Digital Books

Harris Sklar has captured the essence of life on the backstretch. The pictures are gorgeous, and the people and horses come to life through the skillful intermingling of text and photographs. The backstretch really is a small city -- of people who work very, very hard and have dedicated their lives to chasing an elusive dream. They are out every morning, often in the worst kind of weather. Anyone who works with Thoroughbreds risks life and limb every day. This book is a tribute to their dedication. The section on Smarty Jones is compelling. My favorite picture is the one of Smarty galloping, his neck arched, the rider standing straight up in the stirrups. Talk about raw horsepower. Wow!

The track can be the height of glamour and ceremony where the genteel hang out with the touts. This book has haunting images of a whole invisible underworld society that is surprisingly complex. There is pathos and charm in these people's devotion to the horses and the challenges of producing a winner. The inside story on Smarty Jones was a special treat. Highly recommended for anyone who loves horses.

This book is a tour de force. The photographs perfectly capture the magnificence of the horses and the special relationship they have with those who care for them--a relationship that's rarely seen or appreciated by even the most avid racing fans. Sklar shows us a world few of us know (the backstretch), and it's almost uncanny how well he does it. I look forward to more work by this fine photographer. Highly recommended.

This book is about people, not only horses; an insider's view of a self-contained community little known to most of us. This is an informative, enlightening, candid exposure to the bonds between the workers and their families who RESIDE at the racetrack with each other and with the horses to which they dedicate their lives. The photographer evokes empathy from the reader because of his unusual sensitivity and stirring photos. It is a treat to enter and savor this special place.

I found the book to be entertaining as well as informative. It's like watching the making of a movie with spectacular photos of every aspect. The imagery evokes emotions from my childhood when I would go to the track with my father. I would recommend this to anybody who has ever felt a love for the sport of horseracing or just wanted to know more about it. You won't be disappointed.

Like most Romantics, Jack Engelhard in "The Bathsheba Deadline, Part 2" looks back to a time when a man got tangled in a woman's hair and caught up in her stockings. Our hero newspaper editor Jay Garfield drinks in reviewer Lyla Crawford like a cat lapping milk. Whatever Lyla has, Jay is hooked and so are we. The man/women thing is spun into a cannon, a musical theme, "Shall I kill my lover's husband?" repeated in numerous voices. The narrator is Man's soul-searching need for love, approval, justification, or as Jay calls it, "THE BIG PICTURE."

As Jay turns over the possibilities in his mind, he indulges in self torture. Lyla encourages Jay with "a hint of light fire playing in her green eyes." Her marriage has gone stale. Her husband's ranting, since his conversion to Islam, has left her with tell-tale "fistfuls of silence." Will she become another she-killer like the cool blondes Barbara Stanwyck in "Double Indemnity" and Lana Turner in "The Postman Rings Twice"? She says, "I feel like I'm living inside a James M. Cain novel." So do we readers, and it's a pleasure.

As someone who is barely able to recognize the names of the tribes at war in the Mideast, I can chew into this love and war epic because the characters carry it smoothly. As the writer comments, Americans think the Middle East is filled with "exotically costumed people out of Robert Bolt's Central Casting who show up for background but have no lines." Bolt, who wrote "Lawrence of Arabia," made large-scale epics human but lacked Jack Engelhard's gift of making the domestic grand.

"The Bathsheba Deadline, Part 2" holds up a screen on which we can focus, in a personal way, the great themes of today. They include religion, the power and responsibility of the media, and the Internet. Jay, raised half Jewish and Catholic, is caught in a personal struggle that stems from the roots of our civilization. He wryly remarks, "There must be a God in heaven. Otherwise things couldn't get this bad."

Arnold, a newspaper man from the old days, laments the death of responsible journalism. Today, we are left with eyelash-flapping Babes and Geraldo, news that is mere mustache. Will hard news and newsmen become extinct like dinosaurs? They have on TV, but now there is a new player. Jay hints: "The Internet is the righteous sound and fury that threatens print journalism."

A cocky young reporter Sam Cleaver comes on the scene in Part 2 of "The Bathsheba Deadline." Will he become another spider caught in Lyla's web of love and murder? Will Jay send columnist Phil, Lyla's husband, to the Middle East to get his Pulitzer Prize or get killed or both? The carefully spun story intrigues. If you missed Part 1, just click and get it. And luckily, there are more episodes to come! This contemporary noir, based on the Biblical love triangle of David, Bathsheba, and her husband, will lure you into its den with the finesse of a femme fatal.

Could not stop reading Part 2:
It was emotional for me,
happy and sad, and constantly
wanting more.
If you don't know what is happening in the world today, particularly with regard to terror, Islam etc, read this.
Was reminded of the terror-filled world I live in, and of the extremely high price Israel is paying.
The interweaving of the sacred rites of the Old Testament with the ultra-modern machinations of the newsroom is superb.
What about weekly installments, rather then monthly?

