Characters Books

This review is for this particular edition.

I love that the first three (and argueably best) books of the Vampire Chronicles were combined with sleek and well designed cover art. The cover was actually taken from the short-lived Broadway musical, 'Lestat', and this was made as an obvious merchandise tie in. It was nice to see, nonetheless.

It's of a much better quality than the mass market paperback versions and a better deal at $13, since each mass market edition will cost you about $7. The book itself is rather heavy (about 4 lbs), so if you have weak wrists it may be a struggle for you to hold, but text is large and easy to read, the ink does not smudge like the mass market editions do, and the pages are thin and smooth.

If you're contemplating 'plunging into the stream' (the words that the Vampire Lestat himself 'lives' by) by giving Anne Rice's Vampire Chronicles a try, than buy this particular version. I can't recommend it enough.

Anne's collection is by far and wide the best I have ever read concerning vampires. Far from your run of the mill dime story vampire stories, these books will sweep you off your feet. Blending our love for vampires with a spiritual side that is to be highly commended, I have never been so impressed with a set of novels before. Dont stop with these either! Her next book, Memnoch the Devil is a triumph as well.

I got this book with only knowing about the moive Interview with the Vampire. When I started to read the book I couln't put it down. All 3 of the books are the same way. I like The Vampire Lestat the best. In The Vampire Lestat she goes more in to the history of vampire. Then with ending that will make you want to read The Queen of the Damned right away. The Vampire Chronicles is one of the best series out there. If you havn't read it you are missing out.

to be honest i have read all of annes published works dealing with both the vampires and the mayfair witches and i believe these three books (interview, lestat, and queen of the damned)were what made me keep my interest in them for as long as i have. it is her way of story telling which ensnares the imagination in us all. to be completely honest if you are going to read these three be prepared to be spending more money in a few months to buy the rest of the set.

sort of in response to a review posted prior. without getting into much detail it is expanded more on in her other books but the gist of it is that while akasha was undoubtedly the oldest and first of all vampires they centuries of her slumber made her weaker than mekhare (i believe that is the correct spelling and if not i dont have time to fix it). it is explained out that the longer a vampire stays awake and feeding the faster and greater their powers grow to be. in any event it is a work of fiction one doesnt need to over analyze it to enjoy the book for what it is.

Anne Rice revamped the vampire-horror genre with the publication of "Interview with the Vampire," a supernational drama from the vampire's own mouth. It became an unexpected hit, and spawned a series of sequels that came to be known as the Vampire Chronicles. The first three books of the series are compiled here, and arguably remain her best.

"Interview With the Vampire" is the story of Louis, a grieving young widower and plantation owner, whose life is turned upside down when he meets the charming vampire Lestat. Lestat offers him a way out: become a vampire. Louis accepts, but once it's done, he finds that vampirism is more than he bargained for -- especially for his conscience.

"The Vampire Lestat" takes a totally different tack, showing us the world through the enigmatic, charming Lestat's eyes. After years of dormancy, Lestat wakes up in time for the early MTV years of the 1980s, becoming a rock star in the tradition of Ozzy and Black Sabbath. And like Louis, Lestat relates his long life's story -- how he became a vampire, his wanderings over the earth, and his investigations into the origins of vampirism itself...

"Queen of the Damned" builds on that research. Lestat's metal music has caused quite a bit of mayhem -- but not this much before: Akasha, Egyptian queen and mother of all vampires, has reawoken from her comalike sleep. The lesser vampires are having strange dreams, some are being murdered by the ruthless queen. Apparently she wants to kill virtually all men. What is more, Akasha has taken a shine to the roguish Lestat himself...

Vampiric autobiography is a given in Anne Rice's bibliography -- she has plenty of bloodsuckers telling us about their lives. But Lestat and Louis's were not just the first ones, but perhaps the most compelling and rich, especially since the two had such radically different viewpoints -- including of one another. Is Lestat a heartless fiend, or a roguish good-craving bad boy? I'd lean towards the latter, to be honest.

