Reviews Books

If you ever played Traveller, or GURPS or anything else like that, you will love this story. Very well written and entertaining. Piper's death was a loss that the SCIFI community will never recover from, especially with books he wrote like this one.

What can any one say about his writing? Always top of the heap and riviting to the end of the book.

_Space Viking_ (1963) was a four-part serial in _Analog_ in 1962-63 and was accompanied by some marvelous John Schoenherr illustrations. It was reprinted by Ace shortly thereafter to modest attention. Since Piper's death by suicide in 1964, a number of his admirers have tried to make a case that the novel is a classic. Well, it isn't. It is a well-crafted space adventure that has some intelligent things to say about politics and warfare. But there is nothing highly original about the novel in plot, style, or content. It doesn't have the sparkle of his own Little Fuzzy novels.

Briefly, the story is this: The Galactic Federation has collapsed, and planets are now at the mercy of marauding Space Vikings. The hero is a nobleman named Lucas Trask whose bride is murdered on their wedding day by a madman. To catch the killer, Trask becomes a Space Viking and begins a series of conquests across the galaxy. But gradually, he finds that he is also rebuilding...

One of the characters in _Space Viking_ is an admiral named Otto Harkaman, who becomes a right hand man to Trask. The name sparked an echo in my mind when I reread Piper's novel. And then it clicked. It reminded me of the Baron Vladimir Harkonnen in Frank Herbert's _Dune_ (1965), another _Analog_ novel. One man is essentially heroic, while the other is essentially villainous. But both are politically savy. Orson Scott Card once complained that most science fiction writers knew little about politics. They would have politicians in their stories say things that politicians would never say in real life and do things that real politicians would never do. This is not true of Piper and Herbert. You sense that their depictions of political meetings are authentic and that the policies that they make are realistic. Granted, their politics are somewhat on the medieval and Machiavellian side, but they are realistic nonetheless.

In any event, I heartily recommend _Space Viking_. Classic it may not be, but it deserves more attention than it has received in the past.

I picked this book up the other day at a used bookstore. I decided to do this when I saw that the book was in better shape than the one I have in the basement and the price was great (only $3.00, not bad at all for a book that I love). Having picked it up, I immediately started to read Space Viking (again for the upteenth time). As with many of Mr. Piper's books, Space Viking is as much a look at society and political systems as it is a space opera. In this case a futuristic feudalism is examined while remnants of the Old Federation raid their poorer neighbors.



For me this is a five star book. The story telling is descriptive, the plot; while simple it does have a style that enables the space opera to move forward nicely while Mr. Piper explores space feudalism (and other forms of government) and the impact when people leave one country/planet to seek their fame and fortune. While this book was written in 1963, Mr. Piper does a great job making this a timeless classic. More science fiction writers would be better if they'd emulate Mr. Piper's works.

With the transition of much of H. Beam Piper's work into the public domain publishers like Aegypan Press have finally begun to bring Piper's work back into print and for that fans of Piper owe them a debt of gratitude. This novel, set in Piper's Terrohuman Future History, is his writing at its best. Centuries ago, rebels fleeing the Terran Federation settled the distant Sworld Worlds. Now their descendants, the Space Vikings, plunder and loot the worlds of the collapsed Old Federation. Lucas Trask, a Sword Worlds nobleman, begins the novel as a critic of the Space Vikings, believing they are draining the Sword Worlds of their most capable talent. But after suffering a terrible crime Trask turns Space Viking himself, venturing into the Old Federation seeking retribution. Eventually, Trask becomes a Space Viking prince at the center of brewing conflict between the Sworld Worlds, other Space Viking planets, and the "civilized" worlds of the Old Federation. Part space opera, part political intrigue, and all action this novel is an excellent introduction to Piper's centuries-spanning Future History.

Also recommended by Piper are Four-Day Planet, Uller Uprising, Little Fuzzy, and The Cosmic Computer.

There are SO many different posters in this book. There are so many different styles too! Abstract, paintings, puppets, photo manipulation, product ads, world-movie posters; it has everything! I love it. Oh. There's also little descriptions of each poster, however they're a little vague at times... that's the only issue I have with the book. Other than that. Great!

Ok great book with some great poster art in it. Wonderful one sheets and other images. There is very little on spotting bootlegs, however that is a saving grace because the internet has turned things upside down with claims of bootlegs that are just ridiculous! The style A hair on Luke's belt is one of those examples. Apparently alot of people seem to believe that even though there were thousands of these printed off in the late 70's, that none of them would have slight printing differences. Count me in as one of the few who believes this version to be an original one sheet and NOT a bootleg; thats right I said it!! I believe it to simply have come from a different print run during its original printing run. If any of you are confused by now about this let me explain that this one sheet has a small hair line that appears on the poster on Luke's belt. Seriously, if you werent lookin for it, you wouldnt even notice it. These posters were originally meant for advertising and to be unused after use; not as pristine collectors items. On a final note about this particular bootleg claim for this poster. This version, with the hair, was sanctioned by Lucasfilm themselves for their official reprint. I think it highly unlikely that Lucasfilm would hand out a bootleg as a template for their official reprints. Anyway, great book, but never believe all that ya hear.

