's no way Sowell could know what these two said to each other. It's just strange to read because it's laid out as fact, when it's clear it isn't.

That said, it's a minor point. The book is fantasic.

To this day, Ray Chapman remains the only player to have died as a result of injuries sustained on a baseball field. While the intentions of pitcher Carl Mays may be open to debate, Mays threw the pitch which fractured Chapman's skull and ultimately caused his death. In his book, Mike Sowell documents the events that preceded and followed this catastrophe.

Ray Chapman was the sparkplug type of player that seems to will good teams to win. In marrying the mayor of Cleveland's daughter, he also seemed to be living a charmed life. Chapman's life came to a sudden end when one of Carl Mays' underhand style pitches struck him in the head and eventually killed him. While baseball seems to fade in importance in the shadow of the death of another human being, the Indians continued their successful drive to the pennant. It would seem a fortunate twist of fate for the Indians that a future hall of famer named Joe Sewell would replace Chapman in their successful run to becoming champions. It almost make the plot of the book seem surreal or a work of fiction.

Carl Mays, who was a disliked character even before the beaning incident, achieved further scorn after the incident including threats of a boycott against his playing and death threats. The 1921 and 1922 seasons would see Mays reach the World Series. But accusations after the seasons would invoke the shadow of the Black Sox when it was suggested that Mays took money to throw games. Despite favorable stats, Mays was bitter to never reach the hall of fame. It was suggested that the black cloud over his World Series performances affected his selection more than the beaning.

"The Pitch the Killed" is a tragedy, that keeps readers interested. Even knowing the winners in advance, readers may find themselves pulling for to the Indians as they read. The main plot is a piece of baseball history that fans of the game should discover. It is hopefully, one that fans will never have to relive.

Fascinating look into a little-known event in Major League Baseball. Extraordinary detail. The characterization of Carl Mays and Ray Chapman is outstanding.

So much has already been said & written about this amazingly talented man that although his talents have always been savored like fine wine....talking about his painstaking incredible stop-motion animation abilities almost seems to be redundant. Suffice it to say that so many of us monster kids sat in awe of Ray's work as we watched " The 7th Voyage of Sinbad " circa 1958.Harryhausen has always accomplished more on the movie screen with his special effects techniques than computers will ever be able to do. This book lovingly details all of the richness of Ray Harryhausen----Thanks for a great book, Ray !

Computer generated effects are standard in movies now, and any big-budget action film can be expected to have plenty. We didn't always have computers, so the effects such as putting fantasy creatures on the screen, like King Kong, had to be done with meticulous stop-motion filming, whereby a movie frame picture would be made of a model Kong, then the model's arm would be slightly raised, one more frame of the movie shot, and the process repeated until a smooth arm movement could be seen when the entire strip of film ran. It was Willis O'Brien who animated Kong and many other creatures in early movies. It was Kong who inspired Ray Harryhausen to start making stop-motion films. In _Ray Harryhausen: An Animated Life_ (Billboard Books), Harryhausen and Timothy Dalton tell the story of Harryhausen's entire career, including his humble beginnings. He was crazy about dinosaurs as a kid, and at the age of thirteen, he was taken by his mother and aunt to see _King Kong_. He studied up on the movie's techniques afterwards, and started making his own movies, first using a home camera that he could merely hope took only one frame at a time when he tapped it, and then purchasing his own 16 mm camera with a one-frame shift. He was one of those lucky kids who knew early what he wanted to do in life, and was able to do it; Harryhausen was the special effects wizard behind _Earth vs. The Flying Saucers_, _Jason and the Argonauts_, and _Clash of the Titans_, among many more. This beautiful book, filled with photographs and drawings to show how the models and effects were made for each of Harryhausen's films (and pictures of the artist's work as a thirteen-year-old as well), is a fascinating record of a career that could only have taken place in a restricted window of time.

