U Books

I'm hooked on these Allan Eckert books. The Conquerors has a multitude of characters to follow in this work. All of their true experiences are nail biting. I find myself following their paths by searching all of the maps that are included in the book. I plan on reading all 6 of his 600 plus page novels.

This is one of the better books in the Eckert series. I'd strongly recommend it for any history fan, and would definately encourage non-history fans to read this or any of Eckert's other books (Dark and Bloody River, Frontiersmen, Tecumseh).

This series is outstanding. These books are filled with actual historical dates, events, letters and people but with amazing readilbiity. I am not a huge history buff but these books pull you into the characters and their lives. I learned more fun history about this time through these books than while in school.

As always, I was more than satisfied with the delivery, the condition of the book and the timeliness. You are to be congratulated for your fine efforts.
Keep up the good works.....

Allan Eckert has a way of writing historical books that will make even someone that is not a history buff love history. I try and try to read the historical reference books but I find them to be very uneventful and boring. Allan Eckert can turn that into a thrilling novel that will keep you on the edge of your seat without losing its historical accuracy. All the books in this series are great. The Conquerors is very, very interesting.

my son brought this book home from the school library and it was one of the best stories I've read to my children in a long time. I had to get my own copy!

A wonderful new cowboy has entered the Texas scene.His name is Cowboy Sam. This book,Cowboy Sam and Those Confounded Secrets, has a special message to all young and old cowpokes alike. There is great importance in keeping someone's special secret. When Cowboy Sam finds he can't keep all those secrets under his hat, he has a problem to solve. The figurative language and absolutely heart warming pictures allow the reader to travel along beside Sam as he solves his problem. Kudos to these emerging authors as they captivate us with this wild west tale.

Cowboy Sam is the local secret keeper in Dry Gulch. When someone tells him a secret he always nods and says, "I'll keep it under my hat." The problem begins when Cowboy Sam's hat gets too full of secrets! Nothing he does will keep his hat on his head and the entire town of Dry Gulch has to worry about their secrets! Ultimately, Cowboy Sam finds a solution to his secret problem, a solution which wins over everyone in Dry Gulch, even Tight-Lipped Tess. From now on, Cowboy Sam will 'keep it in his heart'.

Our four year old loves this book and gets a real kick out of the cute Texas sayings that Cowboy Sam brings to the book. Yippity-Skippty and Yee-Haw! Illustrations are look good and are funny in their own right. Highly recommended for all small kids.

As a librarian,first grade teacher, and parent, I would strongly recommend, Cowboy Sam and Those Confounded Secrets, as a GREAT read aloud. A must have for every library, but essential for every "Texas" collection, Cowboy Sam proves to be a true hero, an honest, trustworthy fellow. This book has wonerful opportunities as a teaching tool, both textually, and in character development for your students/children. Author Kathy Combs is an energetic, entertaining, speaker. She will keep your students captivated. Mike Wohnoutka's illustrations are a colorful, humorous, compliment to this story.

Cowboy Sam and Those Confounded Secrets was given to me by the mother of one of my first grade students. We love books in our room, so I gratefully accepted and read it to my class. This book is a delightful story of a character set in a time that really interests children. The story held their interest, the illustrations are beautiful and I found it to be a valuable educational tool. This book fit in really well with our Character Building program. Sam is a cowboy who is trustworthy and never breaks a promise. We read it and discussed this positive trait and how it made Sam so likeable to others.
The book is rich in vocabulary. We discussed so many words! Examples include peculiar, confounded, bamboozled and dejected. We passed the book on to our older students, because it contains many similes, too. My favorite..." The day started out as normal as a blue jay soaring through the blue skies."
Cowboy Sam has become a welcome and much borrowed addition to my classroom library.

First an introduction: From 1986 - 1992 I was employed as an investigator at the Office of Capital Collateral Representative (CCR) in Tallahassee, Florida, where Scharlette Holdman worked as the supervisor of the investigators from October 1985 - March 1988.

I have known Scharlette since the mid-1970s death penalty debates at Florida State University, including the debate between Professor Richard L. Rubenstein (author of "After Auschwitz", "My Brother Paul", "The Cunning of History: Mass Death and the American Future", "The Age of Triage", "Religion and Eros", and other books) vs. Baptist Minister and Philosopher Will Campbell (the debate was circa 1977).

Her office, the Clearinghouse on Criminal Justice, was in the same wing of the Petroleum Building as my office at Common Cause in Florida (where I was a full-time volunteer during the day and worked at the Brown Derby Restaurant at night from 1981 - 1986).

The Petroluem Building was next to the State Capital, the Florida Supreme Court and the State Archives and Library. When it was torn down, the space and the space for the first CCR office became the Mary Brogan Art and Science Museum and a storm water retaining pond. The Petroleum Building was called by those of us who worked or volunteered there the "Forces of Good" (FOG) Building -- as opposed to FOE -- Forces of Evil, such as Associated Industries, the Chamber and other big business interests in Florida. The FOG building also included (not an exhaustive list) the Clean Water Action Project, the ACLU, NOW, Florida Legal Services, Migrant Farmworker's Organization (directed by Cliff Thaell, who has more recently been a Leon County Commissioner for about ten years or more), Mike Vasilinda's television news service.