At the price I got this for and the shape it was in, it was a definate steal!

The artwork in this amazing book speaks for itself! - incredible reference and resource to all the movie posters for this groundbreaking, earthshaking blockbuster that keeps on going into hyper-space year after year.... any collector or artist would LOVE to have this in their collection!

While this book has a ton of Star Wars Posters listed, it's a book for the reader who is not familiar with poster collecting, or the highest level of Star Wars poster collecting. There is no inbetween. The book is basically a giant list with illustrations. But the list includes posters that are so obscure that it's almost not worth putting them in this book (Coca Cola and Burger King advertising posters come to mind.) There is also a few places where they just went overboard; there is one page where they have pictures of about 20 different posters, all from Episode I, all the same poster, just printed in different languages. I would have liked to have seen a little more detail on the things that matter more to collectors like how to spot a bootleg from an original, what the 77/21 means on the bottom right of the Star Wars 1 sheet, details on different poster printers and their posters (Kilian Enterprises for one), etc. I would also like to have seen more information on where to get posters other than "try the internet." Overall an OK book, it just lacks in certain areas of information.

For me--raised on Sherlock Holmes--this novel, first published 1968, is not a detective novel in which morality or heroism triumphs, or in which the hero is able to think his way out. When Conan Doyle invented his hero, he was writing within the context of a moral Victorian society in which Holmes's kind of detective work was able to triumph over perpetrators, or at least able to rationalize his own faults. But the world Sciascia shows us is one in which the police remain silent, and those who inquire and question are punished. Sciascia gives us an intelligent, inquisitive high school teacher, Professor Laurana--not a Sherlock Holmes--but, as a learned and well-meaning man, he is an engaging main character. What sort of society is it in which sensitive, inquisitive people are devalued and ignored?

Professor Laurana's questioning opens doors and others shut. And in a town in which people teach each other to keep quiet, we have to wonder what is being taught. It seems that this society is reduced to primitive survival instincts. Only someone like Laurana can break the vicious circle of crime, but Laurana's emotional vulnerability--his sensitivity to literature--is considered a fault. There are clearly characters who do not like anyone asking questions. And there are two characters who are philosophical and analytical, but their ability to understand human psychology disables Laurana's investigation. It's as though too much belief in moral ambiguity can stop a criminal investigation.

While this novel is a comment on Italian or Sicilian society and politics of the 1960s, this setting could be anywhere in the world. We all must be vigilant that through silence and acquiescence, our world does not become like the one Sciascia shows us.

This short novel (158 pages) has so much wonderful, nuanced writing that virtually every page is enjoyable in and of itself. One Amazon reviewer called "To Each His Own" postmodernist, but it also seems reminiscent at times of 19th Century writing that is more character insightful than plot driven. Sicilian master, Leonardo Sciascia, certainly does provide a plot in this novel - an inexplainable double homicide begins the story, followed by the slow accumulation of clues leading to the unlocking of the mystery by a hapless bystander, who reveals his revelations despite himself. The cautious innocent ultimately wanders into the killers' crosshairs betrayed by his own lust and the quiet complicity of the entire community. And it's lust that author Sciascia suggests is at the bottom of everything in the Sicilian town that is the novel's setting.

This is a highly literate and entertaining read that will encourage most readers to seek out other titles by this terrific author.

This book is a well written mystery. The author sets the crime out before you right at the beginning and gives many leads for you to try and draw your own conclusions. His style of writting is very different, but very interesting. It is the type of book that you must continue to read to find out what the ending is about.

The basic principles of right are: to live honorably, not to harm any other person, to render to each his own." Digest of the Emperor Justinian.

The Latin phrase "suum cuique tribuere" or "to each his own" is one of the three fundamental maxims of the law laid down by the Emperor Justinian. The peculiar interpretation of that phrase in Sciascia's native Sicily forms the emotional core of his brilliant "To Each His Own."

"To Each His Own" begins with a double-murder. A local pharmacist, Manno, receives a death threat in the mail, compiled with words and letters cut and pasted from a newspaper. The pharmacist laughs it off. He considers the letter to be a joke and although these threats are usually taken seriously in his town, Manno leads a blameless life and simply cannot believe anyone intends him harm. So he goes off hunting the next day with his friend Dr. Roscio and, without further ado, both Manno and Roscio are shot dead in the woods.