To start with a clearing of the record: Harryhausen's first model, a cave bear, was covered with fur cut from an old black fur coat hanging in his mother's closet, but despite reports to the contrary, his mother _did_ know all about it and _did_ give her permission beforehand. This reflects the support his parents gave him toward his youthful enthusiasm, and he is certainly grateful. Most of the book describes his work for the studios; it devotes pages and pictures to all his films, and he gives detailed descriptions of just how he managed particular shots. Harryhausen isn't boasting; throughout the book he lets us know what he thought worked and what didn't, what he is proud of and what he winces at. If stop-motion is no longer going to be an art form, it is good that we have this documentation of what he actually accomplished, for the complexity of his creations and the way they were shot is astonishing. For instance, the Hydra in _Jason_ not only had a serpentine body and a double tail requiring their own movements, but also seven heads. In every frame, the model's movements might be only a millimeter, but there were sometimes more than thirty movements to do. He would have to remember for each head whether it was in the process of going up, down, right, or left, if the mouth was opening or closing, if the neck was flexing, and so on. Astonishingly, he was so in tune with his creation that he did not keep notes on what each head was doing, except if he were taking a break at the end of a work period.

Harryhausen has real affection for his creations. He has used real animals in some films, like an iguana made to look like a giant lizard in _One Million Years BC_. The trainer in charge of the iguanas was ready to use an electric prod to rouse the usually torpid lizards, but Harryhausen would not allow any cruelty, so action could only be obtained by a little prodding. Nonetheless, it was a lot harder to get the iguanas to move in just the way he needed compared to his obedient stop-motion models; he says that using models would have been more cost-effective and more realistic, too. He refuses to call his creations monsters; they are mostly creatures who are simply out of place. Of the tyrannosaurus in _The Valley of Gwangi_, he writes that he felt sorry for him, "... because all he wanted to do was live his life and eat a few people along the way." When he had to dismantle one creature to use its armature for another in a succeeding feature, he confesses, "It always breaks my heart to have to cannibalize my models. It's like losing a close friend." Gentle, self-deprecating humor is a hallmark of all the chapters here, no matter how technical the descriptions become at times. This is a handsome, large format book suitable for the coffee table; however, along with the beautiful illustrations, the written record of work here to show how creature features were made before the computers took over will be enjoyed by any fantasy film fan.

This is a top-notch compilation of genius on the cutting edge of our cultural history.

Die-hard fans of special effects master Ray Harryhausen may recall Jeff Rovin's book "From the Land Beyond Beyond", which arrived in 1977. It was a welcome addition to the Harryhausen legacy, but was too subjective and fan-based for some tastes. Hard to believe it took almost thirty years for this definitive, color version of the Harryhausen story to arrive on the scene. Some will feel it is merely an extension of Ray's previous work, the Film Fantasy Scrapbook, and in many ways, it is, but there's so much detail here that this deluxe volume is worth picking up. Though of course modern special effects have become almost ridiculously complex, it's wonderful to hear Ray describe in great technical detail the processes and techniques he used to bring his animals and fantasy creatures to life in films like "7th Voyage of Sinbad" and "Jason and the Argonauts". He's also candid about which films worked for him (and audiences) and which somehow missed the mark. Even readers who prefer modern spectacles to Harryhausen's classical, stately epics should find something of value here, and there is plenty to inspire any animator, filmmaker, or budding cinematographer. This book isn't just a special effects guide, it's a valuable and integral part of the history of film: Harryhausen's career spanned five decades, and he worked with some of the greats in the industry--not only effects geniuses like Willis O'brien, but actors like Laurence Olivier, Maggie Smith, James Franciscus, Honor Blackman, Richard Carlson, Jane Seymour and Raquel Welch. A little pricey, but worth the cost. A must have for Harryhausen fans, naturally, but anyone interested in the movies will come away satisfied.

I just recently purchased Ray Harryhausen: An Animated Life.
Mr. Harryhausen was influenced by King Kong for his remarkable career. I was influenced by his first movie released in theaters
entitled BEAST FROM 20,000 FATHOMS. Ever since I gazed at the
incredible effects when I was six, I wanted to know why and how
something could seem so life like. Unfortunately, all I did was manage amateur special effects with an 8mm camera, but enjoyed thrilling friends and relatives with what talent I had. Now I can appreciate all the patience and imagination that this
genius has somehow transmitted to the screen. All of his movies are showcased with the wonderful behind the scenes stories and photos that made such magic in my childhood. Anyone who has ambition to follow the FX trade, should definitely read this book. Granted the technology is greatly improved today, but that even made Mr. Harryhausen seem more adept at his work. How tedious it is to move a model just a fraction of an inch until it appears fluid on the film...how educational it is to realize what props were used and what artistry was projected to make everything REAL. This coffee table book will be a treasure
in my collection of literature.