About every two years at CCR there was a Marxist-Leninist-Stalinist-Maoist purge due to the pressures and dysfunctions of the work and the people. I survived two such purges. With the third, I was the first to go in the spring and summer of 1992.

When Scharlette had essentially declared war upon CCR in 1987 and thereafter, some of us decided to investigate her background given some things that we had heard. Low and behold, Scharlette's claim of a PhD in anthropology from the University of Hawaii and a Master's Degree from Memphis State (now University of Memphis) don't exist. A claimed undergraduate degree from Memphis State: I no longer recall if this was confirmed by the university.

We used Scharlette's Social Security number, her maiden name and her married name -- with all this information, both universities had no record of Scharlette having received any degrees from these institutions.

As I understand Scharlette, she needed the "degrees" to confer upon her "credentials" that she really never needed as she is indeed then and now a national expert on capital mitigation, litigation, etc. However Scharlette can be deceptive, as her lack of a PhD and Masters so demonstrates. Even today she claims to have the degrees as when she gives presentations regarding capital cases, she is identified as "Dr." A key word search of her name will bring up some of the presentations that she has made in the past several years with the title "Dr." preceding her name.

If she has received any honorary or other degrees since 1990, that would be new information for me. If anyone can assist in this matter, please contact me at paul_d_harvill@yahoo.com or my mailing address: P.O. Box 38458, Tallahassee, FL 32315-8458. Thank you.

Stuart Banner's The Death Penalty is a heavy hitting book that is absent the tendentious language present in Capital Punishment engagements to date. Moreover, it is remarkable for its impartiality as it weaves its way through the history of the death penalty. He explores how the Capital Punishment has been applied, for what kinds of infractions all the way from the Colonial times to today.

Banner challenges us to think of what role the American public plays in the process of punishment. Arguably, the same arguments posited almost 200 years ago about Capital Punishment are the same today as yesteryears. It begs the question, if this was written by someone who was pro-capital punishment, what would he bring up? In discussion, the answers were: the victims and the crime itself. Unlike The Contradiction of American Capital Punishment by Frank Zimmering, Banner does not provide closure but arguably ends the book, open ended.

Banner argues his points like any good historian. It is clear that he is passionate about putting it all out there and having the reader come to his/her conclusion. Banner works because writing about a subject that is more emotionally laden than most and still come across as objective is worth the price of admission. In a world of agendas and arguments it is refreshing, albeit long, to read a book that allows the reader rather than the writer to decide on such a contentious topic.

Miguel Llora

The recent actions by former Illinois Governor Ryan have raised many questions about capital punishment in the United States. I have read or heard several commentaries that have suggested the new focus on the death penalty may lead to its abolition. As an opponent of capital punishment, I hope this is true. But I doubt it.

A reader of Stuart Banner's "The Death Penalty: An American History" will realize very little new can be added to the debate. Banner provides an extensively detailed account of all aspects of the death penalty throughout the past 350 years. From colonial times through the execution of Timothy McVeigh, this book looks at the logistics, politics, and theology of capital punishment. The author comes as close to complete objectivity in presenting the history as possible. Banner is fair in showing the strengths and weaknesses in arguments for and against capital punishment. And he provides fascinating information concerning the debates that surrounded periodic changes in how the death penalty was administered. Throughout history there have been many debates: the merits of hanging versus electrocution; the arguments for and against public execution; the role of penitence (thus the name penitentiary) in punishment.

I found that this history of one issue was very much a microcosm of the broader history of the United States. For instance, I was not familiar with the legal term petit treason. This describes the concept of treason-an offense against someone to whom absolute loyalty is owed-in private life. Those convicted of petit treason were subject the "more severe" punishment of death by burning. In 17th and 18th century America two classes were capable of being convicted of petit treason. The classes were slaves "convicted of murdering their owners or of plotting a revolt" and women "convicted of killing their husbands." (p. 71)

Class played a pivotal role in the move from public hangings to jail yard executions. Banner describes how elites in the 19th century became appalled at public hangings because the large crowds were rowdy and displayed lower class sensibilities. Simply put, those in power were not opposed to hanging-they were opposed to being in the presence of the working class when the restraints of the workplace were removed.

Class, race, and gender divisions are evident in almost every area of this controversial issue. And no great American controversy would be complete with religious implications. In fact, no less a public preacher than Cotton Mather worried in the 17th century that he could rise to the occasion of giving the sermon to the crowd of thousands that attended executions. As the author notes about public hangings: "An execution could be a splendid occasion for reinforcing religious authority." To this day, capital punishment attracts those in authority to make religious arguments both in opposition and support of the death penalty.

