T Books

Shortly before she died, Brian Blackstone's wife implored him to save her family home in Oxford, England. But when he arrives, Brian finds foreclosure on the house nearly complete because of the enormous death tax. An intriguing, suspense-filled novel that made it virtually impossible to put down. One of Bunn's best!

Well worth your time to read! No sooner had I begun this book, I realized I would ber rereading it.

good "reflective" reading ... poems are "nature" based with a theistic motif. something to be picked up from time to time.

I loved this book! I've been a Christian since I have been 15 years old; however, I have not really been into Christian fiction because I've found more enjoyment in Christian non-fiction and secular fiction. Also, from my past experience, it seems that Christian fiction has been too syrup-y sweet and too preachy. I absolutely adore this book. The story line is wonderful. It has romance, suspense, mystery, drama....all rolled in one. The book also touched me by how God works in our lives to put us on the path that He feels is best for us ...and all the while we can glorify Him by helping and being of service to others (those lovable and those unlovable also). I highly recommend this book. I also look forward to reading more of T. Davis Bunn's books and also other Christian fiction.

So this is somewhat conservative, wrapped up in a mystery, and even more, the setting is England? Hmm. Wasn't quite sure what I was getting myself into, but I couldn't get my nose out of it once I started! I always look forward to reading Bunn's work, so when the opportunity presented itself to borrow this from my DAD'S church library, I took it. If you happen to come across this, take the chance.

Brian Blackstone trudges reluctantly to his inheritance. The reluctance is because his beloved wife left it to him. Would this bring back painful memories? He soon realizes that he doesn't have too long to enjoy what is his, because it just might be up for auction. Then the good doctor, Cecilia Lyons decides to get involved, immediately disliking Brian upon meeting him. But there could also be a possible interest for him in her mind! But this isn't all about romance, so can that idea. Yet there is more to all this than meets the eye. And then the riddles begin to appear. Clues! What's going on? Could there possibly be something valuable about this, or is this just a cruel joke? I'm here to tell you that this is full of surprises, littered with treachery here and there, and it doesn't let up. It is great!

Bunn reminds us that with faith in something higher than ourselves, that there is always hope and a future. That's regardless of age or circumstances, or regardless of whoever YOU are for that matter! God has no limits. God, just like this amazing read, has great surprises, and they won't always come in the way we think they should appear. The surprises will exceed what we expect. That's exciting! Go through this with your favorite tea or coffee. Read it with an open mind. And an open heart!

Brian Blackstone wants nothing to do with the crumbling English mansion he's inherited upon his wife's death. To honor her dying wish, he finally makes his way to England after wandering aimlessly for two years. Brian isn't exactly welcomed with open arms at Castle Keep. Everyone is suspicious or downright antagonistic for reasons the reader will soon discover.

Suspenseful and romantic, The Book of Hours pulls the reader in from the very beginning. The description of the English countryside and character colloquialisms bring the story to life. Beautiful story of redemption and renewal.

A great book that talks about other animals that lay eggs other than chickens. I read this book to my preschool children and they loved it very much. The pictures are bright and very colourful. It's a must buy!

This was my favorite book growing up, because of it's catchy rhyming story, accompanied by colorful, ecclectic illustrations... and now, it is my sons favorite book - so much so, that I'm now looking into buying Ruth Heller's other science books. My 4 year old loves them, and the colorful picutres hold my 2 year olds attention (a feat in itself) so well, I'm amazed!

I'm so glad I've kept this book around long enough to pass it on to my son, who already has a great understanding of any animal, who is an "Oviparous"

I think it's really great that Ruth Heller introduces a complex subject in a children's book without talking down to the children. It's great that she uses "big" words like "oviparous"--kids, after all, can remember lengthy dinosaur names; there's no reason why they can't handle other long scientific words.
But I do have slight qualms. For instance, the part about amphibians says that amphibians don't have claws--what about African clawed frogs?
The illustrations are engaging, and the use of rhyme in prose makes the text flow nicely. The subject is interesting, too. I just wonder a bit about the accuracy of the "facts" presented here.

I enjoy the realistic non-anthropomorphic pictures Ruth Heller, author/illustrator, placed on each page. They are colorful, accurate and fun to look at. Some pages have just one animal and other pages are filled with lively looking insects and their eggs. I also enjoyed how she showed the size, coloring, shape and form difference between all types of eggs. I learned a lot from this book and think that kids over 3 will enjoy having this read to them. The only downfall I see in this story is that sometimes the words and sentences are in rhyming form and sometimes they aren't. I would've preferred one OR the other, not both. It doesn't flow as well with the two methods of writ, but other than that it was a good book.

Egg lovers, egg heads will especially enjoy this book by Ruth Heller a beautiful story. Oviperous you are, if you slithered or crawled or burst from your shell. Lots of children certainly love the expressions eggs generate. Crack open that shell and enjoy this play on the question, "Which came first the chicken or the egg?" Egg-xactly.

I had the pleasure of meeting Ruth Heller and husband in two completely different times in my life, in a bookstore in Carmel and on another rainy day in a bookstore in Ventura,CA. Both times I had her books, didn't know she was there, coincidental encounters, so I could and did get autographs. My girls loved her Designs for Coloring: Birds (Designs for Coloring), hint, hint parents. She was so tiny...and obviously a lovely person to get to say to, "I'm a teacher that always wanted to thank you for...."

Right now my first graders are reading about chicks, ducks and other egg tales. So showing the Reading Rainbow that contains this book being featured and read aloud is perfect. Heller's book is read by Georgia Engles with her interesting lilt it makes the poetic text very nice for them. It's still a bit hard to read for a few but I do have a set left over from days I taught not from canned scripts but from content connected literature. A few pieces of this text I'll quote hoping to get the sound which is so gentle and lovely, " Chickens lay the eggs you buy......Chickens aren't the only ones. Every bird wild or tame does the same. The ostrich lays the largest egg, the hummingbird the smallest. .."
As you read her lovely drawings bring you the text illustrated very factually and wonderful rendered. I always see those psychedelic 60 rock posters. I don't know why, it just happens in my head. I always enjoy teaching with Heller books. You go on to be introduced to reptiles, amphibians, fish, insects..."mermaid's purses", seahorses...moon snails, lots of ways to appreciate the egg layers.