This is an invaluable companion tool to possess alongside your Bible for defending the biblical doctrine of an Unlimited Atonement of Christ Jesus. John D. Wagner has done the body of Christ an immense service in editing this treasure of a book.

John Goodwin (1593-1665), a Calvinist-turned-Arminian Puritan, defends the biblical doctrine of Unlimited Atonement utilizing both Scripture, church history, and logic. He leaves no stone unturned, but covers the subject in an exhaustive style. He even quotes from the likes of Luther, Melancthon, Chemnitius, and Calvin himself, demonstrating from their own writings the presence of a Universal Atonement, highlighting the fact that though Christ's sacrifice is sufficient to cover each and every individual, even intending (p. 129) to cover all people, His redemption will only be applied to the believer.

In an age when the false assumptions of Calvinism is growing, this book stands as a beacon of hope, exhorting every believer to preach and teach the atoning sacrifice of the Lamb of God, who takes away the sin of the world (John 1.29). What John Owen's 'The Death of Death in the Death of Christ' is to the Calvinist, so is John Goodwin's 'Redemption Redeemed' to the Arminian. No other book I have read covers the doctrine with such thoroughness and clarity.

John Goodwin, in his classic work Redemption Redeemed, presents us with a thorough examination of the doctrine of Unlimited Atonement, and should be a staple in any Arminian's library. Redemption Redeemed could potentially have the same sort of impact on Christian thinkers as John Edwards' Freedom of the Will, and if not, it should (in my humble opinion, Goodwin blows Edwards out of the water). The work is detailed and covers a broad range of Bible passages and relevant subjects. The language bears some of the seventeenth century style and therefore will be difficult for the average modern reader, but take your time and it will pay off. There is a lot of content, so I'll note a few examples.

In chapter 2, Goodwin focused on passages which state that God desired to save or propitiated for all men. At the forefront is 1 Timothy 2:1-6, where for example we read that "he wants all people to be saved and to come to a knowledge of the truth" (verse 4). What is especially handy here is that he not only did he provide a solid interpretation of this passage, he addressed specifically the various arguments of Calvinists that "all men" doesn't mean "all men." He demolished the interpretation of "all men" as "some of all sorts of men" thoroughly, an argument which is still frequently used today by Internet Calvinists. An aside, one observation you will walk away with from this book is that there is nothing new in Calvinist arguments, and folks like Goodwin already dealt with and refuted many arguments centuries ago, which are still propagated today.

There are many other relevant passages that Goodwin drew from, including many which I never thought of as supporting Unlimited Atonement until now. Chapter 5 started with the Parable of the Wedding Banquet, Matthew 22:1-10. As you may recall, the parable outlines a situation where a king's invitation to a banquet gets rejected by his friends. As a result the king instead invites average people off the street. The original invitees were symbolic of the Jews who rejected Christ and the gospel. Goodwin noted from this that as the king intended the banquet for his friends, God intended His grace to be for Jews first. Entailing from this, Christ died for Jewish people who would go on to reject Him. If this is the case then Christ died for people who wouldn't be saved, and therefore He died for all men. Now initially, it doesn't seem to logically follow, but think about it for a moment. If Christ died for one person who would ultimately be condemned, why would he not die for all others? Since God is not partial, one has to conclude that either Christ died only for the elect, or for all people. Since Christ died for some who were not elect, we are left with the only alternative, that He died for all people.

Goodwin was careful in his definition of Unlimited Atonement, neither providing a definition agreeable to Calvinists nor sliding down the slippery slope into Universalism. He spent a good portion of Chapter 6 explaining why the Arminian doctrine doesn't lead to Universalism and then refuted Universalism itself.