As stated earlier, this book is not a polemic. It is an accurate history of one of our most contentious issues. As is the case with history, I am sure both those if favor of capital punishments and abolitionists can find many facts to support their beliefs. It is also true that a better understanding of history must allow all involved to reconsider some beliefs. "The Death Penalty: An American History" should be read by every legislator who will vote on state-sanctioned killing.

It's a testament to the balance found in Stuart Banner's history of the death penalty in the U.S. that I'm still unsure where he stands on the controversial issue. If I had to take a position, I would say that he's probably against it, but even after reading his three-hundred page book I can't be sure. That's a remarkable feat for a subject matter that immediately unbalances many people.

But "The Death Penalty: An American History" has other virtues. The book is scholarly, yet still an easy read for any interested layman; it is comprehensive, but doesn't get bogged down in details. Banner begins with capital punishment as practiced in colonial America and ends with public attitudes and constitutional issues in the late twentieth century. While the book basically follows a straightforward chronology, its chapters are arranged thematically.

Some of the most interesting parts of the book are in the beginning. How Banner describes public opinion toward the death penalty in the seventeenth and eighteenth centuries, the way executioners then -- who often were killing a man for the first and only time in their lives -- handled their duties, and the relationship between the public who viewed the execution and the condemned man, were all very fascinating to me.

But no part of this history is boring. Banner does a remarkable job of sustaining interest even when the book turns to modern times, where the history of the death penalty focuses more on legal and abstruse matters. Banner always clarifies the issues at hand, explaining clearly and objectively the importance of what he is writing about. I cannot recommend this book too highly. If you have any interest in the death penalty, read it.

Most books that are written about the death penalty tend to be partisan either filled with impassioned criticisms or passionate defences. This book is unusual as it is measured and objective.

It is not a long book but it looks at a surprisingly large number of issues not only about the penalty itself but the ritual around it, the means used and a detailed explanation of the constitutional argument that led to its abolition and its resurrection...

In describing the way the death penalty is administered the one interesting point made by the author is the discrepancy in its implementation. Almost all of the death penalty cases occur in the Southern States. There appear to be a number of reasons for this one being the fact that these states have the highest rates of murder, the only crime which realistically now attracts the penalty. The author however makes the point that another key factor in the geographic distribution of the death penalty is the way that defendants are represented. In the North the state funds public defenders officers which provide a high standard of legal representation. This means that during the penalty phase of the trial care is undertaken to call evidence that will lead to imprisonment rather than execution. In the South the system of providing legal assistance is for the state to pay private lawyers to undertake death penalty cases. The fees are stingey and as a result defence lawyers are often have no experience or skill in running such cases. Mitigatory evidence is seldom called and the usual methods of arguing for a lesser penalty are not used. Capital cases in the South are littered with tales of incredibly incompetent defence lawyers.

The writer appears to be a legal academic and the most interesting part of the book is the explanation of the constitutional arguments over the legality of the penalty. The explanation of the arguments over how it was argued that the penalty was cruel and unusual and the legislative changes which were used to overcome these arguments is excellent and makes a complex area easy to grasp.

All in all an interesting book for those who wish to read about the subject.

Wilcox artfully narrates her experience as an apprentice for Bill Anthony, a famous book binder and conservator. She artfully interspeses observations about books she is restoring with phases of her life as an apprentice and other texts. She evokes the spirit of craftmanship, of taking many years, much time, and much patience to develop mastery of her craft. Great for book art students, art students, or those considering an apprenticeship of any kind. Of particular interest to those who've made books before, because they will understand vividly the technical descriptions of her project (thought these are accessible to the lay person as well).

This was a strange read, because the author continually expresses her surprise for certain techniques and methods of the book conservators craft as she discovers them during her early learning and apprenticeship. I find this odd, as I've done a bit of self-taught bookbinding, and have encountered most of this knowledge through reading, and that the author purports to be a reader and decent student.

An element I found annoying was the typesetting of the book. In general, I'm tolerant of these things, but, as this is a book on book arts and the author worked as a typesetter for some time, one would think that more attention would be paid to this. Specifically, there is only a word space (1/5 em) between sentences, not the age-old standard of 1/3 em (or even the 2 spaces that is acceptable giving 2/5 em). Also, the excerpts are set in too small a font, which contrasts poorly with the main text face. This detracts from the pleasure of reading a book, and should have been more carefully considered. I suspect the publisher is to blame, not the author.

The book also seems to lack a broadness to the characters; their personalities, life, and interests are confined to the conservation department. Although the book is clearly a loving tribute to a master book conservator, one doesn't really learn about the man (nor much about the author).

A practical person can read this book as an extended essay on how to approach an apprenticeship, and how to bind conservation texts. A spiritual person can add layers to the stories and extrapolate life lessons. Either way, the main character/author is extremely sympathetic character. Her teacher had amazing gifts, both as a conservator and as a teacher.

The book is deceptively short. Looks like a quick read, but was so meaty and detailed, I found myself reading it for several weeks in order to digest all the material carefully.