The first two books are quite personal -- one is Louis recounting his own miserable life and un-life. Then we get Lestat, a radically different viewpoint, a guy who enjoys his un-life even more than his mortal existance. Finally, there's an epic view of all vampires, throughout history, from the ancient Egyptian queen to the modern biker vamps.

Despite the more controversial recent novels, Anne Rice's first Vampire Chronicles are often reckoned to be modern horror classics. Rich, intriguing and far deeper than you'd think vampire fiction would be.

Happy to report that (from my perspective) the previous enthusiastic Amazon reviews of "White Corridor," which led me to buy the book, were right on the money. So thanks to those eight and let me add my own applause for this book which is throughly inventive, original and engaging from the first page. Author Fowler has a real knack for the slow revealing of clues that ultimately solve/resolve the several mysteries at work in this book. Also of real interest to me were the wonderful character sketches provided in the book. There are a lot of players here and even the secondary participants are well described and presented for the reader.
This was altogether a great find and encourages me to try other books in the series.

WHITE CORRIDOR represents an advance on the formula of previous Bryant and May books and doesn't depend so directly on their Alistair Sim like charms and the mere fact of their being so old and stubborn. Instead author Christopher Fowler bifurcates the space of the novel into four "white corridors," each with its own puzzle. Two of these dominate most of the detective work. In one, we follow the story of Madeline Gilby, a grocery checkout girl and single mother of a restless young son Ryan. Madeline flees an abusive husband and tries to find life again in the south of France, along the Riviera, in the off season. In the warmth of the sun, Madeline comes back to life and responds to the amorous advances of Johann, sort of a Karl-Boehm-in-Peeping-Tom kind of stud who murdered his mother way back when after enduring a childhood of torment and abuse. Uh-oh, not the perfect guy for Madeline, who has incidentally tried developing her psychic powers to weaken men under the guidance of London's notorious chiseler Kate Summerton.

In the second storyline Bryant and May decide to leave the Unit for a holiday in which they plan to attend a psychics convention in the wilds of England, but the worst snowstorm ever to hit a detective story strands them on a lonely stretch of highway in conditions too perilous to proceed further in. The delicious warmth and sun of the Riviera in the first section here gives way to bonechilling cold and a creeping terror as a madman is apparently stalking the snowbound cars one by one and committing terrible murders whenever his fancy calls him. Will Bryant and May be next?

In the third plot, back home at the PCU, crotchety forensic nut Oswald Finch is found horridly murdered inside his own morgue, and all the doors locked from within. Without their two chiefs, the pressure drops on the younger members of the unit, charged with clearing up the case before the visit of a minor royal princess and a judgmental entourage out to dismantle the archaic PCU. This threat to the PCU doesn't have as much built in suspense as Fowler must think it does, for really, who cares, but in all other respects WHITE CORRIDOR is an immense improvement over last year's TEN SECOND STAIRCASE, with interesting characters, a rollicking Steve Coogan like humor, the most picturesque writing this side of William Trevor, and a genuinely new locked room problem.

I wound up giving Christopher Fowler a lathering last year when STAIRCASE, his "Highwayman" novel, failed to meet my impossibly high standards. Mr. Fowler wrote me a forgiving note that touched me, and now I regret having written from my high horse. I asked him if he were a Buddhist, since in my limited experience who else would have gotten up so amiably after having his arse kicked to the curb, but Fowler replied that he wasn't a Buddhist, only an Englishman LOL.

As with all the Bryant and May mysteries, I have to say that I mostly enjoyed it. In fact, I think I enjoyed White Corridor more than some of the previous volumes in the series. For one thing, the solutions to both cases seemed to be more logical, less beyond the realm of believability.

But something disturbed me...

*** SPOILER WARNING!! Stop reading if you haven't finished the book!! ***

What happens to Ryan?! I was dreadfully concerned about that poor little boy, and at the end, it seemed he was abandoned by both the characters and the author. I'm assuming they didn't leave him out in the cold, alone, but you'd never know it from the rest of the book.