If you enjoy video showing the Reading Rainbow: Farm Life with this is a great idea because you'll go to the farm to see a chick break out of the egg, watch loggerhead turtles be laid and hatched and see some great facts about egg layers. I can't imagine Ruth Heller's book out of the context of this tape because it expands the constructs so beautifully.

And if you love this "Animals Born Alive and Well (Picture Books) " is another great one from the author.

At a recent gathering of pastors from across the USA and Canada I was surprised that one VERY well-known speaker from So. California spoke to the pastors about his preaching style, his study habits, and his commentaries. When asked about his lack of preaching from Old Testament books, this pastor noted that he is a New Testament pastor and in his 25+ years has never preached through an Old Testament book, that the era of the Old Testament has no place in New Testament kingdom work. There was a hush like I had never heard (and these are all pastors who love to talk!). This new volume is a fantastic addition to any pastor's library and helps to link the entire counsel of God. Beale and Carson have given us a tremendous gift in the unique style of this reference book and how they build all the New Testament upon the shoulders of those prophets, priests, and sages who had gone before.

As we have seen, the New Testament is replete with uses of the Old Testament. Jesus, himself, was often quoting the Old Testament and the authors show us how the knowledge, culture, and genre of Old Testament books and passages that were useful in the establishment of the church after the resurrection. The authors are quick to remind us that the authors of the New Testament Canon were using Old Testament text to establish the church and then included God's counsel from the ancient eras in their writings back to the churches at Rome, Ephesus, and more.

This book serves a very powerful niche in our sermon preparation, it gives us tools to excite our congregation about the Old Testament which seems so ancient and almost out of place to the 21st Century thinker. Beale and Carson give us the tools to energize a new generation of disciples. I cannot imagine our pastoral libraries without this new work. It serves us as pastors and it serves our congregation as it illuminates the whole counsel of God.

This book is an excellent one worthy of a collection specially to those who are involved in the ministry of preaching, bible study, or even in sharing the gospel. It might not be as elaborate as those individual commentaries, but needless to say, the book is complete and touches almost all of the critical, difficult, and controversial issues.

References to the historical findings such as the MT, LXX and a lot more gives sufficient credence to their studies that these are based on historical facts, and not just on personal opinions. A great number of authors with their credentials who participated in writing this commentary proves that this book is a collective effort of great minds in order for us to benefit the cream of the crop. It is because of this that I find this book worthy as a treasure.

Really, this is just a start. Any commentary is. But this is one of the best because it proceeds from a radical premise: the whole Bible is from God, giving His point of view and superceding that of the human author.

Not that this is promoted self-consciously or consistently from each contributor. But the structure of the enterprise is such that they are sucked back into presenting how it is that the old testament is so thoroughly imbued in NT writings, including in ways which both OT and NT writers could not have intended.

Treading down this path forces us to question all those teachings we've had where we were told: "Matthew (or Paul or John ...) here had in mind xyz." When Matthew wrote his gospel, we might now surmise that we can't be sure what he himself had in mind, because what we wrote was superintended to the degree that Matthew's sinful thoughts were NOT what ended up on parchment. God's thoughts are there, pure and untainted by Matthew's natural limitations and sin.

Attempts to work from Matthew's sinful thoughts and culture to God's meaning miss the point that whatever Matthew was in his head was NOT the end product that flowed out his quill. Remember when Caiaphas spoke what he thought naturally about how it is better for one man to die rather than the whole nation take a hit? He meant it for evil, but God superintended it to be ultimate truth, regardless of that speaker's intent. Same with all holy writings.

Yes, holy men of old spake as they were moved, but their holiness does not naturally come out in uncontaminated speech -- that takes a special work of God. This commentary allows for that premise. There's something way more than human going on that ties this whole Bible together in one theme from one Writer.

Don't get me wrong, not all these contributors seem to subscribe to my radical conclusions above, although I think the editors do. And their prescribed structure for this commentary nudge the contributors into a path that I think leads to a more theocentric authorship. So this is a good start, but nothing beats trying to read the Bible itself from God's point of view, rather than the hallowed and misguided grammatial-historical human focused approach.

I just got this book and I'm already impressed. The book is over 1200 pages of solid, scholarly output.

From Matthew through Revelation are treatments of quotations, echoes and allusions from the OT.

At the end of each NT book is a bibliography of the sources cited along the way. A great help!

The scholars are not afraid to give their own translation of the Greek text, while consulting other reliable versions of the Bible. I find this extremely helpful, as one who is adept at NT Greek.

DA Carson puts his scholarly touch on most of the Catholic Letters. He is so good.

Overall, this volume represents the best of NT scholarship. If you don't have this book in your collection and not making the most of it, you're depriving yourself of the best treatment to date on this subject, the use of the OT in the NT.

I give 10 stars.

Compiled by a large number of scholars from the evangelical tradition, this work is a much needed resource in your library. The difficulity and debate over how the new testament qoutes and uses the new testament as fulfillment is not glossed over as this 1000 plus page book examines passages from Matthew to Revelation. The sources cited and research used in this compilation is wide and scholarly in its use. A book needed by all serious students of the bible.

This book was purchased for a college research project and it was just perfect. It talks of Kandinsky's color theory and how music and color co-exist. The seller was professional and I got the book when it was promised. I would order from this seller again...definately!

Wassilly Kadinsky was a 20th century painter and his CONCERNING THE SPIRITUAL IN ART provides a blend of philosophical, spiritual and artistic reflection as it examines the premises and presence of spirituality in art. This new edition is a recommended pick not just for art students of modernism, but for readers of spiritual works: it includes letters between Kadinsky and Sadler, unpublished prose poems, and a fine attention to artistic reflection and analysis.