A police investigation follows but it is doomed to go nowhere. Sciascia paints a very explicit portrait of a society in which everyone knows (or suspects) everything but says nothing, certainly not to the local police. The general consensus (on the surface) seems to be that Manno was killed by a jealous husband and Roscio was an innocent bystander. The matter would have ended there but for the curious intercession of Professor Laurana. Laurana is a history and Italian teacher at the local liceo (high school). He walks into the pharmacy where the police are reading the anonymous letter and quickly spots a clue. The police dismiss his information out of hand. Laurana, however, driven by what appears to be no more than a desire to solve a puzzle, decides to follow up on the clue. In short order he seems to have solved the mystery. Laurana is oblivious to the fact that his musings on the crime pose more of a threat to the murderers than a typical local police investigation. Events play out to their natural conclusion, and in Sciascia's Sicily natural conclusions are not quite so neat and tidy as say in Agatha Christie's parlor room England.

The enjoyment to be found in reading "To Each His Own" is not the mystery itself. The fact of the matter is that, for Sciascia, solving a mystery doesn't require great insight. Rather, it simply requires a willingness to actually see that which is self-evident. As blind as Laurana may be to the danger he puts himself in, he can see well enough to understand why Manno and Roscio were murdered and who murdered them. Laurana's problem is not that he knows more than anyone else in town, Sciascia makes it clear that the actual events do not seem a surprise to anyone. No, Laurana's problem is that unlike everyone else in town, he doesn't bother to hide his knowledge.

Sciascia's writing is both precise and enjoyable. He seems to have a keen eye and affection for his native place, but that affection does not diminish, but likely enhances, the despair he feels for a culture in which silence is golden and in which "to each his own" does not bring to mind Roman traditions of equity but, rather, the critical importance of minding ones own business. "To Each His Own" is a cynical, but highly-entertaining piece or work.

Highly recommended. L. Fleisig

Having read "To Each His Own" (or rather, "Il ciascuno il suo") twice, once in Italian and once in English, I find that each time I found new interesting nuances.

Rich, ambiguous characters fill the novel and leaves one wondering who is considered intelligent and who is considered an idiot in Sicilian terms. It also leaves one wondering what exactly is the crime: the killer or the one that deems himself the investigator? Is it the one who deals in politics or the one breaking the law of "omerta"?The novel explores the mafiosi as an institution, as a family, what it is in the government, the church, the peasant village.

Sciascia's novel is a page-turner for both those who want an easy read detective thriller and also for those wanting to dig deeper into the story's message.

The book was used but looked brand new, came quickly and with it looking so clean, I should have no problems selling it back. Thanks!

If students plan to do well in class, this is definitely a got to have study guide for any student taking beginning Psychology.

I got this book very quickly and in great shape! I believe I did a great buy! I definately recommend buying from here.

This is a very interesting text!Chapters are a bit long & boring at times but overall great material. I just wish my professor didnt read the text word for word! Not the books fault! LOL

When asked to choose a book to use in my Introduction to Psychology class, I was somewhat unsure because there are armadas of books out there. For students, I think someone should take in price as a factor, look at what they are given in the way of student-aid and multimedia, and how good the book really happens to be. I initially chose this book because I knew someone that had used an older version of it and said that it was a good choice and, well, I couldn't be happier.

As far as the cost of the book, it really isn't bad for a new book. It keeps up with newer stuff, not really leaving you behind with outmoded material you really shouldn't learn anyhow. It also adds in newer elements to the study of the subject, allowing a student to feel out the subject without feeling like they've stepped onto the Intro bandwagon. This isn't to say that all the beginner's concepts aren't covered because they are - this is simply to say that the book takes the subjects and runs with them a lot more than most beginner material. Another thing to take into account if you are teaching a class are the number of chapters vs. the filler material. With classes becoming shorter now (many schools now have a 14 week series v. a 16 week one) the material needs to be able to sink in faster.
Happily for the students reading this, the material will do that AND the book will come with A LOT of help to making testing a positive experience.

One nice thing that comes with the book is the Concept Charts, making it east for people to see the ideas "come to life." It is easier to explain how a science goes from an idea to a modern approach by placing it in a nice graph, and the points that are added make it easier still to separate one person from another. The Chart book follows along with the book amazingly, too; I looked into it first off and saw that it took into account everything the Chapters were trying to say.