First Sentence: NOTICE: THE PECULIAR CRIMES UNIT WILL BE SHUT FOR ONE WEEK COMMENCING MONDAY 19th FEBRUARY

While the Met's Peculiar Crimes Unit is closed down for repairs, Detectives Arthur Bryant and John May had off for an international convention of psychics. Caught in a blizzard and stuck in their van, they are tasked with solving two crimes. Back at the office, the retiring pathologist is found dead within his locked autopsy room. A woman, who escaped her abusive husband with her young son, now finds herself on the run from a man who admitted killing his mother.

One of the things I love about this series is the creativeness of the plots, and there are so many elements I enjoyed in this book. First, I love the characters; the quirkiness of Bryant and the protectiveness of May. The sense of place was excellent; you felt them stuck in that blizzard and dreaded every time they had to get out of their van and into the cold. I appreciated their helping their colleagues solve the case back at headquarters and the approach that they wouldn't always be there to solve the cases. Fowler took what could have been a cliché story line of the woman running from a stalker and gave us something new with it. I am a definite fan and end each book eagerly awaiting the next.

If Ken Bruen's east London crime novels featuring the brutal and boorish Inspector Brant are literature as rugby, then Christopher Fowler's mysteries of the aging Brant and May detective duo are symphonies. Both entertaining, but Bruen is jarring and violent where Fowler is refined, cultured, and subtle. Fowler writes the classic British mystery: dryly humorous, understated, unadorned, and intelligent. In this outing, inspectors Arthur Brant and John May, the irascible and unorthodox heads of London's Peculiar Crimes Division, find themselves stranded in a freak blizzard on the moors of southern England, leaving Sergeant Janice Longbright in charge to solve the ultimate "murder in the inside-locked room" mystery of the team's chief forensic scientist. Meanwhile, a serial killer is on the loose in the snowdrifts, keeping our discerning duo occupied between cell phone-assist calls to Longbright and her short-handed crew. But despite facing simultaneous murder investigations and answering some nagging questions about the apparent drug overdose death of a young woman whose body occupies the morgue, the real terror facing the PCU team is the looming stationhouse tour of an insufferable princess and PCU nemesis Oskar Kasavian, the London PD bureaucrat bent on shutting the renegade crime-solving unit down.

Rich in allegory and clever forensics, contemporary crime fiction's most eccentric inspectors plough through deliciously convoluted threads of seemingly unrelated mysteries, taking a few keenly twisted turns before arriving at a clever and, at least for me, a totally unexpected climax. Brilliant character development and sharp, witty, dialogue add up for one of the year's most engaging and enjoyable crime novels. If you haven't met Brant and May yet, this is as good a place as any to start - and chances are you'll not remain a stranger.

When my daughter took this out of the library I wasn't too sure. But its so funny. I love the story line. Full of humor and just so full of surprizes.

My 5 yr. old daughter loves reading this book. Puts a fun spin on classic tales and characters most children are already familiar with and the illustrations are great.

This is one of the most fun books you'll find to read to (or with) your children. My 3-year-old daughter loves it! Who's Afraid of the Big Bad Book is totally engrossing. It is probably the closest thing to "full-contact-reading", because the reader must open "hidden" pages to find a royal party, must help the main character escape through a hole in the page, and must flip the book upside down and back up again to read certain parts. Besides being entertaining, there's a great message in the book that every librarian (or bibliophile) would love... Have some fun with this one!

Who's Afraid of the Big Bad Book is just excellent. It is a twisted look at fairy tales and a very imaginative perspective on books for a child. My daughter and I just found this book recently and she fell in love. We are on our third straight week reading it every day. The idea that someone can literally fall into a book and interact with the characters is wonderful. Lauren Child's writing and her illustrations are absolutely fantasic.

I have always been a fan of Lauren Child's "Charlie and Lola" series, so I was very excited to come across this book at the library. It does not disappoint! I am a preschool teacher and mother to three children under the age of 5. I read a LOT of childrens books, both at school and to my own children. I must say this is one of the most delightful stories I have read in a long time. My 4 year old daughter also got a huge kick out of it, although she insisted the main character Herb was actually Charlie as a young boy, haha. Although I mainly check out books from the library, this is one that I will most certainly purchase for my childrens' permanent collection.