Redemption Redeemed is clearly an excellent work. There is much more that I haven't covered here, but I hope this review has whetted your appetite for a good, solid defense of the Arminian doctrine of Unlimited Atonement.

This excellent work is the most comprehensive treatment of Atonement Coverage I have seen. Not only does it encompass the broadest scope of Biblical texts in an exegetically accurate, responsible way, but it cites commentaries and works of theologians from Calvin and Melanchthon to authors contemporary to Puritan John Goodwin. These citations show that the L of TULIP is unfounded, both in careful Bible scholarship and by the observations of these noted scholars themselves.

I heartily recommend this work not only to those sympathetic toward "God so loved the (literal population of the entire) World"; "Look, the Lamb of God who takes away the sin of the World (literal earth's population)" viewpoint. But also those disposed to "God so loved the (representative segments in the world) 'elect'"; "Look the Lamb of God who takes away the sin of the (savable, atonable sectors of humanity) 'elect'."

Goodwin, a rare Arminian Puritan, admirably defends unlimited atonement. Goodwin primarily argues from scripture, but he also provides some arguments from reason and church history. Goodwin's primary scriptural arguments are based on passages saying Christ died for the world, passages saying Christ died for all, the universal offer the gospel, passages saying Christ died for those that ultimately perish, and passages saying God wants none to perish. Goodwin then clearly explains what "unlimited atonement" does and does not mean. Goodwin finishes up with giving solid reasons why Christ died for all and reviewing the historical position of the Church on the issue.

Goodwin provides a unique level of depth on the issues. For example, he goes over the word "world" in great detail, and then reduces multiple Calvinist interpretations of passages like John 3:16 to absurdities. Goodwin covers multiple Calvinist counterarguments to all of his arguments. Through detailed explanations of his position, and contrasts with Calvinists views from multiple angles, Goodwin crystallizes the Arminian viewpoint on the extent of the atonement.

Along the way of accomplishing his mission of defending unlimited atonement, Goodwin gives the reader some real gems. Among my favorites were Goodwin's explanation of the will of God as well as his explanation on conditional election.

Goodwin's style is similar to most Puritans and as such Redemption Redeemed is a tough read. One could use Redemption Redeemed as a reference tool. There's a comprehensive index of scripture references in the back. But my advice would be to put the work in and reap the full reward! It's well worth it.

It should be obvious to any objective student of the Word that the Calvinist doctrine commonly known as Limited Atonement did not come about through an inductive exegesis of the Scriptures, but instead through a rigid system of deductive logic imposed upon it. Although I have read and reviewed other books on this vitally important subject, I appreciated the fact that Puritan John Goodwin treats some passages not usually considered in some of the more modern works, and that he comes at it as a contemporary of the scholastic John Owen. Overall, it becomes blatantly and wonderfully obvious that God has indeed woven the doctrine of General Redemption throughout all of His Word!

In spite of the sometimes-heavy Puritan style of writing, I have to give this work a high rating for the following reasons:

As with all points of the Calvinist T.U.L.I.P., we find, and Goodwin reveals, that their "horrible decree" of Reprobation is always lurking in the shadows. Since, in their logic, God has in eternity past "decreed" that the vast majority of the human race were to be created by Him as already damned, and that that even "pleased" Him, why should Christ pay the ransom for their sins? This scholastic presupposition inexorably drags them to this end in spite of any normative interpretation of the many verses of Scripture involved. This error has forced Calvinism to become more philosophic and systematic than the Bible allows. In fact, Owen's notorious work "The Death of Death" is shown to be based on a faulty premise of "double payment".

Evangelism 101
Most importantly, and thus the importance of works like Goodwin's, is the sad and practical result of this doctrine: Limited Atonement deadens hearts to the fact of God's love manifest throughout the Scriptures to all sinners without exception. As Goodwin so aptly points out, "In all these Scriptures, with their fellows, evident it is that salvation is held forth and promised by God unto all, without exception, that shall believe; yea, that it is offered and promised unto all men, upon the condition of believing, whether they believe or no. So that, upon such declarations of the gracious and good pleasure of God toward the universality of men as these, the minister of the gospel, or any other men, may with truth, and ought of duty upon occasion, say to every particular soul of man under heaven, "If thou believest thou shalt be saved," even as Paul saith that he preached Christ, "warning EVERY man, and teaching EVERY man in all wisdom, that we might present EVERY man perfect in Christ Jesus" Colos. i.28. Yea, this apostle, saith, that God "now commandeth all men every where to repent, " Acts xvii. 30".