Running through the book, it covers: Evolution of Psychology, Researching, Biological Biases for Psychology, Sensation and Perception, Variations on Consciousness, Learning, Memory, Language and Thought, Intelligence and Testing, Motivation and Emotion, Development across the Life Span, Personality, Stress and Coping, Disorders, Treatment, and Social behavior. Combine this with the CD, web help, and you've got a full book of concepts.

If your teacher picked this out, MAKE SURE you get the concept charts with your book. It is good, will help you if you are going into any field dealing with psychology, and is a book that is worth keeping instead of recycling.

I lived in Germany for two years, and every morning I spent 30 minutes studying out of this book. After about a year I felt comfortable enough with my German to start learning a third language.

I tutor German at the university now. One of the main concerns my students have is that they just need more practice. The textbook their class uses provides very few exercises (almost none), so I started bringing to our tutoring sessions my old "German in Review" which provides MANY exercises for each lesson. I also soon found that this book was great at explaining concepts with which my students struggle, so we'll often read an entire lesson together in this book.

I used this book while in Germany learning German. I just read through the entire thing, wrote everything down, and memorized it all. It has everything in it. I couldn't have learned German without it. But, if you don't have a firm understanding of grammar and foreign language, it might be tough, as it is a "review".

This book is great. The price is high but I used after not using German for several years. It's simple and straight to the point with easy examples. For a school text or just review I recommend it.

This is really a good litte book, and thoroughly covers all aspects of grammer, some in clearer ways than my elementary German book. I used this book for my Intermediate German class in college, and found it dull and repetitive in the way we used it. We went way too slow, and some of the exercises get incredibly dull and repetitive if you do all of them.
The book is wonderful for people who learned German by living in a German speaking country and want to study the grammer closer, or as a self-refrence book for German students. I would not use it in a structured college class setting though.

I studied linguistics in college and have studied and learned several languages to fluency. This is the best grammar review text I have ever used. It's straight forward, comprehensive, well laid out and unusually readable. The use of green ink to illustrate examples and highlight what's important is especially effective. I wish it were part of a series that included similar texts for French, Russian and Italian.

Beautiful poetry about a very special little filly who was lost much too soon. I love the way this author puts her words together in such a wondrous way. She makes you really get a glimpse of what this racehorse was like. Prices are always great on Amazon.com as well as a fast delivery. Never had any problem at all. I even order other items from other commpanies other than books, and it's really a great way to shop. Try it, you'll love it!

RUFFIAN, is truly a breath taking epic of a true champion.

When we lost RUFFIAN, we lost more than just her. We lost
part of ourselves as well.

Courtesy of Outsider Writers, here are two reviews of Lyn Lifshin's The Licorice Daughter. The reviews are by Miles Bell and Leopold McGinnis.

Reviewed by: Miles Bell

Miles is a UK poet. I don't think he has ever met Lyn, nor has Lyn met him. In fact, I'm not quite certain Miles has ever ridden a horse. However, he does inform me that he has excellent teeth.


Ruffian was a phenomenal racehorse who broke the track record in her first race and was unbeaten in her next nine. As a 3-year-old in 1975, in an ill-judged race against that year's Kentucky Derby winner, Foolish Pleasure, she broke down while leading the "equine battle of the sexes", continued to try to race even with a badly broken leg, and couldn't be saved. Why should I care? you may ask yourself, and it was the question on my mind as I sat down with this book of poems about the life of "The Queen of the Fillies". After all, I'd no real interest in horses, and had never heard of Ruffian.

I had, however, heard of Lyn Lifshin, as I expect everyone in the small press has. Reportedly the most published poet alive, with more than 100 books to her name, she crops up everywhere there is poetry. I was unfamiliar with her work, and I must admit to being dubious about Lifshin's abilities; surely someone so prolific is just churning poems out?

It is at this point I must apologize to Lyn, for this book is fabulous for the most part, and it drew me into the story of Ruffian much further than I expected. There is a line early in Todd Moore's "The name is Dillinger" which speaks of a time "when horses were still magic", and this book succeeds in helping to explain some of the reasons horses can evoke so many indefinable emotions in people.

Comprising just over 100 short poems, "THE LICORICE DAUGHTER" (named after Ruffian's near-black coat) is actually one long poem in small sections covering the short but brightly-burning life of a horse acknowledged by many as the greatest female horse in history, from her birth, the separation from her mother, the glorious first races, to the tragic conclusion to Ruffian's career and life.

Lifshin writes with great passion for her subject without slipping too far into sentimentality, and the language she uses creates a mythology for Ruffian, as if she was/something in a dream/in the shape of a horse...

There are several other examples throughout of Lifshin using especially descriptive words to evoke a sense of "otherness" about Ruffian, supernatural, ghost-horse, black arrow, mystery, black lightning, and even mentioning Icarus and Pegasus, only to describe her again, finally, as just a trapped animal with wild eyes, as she was led, fatally hurt, to the ambulance after one race too far.