...and if you weren't convinced of his ability to spin sentences like Chinese silk within the pages of Part One, then you're clearly getting the picture right about now in this (here) second installment. I made a few notes describing several of the winning lines from this particular section, which I thought I'd share with you now:

** "The man who cured cancer surely went up in smoke at Auschwitz along with the cure."

** "Are you a bigot if by their words and deeds they turn you into one?"

** "How can you believe, but how can you *not* believe? How can you have faith, but how can you *not* have faith?"

** "He was spooked by the rage of the mixed multitudes [ADM
s note: the "erevrav"] that were again agitating for the blood of his people."

~~~

These four lines are a pure example of what goes into a Jack Engelhard piece of intelligent fiction.

To be sure, I could've scrawled a heck of a lot more than I did on this readthrough, but then I'd be filling up my review space with Engelhard-ian gems and you wouldn't be able to enjoy them for yourself, right? (Besides, a review isn't intended to be an expose...those are what I consider to be the lousy ones).

There exists a true conviction behind this man's writing, such that you're lured into the narrative magnetically -- Mr. Engelhard isn't merely telling a story for "telling a story's sake," and I, for one, appreciate that. Not to mention that I'm inclined most favourably to the position which Jack surreptitiously (and thankfully!) professes here, and I'll never cross him on that score; it's nice to know that a position on the matter can be delivered with such literary tact and taste that you hardly think of the magic that, almost McLuhan-esque, the medium is indeed the message of this piece.

>>>>> Every incident described is so real.

>>>>> Every depiction elicits a reaction or an emotional response, and I, for one, need that in the writing I choose to read.

>>>>> Every character can be any one of us, regardless of our ethnic backgrounds, etc.

What casts this Bathsheba series into the realm of mastery, is how a message is being put across that doesn't have a preachy quality to it, and I challenge any scribe out there in Amazonia to come up with the goods simiarly.

Like the Aussies say, 'good on ya, mate.

Jack, keep doin' the business. Bless you.

-- ADM in Prague

Reading onward in Bathsheba Deadline, part-2, I noticed that this voice of Engelhard's through Jay Garfield was so clean and laser-etched it was easily becoming addicting.

Another quality I noticed was the appeal of Jay's habit of bringing out opposites, stating one thing, then bringing in a sort of au contraire, seeming to flow his thoughts through a dynamic equilibrium, which appeared to be part of the resulting effect of syntactic rhythm. Here's a string of examples of that effect:

--- Paraphrasing, "Phil is not likeable... that's probably why I like him... but not much... well maybe..."

--- The introduction note that the author couldn't control the character Lyla, as she was able to control Jay

--- Descriptions of Lyla frowning/fearful, then smiling, with a back-and-forth emotional flickering of clouds and sunlight.

Through Garfield, Engelhard's prose, voice, rhythm, whatever, has an amazing amount of that flickering, contrasting of polarities. The effect might be seen as a delightfully political hedging, but it isn't hedging... it's much more than that. To me, It feels like a mind trying to comprehend the duality of the universe, not wanting to leave untouched any polar end of any definite continuum, so that any ultimate conclusion won't have missed acknowledgment or awareness of any cache of opposition.

The moral conflict was well dramatized, of the desire in Jay and Lyla to allow Phil to go ahead and get himself killed through at-risk reporting, as Phil seemed to want to do (not get killed, but to "go there"). The way Engelhard indirectly explained the thematic connection to the King David dilemma (though it appears that He solved the dilemma simply, seemingly without internal conflict, with Kingly entitlement?)... was a good exercise of literary art. I don't have an in-depth recall of Biblical parables, and enjoyed how the author evolved that enlightenment in crafty layers, almost like a delicate pastry dough (I've forgotten its name).

Appreciated the irony in Jay's comment, "Lyla's an atheist, thank God." That's an even more tightly connected example of Garfield's (or Engelhard's?) flickering-duality concept-chains.

Regarding my review's title for part 1 of Bathsheba (The Bathsheba Deadline - Part 1) and the paperback (The Bathsheba Deadline: An Original Novel) I had the most awesome vision/feeling of those votive candles, the night before writing the review, with a clear connection of how it fit into the sense of the novel. Still can't quite get back to what I was conceptualizing in parallel, but I'm sure I will, as I continue immersing into the significant depths of this novel honed with the dreamy edge of a reality swirling back on itself in perpetual observation.

The relationship developing between Jay and Lyla began flowing so naturally it felt like it "was" rather than like it was developing. Engelhard's ability to dramatize depression oozed into the plot mood, collecting in Jay and Lyla's Atlantic City get away, which wasn't quite that. Both characters' personality needs were clearly contrasted, in Garfield's "This, but that, too" way of approaching life's issues.

The earlier scene with Arnold in the temple was warm and fascinating, in Jay's being there emotionally with Arnold, contrasted to Jay's too right views on how the words in the prayers didn't reflect the reality. Those ponderings were enlightening, as the mood was darkening, descending, as it needed must, due to what Jay was covering... and uncovering. The continued contemplation was intriguing, building plot tension about Phil's moving forward in his at-risk project. The way the author analyzed Jay's shifting personal motivations was complex and enthralling. Got the brain cells squinting in attempts to see through to the heart of the matter, as it appears Jack Engelhard can do, one way or another.

It's a cut, wrap, and then some... and maybe a "Dim Sum Banquet" as well,
Linda Shelnutt
Author of several books and Amazon Shorts, including:
Molasses Moon
Myrtle's Ultimate Mystery
Morning Comes: the Pre Dawn Blues - Part 1

AMAZON SHORTS AND JACK ENGELHARD AND I ARE JUST MADE FOR EACH OTHER. WHAT A WAY TO READ THIS BREATHTAKING NOVEL.

...because there's just too many that need repeating. Engelhard rocks!

Sheesh, you knwo, I'm just glad I've at least got a place to capture them all...so that *you* can enjoy them as well (you're going to have to read these segments and buy them on your own, folks, to get the remainder of them. Mine are merely snippets).