Goodwin's quote of Melanchthon puts it this way, "It is necessary to know that the gospel is a universal promise, i.e. that reconciliation" with God "is offered and promised to all men." And " it is necessary to hold fast against" any "dangerous conceits about predestination, lest we fall to reason thus, that this promise belongeth to some few others, but doth not belong unto us. But let us be resolved of this, that the promise of the gospel is universal. For as the preaching of repentance is universal, so the preaching of remission of sins is universal also. But that all men do not obtain the promises of the gospel," i.e. the things here promised, "it ariseth from hence, that all men do not believe."

This explains why, historically, Calvinists in general have always been so detached from missions and evangelism. Any objective study of men like Carey and Spurgeon reveals that they were at best "non-conformist" Calvinists and consequently persecuted by many of their own "brethren".

In addition, in chapter 8, Goodwin lists 32 noteworthy fathers of the early church, including St. Augustine, along with various synods and councils, which all held to General Redemption. Although this is not in itself authoritative, as their writings were not inspired, it is nonetheless interesting to note that this was without a doubt the view held by the vast majority in the church from the Apostles to even past Calvin's day. However inconsistent Calvin's teaching may have been in the conception of Limited Atonement, it was in fact, as Goodwin states, Calvin's disciple Beza who gave birth to it, and the Synod of Dort who fostered it. For those who call themselves "Augustinians" it should be rather ironic to note that part of St. Augustine's attack against the Pelagian error of his day was "to hold that Christ died not for all men" (p. 285). According to St. Augustine Limited Atonement is Pelgianism!

One last note, non-Arminian readers should be aware that Goodwin repeatedly states that a believer, although once saved, can lose his salvation. Statements like "...salvation is never conferred upon any man but upon his believing and continuance in believing unto the end", and believers must "believe perseveringly" bear this out (e.g. pg. 191).

For those who are looking for further biblical studies on General Redemption, please be sure to reference THE DEATH CHRIST DIED a Case for Unlimited Atonement by Robert Lightner, Did Christ Die Only for the Elect? A Treatise on the Extent of Christ's Atonement by Norman Douty, and the mediate position advocated in Getting the Gospel Right: A Balanced View of Calvinism and Arminianism by C. Gordon Olson (esp. Chap. 16).

I just read book 2, Bayou Savage, "The Ghost Wars" and picked up and finished this first book becasue I love these characters. I throughly enjoyed both books!!!! My opinion is that if Jeff Foxworthy wrote a ghost fighting action hero series, they would read like these book. The Razor character is my favorite....

I can safely say this is one of the coolest books I've ever read. Russell takes guitar playing to a new level in this thriller about a "Guitar Ghost Hunter" who battles ghosts with an Old Fender Guitar, and the legend and circumstances surrounding his life and death. If you like science-fiction that won't take you 6 years to finish reading, you'll love this book. Perfect for readers of all ages, and musicians in particular.

Imagination! The author can hardly harness all of the ideas that flow through this work. So innovative and creative that one never knows exactly what's going to happen. Once you think you have it figured out...bingo! - another plot twist. A marvelous new, fresh take on the "200-year-old man" concept. Musicians will love this book!! It's a page burner!

What a cool idea to have a ghost slaying guitar! The futuristic setting and the flashbacks to the 20th and early 21st Centuries are right on. I found myself trying to be a part of the whole story. The Savages are such real characters. Bayou trying to please his father and Razor, the ghost ass kicker, always ready for the challenge. The song references brought back many great memories and the humor throughout the book had me reading with a smile on my face. Hopefully, there will be more of the Savage family coming!

I loved this book. An original story that was fun to read. My imagination soared to new heights, stretching my mind. Intellectually and spiritually stimulating.