The pacing of the book is perfectly judged too, the poems increasing in intensity and speed like the horse herself, until the quiet last few poems lend an air of reverence more than deserved, it seems, such is the power and sheer story-telling mastery of the rest of the book.

There are a couple of small quibbles I have; the mention of EBay early on jarred me out of the quiet pastures of the 1970s I'd been immersed in, and there are a couple of occasions where descriptions of Ruffian veer towards anthropomorphosis, and I feel Lifshin is a good enough writer not to have to humanize the horse in order for the reader to empathize. That said, these are minor points and only mean I couldn't faithfully describe the book as perfect, just very, very good indeed.

In summary, I would highly recommend "THE LICORICE DAUGHTER: MY YEAR WITH RUFFIAN", as fine prose poetry and a terrific story/myth, well-told. As I reached the end I must admit to getting something in my eye and having to take a few manly deep breaths, before going online and reading all I could about Ruffian, the horse who lived simply to run.


Reviewed by: Leopold McGinnis

Pold is a founding member of Outsider Writers, and an all around Canadian literary icon.

113 pages, Texas Review Press

I was only vaguely aware of Lyn Lifshin when I was asked to review this book. I'd read an article of hers in a book in which we'd both been published and, a few weeks previously, a poet friend of mine who's opinion I respect raved about her work. When the opportunity to review Lyn's latest book (or second latest at the time of this writing - I think she puts out a book a month!) came up, I was eager to find out what my own opinion was.

The Licorice Daughter is poetry-novella based on the true story of Ruffian, widely considered the best female racing horse in history. I believe Ruffian was even featured in the Sports Illustrated top 100 female athletes of all time. (But not in the swimsuit edition, to my knowledge.) To avoid spoiling the book, I'll say no more than that.

When I realized, about 10 pages in, that this was a book about horses, or about a series of horses I began to regret my offering to review it. It's a subject area of which I have little interest, and yet the poems were good enough that I was enjoying reading it, so I figured that was all that mattered. It wasn't until about a third of the way through the book that I realized that this was all about one horse and, in fact, a continuing narrative. This piqued my interest greatly and, to use the obligatory cheesy book-review metaphor, it was a race all the way to the finish line after this point. Born after the events in the story, I wasn't aware that the story was based on reality until I did some research later, so this also kept my interest for quite a while.

There is a burning inevitability to The Licorice Daughter which I love, and makes the book a thrilling read.

While the book starts off a bit slow out of the starting gate, the book picks up a lot of speed by the middle and is running at full gallop by the last third, even though you know where it's going. Ruffian's story is an engaging one and Lyn does not do it a disservice. A lot of poets try to boost their poetry, or replace a lack of something to say, by co-opting an already existing story. Certainly this is legitimate poetic practice, however, often the poet does nothing more than dilute the strength of the original story for poetic gain. Lifshin, on the other hand, brings a lot to this little known (at least to me!) story, filling in or making up pieces that have not been documented by the papers and historians, and giving a real sense of the passion, the life, and the intimate hopes behind Ruffian and all those involved with her story, from the jockeys, to the fans and beyond. It's a sign of a remarkable poet who can improve upon a classic story.

The book is notable for a number of other features. One thing I enjoyed was that the poems weren't linked like chapters, but more like a grasshopper touching down as it hopped along Ruffians lifeline, allowing the reader to piece together a lot of the details. Often times two or three poems would cover the same event. Rather than being redundant, they offered different views of on singular piece of the story and this was quite refreshing. The book dances close to cliché on a few occasions (what books don't?), but never touches, and often blasts off in some wonderful directions. I particularly enjoyed some of the poems at the end that manage to tie thing like EBay to the story of this horse from 30 years ago. Unexpected and wonderful.

If I was a visionless corporate book producer, I'd target this book towards young girls. I wouldn't target it towards horse enthusiasts because they aren't a big enough market...and we all know that poetry doesn't sell anyway. Unless you're dead and your name is Bukowski. Thankfully I'm not and while this book would certainly delight little girls, it would also be a must for any horse enthusiast. But still that's narrow minded. This book is well executed, fun, a quick read, and contains a great and engaging story. I believe it would be a great book for anyone who loves poetry. Even lovers of sports (if you can convince them to give poetry a try) should like it.

I think the true sign of a good book is if you can get someone who isn't at all interested in the subject to like it. As someone who is highly contrarian, very critical of poetry about hackneyed overdone things like horses, and far from sporty or interested in things equine I greatly enjoyed this book, so I believe anybody will if they give it a try.