If your taste runs to the obscure, the "sleeper," I hope you enjoy this book as much as I did.

A Degree of Mastery tells the story of one woman's journey through the education and apprenticeship necessary to become a book preservationist. Annie Wilcox, a bright woman with an impressive past in the field of English and writing, begins to take an evening class in bookbinding at the University of Iowa taught by a world-reknowned preservationist, William Anthony. Little does she know that not more than two years later she will become the first female apprentice ever to study under the direct supervision and teaching of Bill Anthony, an honored position granted only to six others before her. Through her apprenticeship, Wilcox learns the art of preservation and the dire need for conservation in every library, but especially those libraries that house an archives, manuscript or rare books collection. Through Wilcox's autobiography, the reader learns the basic process and means by which book preservation becomes possible as well as the importance and value of conservation in today's libraries. It is a wonderful piece of literature well-worth your time.

Someone who knew that I was in the Interdisciplinary Book and Paper MFA program at Columbia College Chicago gave this memoir to me. It's a really nice read---especially since the bookbinding world is a small one, and everyone in it knows everyone else, as people travel around the country giving workshops. Always interesting to read about people who you've had as teachers. I found it very well written, an evocative and accurate depiction of an obscure art/craft/lifestyle choice, an illuminated window into a small, specialized world.

My son is doing a project for school based on the Deltora series. He was so excited to see what the characters and monsters were actually suppose to look like compared to what he had imagined. He is really enjoying the book. To me, the book seemed a little pricey for what we got, but because he was happy, it was worth it.

i like coockies i like milk i like balls i like cholacte i like big camals i like my dad i like my mom i like my friends but i really like books and i really really really really really really really really really really like this book did i say i like coockies?
hey how do i sumit!?!

My son enjoyed comparing the artist's rendering of the monsters with his own imagination. Not really a book to read, more a reference book.

After A-Bob's last great review of Deltora Book #1, A-Bob's fans have asked for his return. A-Bob thanks his fans!! A-Bob's fans do like the A-Bob.

A-Bob remembers when Soldeen almost kills and eats Barda, Jasmine, Manus and Leif in The Lake of Tears. A-Bob was most happy when they escaped.

A-Bob needs to go to bed. Goodbye. Goodbye. Goodbye.

(...) (a very well read (...): I love the illustrations. They are awesome. They tell you about all of the monsters in the Deltora books. This is an awesome book!

DESERT by Jack Dykinga is published by Harry Abrams, Inc., a company that publishes high quality art books and not, for example, vacation tour guide books. DESERT is 143 pages long, and contains 83 full-sized color reproductions. Dykinga uses a 4X5 camera, resulting in a higher quality image.

Many of the images are merely of flowers or of pretty scenes. Here, there is no attempt to produce a photograph of artistic merit. However, this slight shortcoming is overwhelmed by a number of novel and creative photographs.

For example, JOSHUA TREE AT DAWN AFTER SPRING SNOW discloses a dark cloudy sky, tinged with purple, a shadowy snow-covered desert, and a grove of snow-covered Joshua trees--all cloaked with pre-dawn shadows. It is difficult to tear one's eyes away from this photograph.

DAWN ON THE PANAMINT MOUNTAINS and CRYSTALLIZED SALT FORMATIONS are two photographs that continue with the artist's experiments (successful experiments) with pre-dawn photography of the white desert. Here, the whiteness is not from snow, but from white salt.

Jack Dykinga has also focused his attention on cracked lakebeds (dried mud). CRACKED CLAY AND THE MESQUITE FLAT reveals a fascinating heart shape in a patio-like area of cracked sand. The cracked mud area abuts a region of desert that is soft sand.

Another fine shot, MESQUITE FLAT SAND DUNES AT SUNRISE, features a patio-like area of cracked sand, each pentangle of cracked mud is covered with warty clumps of earth. An open area in the middle of the cracked mud patio contains an open area in the shape of a diamond. At the center of the diamond-shaped open area is a small growing bush. The diamond-shaped area with the little round bush resembles an eye.

RACETRACK AT SUNRISE and RACETRACK AT SUNSET are fascinating images--the most unusual in this book. Each shows millions of tiny pentangles of cracked mud, stretching off into the distance. In the foreground are a couple of flattened areas resembling thick ruler-lines. The flattened areas were produced by small boulders, somehow propelled over the mud by the wind. At one end of each ruler-line one finds a boulder.

Again, if one is able to tolerate the abundance of conventional "pretty" scenes of flowers and sunsets, one should purchase this book, if only to view the seven great photographs discussed in this review.

Mr.Dykinga's skill as an artist is further demonstrated by his book, STONE CANYONS OF THE COLORADO PLATEAU, also published by Harry Abrams, Inc. STONE CANYONS is especially distinguished by its focus on a park called, Vermilion Cliffs (Paria Canyon, The Wave, Coyote Buttes), a park that is rarely the subject of published photographs. STONE CANYONS also uses the style of depicting scenes just before sunset (or just after sunrise), when all but a thin line of the horizon is steeped in shadow. Stand aside, David Muench, here comes Jack Dykinga.