Diane C. Donovan
California Bookwatch

I enjoyed reading the book. At times it was over my head,but still it was worth the effort!!!!

Kandinsky throws his ideas out in a slightly esoteric manner. It make take a few rereads to really grasp the quality of discourse he presents. But, in the end, his commentary shines brightly through his comparisons of music to painting. The spiritual triangle is comparable to Maslow's Hierarchy of Needs. It is important to remember that Kandinsky is not using the term "spiritual" in a religious sense.
This book is a very good read for anyone feeling slumped in their art making. And for anyone who wants to expose themselves to ways of thinking about art. By the third time I had read the material I had underlined and highlighted almost every line and filled all the margins with notes. The book is fantastic. It is especially good when paired with Hans Hofmann's essay "In Search for the Real." Although the ideas in the two books do not parallel. In fact the lines aren't even on the same page. Kandinksky's critiques of other familiar artists are very interesting too. Names like picasso and Cezanne pop up quite a bit.
I'll stop rambling now. Read the book, it is very good.

Kandinsky had risen to positions of influence in other disciplines (political science/economics and law) before directing his considerable intellect to painting. His insights extended into the historic 'meta' trends of the arts and sciences, including the physical sciences, and had his interests been directed more to the history and philosophy of science instead of the history and philosophy of art, he might have written Kuhn's observations regarding paradigm change a half century before Kuhn did: "Here and there are people with eyes which can see, minds which can correlate. They say to themselves: 'If the science of the day before yesterday is rejected by the people of yesterday, and that of yesterday by us of today, is it not possible that what we call science now will be rejected by the men of tomorrow?' And the bravest of them answer, 'It is possible.'"

Instead, Kandinsky extended the frontiers of painting and authored philosophic writings on the future of art that are among the most important of such works. M.T.H. Sadler, who translated this work into English, was a friend of Kandinsky's and was among his early admirers. The notes he has written in the front of the book (Translator's Introduction) are therefore more helpful than could be the opinions of many other critics, including myself:

"Anyone who has studied Gauguin will be aware of the intense spiritual value of his work. The man is a preacher and a psychologist, universal by his very unorthodoxy, fundamental because he goes deeper than civilization. In his disciples this great element is wanting.

"Kandinsky has supplied the need. He is not only on the track of an art more purely spiritual than was conceived even by Gauguin, but he has achieved the final abandonment of all representative intention. In this way he combines in himself the spiritual and technical tendencies of one great branch of Post-Impressionism.

"The question most generally asked about Kandinsky's art is: 'What is he trying to do?' It is to be hoped that this book will do something towards answering the question. But it will not do everything. This--partly because it is impossible to put into words the whole of Kandinsky's ideal, partly because in his anxiety to state his case, to court criticism, the author has been tempted to formulate more than is wise. His analysis of colours and their effects on the spectator is not the real basis of his art, because, if it were, one could, with the help of a scientific manual, describe one's emotions before his pictures with perfect accuracy. And this is impossible.

"Kandinsky is painting music. That is to say, he has broken down the barrier between music and painting, and has isolated the pure emotion which, for want of a better name, we call the artistic emotion. Anyone who has listened to good music with any enjoyment will admit to an unmistakable but quite indefinable thrill. He will not be able, with sincerity, to say that such a passage gave him such visual impressions, or such a harmony roused in him such emotions. The effect of music is too subtle for words. And the same with this painting of Kandinsky's. Speaking for myself, to stand in front of some of his drawings or pictures gives a keener and more spiritual pleasure than any other kind of painting. But I could not express in the least what gives the pleasure. Presumably the lines and colours have the same effect as harmony and rhythm in music have on the truly musical. That psychology comes in no one can deny."

Some aspects of Kandinsky's color theory are dubious, at best they cannot be universalized, and Kandinsky sees this. But other of his ideas and arguments are widely accepted among artists, even as being self-evident. Stating that "there is no 'must' in art, because art is free," that is, free to address external representations OR "the inner need," to merely chase after material 'objects' OR to wrestle with the mysteriously spiritual, to somehow meld the two visions OR to stay purely to exploration of the spiritual high ground, Kandinsky absolutely rejects the materialistic expectation of an art "explanation" that has been articulated by EO Wilson in his unfortunate daydream 'Consilience' (Wilson knows ants better than he knows humans, and is given to understanding humans to be essentially ant equivalents).

Anyone interested in art history, painting of the past century, or the relationships/correlations/divergences of the various arts (visual, musical, literary), as well as anyone interested in the meaning and purpose of art, or in the philosophy of aesthetics, should read this important book, perhaps more than once.

Before reading this handsome, well-made volume of six crime novels, I tended to consider 'noir' a movement, one of both style and period. I now know that noir is also and more generally an atmosphere and pertains to a wide variety of literary styles, characters, plots, motivations -- but all informed by a dark and often depressing overall mood. Ultimately, these six novels are character studies and although they are offhandedly described as 'pulp novels', their qualities of description, dialogue, and even basic construction techniques such as gradual disclosure and story arc far exceed most recent crime novels I've read. And although classic noir undoubtedly exposed the dark recesses in the minds and hearts of its contemporary audiences, these stories today confirm that there is very little that can shock us; the beauty and longevity of these novels is in their exposition and description of characters and surroundings and the significance of a single, seemingly insignificant event building to an inexorable, devastating climax.

Rather than recount each novel's plot and characters, I will only add that again, each of the representatives of the noir genre present in this edition illustrate a wide variety of settings and styles, places and characters. From what most of us probably consider classic noir represented by Cain's classic "The Postman Always Rings Twice" with its classic highway settings and passion, to the suave, biting, and sardonic wit of Fearing's "The Big Clock" reflecting the unusual structure of multiple first-person narration around a single, main protagonist in an urban, corporate setting, to the Oklahoman grit of a group study in gang crime via serial bankrobbers in Anderson's "Thieves Like Us", to the more explicitly horrifying, psychologically penetrating and depraved "Nightmare Alley" of Gresham, this edition is like a menu of various aspects and directions noir can and did take.