I used this book for a recent Special Needs training I facilitated at South Carolina University in Sumter, SC. The Preschool teachers loved it because it got over and sealed the point I was trying to make. "Don't change the child, change the environment in which the child is in." It gave them a more open mind of how to adapt their classrooms for the children in which they serve.

We have had this book for years and I just purchased it for my daughter's Kindergarten classroom, it is such a fun book, I love the illustrations and it is one that I can read again and again and still enjoy it.

The book was received in good condition and in a timely manner. I would recommend this site to others.

We simply adore Winnie the Witch at our house... by we I mean me (38), my husband (44), and our 2 and a half year old daughter. The humor appeals to every age, as do the fantastic illustrations. I recently ordered the three story collection and was not disappointed. Take a chance on Winnie.

This is, I think very much more for a child from 2-4 than anything else. The language is simple as are the concepts. It is very good humoured and beautifully illustrated. This is a book my 2 and 4 year old love to look at.

There are quite complicated illustrations of Winnies house which is a large castle - it is all in black. The problem is that Winnie's cat is also black, she can see the cat when its eyes are open, but when they are closed she keeps tripping over it - so she changes the colour of the cat.

It is a simple story, just a couple of plot elements, a little bit of problem solving and a happy ending (as you would expect) It is a nice book for discussing how to solve problems with children - (for instance what would you do if you kept tripping over the cat? what colour would you like best here? and so on) Its a nice book for opening up dialogue, and also for leading into art and creativity.

It is also a nice book just to read - and it is a favourite with my two at bed time right now. I think the cat is the most appealing thing in it, which is well drawn and a bit leggy, the illustrations remind a lot of Ronald Searle/Quentin Blake style.

I see there are more books in this series and I am keen to get hold of them for the girls before they grow out of them

Outstanding book. Great mystery and plot. The cemetary is so detailed that it is like you are standing there. The same way with dinner, you can almost smell the home cooking. Fever is a interesting charactor. Depoy has a great since of humor in the aftermath of chaos. The ongoing changes in the story line keeps if from being a boring "who done it" book.
Would highly recommend to mystery readers.

For the fourth Fever Devilin mystery, THE WITCH'S GRAVE Phillip DePoy takes from the national news a true incident and weaves a complex tale of secrets, hidden passions and hatred of the different.
Fear rides the road as Fever and his friend Dr. Winston Andrews are asked by Sheriff Skid Needle to help unravel the clues and blind allies in Blue Mountain when a local mortician is murdered and the local witch Truevine Deveroe cannot be found. She and her friend, Abel are suspects until the real killer is discovered amid the ruins of a cemetery/sanctuary.
Nash Black, author of TRAVELERS and SINS OF THE FATHERS.

This was a fun read and I admit to enjoying it cover to cover. I love folk lore, food and the region in which the story took place. The author's character developement was good, the story moved well and was not only entertaining, but informative. There was obviously much research that went into this one and it shows. The story did have some twists and turns but not the sort that were so unrealistic that it made the story bad (like so many books of this genre suffer from). Note to author: I have to say that the character of Andrews was one of the most annoying characters I have ever encountered in fiction. That being said, the character of Andrews did work as I suspect that is how and why you developed him. Had he, Andrews, be a guest at my house, he would have been packed on the first flight to Atlanta after the first evening. All in all, I enjoyed this one and do recommend it.

a mystery and learning about folk lore all in one book. so interesting. a must read for people who love old cemeteries and the stories they tell.

Fever Devilin, a folklorist, has returned to his home deep in Appalachia Georgia. Truevine Deveroe, a local girl considered to be a witch, goes missing; the mortician Harding Pinhurst, one of Fever's least favorite people, turns up murdered and Truvine's fiancé, Able Carter, is the suspect. Fever, his friend, houseguest and Shakespeare scholar, Dr. Winton Andrews, and childhood friend Deputy Sheriff Skidmore Needle, need to find Truevine and Able, and Harding' killer.