There is a knock at my door and here is the UPS man delivering my order from Amazon.com. Among the books: Desert, The Mojave and Death Valley Photographs by Jack Dykinga, text by Janice Emily Bowers. I barely had time to read more than a page or two of the text before it made me want to go straight to the photos to see the place she was clearly, and intelligently writing about. And I was not disappointed: It was overwhelmed with joy of at being able to share the keeness of Mr. Dykinga's fine and perceptive photographic vision of that place. This is a more subtle body of work than the previous books based around his photographs.

The Sonoran Desert had a similar effect on me years ago and expanded my sense of what ilandscape photography could be. Stone Canyons did not have as great of affect on me as the first book

More than anything else, the images in this book remind me why the large format camera is such a tremendous aid to seeing something more clearly and perceptively than you can with the naked eye. even more so than a 35mm or medium format or easily portable digital gear can. Some of the photos even have a sense of humor to them and when did you last see that in a photograph of a natural landscape? The reproduction of the images appears to be first rate and the design and typography of the book match its contents in quality.

In short there are wonderful things to be found in this book.

This book just shows how spectacular a desert can look with the magnificent photos around the Mojave desert and Death valley of emptiness, stark flowers and blooms and just superb landscapes. It'll give you some inspiration to find something to look for even in a desert.

I know I will as I will be going to Ayer's Rock (Uluru) in Australia in a few months and it's also a big desert!

This book is a beauty, some of the most beautiful photographs I have ever seen.

I spent the first week of September in southern California this year, and on Sunday before Labor Day I drove from Los Angeles up to Death Valley. I hadn't been there since I was a child and I have to say although it is a desolate and lonely place (and 114 degrees at Furnace Creek the day I was there) it is also one of the most beautiful places I have ever seen. The sand dunes at Mesquite Flat alone are worth the trip.

Everyone should see it, but if you can't buy the book. My copy came shrinkwrapped in plastic which I really like, the last thing you want is to buy a nice book like this in a bookstore where someone has spilled coffee on the pages.

As I went through this book, I kept asking myself, am I looking at the dessert or am I looking at the landscape photographs of Jack Dykinga? I've been to the Mojave and to Death Valley and I don't remember them looking so beautiful.

Dykinga's style reminded me of the work of Eliot Porter, with modern film stock. Most of his pictures have the same subtle quality, created by the use of analogous colors, that is, colors near each other on the color wheel, and varying only by tint or small changes in hue. A Dykinga picture almost always has one dominant hue like brown or tan or blue, and the hue rarely feels intense, even if it's a field of California Poppies.

It's obvious that Dykinga's work utilizes a large format camera. Everything is in sharp focus from foreground to distant mountains, thanks to small apertures and the ability to twist the light through his camera. This means that the picture is not going to immediately draw your attention to one aspect of the scene by controlled focus. More likely, the viewer will have to work his way through the picture, discovering things along the way.

The layout of the book seems to be well considered. Quite often two plates with similar subject matter will face each other and there is a synergistic effect from the comparison. For example, I delighted in examining two facing pictures of desert sunflowers. In both cases the yellow orange flowers have a hilly background, but one group of flowers is pushing up through dried-out, cracked clay, while in the other picture the flowers are growing from a small body of water collected for a brief time from rainfall. The mud and the water are both magenta in color but the textures are completely different. The thoughts that arose from the juxtaposition were not only about the variety of the desert but also about the nature of color and vision.

I suppose one reason that I never saw the dessert the photographer portrays is because most of the pictures were taken at the golden hours of sunrise and sunset. To have been that many places in the desert at just those times would have taken me months and months. At the very least, I can be a philistine and thank Dykinga for saving me a lot of time.

As to the text in the book, my feeling is that it probably has to be included for marketing purposes. Janice Bowers' essays seemed poetic and show that she loves the desert, but like most such commentaries, they do little to illuminate the photographer's work. I suppose the essays are worth reading once. The pictures on the other hand can bear many, many viewings and add something to the sense of the place each time.

I finally concluded that I was looking at the desert through Jack Dykinga's eyes when I viewed this book. I resolved to return to the actual desert again and see if I could continue to see it through his eyes.

This is an extraordinary, heartbreaking, must have book for anyone who loves New York and/or McKim, Mead & White's work.

Photographer Peter Moore and his wife Barbara moved into the Penn Station neighborhood in the early sixties. They used the building every day, whether they were passing through to the subway or catching a bite in the cavernous coffee shop.

With the railroad's permission, they documented its slow dismantling over the four years from 1963-1967. This book is the first appearance of that work. The black and white pictures are arranged chronologically, showing the faded but still magnificent station from its last days of active use through to its ghostly presence as a metal shell. The photography is beautiful and lyrical and sad beyond words, like a mournful love song to a love lost. The picures of the rubble-filled waiting room, its shape still intact but its side walls gone, are especially hard to take.