For any racehorse enthusiast, this is a must read. Lyn has put into poetry a beautiful, yet heart-wrenching story of this incredible filly. It only takes about a hour to read, but the words will stay with you for a lifetime. I saw the race "live", and I'll never forget it. Long live the memory of Ruffian!

For fans of the late, great Ruffian, this is a must read book. A sensitive, wonderful read about one of our country's great horses.

Finally this Australian children's classic is becoming available to Americans. I first read it 60 years ago and it has never lost its unusual charm. I read it to my children, enjoying together its wonderful illustrations by author-artist Norman Lindsey and its whimsical poem-songs: "It's worse than weevils, worse than warts/ Worse than corns to bear/ It's worse than having several quarts of treacle in your hair." My grandchildren are now enjoying the books (I had to order copies from Australia, and consider it wonderful that children today can more easily obtain the book). I consider it a classic of the first order--one of the greatest children's stories of all time.

Honestly, I'm no read-aloud wimp! And my kids are usually up for anything. They giggled like mad at the pompous puns of Mr. H.M. Wogglebug T.E. in the Oz books, and urged on my faux-Yorkshire accent in the Secret Garden. The century-old Australian slang and endless sea shanties of the Magic Pudding, though, just about did us in. It really is a magnificent flight of fancy, but there were just too many incomprehensible sentences to paraphrase and longggg songs to make up tunes for. Save this for when you're at your most daring and energetic, read-aloud parents!

Big tough talking penguins and talking never ending desserts, what more could you want? Ok, that, but this is a kids book, and one you should get if you have some (kids, that is, not talking penguins and puddings). There are the good guys, and there are the bad guys. Both are hungry, but the bad guys want to put out tasty pudding friend to nefarious ends, while the good guys just want enough dessert. Needless to say, the pudding is cantankerous.

The Magic Pudding is a fun-and-nonsense tale that has become my nine-year-old son's favorite book. It deserves to be published in the US so that American children can enjoy what has become a classic in Australian children's literature. If you enjoy Roald Dahl's books, "The Phantom Tollbooth," and "Alice in Wonderland" you'll enjoy this.

This book is part of the wonderful new series of republished children's books from the New York Review of Books. Over 80 years old, "The Magic Pudding" describes the adventures of a koala bear, named Bunyip Bluegum - the kind of koala who wears a high collar and spats - who falls in with a crazy cowboy sort of fellow named Bill Barnacle and a penguin named Sam Sawnoff.

Bill and Sam are possessed of a magic pudding (named Albert, if you can believe this), who regenerates every time you take a bite of him and changes into whatever flavor you like. Albert the pudding is much coveted by two evil villains who are constantly tricking our Heroes into giving up the Pudding, whereupon they must go and re-re-re-rescue it.

The characters and style are very reminiscent of "Alice in Wonderland," with Bunyip seeming a little White-rabbitish to me, and Bill and Sam sort of Mad Hatter and Dormouse-y. The effect is somewhere in between "Alice" and an old Loony Tunes in which Bugs Bunny constantly bewilders Elmer Fudd.

The whole narrative is punctuated with many whimsical song lyrics, like the poetry in Carroll's book. The lyrics make it a great read-aloud for the younger set, although older kids might be a bit puzzled by its style. However, everyone will be charmed by the Pudding himself and want one of their very own.

This book is amazing. It gives great instructions for many fun games. The instructions are brief,but fun,and give enough information to make the games easy to implement. I have used the book twice for a group of kids, ranging in age from 9-14, and they have loved the activities! I've purchased a couple other similar books that were not nearly as fun and well-put-together as this one.

I bought this book to use to teach a drama class in my homeschool co-op, and I'm so pleased with the fun games and ideas for teaching basic drama concepts. The kids are loving all the games and I think that the games and exercises really spark their creativity.

I never take the time to write reviews for books but I had to for this one! EVERY activity is great--you don't have to search through picking and choosing. I know this will be an invaluable source for me in teaching drama to both elementary and high school students. Thanks to the author for such a great resource!

I purchased this book before I started teaching creative dramatics in Recreation deprtments teaching K-8. It was wonderful. I loved it. I would reccommend it to every teacher (theatre or not) it has wonderful classroom activities.

I love how all of the different skills are addressed in separate sections of the book. There are many, many games and tasks included in each so the variety never ends. I use this book as a warm up during the first couple of drama sessions and then as a filler when I think that the kids have had enough "serious" rehearsal time and need to let loose. Pair up this book with a play or set of plays and you are set to go with any group.