It's hard to resist a protagonist who is in his 30's, is almost 7 feet tall, has snow-white hair and sees ghosts. Or a story that's filled with music, folklore, literary quotes, southern food, humor, unique characters, an excellent sense of place, suspense and twists along the way. My recommendation is, don't try. Sit back and enjoy the world of Fever Devlin. I certainly did.

Work can be exceptionally frustrating; heavy workload, changing priorities and responsibilities, demanding customers, fickle bosses, co-workers that don't do their fair share of the work, not to mention the constant fear of getting laid off. Ms. Hubbard's book gives the reader a different way of looking at things. You are empowered to be a hero (instead of a victim) and make a difference despite the difficulties. You learn to see the difficulties "as an exercise for the hero". This way of looking at things will most likely make you a more effective employee and happier person.

Take this book on your next vacation or retreat, read it and mark the parts that speak to you. You'll return home refreshed, with a new sense of purpose. And if you have a major life decision to make, don't do anything until you have read this book. It is first aid for the soul.

"Work as a Heroic Journey: Using the Workplace to Evolve Your Character and Consciousness " presents a fresh and unique view of today's workplace. Dr. Hubbard has researched subject thoroughly and brings together many points of view in an easy to understand writing style.

This is a must read for those of use that are curious about our own heroic journey. The final chapters guides the reader through an evaluation their work place and where they are in their own heroic journey.

Marion Moss Hubbard has created a valuable framework
in which change, confusion, frustration and success can all be viewed as a cycle of growth within an organization.
A very helpful tool for both individuals and organizations!

Americans spend much of their waking time at work and yet rarely consider the opportunities for personal growth that work presents. Dr. Hubbard suggests that we see work as an avenue for character development by acting as the hero, rather than the victim, of our work circumstances. Drawing from mythology as well as her personal experience as a trainer, consultant, supervisor, and employee, Dr. Hubbard guides the reader through the ten stages of the heroic workplace journey. This book is concise and readable and contains questions and exercises that help bring the message alive for readers. Work as a Heroic Journey contains valuable lessons for anyone on the spiritual path.

Caroline Graham is a wonderful author and makes the English countryside come to life. Or death as it is for someone in all her books. She's a great read!

I love the books by Caroline Graham. I like all the books on which the Midsomer Murder series are based.

I am a big fan of Caroline Graham, and I love her characters - Barnaby and Troy. This book has a pretty good puzzle. Some of the characters were quite well drawn, but I found the book faintly depressing. I wonder if the whole side bar with Brian was really necessary to the story? I found that part of the book quite distasteful actually. There comes a time when storylines like that one can be thought of as sensationalizing since they do not really add to the story. But other than that I enjoyed this book. The dust jacket says that Caroline Graham shows humour and pathos in her stories, and I think that is really true. Barnaby is a really appealing main character, and I want to continue to read in order to get to know him better.

Caroline Graham has never let me down. I'd put this book right up alongside "The Killings at Badgers Drift" as the best of a brilliant series. A reviewer thinks the loathsome Brian got too much print, but I loved every word of it. I've known men like him and I just knew he was going to get his in the end, and what a beautiful ending it is. It's hard to recommend one Graham mystery over another but don't miss this one.

I have loved Caroline Graham's books for some time now and I think this is her best. The characters are expertly drawn; Graham has a way of making you feel as if you are in amongst them and yet watching from a safe distance. The roller coaster ending was a complete surprise to me and I highly recommend this book to mystery readers.

Carrington is a genius in making and then teaching us to make, really ALIVE dollhouse dolls full of character. His instructions on those faces are incredible and you'll find yourself looking in the mirror checking out your own cheekbones, or frown marks, or whether or not your nose is straight. With this book, you can make dollhouse dolls with real personalities, from sweet young things to floozies, from old farmers to babies. Excellent book. Highly recommended.

Very funny and wonderfully written. I would recommend this book to people who do any thing in art or sculpting. Mr. Carrington, makes you look at people in a new light. And you learn a lot at getting the "perfect character" face for your small people. The only thing I could have wished for in this book, was a few more real pictures of the model in progress. Other than that, I couldn't have asked for a better book.