One note: this is not an exhaustive review of the building and its various spaces. It is a chrono picture of the concourse and waiting room through through their destruction. For more pics of the station in use, try "The Late, Great, Pennsylvania Station."

Of course we know how this story ends, with the destruction of the wonderous Pennsylvania Station to meake room for the mediocre Madison Square Garden and office tower sitting on the site today. Despite this, it is still shocking to see the actual photos documenting the deconstruction of the building. Moore's evocotative photos take us inside the site and you can almost taste the dust in the air. When I first read this book I took my copy of Lorraine Diehl's "Late, Great Pennsylvalia Station" off the shelf and reaized that Moore's book stands as a sad coda to hers. Although Diehl covers the destruction of the station in her book, the detail in "The Destruction..." really forms a mirror image to her pictures of the station being built. The sad fact is that looking at the photos in Moore's book backward makes more sense than they do forward, but alas its not to be.

I remember as a kid in the mid-70s taking the train to NYC and having to endure the commuter's nightmare known as "modern" Penn Station.

In the late 80s, I learned what once was on the site of the current MSG/Penn Station monstrosity and became appalled that people could let a beautiful work of art be dismantled and replaced with a horrible building. In the early 1990s, I learned about the 1950s and 1960s and how Americans were obsessed with all things modern and new, rejecting anything with a hint of age or ornament.

Moore & Moore take a pictorial look on how the McKim, Mead and White's neoclassical masterpiece was dismantled over a multi-year period in the mid-1960s. While they really don't go into detail on why the old Penn Station was demolished, the spooky, B & W photos tell more than how an architectural gem was demolished. On a deeper level, the photos tell the tale of how an entire city was becoming irrelevant to suburban America and was sinking into massive decline (the years of municipal bankrupcy and burning neighborhoods in the South Bronx are only a few years away).

It was a very sad book that gets more depressing with each turn of the page, as more and more of the beauty of the old Penn Station gets stripped away. I guess that was the power of the photographs working on me.

Pair this book up with Robert Caro's _The Power Broker_ to get a good picture of New York in the early Baby Boom era.

This book just takes your breathe away, the images are so vivid and shocking. How on earth could anyone sign off on destroying this colossel beauty, it's something I just can't get my mind around. I am so grateful that this was documented, as hard as it is too look at, people need witness these pictures to make sure it does not happen again. Many people credit the outrage over the razing of this McKim, Mead, and White masterpiece with helping save Carnige Hall and Grand Central, which though appreciated, does not lessen the sadness over the loss of this New York City treasure, it really is such a tragic loss. I highly recommend this book for its text, great visuals, and the power is thought it provoks: great book.

I am one of the generation of New Yorkers that have grown up with the ghost of the old Penn station - and its unfortunate replacement. We have been forever robbed of this stately thing, which was so much more than a building. Watching it's slow death in these haunting pictures makes me hope this is the last time we have used our imagination to destroy rather than build. (This is an especially painful irony in light of our recent tragedy.) Get this book, and look at it with your children. And may we never treat the human-made beauty around us with such contempt again.

the quality of the product was the very best. it also arrived when i expected it too. i needed it in a crunch time and it came through beautifully.

This is a fascinating book for folks interested in the international decolonization movement of the 50s and 60s, and its relation to the Black Power movement in the States. The Discourse is beautifully written and passionately argued. The interview helps clarify Cesaire and Senghor's concept of "Negritude" as an early form of Black pride, rather than racial essentialism. The essay introduction is worthwhile since it puts the book in relation to Cesaire's poetic work and the Surrealist movement in France, America, and the Antilles. It's unduly dismissive of Cesaire's Marxist politics, especially since it goes against the spirit of the interview appended at the end.

I read Cesaire's 'discours sur le colonialisme' in one afternoon at a coffe place and it was captivating in how intellectually he wrote, with tinges of attitude in the words. A lot of the things he wrote about I already knew from studying a lot about Africa before and what ethnocentricism vs. ethno relativism means when applying yourself and perceptions of other cultures. This book is as applicable in the 1950's as today, I found that America seems to be the new France and Britain, as far as imperialism goes.

This book has so many good points about how one must look at the non Occidental world. Whenever I hear people talking about Africa in a degrading way in that the continent needs the Western world to give it medicine, schools, etc . . .it infuriates me with the lack of research these people have done. Although one can't expect everyone to know, but they would at least get a glimpse if they read this. They would see that it is the fault of the Occidentaux which is why Africa is in the state it is now. Before Europeans went there, the people of this rich, great continent had their own cultures, laws, languages, writing, religions that worked very well for them. Because they were different than Europes ways, they were viewed as primitive and uncivilized, but you can't measure a civilization by the same standards of another, far different one. Just because they didn't write their history down, doesn't mean they didn't have it. They used oral tradition for this, which is just one example of the European's prejudice. If Europe never went there, these African civilizations very well could have flourished and become great as the passage of time went along.