~~~~

"One of his books, Whittings, ran 900-plus pages, and that's longer than the Bible, and, it's been my conviction that if a writer can't get it done in 400 pages or less he's got nothing to say."

"Imagination can be fun. The rewards are endless."

"This man Spielberg and that man Kushner who wrote part of the screenplay, listen, they are okay with a Jewish State as long as it is not Jewish and it is not a state." Then: "We don't need anti-Semites. We've got plenty coming from our own families and homes."

"...that's another thing. Women are always ready. We just don't know the plot. We go one scene at a time. They've got the whole play written out."

"...since he'd switched to Islam -- and wasn't everybody these days? All over Europe, and even over here, this is happening. Phil Crawford is not alone. They go for it because it sets boundaries."

~~~~

Alright (or is it "all right?"), and this is just one segment of at least ten that are a part of what will eventually be a full novel...can you imagine the goodness?

The feelings which are so viscerally real for me in this work, the ones that I could relate to:

** men and women that are supposedly engaging in an adulterous relationships and the lust/love dynamic that they're forced to brook in being so involved.

** work colleagues who are having sex outside of the workplace, and how to deal with the dalliances as concerns other uninvolved co-workers (my question to the author would be...has this ever happened to him?).

** how to keep your personal opinions under wraps when you work for a publication which espouses views which aren't necessarily your own, or, how to temper your personal opinions when they dovetail just a little too strongly with the published opinions of the paper in question? (Again, I'm going to ask the author is this has ever happened to him?)

Moving right along to segment five...

-- ADM in Prague

The 'Bathsheba Deadline' is the perfect novel for serialization: it's timely, prescient, and a cracking good read. Be forewarned: reading an installment is like watching an episode of 24-you'll be hooked almost immediately. When readers come to the end the latest installment, they'll be tempted to shout at the author, "Hurry Up!"

This superb author makes the dilemma of King David so timely, it is as though it happened yesterday.
He is able to transport the reader back over 2,000 years ago, and connect it to the machinations of one of today's biggest and most influential newspapers.
(On top of that, he appropriately quotes the Bible!)
The dilemmas are increasing for the main players:
Should a man who has converted to Islam
be put deeper into harms way by his
boss, and perhaps killed, because of his "magic" with a woman?
(the convert's wife whom he adores...)
Today it is a much more dangerous neighborhood
over there, in King David's land.
Hamas, in charge:
Primary purpose is to murder Jews:
A Jewless Israel, a Jewless world!
They are called "Hitler in A Head Scarf."
Hamas' Chief, hiding in Syria, plans to enter Israel.
I CAN'T WAIT TO SEE WHAT THE AUTHOR WILL DO WITH HAMAS!

"The Bathsheba Deadline - Part 4"

Boss Editor Jay Garfield of the Manhattan Independent is in deep trouble. He is stuck on sexy book editor Lyla, married to reporter Phil, who converted to Islam. Lyla, sensational as ever, in "The Bathsheba Deadline Part 4," reveals a little dark secret that throws new light on her relationship to husband Phil and her romance with Jay. She glitters, she shines, but what does she really want--fun, someone's head on a stick, power, a juicy story?

Tortured by loyalty to a powerful father figure, not to mention his typically Jewish guilt, Jay wonders if his clandestine affair with Lyla, which is becoming ever more public, is really worth it. He wonders how the Biblical King David wrestled with himself over murdering Uriah, the husband of his lover Bathsheba. Jay believes, "If this is not high romance, then it is nothing. If this is not David and Bathsheba, then it really is nothing." At the same time, he can enjoy the excitement of sin.

Jay's personal torment makes the affair and the players universal. We love it, every tense, fascinating minute! Jack Engelhard comprehends--BECOMES- the characters and we are drawn inevitably into a tight web of suspense. Read it now. If you missed, parts 1 - 3, go get them. You are in for a treat. It's hot!

Letha Hadady, author of Asian Health Secrets

I've been following this novel and love every installment. Can't wait for part 5! Simply outstanding!

At this point, I am confident that those that are following this manga have realized that this story is so good that it consumes your life. Each volume gets better and better, even though when reading the first one I thought that there was no real way to improve on that, and little by little the story becomes darker. When I watched the anime I thought it was one of the most violent and sexually explicit productions in the genre, but the manga easily tops that. The amazing quality of the graphics contributes to the vividness of these scenes.

At the end of volume 2, Guts was in serious trouble, beaten almost to death by the count and his inner demon, and hanging on barely by a thread. The present volume starts with a crucial development, since by using the Behelit, Guts, Puck, the count and his daughter end up in a different dimension. One where they encounter the God Hands, and where there are important revelations about Guts' past and the meaning of the brand. Also, a main character from the anime makes his appearance. Griffith is one of the demons in this hellish dimension, and it is clear that Guts already knows and hates him.

The final episode in this volume has to do with Guts' childhood, which is when the main story in the anime really begins. We get to see Guts as a baby, "rescued" by the ruthless Gambino and his lover from a sure demise, and then witness his tough upbringing. This trip back in time is a great idea, since it allows the readers to understand this fascinating character better. The end of the volume is as disturbing as it is enigmatic, so once again, it is probably a great idea to have the next one handy.

A new level of violence is reached in this volume, so there may be a few people that could stand this until now but find this new step to be overwhelming. Nevertheless, I believe that most hard-core fans will find this volume to be extraordinary and will be looking forward to the next one, as am I.