As other reviewers have stated, there is not a weak novel here. I found "The Big Clock" the most singular in structure, setting, and style and in certain aspects, it defies categorization as 'noir' except perhaps only in mood. In fact, it is the novel that for me most broadened the definition of the genre. I found "They Shoot Horses, Don't They?" the most depressing because it appears to be the least fanciful, most truthful and thus the most devastating of the set. In this sense, "...Horses..." comes closest to rivalling truly great literature not so much for its details, but for its overall impact. In my opinion, Woolrich's "I Married a Dead Man" is the least successful because its exploration of mistaken identity (first mistaken, then deliberate) is somewhat banal and after finishing it, I wished Woolrich might have explored the contrast of genteel facade and grasping desperation a bit more explicitly. It is in many ways the most subtle and emotional of the set as well as the most modern (it is chronologically the last), but suffers a bit from the repetitive description of Helen/Patrice and the strain of her external and internal duality.

Several reviewers have found Anderson's "Thieves Like Us" the weakest of the set, but I disagree. The description of a gang is necessarily different and unlike the other novels, Anderson manages to accomplish what the other authors are unable to do (save perhaps McCoy): Describe the criminal as a legitimate, objective individual who deserves our sympathy and even our allegiance. Bowie, the central character, is described as taking a far more relaxed view of his own criminal activity and isn't portrayed in dark, tortured terms. In this light, Bowie has either the weakest conscience or the strongest depending upon how you choose to read him and in either sense, he and together with his cohorts provide and excellent example of the Anti-Hero.

"Nightmare Alley" is the longest and the most absorbing of the set. It is also the most violently and sexually explicit, has the largest cast of important and varied characters, and best succeeds in addressing the big questions concerning truth, faith, relationships, society, etc. Who are the real freaks -- carnival oddities and tricksters, or respectable society members seeking spirituality? Those with mere physical abnormalities or those who deliberately develop intentional differences? What is deception, particularly self-deception? "All the world's a carnival" might be a nihilistic worldview, but Gresham's portrait of an intelligent young carnival magician's development from a sensitive, impressionable boy into a full-blown 'spiritualist medium' whose only desire to trick the vulnerable out of their money (and who ultimately is tricked by one who lacks his ultimate weakness -- his conscience) is devastating. Although I predicted the ending, this truly nightmarish journey down Stanton Carlisle's alley is the point of the book. The true ending is, in fact, never reached and is a brilliant literary stroke.

I highly recommend this set of novels.

This collection of novels from the 30s and 40s was terrific fun and an outstanding introduction to the genre. You can debate whether they're all noir (at least what I expected noir to be); but nonetheless they each convey a distinct impression and view of the time. Without getting into lengthy reviews, I enjoyed Woolrich's "I Married a Dead Man" the most--from his eloquent style to the actual story-line. You know you're reading a master story-teller. Second was Gresham's "Nightmare Alley;" although sometimes I thought he could have expanded on some aspects of the story and shortened other passages (i.e., a little bit of editing would help). But each novel was distinct and enjoyable. Highly recommended.

First of all, the Library Of America collection provides the reader with some of the most beautiful hardcover editions available today. That said, the selections chosesn for this edition are all first class; for someone just getting into hard-boiled fiction, this is the ideal place to start. If you're like me and have been reading this genre for many years, this is a perfect volume to add to one's collection.

Ha! Just skimmed some other reviews and I wanna add my two cents. Yes, this volume is definitely something. Some impressions follow.

The Postman Always Rings Twice: Indeed, Cain knew how to make the reader keep turning pages. Short, sweet, and fascinating. After I discovered the significance of the title (which is a bit of a "trick"), I liked the whole effort all the more.

They Shoot Horses, Don't They?: A bit monotonous to read; a bit dark. That was the point. All told, a fascinating novel. Among all literature named in the world, *this* is one of few titles inspired by God: so memorable and unique, so perfect. It turns out to impart chilling meaning, as well, on several levels.

Thieves Like Us: My least favorite. This was a subjective reaction, however. I wanted the story to take turns it didn't take. Moreover, Anderson as an author took note of things I found not-so-interesting; apparently, the book's status to this day speaks otherwise on behalf of many other readers, however.

The Big Clock: Short, sweet and sterile. Almost machine-like in its plotting and execution -- if so written intentionally, a fascinating stylistic choice given its title -- but, notably, full of interesting and colorful characterizations. Possibly my favorite.

Nightmare Alley: Relentlessly grim and ugly. I'm not so sure there is a single character to root for in this story. That was probably very much intended. Fascinating but, again, very grim. Literary nihilists of today would do well to take a lesson from Gresham's characterization, plot and style.

I Married A Dead Man: Although the novels were presented chronologically, this was a nice way to end the volume. A very simple, linear, domestic story, without hard-boiled criminality or complication, which unfolds with some plot which stretches credibility, but lies ultimately within the realm of the possible. Notable among noir novels for Woolrich's ability to evoke two unexpected emotions at the end: a sense of deep and abiding love between two of the main characters -- before the real and final ending -- and a sense of genuine sadness.

Worth owning. Might take the reader a while to get through. This is, in effect, six books in one, running to nearly a thousand pages. But it was definitely fun; and as another reviewer implied, it's surprising how little has changed.

Noir emerged in the early 20th-Century from Pulp paperbacks published for mass consumption. Highlighting in gritty and sensationalistic detail the sordid undercurrents of Western society, Noir became an artistic force that became the medium for the representation of the down and out segment of the populace. Whether set in the impersonal grime of urban reality or at the deceptive simplicity of rural picturesqueness, Noir in Film and Literature revealed the odyssey and travails of lost souls whose misguided characters bore too much of the weight of their selves and their pasts to break from the shackles of their present.