Colonization has done it's damage, Cesaire talks about decolonizing our minds, I wonder how long that will take to accomplish? I would recommend this short read to anyone who wants to try to get out of their own cultural shell and think about the way the world is viewed from the viewpoint of others, even though this book is seriously outdated and seems like the author has never even been to Africa.

Frantz Fanon is a more compelling read though (even though he's a bit of a misogynist), try "black skin, white masks" or "l'an V de la revolution algerienne/a dying colonialism".

In Aimé Césaire's "Discourse on Colonialism," She very blatantly voices her opinion that a (European) civilization that is:

...incapable of solving the problems it creates is a decadent civilization. A civilization that chooses to close its eyes to the most crucial problems is a stricken civilization. [and finally] A civilization that uses its principles for trickery and deceit is a dying civilization. (31)

As well as applying for both Britain's presence in Southeast Asia and the Caribbean, and France's colonial presence in Africa and the Caribbean, this powerful statement could become an equation for the line drawn between one country's involvements with another.

For example, here is an unmistakable connection here to the US' involvement in Iraq. Are we as a nation decadent? Stricken? Dying? The over $155B spent in Iraq (...) instead of other national priorities. Cesaire's points are very relevant to the times as she brings further knowledge and past histories into the damage of Colonialism: "...at the present time the barbarism of Western Europe...being only surpassed...by the barbarism of the United States" (47).
She talks about the `gangrene' of impartiality, in regards to the French hearing stories that are disturbing and pornographic. "Colonization, I repeat, dehumanizes even the most civilized man" (Césaire 41). A theme prevalent in films such as Black Girl, Chocolat, and Xala. It is easy to be impartial when one is ignorant.

Discourse on Colonialism was a serious eye opener. Cesaire made me think about all of the horrible out comes colonialization produced. It was one of the best non-novel books I've read in years.

This is both a great read and an important historical document. Fanny Trollope was the mother of Anthony Trollope, perhaps the most prolific English novelist of the nineteenth century and my favorite. Fanny's husband was ineffectual in the breadwinning department, but fortunately for the family, Fanny herself was energetic and enterprising. She took one of her sons (not Anthony) and an artistic young man to the United States. She was planning to join a friend of hers who was a mover in setting up the utopian community in Harmony, Indiana, but the place turned out to be squalid, and she didn't stay long.

Fanny spent most of her time in the U.S. in Cincinnati and in her book is very hard on the city and its inhabitants. She especially objected to the pigs' role as garbage collectors. (In those days, pigs roamed the streets freely, like sheep grazing.) Fanny felt most of the people she encountered were loud, dirty, vulgar, and fanatically patriotic. It is her vivid descriptions of the physical conditions and the people that give this book its historical and entertainment value.

While she was living in Cinci, she opened a retail emporium and filled it with rather shoddy merchandise sent from England by her husband. She also attempted to bring culture to the inhabitants. Not surprisingly, both ventures failed.

After Mrs. Trollope returned to England, she supported her family by writing novels that were quite popular at the time, though they haven't become the classics her son's have. She spent her final years living in Italy with another son and his wife.

This is an extremely entertaining commentary on American manners and well written. I agree, however, with Mrs. Trollope's son, Anthony, who commented that Mrs. Trollope is a keen observer but she understands little. Certainly her complaints about the lack of gentility among Americans is valid but she completely missed the wonderful lack of class restraints endemic to English society which afforded Americans "class mobility"--freedom of opportunity (except for native Americans and slaves).

Fanny Trollope (1779-1863) wrote over 35 novels and several non-fictions books in her effort to rescue her family from poverty. However, the most read of all her books is "Domestic Manners of the Americans" which she published in 1832. It was in that distant year that Fanny and two of her children traveled across the Atlantic Ocean. Her purpose was to join a utopian community in Tennessee whose denizens were freed slaves.
Fanny left her impecunious and feckless husband the barrister Thomas Trollope back home in England. Her famous son Anthony did not make the trip as he was a student at Harrow School. Fanny knew her husband would join her in the USA when money became available. Later the family would flee to Bruges to escape creditors. Fanny eventually lived out her life in Florence near her son Thomas Trollope.
After leaving Tennessee the Trollopes settled for two years in the Queen City of the West Cincinnati, Ohio. Fanny did not like America or the American people! She found us xenephobic; boastful, prideful and violent.She hated the hypocrisy of life in Midwest Ohio although she did attend such cultural attractions as opera, plays and lectures. She favored the state Anglican Church of Great Britain not caring for America's separation between church and state.
This book could well be read alongside Charles Dickens' "American Notes for General Circulation" based on his 1842 six month trip to the USA.
Both Trollope and Dickens found the Americans crude, lacking in manners
and eager to make a quick buck. Listen to Trollope at her most scathing:
"..among the rich and the poor, in the slave states, and in the free states...I do not like them. I do not like their principals, I do not like their manners, I do not like their opinions." (p.314).
Fanny Trollope's book is more interesting than Dickens since she discusses colorful characters and shares anecdotes about her sojourn in our young republic. Like Dickens she hates the odious practice of tobacco chewing and the mangling of the English language. Trollope found us Yankees to be too serious and viewing us as poorly read. Unlike the wealthy and famous Dickens, Mrs. Trollope was a middle-aged woman fighting off poverty with her pen. I enjoyed her descriptions of nature such as those she paints of the Potomac River, Northern Virginia and the Niagra Falls area in New York and Canada. She is aware of flora and fauna and describes them with knowledge and in beautiful prose.
Dickens and Trollope give us the eye to see America in the days prior to the Civil War when the curse of chattel slavery ruled the land. Since those days America has granted freedom to all citizens. I wish both Fanny and Charles could visit us again in the 21st century. Their remarks would be of great interest to this reviewer and countless others!