I have tried to get into Jamie's classes on a couple of occasions only to have them fill up before I could sign up...I was thrilled when he came out with this book. I also just purchased his videos to accompany the book. He has updated some of his techniques--but not drastically. You will not be disappointed in anything you learn from this book.

A clear, beautifully illustrated-(both photos and drawings) how-to-book on the fascinating subject of making character figures to people your doll-house,diorama,room setting,etc..Extremely well written by the charmingly wry and witty(as only the English can be) James Carrington

1/12 Scale Character Figures for the Dolls' House
by James Carrington exceeded my expectations. It has everything! I'm inspired to try Carrington's methods.
The illustrations are great and the photos are beautiful. I recommend this book to anyone interested in making their oun art dolls, or even those who are just curious as to how these beautiful dolls are created.

I love adrien mole and all of sue townsends books. The worst thing happened to me last year. My little sis kept going on at me about how she needed a complete verson of the adrien mole booksand after a long hard time of thinking I made the biggest mistake of my life . I had every book of adrien mole. (except the wilderness years) My sis came back to me 2 days later and said she had lost it . I have really wanted to get my book back but it doesn't seemed to have been returned to me. I can't seem to get Adrien mole minor to major any where. I am askin my mum to buy me the other books off the web. If any 1 knows where to get Adrien mole minor to major please e-mail me. Thanx!!!!!!!

This book is not only humourous but moving. It is a geniune comment on the society of the time in my opinion. It covers practically anything you're going to come across in life. Just brilliant!

This is the first book I read from cover to cver without being forced to by some teacher or other adult... interestingly enough I got it a week ago at Indigo (this may be a canadian chain... but I pretty sure they own Chapters so I'd assume they'd have it as well)anyway... this intrigues me that no one has been able to find it...

I was 13 when my mom first handed me this book, and as there was virtually no new reading material on the base I was living on in Japan, and I being the book-o-holic I am, I read it in one day. I love Adrian and and his diary entries! It's four years later, and I still read my battered copy whenever I need to be cheered up--like before the SATs or when I just need to laugh--everyone should own this book. :)

This is actually the diary of Adrian Mole, an awkward teenager, who lived the life of a normal teenager. He had a crush on a pretty girl, hated his dog sometimes, had parents who squabble now and then... The diary was written from the view of Adrian Mole. You could see that the writing style change as he grew and matured. I really admired how Sue Townsend can see things from the view of a young boy and a young man. Nice work! Pretty funny too!

If you love Lt.Ellen Ripley and actress Sigourney Weaver? - you must read this book!