"Crime Novels: American Noir of the 1930's and 40's" is the American equivalent in prose of the influential and enduring genre. The grim and unforgiving tales of the dejected cast of mid 20th-Century American life are openly depicted ("The Postman Always Rings Twice"; "They Shoot Horses, Don't They?"; "Thieves Like Us"; "Nightmare Alley"); vicissitudes of fate ("The Big Clock"; "I Married a Dead Man"). Whether set in scenic California, the vast and open Midwest, or a high-rise office in Manhattan, these novels uniformly render a panorama of blighted dreams, twisted turns of fate, and the sad recurrence of misfortune in desperate individuals doomed to tragedy.

None too substantial in content but highly readable, this edition is the first of a handsome 2-Volume anthology on American Noir fiction published by the venerable Library of America. Edited by Robert Polito (Poet, writer, anthologist on Noir Lit. and author of a biography on Jim Thompson), these stories enduring relevance are seen in various forms of contemporary society: from the writings of James Ellroy, Brett Easton Ellis, Lawrence Block, and Robert Bloch; in films like "Scarface", "Pulp Fiction", "Fight Club"; and in everyday life.

Too often craft/art books are whatever the subject is by-the-numbers. Do this, do that, voila you have a finished project just like mine. This is so much more and exactly what it should be. Layers of information. Beautiful examples. A book that inspires you to choose your own path. This is the best type of creativity inspiring book. I purchased this along with "500 Handmade Dolls" (which shares many of the same artists work) and have found hours of enjoyment. Very well done book.

LIKE ANATOMY OF THE DOLL THIS BOOK OF SUSANNA'S IS ALSO A MUST
HAVE.I AM NOW ADDICTED.

I own all of Susanna's books and think they are excellent. I would suggest that anyone interested in doll making invest in them, and this is a good one to start with. I honestly think this is 5 star all the way. I use this, and her other books, frequently while working. I am a serious cloth doll maker and usually buy every doll book when it comes out - some I resell immediately, but this one I am keeping!

The pictures in this book are incredible! The multitude of eclectic styles inspire, and while this is not exactly a how-to, it gets you thinking about the possibilities. In the book, Oroyan focuses more on the different options an artist has: planning ideas (and ways to do this), materials, questions to ask when thinking of the concept, elements of design (e.g. form, scale, color, etc), and she includes some sample sketches that illustrate these ideas, showing some do's and don'ts along the way.

While I have never made a doll, this book has been useful on a few levels. The discussions on scale, caricature (again, with do's and don'ts and how to achieve different goals there), creating abstractions of the form, trying different styles, working with faces and hands, gestures, clothing patterns for the dolls, different materials, anatomy...this book has so much to offer! The images alone earn Designing the Doll 5 stars--everything else is icing on the cake!

For any of you who believe that dolls are just children's toys or cutesy collector's items, you have obviously not seen this book. Oroyan's Designing the Doll: from Concept to Construction, is a very impressive book. While it is as advertised, a book on making dolls, it is first and foremost an art book. Throughout the book, the author is addressing the student as artist. She covers issues such as color, texture, drawing, abstract and impressionism, scale, etc. The details of construction are included as are some patterns, but the greatest value of the book is actually in the illustrations of finished dolls, some by the author and some by others. These are exceptional works of art. Some are actual portrait works, capturing in miniature the personalities of those portrayed. Others, while they may have had human models, are designed to capture an essence or spirit, an impression or meaningful event. When one sees dolls such as these, one understands instantly why a person would collect them: they are Michelangelos in miniature.

THIS BOOK IS SO UPLIFITING AND EXCITING IT GIVES YOU HOPE BEYOND WHAT YOU SEE. I RECEVIED A NEW OUTLOOK ON THINGS.IT REMINDS ME OF WHERE GOD BROUGHT ME FROM.MOST OF MY LIFE HAS BEEN BROUGHT ABOUT THROUGH DIVINE INTERVENTIONS.I WAS SICK AT THE AGE 19 AND THE DOCTORS COULD NOT DO ANYTHING FOR ME.I LAID THERE FOR AT LEAST 21 DAYS.BUT GOD FULL OF MERCY AND LOVE REFUSED TO WALK AWAY FROM ME AND I WAS A SINNER THANK GOD IM STILL HERE WHICH IS MY FAVORITE CHAPTER.

Don't Walk Away Yet has tremendously blessed me. This masterpiece has been a source of strength and encouragement. Each chapter speaks to my spirit. Although I have benefited from all the chapters, the chapter that has impacted my life the most is "I'm Still Here", which is simply my testimony.
Inspite of all that I have been through I refuse to walk away until God completes the work that He has begun in my life!.

Don't walk away yet was very inspirational and encouraging to my spirit.God used Rev.Brewer in a powerful way to remind us that he has not forgotten us.Many of times along this journey I have felt like giving up.This book was a source of hope and strength.I won't give up because there is purpose for my delay but I will not be denied.Thanks Rev. Brewer.I won't give up.

"Don't Walk Away" will encouage you to stay in the race of life.
It also tells you that there will be some situations that you will feel like walking away from, but Don't Walk Away Yet". Stay in the race and let God use you to glorify His name.

THIS BOOK, DON'T WALK AWAY YET STILL DWELLS IN MY SPIRIT. MY FAVORITE CHAPTER IS DELAYED BUT NOT DENIED. THERE ARE TIMES IN MY LIFE WHERE I FEEL THAT ALL I WANT TO ACCOMPLISH ARE DELAYED AND OF COURSE YOU FEEL AS THOUGH GOD HAS FORGOTTEN YOU AND I. BUT GOD LOVES US AND HE WILL NOT DENY OUR BLESSINGS. DON'T WALK AWAY YET TELLS US TO KEEP OUR DREAMS AND HOPES ALIVE. I RECOMMEND THAT EVERYONE READS THIS BOOK; YOU WILL SURELY NOT BE DISSAPPOINTED.

Relevent, thoughtful, thought-provoking. The space beside each day's reading is a great way to keep notes, prayer concerns etc.

I was looking for a devotional book that would give me a simple outline but informative spiritual messages, which I could develope my knowledge into experiences... that would be beneficial for me spiritually. I was very happy to view the subject of chapters that where interesting, and realistic in growth opportunities of learning simple knowledge, that could be applied during my christian walk on this earth.