This is without doubt the best of all Star Trek stories, both in film and in print. It touches on many grand philosophical, scientific, and technological themes: machine intelligence (both in Commander Data and in the Borg), space-time engineering (the first time humanity has done this, via the efforts of Zefram Cochrane), the first contact from an alien civilization (the arrival of the Vulcans), the confrontation with true history (meeting Cochrane and finding out just who the man really was), and the ethics of highly advanced civilizations (the contrast between the Borg and humanity). This book and the film will without a doubt inspire many a young reader to take up the practice of science, and thus it will do the best job of all. Science fiction has the habit of coming true sometimes, but it also has the fault of underestimating. The future of humanity, as exemplified by the Star Trek crew of the year 2367, is a grand one to contemplate, but the true future will be much better: a world populated by humans and machines striving to be the best they can be; a future that is never static, for stagnation to intelligent life is an abomination. We will do genetic engineering of humans, to be the best we can be; we will do space-time engineering, to travel beyond any immediate confines; we will create intelligent machines, to be our friends and allies. All of these things we will do, and much more. Humans and all other lifeforms, organic or not, will be very different in the time frame set in this novel. But they will be restless, ambitious, and always yearning for more understanding, for more insight, for more knowledge: these traits will characterize the beings of the 24th century...and beyond.

"And you people...you're all astronauts on some kind of...star trek?"

That line, uttered by Dr. Zephram Cochrane in both movie and novelization, has to be my all time favorite from the Trek film series. The most interesting difference between movie and book, as far I am concerned, is that despite James Cromwell's fine performance I found the film's Zephram Cochrane incredibly annoying. I never developed a shred of sympathy for him, because the background the film gave me - the Third World War and its chaotic aftermath - wasn't sufficient to make me understand him. I don't know, not having seen the script from which J.M. Dillard worked, whether she added "Zef" Cochrane's tragic battle with bipolar disorder (a disease that before the War had an effective treatment), or if it was among the elements that inevitably got cut as the film took shape. But I do know that for me, it made all the difference in being able to care about this character and root for him.

The book follows the film with little filler added except for background on Lily Sloane and Zephram Cochrane, which gives it a similar pace. They complement each other well.

As usual, J.M. Dillard does a fine job of remaining true to the source material, while still elaborating on it. The story is an excellent one, with plenty of action and plenty of interesting science-fiction concepts for the more thoughtful to consider. It gives us a bit more insight into the "future history" between the near-collapse of civilization and the beginning of the Federation that has been hinted at but rarely detailed in various episodes of Star Trek, in various generations of series.

The plot and characterization are both excellent and the writing is fluid and professional. The book is a pleasure to read.

This is, of course, the novelization of the highly successful Star Trek: The Next Generation film of the same name. First Contact refers not to first contact with the Borg, for, six years later, Picard still bears the mental scars of his assimilation in the form of Locutus, but to Earth's first contact with an alien civilization. It is a story that had yet to be told, although Captain Kirk and his crew had met the extraordinarily old Zefram Cochrane, inventor of the warp drive, in an episode of the original series; additionally, there had been hints that this pivotal event in human history took place some time after a terrible Third World War on Earth.

As the story begins, the Borg have attacked the Federation, with one of their massive cube ships making a bee-line for Earth herself. Picard and the new Enterprise-E starship defy Starfleet orders and rush to the battle, after which they follow a small Borg ship through a time portal which takes them back to 21st-century Earth. The Borg plan is to destroy the Phoenix, the spacecraft which Zefram Cochrane launches and, by way of its successful warp drive test, captures the attention of a Federation scout ship. If that pivotal event does not happen, the Federation we all know and love will never come to be. While half of the senior staff is planet-side trying to make sure the Phoenix launch happens on schedule, the rest of the crew find themselves battling a Borg infestation onboard the Enterprise herself. Data is captured, Picard is in danger of letting his hatred of the Borg overrule logic and reason, and we get to meet the Borg Queen. Personally, I've always felt that the introduction of the Borg Queen was a disservice to the greatest Star Trek villains of them all. The Borg Queen is a complete contradiction that introduced a level of individual vulnerability into a collective that was, up until this time, faceless and seemingly invulnerable.

This is an impressive novelization of the film, making it a worthwhile read to those of us who are already familiar with the onscreen story. In particular, it provides a great deal of insight into the erratic nature of Zefram Cochrane himself; in the movie, he came across as basically a drunk, but the novelization does a much better job of explaining his behavior. That alone makes this novel a natural and extremely beneficial corollary to the movie.

Star Trek First Contact by J.M. Dillard was an excellent book. it showed emotion, fear, dispair, and anger. IT was a well written book considering it was made after the movie. I encourage all Star Trek fans to read this book and watch the movie.

This is an intense, psychological drama, and a page-turner to boot! What's so great is the wonderful language, the "lofty" writing. I just loved every page, and our poor, tortured hero.