Hello Reader! Thank you for checking out Secrets of My Soul. Of my 3 book collections, Secrets is the first, and readers have told me that it is their favorite book of poems. I am really proud of this book. Although it was the first, I continue to read this book everywhere I go . . . schools, community events, etc. High school students love this book for its love poems. Female readers love this book for the encouragement, hope and lessons that it shares with the lady soul. Men love this bookb because it's honest and in touch with the identity of being a descent human being.

"Dare me to pursue this, to pen the secrets of my soul in Father Time's precious ink, royal black and memory gold. I do it cry the truest tear, for a writing heart never bleeds fear." I hope that you will be intrigued by what I do with words in Secrets of My Soul. I love alliteration and rhyme, but most importantly, I live to give meaning in each poem that I write. There's something in this book for everyone: man, woman, boy, girl. There's something for us all. There's a lesson. There's a lyric. There's life. Enjoy it!

Secrets of My Soul
Reviewed by: Wanda Starkes, C&B Books

Ms. Latorial Faison's, Secrets of My Soul, collection of poetry is uplifting - And a delightful ray of work. Intelligently written, Latorial explores various issues and plights regarding self, family, and the world describing them in words filled with spirituality, empowerment, love and joy.
I especially enjoyed the positive energy that I personally felt as I read each one of her poems. I look forward to reading more poetry by Ms. Faison's in the near future.


Her poetry is a wonderful 'Fruit of Thoughts'.

Secrets of My Soul is an excellent book of Poetry. A real mind opening experience was created. Another rather interesting book is The Throne Room. They are a must. Happy reading!

Before I was an author I was a poet and Secrets of My Soul is why. I love words and the playful way that poets make words do what they say. Latorial Faison is indeed a poet. She had me from title poem and when I stumbled upon "Mirrored Soul," I knew I had found someone whose work I'd eat up...hungrily. I've also become a avid fan of haikus and #9 is my favorite with her wordplay with sun/Son. If you only buy the book for "You Never Did Own Me," trust that by the time you get to "I Dare You," you will be glad you did.

I finally read Latorial's book and all I could think was "these poems were written for ME!" Ms. Faison's words struck so many chords in me. Her poems spoke to my soul and helped me reveal secrets that had been locked in me since childhood. She is a talented writer and I can't wait for her next book!

Kurosawa illuminates for us his whole life, warts and all. Upon reading this I never knew what a sensitve person this man was, from the time he was an early member of the Japanese Communist Party to his older brother's tragic suicide, Kurosawa leaves no stone unturned in this revealing autobiography. Although it does not cover his whole life (I believe in stops in 1980) he spends a great deal discussing each of his film projects all the way from his early days at the Toho Studios. I am reminded of my favorite quote from Kagemusha, "The shadow of a man can never desert that man. I was my brother's shadow. Now that I have lost him, it is as though I am nothing."

The book got into Kurosawa's mind and laid down the roots of his philosophy in filmmaking. It showed his genesis as a filmmaker. It gave insight into how his films happen. A beautiful work -- I loved it.

Kurosawa's insistence on the need for a good script in his films is inspiring to future script writers. I have not written any of these yet his book makes me want to write scripts when I am more of a travel writer. If you want insight into why this man made the beautiful and provocative films that he did, this is the book for you.

One of the greatest pleasures imaginable is to investigate a body of cinematic work, and then, to learn about its creator from his own persepective on his life and art.

There is tremendous satisfaction in seeing the personality of the director reveal itself in the work and to re-view the films with new knowledge of the creator. This may not be a false track, although auteur theory has a bad rap right now. Kurosawa, in the conclusion of his autobiography said, "look for me in my films".

Kurosawa was a genius, his films full of life and compassion, and strength. He did not look away from ugly truths in his life or art. (Read the autobiography and understand the significance of this approach!)

I recommend this book as the touchstone for a deeper appreciation of the art of Kurosawa, for an understanding of his complex personality, and for the human warmth that comes across in his reminiscences. By the end of the book, you will want more, of course. It will seem to end abruptly and too soon. You will have many questions that you will wish to have answered. But then, we'll take Kuroswa's advice. We'll look for the man in his films.