I am looking forward to reading my daily devotionals and making notes in my fantastic journal, that will assist me in experiencing God day by day!

EXTREMELY good insights and teaching w/ room to write your thoughts, Great for a couple to use for their daily devotions or for just yourself. Not the usual thoughts/teachings/yada yada that you find in most devotiobals. Far above the pack!!

my fault i should have looked at the inserts. i have gone through other studies by the same author and am looking forward to beging this one, right after i finish the one to which i have already commited myself.

A real thought provoking devotional with the last paragraph has a real "can you hear me"? which I have to say "Amen".

I really enjoyed this book, and the author is really a master at her craft. Some things I still don't understand and need clarification on, and for a real novice, I'm putting this aside for a while as it seems a bit more than I can handle at the moment. I don't understand the sizing guidelines, and just wish someone would print a sizing chart. (Cannot find one anywhere) It would help so much. The rest I can read and practice. All this "1/12th" or "1/16th", I'm still trying to figure out if that is the size of the picture in comparison to the real figure or what it really means. I really missed something and otherwise, I would recommend it because she is an extremely good author and doll maker. I know I would also buy more from her if I ever get going on this!

This book is more for an intermediate to advanced sculptor.

There are many lovely color photographs from exceptional doll artists, but most of the "learning techniques" are in black and white with a lot of text.

A beginning sculptor could learn from this book, it's an excellent tool, just not much of the "hand holding" through every step like other books of this type.

I thoroughly enjoyed this book, and feel it is worth having in your library.

This book is wonderful, it covers every aspect of dollmaking. If this is your first time making a doll or your 100th you will find new and helpful information in this book. Definatly add this book to your doll making library.

The book "Fantastic Figures: Ideas & Techniques Using the New Clays," by Susanna Oroyan is a great book on advanced techniques in clay. However, for a beginner like me it was a bit overwhelming. So I am placing it on my book shelf and hope to be skilled enough to use it some day. As the dolls in it are great examples of OOAKmanship!

This book is a great book... but, I am only giving it 4 stars because not all of the pictures of the dolls are in color. Many are in black and white. I have been making dolls for a couple of years and her instructions are great, but probably not for the beginnner. It is interesting to see the different mediums for OOAK dolls. She provides a lot of examples using different mediums.

What fun this book is! Too bad all history books are not so entertaining and informative. We might all benefit from understanding the history of the economics and culture that underpin drug trafficking in the 21st century. If history and economics were always written in such an engaging way, nobody would ever flunk out of History 101 or find it boring.

Few commodities can lay claim to such a broad of sub-categories and have had such an impact on the world, as we know it, than drugs (Courtwright 2). Few other commodities have escaped Courtwright's "Drug" definition, which is arguably one of his weaknesses, such as sugar which really need special attention (Courtwright 3, 27-30, and 166). The commodification of al the items Courtwright identifies rival maybe only petroleum in terms of their power vis-à-vis world commerce (Courtwright 42). Courtwright identifies alcohol, caffeine, and tobacco, as the "big 3" while, in contrast, he identifies opium, cannabis, and coca as the "little 3." I argue they are big and little because they have been accepted, but vilified, into mainstream consumption. Good marketing has turned these wants into needs, but that begs deeper analysis. There is a strong "kitsch" [1] element that seems to have missed the radar, and on an anecdotal none of the big 3 has missed on this. There are several good and balancing arguments for legalizing the "little 3." Legalizing the drugs is proof that the vilification of drugs works much like a language (in a Saussure "signifier" sort of way). "Drugs" as a signifier is floating; it is contingent on place and time. Drugs are seen time "bad" and in other times even seen as "good" and its very definition and even epistemological grounding changes. We can go back and forth on this with contentions on both sides, no matter what this short 500 year history of the introduction to, analysis of, and deconstruction of, drugs and its role in world development is a significant introduction.

According to Courtwright, 3 "Drugs" have made the leap into mainstream use and have the rare distinction of being labeled the "big 3" (Courtwright 7-30). Once these "drugs" caught and eventually captured the European imagination - not in any spectacular way really - but in a quotidian sort of way, the rest was left to socio-historical forces. What the last statement speaks to is coupled with day to day use and entangled with the ocean crossing commerce, these drugs became so common use that mercantilists immediately caught on to the financial possibilities. Maybe the early mercantilists were or were not aware of the habit forming aspects of the use of these psychoactive drugs. No matter what the combination of use, availability, and habit forced discourse into making these three drugs legal, then illegal, and then legal again. No such luck would befall the "little 3" (Courtwright 31-52)

The ease of access to alcohol, caffeine, and tobacco would never be equaled by opium, cannabis, and coca Courtwright argues (Courtwright 42). However, the widespread use of opium in China, I would argue speaks to the contrary. Forced into China to pay for, ironically, the more lucrative teas, opium will see widespread use (despite its outright illegality) in China and beyond (Courtwright 135-136). The history of Asian America is littered with vilification of the Chinese as hedonistic and self destructive opium users. The popular literature is littered with images of sneaky Chinese in opium dens trying to trick white women into its use (Lui 19, 29, 78, 79, and 181). The historical irony is that opium made the English one of the greatest, if not the greatest "pushers" by any definition possible (Courtwright 31-36). Robbing from Peter to pay Paul, this circularity is actually more widespread then we imagine. Courtwright argues that the "little 3" either missed the historical opportunity or incurred to many social costs that made access to and distribution of these 3 elements less lucrative hence impractical.

According to Courtwright, alcohol is the most fascinating of the three (Courtwright 9-14). I argue conversely that caffeine is arguably the most interesting for what I see as its "kitsch" factor and class dynamic. When travelling in China, I was witness to one of the more interesting modes of westernization - consumerism. Consumerism, by that I mean the way Chinese see "Western" to be. In the US, McDonalds and Starbucks are pedestrian, on many levels, but Starbucks is distinct from McDonalds in that it provides access to a particular class. Walking around with a Starbucks cup in your hands gives one access to all the "sophistication" that coffee and in particular Starbucks coffee provides. In China, even if they have to pay US prices for these consumer items it seems like it is worth the price of admission. Arguably, in India, Starbucks knockoffs are taking over this lucrative business taking over from Masala chai the same way that coffee is taking over from Oolong or Jasmine tea in China. Caffeine, I argue will outlast alcohol because it is not perceived to not have the same social stigma and societal costs imbedded in its consumption.