In the span of the twenty-five years since the release of the first Alien film in 1979, much has changes in the American culture and society and the film industry. It would be easy to write a relatively standard work analyzing the four films in the series that include Lt. Ellen Ripley (Sigourney Weaver). Other than those interested scholars and, perhaps, fans engrossed with those films, such a book would be rather dull. But Gallardo C. and Smith have produced a far different, far more unexpected and powerful work. This is done through an elegant and insightful organization of the work. Each of the four major chapters deals with one of the four films (Alien, Aliens, Alien3, Alien: Resurrection). Nicely written personal forward, introduction and a conclusion surround these, but it is these four chapters that are the meat of the text.
At first glance a potential reader may imagine that these four chapters have little to do with each other, as each deals with a different film. What is so wonderful about this organization is that Gallardo C. and Smith are able to actually accomplish two things with their text. The first is a surprisingly well researched and detailed close-reading of each of the films. But the second, which would likely not be possible in any other format, is a tracing of those cultural shifts of the last twenty-five years. When the first film was released in 1979 the United States was on a cusp both culturally and politically. Second Wave feminism was reaching a crest of cultural importance, the rise of the Republican Right was beginning to be noticed, and one small decision to change a protagonist from male to female was surprising in many ways. This was a female hero that did not scream and run to her protecting male. Gallardo C. and Smith do not pull punches, though, and while they praise Alan Ladd Jr. (then the head of 20th Century Fox) for casually suggesting the change, they also point out that he gathered together secretaries from the Fox offices to view Sigourney Weaver's screen test because in the late 1970s there simply were not female executives in the film industry.
With the emergence of the Reagan-era, the defeat of the E.R.A. (Equal Rights Amendment) film in the United States changed as well. The new heroes of film in the 1980s became muscled "hard men" and Gallardo C. and Smith spend much time discussing the changes made to the character of Ripley by James Cameron as a reaction to this change. The two most general critical replies made about these first two Alien films has been that the first suggested a new type of female hero, while the second was one of two things (or perhaps a bit of both): Either it is a film about reifying the nuclear unit (in the form of Ripley as mother, Newt, a young girl as daughter, and Hicks, a marine, as father), or it is a metaphorical Vietnam film.
Gallardo C. and Smith have it both ways, emphasizing the polyphony of the texts, and the fact that multiple readings are not necessarily false readings. They become more critical of the final two films featuring Lt. Riply, but in a carefully respectful way. Blamed for the lackluster reception of the third film are mostly studio problems that led the film to essentially be the "merged" versions of two competing scripts within the studio - and that with far too little "development" time. Of the fourth they note that the film undermines much of what came before it because of the underlying ironic and postmodern nature of Alien: Resurrection.
Gallardo C. and Smith claim early that they do not intend to write a "theory book" for such a book is beyond the scope of what they intend. Any while they have not, in another way they have written a "theory book" of a certain time. The organization of their volume is such that the intellectual history (the changes in theoretical perspectives from 1979 and after) can quite easily be fished from their text. The transition from Second Wave to post-feminism (or Third Wave, or whatever term you prefer) is there. The transition of the Modernist heroes of the 1970s to the muscle-bound Sylvester and Arnold-like character of the Reagan-era (which were ironic, but few seemed to notice) to the postmodern pastiche and irony are all just under the surface, waiting to be considered.
That "just beneath the surface" level allows Alien Woman to work very nicely as both a film studies work on its topic, and as, literally, an intellectual history of one of the more profound times for change in the academy in some time. The character of Ripley has always been on that embodied a certain amount of "sex trouble," but by placing the films in their own times, Gallardo C. and Smith manage to analyze with being over critical. This isn't the type of criticism too often found in the academy, the kind I like to call "claiming Napoleon was a bad general because he never called for air support." This is the kind of critical examination that allows theoretical perspectives to exist, but doesn't think an analysis of Ulysses should spend fifty pages discussing Foucault and five with the actual text. So, when the authors make their claim that this is not a "theory book" what they seem to really mean is, "we are theoretically informed, but are dealing with our texts, not polysyllabic jargon. And it is all the better for it (this from someone who likes theory, too!).
Gallardo C. and Smith have produced a work that is developed, complex, insightful, and still maintains a readability that was so accomplished I almost felt jealous. It is a suitable for collections at colleges and universities with film programs, film studies programs, English programs that emphasize cultural studies, American studies programs, and popular culture programs. I would recommend it for upper level undergraduates, scholars of culture, feminism or speculative fiction in all its form.
I just published my first book (do not worry, I wont name drop it here!) and upon publication I approached the large dry eraser board in my office and wrote down all the possible "next book" projects I could think of and, among these was a book on the Alien films. It turns out that Ximena Gallardo C. and C. Jason Smith have already written it, and I'm scholar enough to know the did a better job than I would have. Alien Woman has my highest recommendation.

About a two weeks ago, my husband bought this book, and we have been notified that it will be on its way soon. I'm saying this because for some reason Amazon delayed the delivery, and if it happens to you, it's worth the wait. I know it's worth it because I borrowed a colleague's copy.

But to the review: Having watched the first three movies only once when they were released in theaters, I found that ALIEN WOMAN helped me remember many, many scenes I had forgotten. I believe that this is one of the book's strengths: the authors deal with the movies in their entirety, as opposed to dealing just with selected scenes that "prove" their points and ignoring the rest.

Another strength is how easy and fun this book is to read! No cumbersome quotes, no "academese" to muddle through-a book as entertaining as the movies, and even more exciting sometimes. Where else will you find an academic text that describes Ripley's spacing of the Alien Queen as "bitch-slapping the Alien into space"?