Guts is in rare form as he confronts the target of his search in this volume. Berserk is a violent and disturbing book. Guts seems to no longer care about anything or anyone except revenge on the one who betrayed him. In many ways, this reminds of Conan (dark, bloody fantasy where magic is both rare and feared).

The TV series was largely a flashback except for the first episode. In volume 3 of the manga, is still focusing on "the present" though there are elements of the flashback present.

Having watched the TV series and yearned for an actual ending, I began buying these volumes. As only maybe 7 of these have been released and the manga is something like 28 volumes, I don't know that it will happen. However, I am seeing much more of his further adventures (that take place after the final episode of the TV series) even in just these first few volumes.

Berserk, amazingly, continues to get better, and for a series that was already a five in my book, that makes it very difficult to rate this, as five is the highest it can go here. With this volume, I'd give it a six easily, and possibly a seven. The artwork is great, the characters and their interactions are well-done, and the dark atmosphere that surrounds the story of Guts is enough to gag on, but in a good way, to be sure.

In this volume, Guts's battle with the Count continues, only now there is a witness to this fight of blood and madness, the Count's daughter and pride Theresia. And, of course, the ever present Puck. But just as the conclusion seems to be coming, the fight is interrupted by the God Hand, and among this group of five demon gods is Guts's hated rival, Griffith. This is probably the highlight of the manga, especially if you've seen the anime series, as it finally links Guts's past to his present. After that, the story goes deep into the past, and to the tortured childhood of Guts under the mercenary Gambino.

I'd recommend this volume and all of the Berserk manga volumes to anyone who is a fan of mature manga. In fact, I highly recommend buying not one or two but three at a time, money permitting, because you'll find yourself finishing these books in short order.

Advance Warning: This volume contains some very mature content (including an orgy scene and implied molestation), so for anyone who feels uncomfortable about things of this nature, do stay away. This is definitely a manga for adults and should be read with care. Treat this like a bottle of prescription medicine: keep it high on a shelf where no children can reach it.

When we last saw Guts, he was getting assaulted by the Count, now turned into a hideous monster. In volume 2, Guts fought bravely, but was easily overpowered by the Count, who is capable of throwing Guts around the castle like he's nothing. In the end, Guts was knocked out cold, nearly dead. Puck didn't know what to do, and the Count's daughter, Theresia, was left in her room. This volume concludes the fight, but it ends in a way that keeps you on your toes. Anyone that's seen the animated series before reading these books will see some jaw-dropping images halfway through, as characters we only got a small taste of in the final episodes make a return. The only word that comes close to describing what I felt when reading this volume is "intense". Every page had something incredible going on, even more than the past two volumes. There's really no need to read the rest of my review if you don't want me to tell you what happens. And if you've already read the first two books, then you'll get this without needing to read a review.

Guts is still on the ground as the Count's about to finish him off. Puck, incredibly emotional over knowing that his companion's about to die, tries to stall in case Guts is able to get a second wind. Telling the Count that he knows what happened, and how he's become a monster just to hide his true form by not accepting who he really is. That humans aren't as weak as he makes them out to be. The Count laughs at this, and admires Puck for actually saying something, since he always thought elves had the intellect of birds or squirrels, and says he'll let him go free. When Puck goes to try and revive Guts, a Behelit falls from his pack. The Count sees this, and goes after Puck. Just then, Theresia runs into the room, distracting the Count, who now focuses on her. Guts awakens, and attacks again. This time though, he uses Theresia as a shield, knowing the Count won't attack him through his own daughter. Guts makes some swift moves, and cuts off the Count's head. But, the blood from his body and head reaches the Behelit. The nose, eyes and mouth on it move around into the form of a face, and it's time. God Hand has been summoned, and they come to grand the Count his wish, which is to avenge him and kill Guts. Guts looks terrified, but sees their newest member, and takes it upon himself to complete his mission.

The last third of the book ends with a flashback, and starts where the animated series truely started (after we're introduced to Guts as the Black Swordsman). We see Guts as he was born from his mother's corpse after she was hanged from a tree, and Gambino and his lover, Shisu, pick him up. They're part of a band of mercenaries, and because Shisu lost her child, she grows attatched and keeps him, though he's just barely alive. Gambino raises Guts as a fighter, training him with a sword bigger than he is. But, some of his men see Guts as an omen- how they found him under those conditions, and fear he's bad luck. This starts when Shisu dies of a disease, and is continued in the next volume. Guts grows to be a good fighter, and while Gambino seems abusive, there are some moments where he's seen as a gentle person. This is something the animated series left out. The book ends with a terrifying moment for Guts. Something that's change him for the rest of his life.

Go on and get this book. It's intense, the artwork never loses its quality, and you'll never want to stop reading. Heck, buy one of each volume all at the same time so you can move on right away- it's that good. I rarely rave about much, but Berserk is easily the single best book I've read. Not just comics, but that includes novels too. The only problem, and this is very slight, is that these translations get cut-off in some books. A letter will be missing from a word or something because the word bubble is on the edge of a page. It's not a big deal, and it's not like we don't understand what the characters are saying, but it makes me wonder if they'll fix this in the future reprints. Blah, just get the books.