Some people have criticized this book, saying Kurosawa does not go deep enough into his films, particularly his later ones, and why he did what he did. In all honesty, maybe the popularity over this book is poorly done - all the reviews on the front and back cover talk about it like Kurosawa will explain his movies in detail, and most often advertisements will talk about how if you like his movies you should read the book. But as Kurosawa himself says in the preface, he did it really out of encouragement from friends and in an effort perhaps to do what Jean Renoir did do and John Ford did not. As the title suggests, it is really a more personal, casual, reflection upon his life from his birth to the filming of "Rashomon," his first international success, in 1950. In a way, the personal route may be a humbling experience to the film guru or the Kurosawa fanatic. Too often directors or filmmakers are treated - as many artists are, in fact - more like a synopsis of their latest work. We constantly hear about how masterful Stanley Kubrick was and what his methods were, but who was he really? What school did he go to? Who were his friends? His teachers? What was his family like? What were his boyhood passions? Who is this man behind the camera?

Kurosawa tells us that in his story from his first memories as a child ("I was in a washtub naked," page 3) through his school years and through a tough young adulthood. It is all very well written, and actually quite interesting, particularly the segments on Mr. Tachikawa, who we can probably thank for Kurosawa's love of painting, his brother forcing him to face his fears, (not only of water, but of death as well) and two daring but stupid moments in a mountain village where he almost killed himself to impress the local children.

Kurosawa's growth is nearly coincidental with Japanese history. Just as Japan was constantly changing through out the 20th century, so to was Kurosawa. Forced to participate in a military program at his school, he takes every opportunity to belittle or make a fool of his army captain. His venture into art is like an odd adventure, going from joining a socialist art movement (nearly being captured by the Japanese secret police!) to living on his own to writing scripts and eventually joining Photo Chemical Laboratory. (later Toho Studios) He discusses marrying an actress because he was afraid of never being married before the "Honorable Death of the Hundred Million" many Japanese believed they would commit if invasion seemed immenant. This eventually goes on to his work as an Assistant Director, and later making his very own films through Toho and later Daiei after the Toho Studio strikes. These parts will be more to the liking of the film guru, as Kurosawa does give backstory to the inspirations behind his early work.

During this time period he speaks a lot of his family and the friends he got to know. His brother is such a remarkable and likeable character that when he commits suicide you really do feel sad. I took a particular love for Kurosawa's father: although some may see him as a bit harsh when he berates his wife for placing fish wrong or getting upset with his son for failing courses, one shouldn't dismiss him with the simple western stereotype of the tough father for he does have a heart. When Kurosawa's wife becomes pregnant and he pays a visit to his family, his father gives him a large bag of rice and says it is for his pregnant wife, not wanting her to go hungry in a time when food was scarce in Japan.

Perhaps, in the end, it is really fitting that Kurosawa focus so much on his personal feelings rather than his film. If you have watched his films and studied them, you will see the influences from his past life in those very films. "Something Like an Autobiography" was written long before Kurosawa made "Dreams," yet I found myself recalling the film reading this book. Besides his references to mountain climbing, he also talks about how in his father's village children would place flowers over a rock, and he learned that long ago a warrior had been killed and the villagers buried him there out of pity and placed the rock over his grave, so now children place flowers on it whenever they pass out of respect. Sound familiar? I also smiled at the section near the end when he discusses a Daiei studio executive - one who had been so steadfastly against making "Rashomon" - coming on TV and speaking for the film as if he was the mastermind behind it. I was thinking of the Deputy Mayor in "Ikiru," who is against the park project from the beginning yet after Watanabe's death takes all the credit. Maybe Kurosawa alludes to this kind of art reflecting life on page 163 when he mentions the oddly impeccable timing of "The Cuckoo Waltz" while dubbing "Drunken Angel."

This is a recommended read for any one interested in film or Akira Kurosawa's life - it is easy to read, full of wisdom, and is very frank and personal. As I said, it's not a 198 page thesis on his films, but as Kurosawa says in the book he does not enjoy explaining his films - he puts into his films what he has to say and leaves it at that. As the last line of the book says, "There is nothing that says more about its creator than the work itself."