The consumption of tobacco is now coming under severe attack with criticism being leveled against the tobacco manufacturers vis-à-vis cigarette's addictive nature and accompanying pulmonary complications as well as work stoppage statistics (Courtwright 59, 64, 72, 125-129, 132, 168, 180, 189-190, 195, 199, and 203-206). Moreover, alcohol also is coming under fire; arguably it has been for a long time, for its attack on the liver and other social effects (Courtwright 95, 100, 180-181). Little, if anything is said about caffeine's dehydrating effect and long term dependency. Moreover, even less is said about the lengths people will go through to get coffee. Moreover, caffeine is neither seen as dangerous to the user and his/her surrounding but consumed in responsible quantities actually makes one more alert and less prone to suicide, "Caffeine, to extend the metaphor, keeps the police away. Its antidepressant properties have prevented suicides; its awakening effects have prevented nighttime driving accidents" (Courtwright 189).

Caffeine is the real "trap baited with pleasure." Being without caffeine, as is the resulting effect of its addiction, a sense of unease that people swear can only be remedied by having their first cup. Coffee/caffeine addiction is really less about seeking pleasure but more about mitigating pain (Courtwright 97-100). In this sense, I argue that caffeine is the more insidious and fascinating drug. Legalized and controlled, it is actually even encouraged and consumed in copious amounts.

Since there is no law in the books that is called "DUIC" or driving under the influence of caffeine - strong arguments are made to legalize drugs that are seen, today, to be illegal. While alcohol, more than caffeine or tobacco has already been legalized and controlled, much of the revenue that funnels into government in taxes can and is channeled to it ameliorate the societal costs (Courtwright 64, 170, 176). Tobacco companies are now being sued to fix the problems as well as provide a palliative care for cancer carrying ex and current smokers.
A serious deterrent to the legalizing of the little 3 - opium, cannabis, and coca - is that they are immediately dangerous to the user and those around them. Driving and operating machinery at work under the influence of any of these three "drugs" is immediate and deadly. However, contrary argument can be made that if these drugs were indeed legalized, such incidents would be less commonplace and its societal effects can be ameliorated by the revenues generated through regulation. The challenge remains in terms of how this will be facilitated. As stated by Courtwright, the challenge will be to find that sense of balance (Courtwright 188-190, 199-207).

The malleability of the definition and use of these drugs from illegal, to lucrative, to regulated gives credence to the notion that these definitions work like a language. Depending on the time and place the criminality of these substances is either existent or not, its use medicinal or recreational, they are abused and used in controlled situations, but never, is the use of these substances - the little 3 more specifically, can be described as static. I argue that there is room for consideration to de-criminalize these drugs and to further regulate those that are already "out there." True enough, for one who loves the smell and taste of the bitter substance called coffee my self regulation is limited to the elasticity of demand and the ebb and flow of Starbucks prices and their less than kitschy substitutes. What this proves is that this issue is complex and with so much invested in the commerce and politics of these products we will not be able to free ourselves of them without incurring considerable cost.

Miguel Llora

Endnote

[1] Kitsch - All images of smiling workers, young children in grassy fields, the contented elderly, all the sentimental propaganda, Capitalist or Communist, which takes a sentimental view of human possibility, is the raw material for kitsch. Kitsch is romanticism, hypocrisy and the avoidance of the unpleasant truth of our existence. Artists are the enemy of kitsch because they poke and expose it for what it is - illusion (Kundera 19).

Works Cited

De Saussure, Ferdinand. Course in General Linguistics. Trans. R. Harris. Peru: Open Court Publishing Company, 1986.

Kundera, Milan. The Unbearable Lightness of Being. New York: HarperPerennial Publishers, 1991.

Lui, Mary Ting Yi. The Chinatown Trunk Mystery: Murder, Miscegenation, and Other Dangerous Encounters in Turn-of-the-Century New York City. Princeton: Princeton University Press, 2005.

I'm an obscure history buff and when I saw this one it piqued my interest. This is part history, part science and part sociology and the author makes this a more interesting subject than I thought it could be. He starts off with what he calls the Big Three: Alcohol, Tobacco and Caffiene. From there he breaks it further down citing the most popular and not so popular illegal drugs. Mentioning natural stimulants that are unfamiliar to most, such as Qat, Kava and Betel and the very descriptive reasons on why they did not take to popular consumption.

Courtwright also doesn't fail to mention that, even though with best intentions, scientists around the 1800's and the turn of the century were also responsible for some of the most addictive substances. Your jaw will drop when you read who devolped heroin and what is was originally used for.

Fun, informative, and mind blowing reading.

"Forces of Habit: Drugs and the Making of the Modern World" by David T. Courtwright (Harvard University Press, 277 pp, $24.95) is a vivid account of the global spread of psychoactive drugs over the last 500 years. The University of North Florida historian defines drugs broadly enough to include not just the usual suspects like heroin and marijuana, but also generally legal drugs such as tobacco, alcohol and caffeine.

Courtwright's witty writing should appeal to those with a taste for black humor. The author possesses a seemingly infinite supply of vivid examples about the impact of drugs on humanity, and even upon the animal kingdom. Lions, he notes, "have learned to prey upon drunks staggering home at night from East African roadside bars."

"Forces of Habit" can help modern white-collar workers banned from smoking indoors reflect on the ferocious anti-smoking campaigns that earlier tobacco addicts endured. While American smokers are forced to risk pneumonia each winter while they puff away in the freezing doorways of office buildings, "Russian smokers suffered beatings and exile; snuff takers had their noses torn off. Chinese smokers had their heads impaled on pikes. Turkish smokers under the reign of Ahmed I endured pipe stems thrust through their noses."