Oh, how it pains me to read a volume of Berserk, each one leaving me pining even more so for the next one. For fans of the anime series, volume three is THE volume to own! Where the first two books started off showing a bit more of Guts life right at the moment, not much reference is really made to the part of the story shown to us in the anime, which was pretty much one giant flashback.

However, in this volume, we get to see Griffith!! Already a proud member of the demonic Godhand (and loving it, may I add), the interaction between the two is absolutely fascination. And, there is a also a flashback to when Griffith and Guts used to fight battles together, back when Griffith was still Guts' Idol.

And, might I add, I really like Puck, a character unique to the manga alone. With the story being as graphically violent as it is, its kind of nice seeing a little compassion comeing from somewhere at least. This little Elf is pretty darn cute and he does add a bit of comic relief.

But best of all, in this volume, we get to see baby Guts!! He's so cute!! And 3 year old guts, and 6 year old guts, and 9 year old guts! (I'm sure you see a pattern here). After finishing the exciting story arc of the mad ruler turned demon slug type creature, we are shown a flashback of Guts' birth and past growing up. Most of this was depicted in the anime, but we see slight variations. His adopted father, while being depicted in the anime as being moderately cruel all throughout (not counting when he totally loses it at the end), he is shown here with a wider variety of personas, going from horribly cruel, to surprising moments of kindness.

However, the end leaves you hanging with a part of his past that wasn't in the anime at all, so I'm absolutely dying for the next volume. This is a series that you won't want to miss. Berserk is my all time favorite manga and anime ever!

This is the volume that marks the continuation of story after the anime ends. Even though there are some events in the anime that have not shown up yet in the manga, in this volume we find a fair amount of material not seen in the TV show. I would still recommend those people that watched the anime and are looking to see how the story continues, to go back and read the manga from the beginning. The reason for this is that the story is presented in a slightly different way, and thus, has a different flavor.

In the last volume, Guts and Casca finally consummated their love, and now the big question is: Can their happiness last? (I know, I know, those that watched the anime already know the answer) Their main problem right now is that they need to rescue Griffith, who has been a prisoner of the king of Midland for the last year. This is a really important element to the development of the story, and we see Griffith undergo some brutal torture, while still obsessing about his connection to Guts.

There are a lot of events in this volume that provide a great insight into the characters' background. We get to find out more about how important Guts' sword is to him and why this is the case. And we also get a deeper look into Casca's thoughts, fears and motivations. We finally reach the point in which we start to see a more clear connection to the demons and gods.

I am pretty sure I have said this before about this series, but I am going to do it again. This is the series that has it all: a powerful story, impeccable drawings with vivid details, shocking violence, a healthy dose of gore and sexual scenes, including some bad ones, like rape and incest. To top it all off, there are a few bursts of humor here and there. You are probably asking yourself: Humor from Guts? Yes, this is the second time in the whole series, so treasure it!

Berserk Volume 10 is simply amazing. The drawings and the storyline is just so epic, and even better than the anime (although the anime is just one of the best I've ever seen!). Guts, Casca, and the remaining Band of the Hawk spring their severly mentally and physically tortured leader, Griffith from the clutches of the depraved king. There are several differences from the manga: (1) The king of Midland, is shown as some sort of molester; (2) The princess of Midland follows Guts' rescue team to spring Griffith from prison; and (3) The King of Midland sends a group of assassins after the rescuing party. What I personally like the most of Volume 10 is in the beginning, where Guts reveals to Caska his plans for the future. He talks about his realization of who he is and what he wants to do, which (I believe) is what we all strive for.

In the feudal era, one man could not idly await the verdict of fate. Carrying only armor, a sword, and amazing skill, Gatsu (Guts) waves a defying hand to the forces that would threaten his freedom and his life.

Issue #10: Guts has come back to Casca and the rest of the greatly depleted Band of the Hawk. They launch a rescue effort to save Griffith. On their descent to the cavernous dungeon, a historical tale of the dungeon, and Midland's, origin, seems to reveal the origin of the Godhand and Skull Knight.

Upon successfully surviving the assault of the castle guard, however, the small rescue party await a far deadlier surprise. What horrors await those who defy the Bakiraka? Have the rescue party stepped into their own doom?

Greetings all,well I bought this like many who after seeing the end results of the anime series. Wanting to know what happens,I purchased this so this is my first manga ever!and it wont be my last, the artwork is detailed and very much resebles the show probably a bit better lookin in some respects...But none the less its a great series to collect since april seems so far away.

Volume 10 has arrived, and we are hungry for some more!

This book touches on events prior to the Eclipse. More details on known characters are presented and new characters are introduced. Even if you got the chance to watch the Anime, reading the Manga gives a more in depht understanding of the characters, and other crucial details that were ommitted in the Anime.

Kentaro Miura's drawings are fascinating as much as they are revealing of the aspects of human nature. This volume is no exception.