ALIEN WOMAN does have an agenda. It centers on Ripley more than the monster, and it does reveal how hard it is for actresses to find a role different from "babe," "mom," and "old lady" (and I'm old enough to remember what few roles women had before ALIEN was released). It is the book's contention that Ripley manages to escape this mold, and so, that she's a somewhat unique female hero in sci-fi cinema-and more than just a dragon slayer.

All in all, ALIEN WOMAN was good enough to make me want a copy of my own, and to make me rent ALIEN RESURRECTION, which appeared to be too violent and silly in the ads for me to care about watching it before I read this book.

Alien Woman is one of those books that works to find the proper context for an aesthetic product. Gallardo and Smith read the Alien films in the context of gender theory and feminism (and the way gender theory and feminism fit into the very different cultural moments of the films: 1979, 1986, 1992, 1998). For them, the films unevenly chart such themes as the primacy of the body, the breakdown of the rationalist-humanist white male subject, the fear of woman and the feminine, the identification of the monstrous and horrific with the feminine and with sexuality, and the emergence of philosophical post-humanism as an alternative to Renaissance humanism. Though they do not put it in these terms they essentially track the consequences of a Hegelian-style equation: the split "Man vs. Alien" is merely the reflection of a split within category "Man (human)" itself, "Man vs. Woman." In other words, the fight between Man and Alien is really the gender trouble within humanity itself.

The authors have an admirable sense of focus: outside of an introduction and an afterword, the book devotes one chapter to each film analysis: no novel or comic book spin-offs, no video games, no parodies, no fan-fiction. Gallardo and Smith know these films backwards, forwards and sideways. Heavy theory is relegated to the footnotes (making the whole thing easy to read), but their knowledge of Freud, Jung, Foucault, and Butler shows in the pages. And for several years Gallardo and Smith have chaired the science fiction section of one of the largest academic popular culture conferences in the world: Alien Woman is particularly strengthened by their almost encyclopedic knowledge of science fiction movies good and bad; the reader benefits from their sitting through these often awful films (Ice Pirates, anyone?), and connecting them to the Alien series. The book also hits every substantial piece of Alien criticism: future scholars will start reading about the films here, and then follow the bibliography.

Gallardo & Smith have written a work that *will be* one of *the* most important books ever for scholars AND fans of the Aliens series of films. This serious and thought-provoking, clearly-written work is immanently readable at the same time as it is insightful and rigorously scholarly. It will promote greater academic understanding of science-fiction and feminism (together and as discrete studies) and those who read it will want to own it, reference it, and read it for sheer pleasure again and again.

The study examines the entire story arc of four movies that made us gasp and wonder, and made us re-examine science fiction not only as more than just "bug eyed monsters against the good GUYS" but also as reflections of the historical era from which each film arose. This seriously well-researched and well documented work traces the history of the movie's compelling images, (for example, giving us "ah ha" moments about the inspiration for the films' artwork, facts that I know I never knew about the reason for the Aliens' form). It gives us intricate close-readings of each film, examining scene after scene with insight and depth, and helps us understand the metaphors of Corporate space and humanity in a post-human era.

One of my favorite parts is the close-reading of Ripley's suicidal leap in Aliens 3, and I had to gloat as Gallardo & Smith reveal the background meanings and imagery of her strongly compelling act of grasping the newborn alien bursting from her chest. I was delighted when I realized that my own feelings watching the film for the first time were right (I knew it!) and had that comfortable feeling you get when having a great conversation with people who share your passion for interesting works of cultural significance.

Never a "publish or perish," jargon-laden ivory-tower read, this work is compelling and fun, at the same time that it contributes important scholarship to a pivotal science fiction franchise and science fiction studies in general. If you are a fan of the series, but not an academic, you will still love this book, and learn something new and worthwhile about your favorite sci-fi. If you are an academic looking for rigorous critical interpretation, you will also find what you are looking for.

A must read for fans, scholars, and anyone interested in the "post-human" subject and Ripley's compelling character. Plus, a heck of a lot of fun and hard to put down.