All I can say is: what a great read! Who knew? Quite frankly, upon first sight of this book I must admit a bit of dread as the puritanical artwork does not smack of fun and games. Of course, as a literature student, I should know better than to ever judge a book by its cover.
Had I been Fanny Trollope writing such an account of America in the 1820s, I would be hardpressed to say that I would have changed a single word. Trollope has been the victim of many mean spirited caricatures and accusations by Americans and it still continues today, but what is interesting is that no one can do more than attack her person. In other words, no one seems to be able to refute her claims.
Trollope's "bitchiness" seems, for the most part, merited by my standards and while she finds much to complain about concerning an American democracy in its adolescence, she certainly discovers just as many things that she likes or finds beautiful.
Plain and simple, Americans collectively have a hard time taking criticism, especially from an outsider...and at that time, political criticism from a woman was deemed absurd if not audacious.
Last but not least, Fanny Trollope is always sure to preface anything she says with the conscious realization that she can only speak for what she has seen/heard personally and is thereby not judging ALL of America.
Trollope is witty and anecdotal and I think anyone interested in what an outspoken Englishwoman had to say about the New World should certainly pick up a copy. I found particular interest in gender/religious issues but got the most laughs out of her descriptions of American manners (or the lack thereof).
It is always interesting to see how much things have changed, and better yet, how many things have remained exactly the same!

Very entertaining read of the author's trip through 19th Century America, full of wonderful description and enlightening observations. Despite the griping below, Mrs Trollope simply reports what she sees - men spitting tobacco on the floor, ladies off in another room while the guys have a good time, etc. She reports accurately on our forefathers' rugged pioneer spirit, but points out the lack of education everywhere. We want to shout "lies!" but Mark Twain wrote about the same thing, and the aspects of our society that haven't changed much are still being commented on with the same frankness by writers like Saul Bellow, Gore Vidal, Dawn Powell, Paul Theroux and Joan Didion. Many true-hearted Americans will enjoy this book no end. Mrs Trollope clearly loved America and simply wrote truthfully about; she is simply beholden to no one - the essence of good writing. A thoroughly refreshing read.

This book gave me insight into the methods, trials and tribulations of early precious metal miners in he US. Great Photographs! Fascinating page after page because the writer expressed himself in a way that an interested novice could understand. I read the paperback edition, known as the second (revised and expanded) edition, first printing 2003, purchase price $30.00 new.

As someone with very little mining knowledge, I greatly appreciated the explanations of the various mining techniques. The author's obvious enthusiasm for the subject made the book a joy to read. Highly recommended for both mining experts and for those simply wishing to understand more about mining in earlier years.

A very comprehensive book that is compelling and fascinating. I learned many unusual and intriguing facts. I thought that I was familiar with historical mining technology, but this book covers many topics with a new and different perspective. The chemistry of precious metal recovery is explained in such a way as to be informative and educational. I recommend this book to anyone who enjoys a book that is informative while still being lively and entertaining with great references.

Great Resource

I thought this book was very well written and researched. I would highly recommend this book for anyone wanting to learn more about precious metal mining in the old west. This book covers many subjects in detailed chapters that include the Gold Rush, Hard Rock Mining, Timbering, Pumping, Explosives, Machine Drills, Transportation, Power & Fuel, Fire Assay, Mills & Smelters, Mill Machinery, and an appendices that includes Mining & Milling Hazards. The many photographs, illustrations and tables were interesting which added to the pleasant reading experience.

Drills and Mills, which covers the history of mining, milling and smelting from the 1848 gold discovery in California to the late 19th century is a wonderful, well researched book.

Loaded with pictures,tables,illustrations,chemical formulae and many interesting side notes (factoids),the author covers the gamut in the machinery used to win the metals from the earth.
Excellent review on the evolution of the rock drill,explosives, crushing equipment, pumps, timbering, etc etc.

Also included within the 250 plus pages of good reading, is an excellent 10 page bibliography which is referenced to the chapter footnotes, to assist those who may have a futher interest in any of the subject matter. This is a must have book for the mining historian and for anyone interested in 19th century mining. In short a great book.