Again, pain reminds us of our existence. It feeds the inner beast growling in our subconscious...

This series is the still the greatest. There is not as much action in this volume as others but it moves the plot forward.

There are still some kickass fights though.

Berserk, Volume 17 (thankfully) picks up where Volume 16 left off (thank God for no more background stories). Guts kidnaps the leader of the Holy Iron Chain Knights to escape from their camp, while fighting the darkness. There is more character development, as we see Guts' rage stemming from his past experiences with the God Hand, which allows the reader to understand Guts' hatred towards them. **SEMI-SPOILER ALERT** Also it seems that Griffith will be reincarnated into the human-realm, which is exciting! Near the end of the Volume 17, we are introduced to even crazier characters. This is definitely NOT kid's stuff! And I'm glad that there's a graphic novel that is both smart and entertaining, and happens to be for the "older" crowd. My only quip is that these Volumes tend to take a long time to come out!

berserk is the best comic ever. but even the best comic ever can get a little off track sometimes....the last couple issues have had a little too much comic relief from guts' elf sidekick. but issue 17 it getting back on the right track. insanesly detailed drawing and viciousness that continues to surprise. and the feeling that something bigger and more unbelievable plotwise is developing. and new mysterious crazy looking bad guys! someone just tell Miura to be careful with the jokes and cuteness.

Berserk's 17th volume is a fantastic addition to the epic storyline already in motion. The story picks up exactly where the 16th volume leaves off, with no introspection or backstory to get in the way. Guts must free himself from the Holy Iron Chain knights and attempt to reunite with old friends and allies. The plot quickly progresses, and by the end of this volume you are definitely wanting to see what happens next.

If you're this far into the series, you know what to expect in terms of content, and this volume definitely doesn't disappoint. Blood, guts, and nudity are standard issue, as is the series' dark humor and wicked violence levels.

If you are still reading this, just stop. Seriously. I'm done here. Buy this as fast as you possibly can. You'll definitely enjoy it.

...and Guts realizes that while he's been on his quest for vengence, he's left someone near and dear to him to suffer on alone.

This volume starts us off with Guts being held captive by Farnese, Serpico and the Knights of the Holy Chain... the so-called elite order of the Papacy which is filled with sons of nobility. Of course, they're nowhere near as resourceful as Guts, who has his own elf to help him whenever he's in a jam. One kidnapping later and Guts has Farnese hostage with Serpico in hot pursuit... but darkness falls and the demons come out to play. Later, Guts makes a return trip to Godo's smithy for rest and repair only to find Casca is missing.

The mundane world of men is certainly given a dark slant as the corrupt council of cardinals is only interested in politics and money when Farnese is forced to report her failure in capturing the Dark Hawk, the inquisition is in full force killing any of the accused as witches and heretics, and the world is certainly going to pot with Midland being overrun by the Kushan army and plague everywhere. On top of that, though no actual apostles of the Godhand are seen, the spirit world is also in motion as the deformed ghostchild that haunts Guts and Casca appears to warn our vengeful hero.

It is a time between battles as old characters are relagated to supporting roles and new characters are given depth... and new villains are introduced. It is good to see several familiar faces have brief scenes to give a wider view of the darkness that is infecting the land and show that while the world is turning around the axis of a few select characters we know and love/hate, the ripples of effect are wide and far reaching.

The art is standard Miura love with an equal amount of time and detail put into everyone from the high and mighty grand inquistor, to the lowly peasants who dare to challenge him. Be warned, though, in typical Miura style, nudity is NOT taboo... particularly in a scene between Guts and Farnese that would drive a Freudian to fits.

All in all, book 17 is a great volume of character development the fleshes out both the individual motives of many of our characters and gives a greater sense of the politics of the powers that be.

A solid buy recommend, with the caveat that this is NOT a kids book.

In this important book, the authors tackle an old issue in a modern context. We might recall that Victor Hugo, in the Hunchback of Notre Dame, discussed the moral and cultural implications of the printing press. Burniske and Monke bring this discussion to the 1990s by studying the implications of Internet technology on education. The fundamental question centers on what it means to be educated in the first place. Burniske, for example, makes a distinction between being trained, the language of technology, and being educated, the language of the humanities. This book walks us through specific efforts by the authors to integrate Internet technology into their classroom teaching, but what clearly galls both of them is that deeper questions about how to properly educate students are getting lost in the hype over equipment, technical wizardry and on-line chatter. There are plenty of kids out there who can create web sites, hack into complex systems, and master the language of technology, but do these same kids know right from wrong? Can they critically read a text, or relate to the deep emotions revealed in a play or novel, or even treat fellow classmates or online correspondents with respect? These issues are the real test of education, and if they get lost in the hype, we are building a Brave New World every bit as pernicious as the one described by Huxley. Burniske is an innovator who is trying to find ways to correctly use technology in the classroom, that is, without surrendering human issues or context. Monke is more skeptical, perhaps, but a willing participant in the dialogue -- how can teachers be empowered and liberated to properly educate their students.