It's a fabulously written book about love instigated by pitty, which can be very dangerous. Worth reading as this kind of thing still happens every day.

...no, not the book by Dave Eggers, but this masterpiece by Stefan Zweig. I came upon this by accident, and bought it, intrigued by the story outline and the reviews below. Only very, very rarely does a book have the power to draw me into the lives of the characters, probably because they're usually just that - characters. Not so here. Here we have flesh and blood and all that entails. I'm still amazed at Zweig's story telling. He's the kind of writer who could make a shopping list fascinating. I lived and breathed every single word in this incredibly beautiful book, and, as has been said elsewhere, the tension becomes almost unendurable. I can hardly do justice to it in a few words. Weirdly, I often found myself smiling, not because it's a funny book, far from it, but just through an appreciation of Zweig's supreme mastery of his art. This is one of those books appearing only a few times in your life that wring emotion out of you whether you like it or not. A heart-breaking, unforgettable and life-enriching experience.

I'd also like to praise the translation, by Trevor and Phyllis Blewitt. At no time is there even a hint that you're reading a translation - something that occurred to me only after finishing the book. On the contrary, it seems to me that the elegance of the language and all the magnificent virtues that contribute to Zweig's humanity and genius have been faithfully rendered. The proof is in my twin disappointments; coming to the end, and learning that there are no further full-length novels by Zweig. I'll definitely be reading all his other works, though.

In the introduction to this book Joan Acocella tells Zweig's story as a writer. One of her claims is that despite his enormous popularity as biographer, essayist, writer of great novellas and stories, this novel is his masterpience. The novel is in essence the story of a feeling, of 'pity' of how it becoming the obsession and duty of the main character turns self- serving and destructive. Briefly , the book revolves around the relationship between a poor Austrian officer Hoffstein and a crippled seventeen year old daughter of a wealthy family Edith Kekesfalvas. After he has inadvertently insulted her by having asked her to dance he becomes bound into a relationship with her, in which she falls deeply in love with him without his truly reciprocating. This is how Acocella reads the protagonist's reasoning and its result after her doctor informs him that it would be disastrous for him to abandon her.

"So he descends ever deeper into hypocrisy. In the process, Zweig gives us a piercing analysis of the motives underlying pity. Gradually Hofmiller realizes how much he enjoys the courtesies paid to him for his emotional services, how it pleases him that when he arrives at the Schloss his favorite cigarettes--and also the novel (its pages already cut) that he had said in passing that he wanted to read--are laid out on the tea table. Nor is it lost on him that his own sense of strength is magnified by Edith's weakness and, above all, by his growing power over the Kekesfalvas, the fact that if he, a poor soldier, does not present himself at teatime, this great, rich household is thrown into a panic, and the chauffeur is dispatched to town to spy him out and see what he is doing in preference to waiting on Edith. Beyond the matter of power, however, Hofmiller finds that the emotion of pity is a pleasure just in itself. It exalts him, takes him to a new place. Before, as an officer, he was required only to obey orders and be a good fellow. Now he is a moral being, a soul."

This end in destruction is somehow a foreshadowing of what would happen to Zweig.Having been betrayed with the rise of the Nazis by the Europe he loves, tried to make a new home and life with his second wife in Brazil. But it does not work out and the both of them are found after having taken fatal overdoes of drugs hands intertwined.

An Austrian lieutenant becomes the victim of the strong emotions of a crippled young girl from a wealthy family, who takes his pity for love: 'the outcasts, the branded, the ugly, the withered, the despised and rejected love with a fanatical, a baleful, a black love.'

The lieutenant doesn't have the strength to cut the links with the girl and her family, partially because he is impressed by their wealth. He continues to give her hope, although he feels that 'anyone who identifies himself with the fate of another is robbed to some extent of his own freedom.'
He is warned against the poison of pity: 'if they were all to give way to their pity, the world would stand still ... You take on yourself a confounded amount of responsibility when you make a fool of another person with your pity ... for the weak, sentimental kind (of pity) is really no more than the heart's impatience to be rid of the painful emotion by the sight of another's unhappiness.'
His undecidedness creates a disaster, also for himself: 'No guilt is forgotten so long as the conscience still knows of it.'

Stefan Zweig is the master of the unexpected U-turns, the eye opening revelations, the surprising upheavals, the passionate endgames, the arousing question marks. While he used his strengths in short novels and historical evocations, he shows here that he also was capable of using them in a longer work.
His insight in the basics of human nature is outstanding: 'Have you ever heard of logic prevailing against passion?'

This story is perhaps partially influenced by Theodor Fontane's 'Irrungen, Wirrungen'.

Not to be missed.