Ironies abound in "Forces of Habit." Alcoholics Anonymous' co-founders, Bill Wilson and Dr. Bob Smith, "both smoked heavily and died of cigarette-related illnesses." (Today, AA chapters searching for meeting places are bedeviled by the new prohibitions on indoor smoking. Reformed alcoholics often want to smoke to relieve the tension of staying on the wagon.)

But Courtwright has serious ambitions as well.

"This book," he writes, "grew out of a broader curiosity about psychoactive commerce, a ubiquitous -- and, I now believe, defining -- feature of the modern world."

This leads Courtwright to rewrite much of human history from a, well, drugocentric viewpoint. "The domestication of fire," he informs us, "made widespread drug use possible in the first place." A few eons later, "The Apollo 11 astronauts," he notes, "were drinking coffee three hours after landing on the moon."

"Forces of Habit" is thus in the grand tradition of the Monomaniacal School of History. It stands comparison to such valuable works as William McNeill's "Plagues and Peoples" and Daniel Yergin's "The Prize," which explained the history of the world in terms of germs and oil, respectively.

Courtwright's vast goals are assisted by his defining "psychoactive drug" expansively enough to include coffee and chocolate. He even tentatively discusses sugar. I'm not sure why he didn't ultimately accept sugar as "psychoactive." Those of us with little kids have certainly seen sugar's impact on brain chemistry.

One problem with his semi-sprawling approach to defining "psychoactive drugs" is that it's not clear where to draw the line. If I drink a glass of warm milk to help me fall asleep, does that make milk psychoactive? Or would it be "psychodeactive?"

When going on a family outing, I always insist that we bring along some high-calorie, high-fat foods like cheese sticks. Few things end screaming tantrums faster than cheese. And it helps mellow out my kids, too. So, is cheese a psychoactive drug, just like crack and crank?

What about sunshine? The vitamin D it produces seldom fails to cheer me up.

Is a tan also a drug?

Evidently, Courtwright defines a drug as a chemical that wasn't around for most of human evolution. He takes a Darwinian perspective on the desire for drugs.

"Humans evolved in itinerant band societies. Life in the sedentary peasant societies that succeeded them was less varied, fulfilling, egalitarian and healthful. Taking drugs to get through the daily grind (or to treat the intestinal and parasitic diseases attendant to settled life) is peculiar to civilization. ... Such practices are further clues, if any are needed, that our social circumstances are out of sync with our evolved natures."

Drugs apparently produce artificially the pleasurable brain chemistry reactions that evolution devised to reward our distant caveman ancestors for engaging in hunting and other behaviors essential to survival. Perhaps this explains the terrible alcoholism problems currently suffered by the indigenous tribes -- such as American Indians, Eskimos and Australian aborigines -- who have only recently given up the primordial hunter-gatherer lifestyle.

Of course, New World Indians had their own native drugs to share with Columbus. According to Courtwright's bottomless bag of memorable quotes, the fanatically anti-smoking and anti-drinking Adolf Hitler called tobacco, "the wrath of the Red Man against the White Man, vengeance for having been given hard liquor." (Perhaps, though, Hitler showed that power is the most dangerous drug of all.)

Courtwright dislikes drugs, but what he really hates is capitalism. "The peculiar, vomitorious genius of modern capitalism," he expounds, "is its ability to betray our senses with one class of products or services and then sell us another to cope with the damage so that we can go back to consuming more of what caused the problem in the first place."

Rich merchants and Western European governments generally encouraged drug commerce well into the 19th century. The relatively recent growth of temperance movements and at least partially effective government controls on drugs, Courtwright asserts, were a response to the industrial revolution changing what capitalists required from workers. Before industrialization, landlords could keep fieldworkers in debt-slavery by getting them addicted to expensive alcohol or opium. Drunken factory workers, though, would break expensive machinery.

"The growing cost of the abuse of manufactured drugs turned out to be a fundamental contradiction of capitalism," claims Courtwright. On the other hand, one could also argue that the historically high level of sobriety reigning in today's hyper-capitalistic information economy -- where caffeine is the only acceptable drug -- demonstrates that free markets can encourage self-control.

Many economists, most notably Milton Friedman, have suggested legalizing all drugs. They point out that the outlawing of drugs generates crime, just as Prohibition did.

The historian Courtwright, however, believes these economists are living in a theoretical dreamland. The "dangers of exposing people to psychoactive substances for which, it is increasingly clear, they lack evolutionary preparation" means that the "answer, whatever it may be, is not a return to a minimally regulated drug market."

I fear this is true, but I would have liked to have seen Courtwright grapple more directly with the libertarian economists' arguments. Historians love facts, but distrust logic, while economists don't like to mess up their beautiful theories with too much reality. Perhaps someday, a thinker equally at home with both the history and theory of drugs will resolve this crucial quandary. Until then, "Forces of Habit" makes a fine introduction.

This book is great fun, not least because of the author's extraordinary skill in the efficient delivery of interesting facts. The opening chapters, which detail the origins of the world's major drugs, are among the most informative I've read.

The second half of the book, while still engrossing, is a less comprehensive historic analysis of drug use and prohibition. Courtwright concentrates on economics at the expense of culture, emphasizing production and commerce rather than demand and moral opposition. Given the enormous social influences in the modern world, such as the American cultural war against 60's drug use and the pervasive use of alcohol and tobacco as social tools, the emphasis on money and power over cultural forces in the past strikes me as an incomplete analysis. It leads the author to unconvincingly argue that American prohibition and its repeal were primarily the results of economic interests (a "contradiction of capitalism"). Oddly, the same events in the Soviet Union are attributed to "popular resistance", without any comparative discussion of the two nations. Finally, the value of pleasure and the concept of individual rights are generally neglected.

In the end, my main problem with is that Courtwright doesn't give culture the excellent and amusing treatment he gives commerce. I can think of worse things to say about a book.