Students, by the way, are the real concern of these two teachers. They do not see them as products or consumers, but as a community of people who need to be nurtured, cared about and finally led to a deeper and wiser understanding of their place in the world. Burniske and Monke are teachers in the best tradition of that word. They are about shedding light on the human experience, not simply walking the beaten (and often failed) paths of traditional educational discourse. Whether you agree or disagree with their arguments, you will find the discussion worth the effort. The final chapter is riveting, but the rest of the book provides a rich context for an important, humane and caring dialogue about some very important issues confronting humanity.

I heard one of the authors, Dr. Burniske, speak at the Odyssey Bookstore in Massachusetts in July. He gave such an impressive and thoughtful talk that I decided to buy a copy of this book. I'm not an educator, but I am a parent and I found this an extremely thoughtful and thought-provoking book. I don't think you have to be a teacher to understand the stories that Burniske and Monke tell or the ideas that they develop. It helps, however, to understand some of the problems that teachers face with respect to their own professional development. If you've not been in a school recently this book will certainly help you understand why so many teachers struggle with new technology -- and why we all should be asking more questions about its place in the curriculum. As some of the other reviewers have suggested, I think this should be required reading for every parent and teacher who wishes to take part in the discussion of technology in education.

I believe this book will greatly help educators to find practical and very effective uses of this emerging technology. With the guidance of this book, educators should lose their confusion and the trepidations that I believe many of us have in the use of this potentially excellent tool. With a bit of help from their teachers, students can learn to focus their efforts and perhaps for the first time, realize they can take part in making positive and profound changes in their lives and in the lives of others that they will touch. The deep insights revealed by this book, and the practical ideas presented by Burniske and Monke will reduce or eliminate much stess by educators that do not wish to repeat the mistakes of those who have gone before us.

I am a high school (Gymnasium) teacher from Germany and I picked up a copy of this book at an education conference. We have been using computers in our school for two years now but have received little training in how to use them to aid our teaching (we have received only technical training). By looking at the case studies in this book I finally have a good, practical guide for me that I can use to help teach my students using e-mail and the Internet. This really opens up a whole new world of learning for me and my students. It is nice to finally read *by teachers* about how teachers are actually using the technology, and not just a bunch of theories on how you *could* use it. Highly recommended.

As a secondary school English and social studies teacher, I found "Breaking Down the Digital Walls" to be inspiring, thoughtful and helpful. I would like to embark upon a telecollaborative project with my students, and use the Internet for something more than research, but until now, I hadn't felt prepared to do so. This book provided me with ideas and support, and it was interesting to read - thank you!

At first, I thought I wasted money. The DVD starts with basic things like how to use AUTO mode. I mean come on, most people have used a point and shot camera. As the instructions developed the material became more substantial without being too technical for the lay person (like myself) to grasp various concepts of digital photography. In retrospect, it was great that the author(s) assumed their audience knew nothing about digital photography. The DVD covers every important detail needed to have a solid foundation to start using the 20D with confidence. Worth it!

I was reluctant to order this DVD since I've been burned before on hoping to get your moneys worth. Well, this DVD is well spent $$!! I had been pondering taking a photography class, in my opinion I learned well beyond what a class could teach me and it wasn't about cameras in general, I learned all about my own model. I loved being able to freeze it when I want to try on my camera what he shows us to do and I can watch it over and over again. The great thing too is there's tips on also how to take better photos. The information is fantastic, informative, and again, cheaper than a class! Definitely worth purchasing. This is a must-have for Canon users! :o)

After receiving the video, I've looked at the video several times. The demostrations in the DVD are great. I much better understand the use of the camera by use of the demostration than using the manual. There were some features and recommendations provided that were not noted in the manual. I think everyone should buy the DVD. Using the DVD is a great way of learning how to use the various featues on the camera.

An Excellent DVD movie for an excellent camera. My camera is really a great camera and I was afraid to operate it. After watching this DVD/CD tutor I learned so much. Iv practiced on all the lessons I have learned here and am still practicing. I have learned easy. I like easy. I recomend this for anyone who owns the same camera. It will assist you in understanding the principles of operating your camrea. I have fun in taking pictures now. It seemed like alot of money when I ordered it at first. After I found out how much a class is to learn these same principles I decided I actually saved about $120.00. Learning at home is much more practical to me.

An excellent DVD for understanding the Canon EOS Camera especially when upgrading from a less expensive camera to one such as this. Great tutorial for use of all features and Options on the camera. Especially in use of opening aperture and shutter speed. Easy to understand chapters with a menu based navigation so I can go back to each beginning. I am better understanding the ISO option. It was well worth my money. The cost of a class to learn the principles of digital photography is small verses the cost of a similar class, and I learn about my very own camera, not another model. I also get to rewatch the DVD when I choose to.

This dvd is perfect for someone who just got the Rebel XT. they just don't tell you about the features on the camera, they show you how to use them. They show you everything with pictures. If would have known about this video when I first got my rebel xt. I would have known the answers to questions I use to ask people. I would tell anybody, but this dvd, it really helps with everything you need to know on your camera.

This is a great video to learn how to use your Rebel XT. It's easy to watch and pay attention to. They offer great tips and cover many aspects of your specific camera. I highly recommend this guide if it's your first time using a SLR.

The guy is easy to listen to, directions are simple to follow. I watched it and took notes, tried it out on the camera and then watched it again.

The only thing I wish the covered more was the editing software.

This DVD is professionally done, with very good video editing showing you where to find what on your Digital Rebel XT. There is good explanation of all the functions, and a good introductory photo course to boot.

Of course on of the real values of a DVD is your ability to return to what you need, anytime you need. The layout of this DVD's menues make this very easy.

My only criticism is the music soundtrack. It's too loud, and it's annoy music anyway.

This DVD not only shows you how to run your camera, but it also give you tips on how to make the most of your pictures. It goes through the auto and manual options to make sure you get the most out of your camera. This DVD covers everything from installing your battery, memory cards, and lens's to saving your pictures in RAW format or JPEG to shutter speeds and aperture. I would defiantly recommend this DVD to anyone who is a hands on learner like I am.

A grapgic and highly instructional movie for everyone who has this camera. I saved money on taking a class learning how to operate my camera buy buying this movie. This DVD is much less then the price of a similar class. My wife and I watch the tutorial on our own time. I have learned easily how to operate my camera. I can format my disk easily and reformat it easily. I have learned from tips and cautions given inside also. This should be sold with each camera as an addition to the direction manual. I am a much sharper photo taker today then I was before I did not own this DVD/CD. Looking forward to taking pictures of spring flowers.

The prose is limpid, the subject matter difficult. I was hooked from the start by both character and plot, especially the sensitivity with which Dora is handled; as a previous reviewer wrote, all of the characters seem plausible and sympathetic. I am not English either, nor is this my kind of book, but it is very very good. Beautifully done.

Two interior voices, those of two people so inwound that neither can see anything round them except reflexions of their own thoughts, are clearly heading towards dialogue at last; but from this writer even that will surely be intense and minutely observed - seen from inside, indeed. At the moment Pelling is deeper inside Dora, stymied by three years' bereavement and three years' guilt for a lost baby whose room she still keeps as a shrine, than inside Tom, the teacher whose relationship with a girl pupil has reached a stage at which the headmaster has to take him aside for a warning word; but then Tom proves after all to have one other interest, astronomy - or one star, Capella. And Dora's physical and psychological shrines are illustrated by stars, though the closer and more childish kind. If, as the text implies, she's in her late thirties, there may still be time for a conjunction of both their kinds of stars.
And in spite of the intense imagining of these two minds, there's room in this dense narrative for details that perhaps they both miss. Dora's refusal to choose girly pink for her daughter to wear is countered in passing by the self-chosen sex-differentiation of Tom's two children, him in Batman rig and her in head-to-foot pink. And when Tom's tone in mentioning Capella whisks Dora out of herself and on the way towards his star for a moment, it's a child's whine that drags her back. Both these people have invested too deeply in children, and even though Tom the teacher recognizes that children and adults are much of the time on different planets, he needs to learn how to grow up just as Dora does, away from the dead child who is keeping both itself and her from ever moving on - and away.
A fascinating opening - and according to the author's summary the continuation won't be altogether straightforward. This promises to be a complex, unusual and richly-written novel, with even its incidental characters showing lives of their own.

The author gets the jumpy vagueness and breathless stasis of the young mother stuck in grief, but also manages to open the narrative door to parts of the young woman's life, past, present, and future, that she is right now unable to see. I loved the way the tin with the daughter's ashes was introduced -- both the stars on the mobile and the ashes in the tin prepare us for the astronomy lesson on Auriga with which the segment ends. More! More!

Beautifully written and terrifically moving without being maudlin: captures the grief of a woman who's lost a baby while at the same time maintaining a kind of careful distance from the experience; only that distance makes it bearable. The characters are vividly drawn, the emotions real. As good as Pelling's first novel, Work for Four Hands.

Pelling's ear for dialogue, internal and external, is exquisite, and she does it with economical vocabulary choices instead of adjectival onslaughts. She conveys Dora's depth of despair without sentimentality, and adds additional details and information at a perfect pace. I never felt like a voyeur, even though I wanted to know more. Unbelievably, one is drawn toward the awful story of what happened to Baby Jo, rather than pushed to turn away, because of the humanity and appeal of the characters, Dora above all: one cares about her, and what is going to happen next. This is a complex story with fully developed protagonists. I don't blame Nerys, and I feel sympathy for the brother, torn between women he loves. Pelling is able to paint a rich picture with very few strokes. I can't wait to read the rest.