Icons Books

The ilustrations in this book portray you to another book that perfectly capture the original paints.

I read Edgar Rice Burroughs novels as a teen and will never forget the impact of the Frazetta covers. His heros, the settings and the creatures were so wild and vivid; plus I think he definitely set my ideals of feminine beauty for life. This collection is a must for anyone who wants a good biography of F.F. along with some great reproductions of his best work.

Frazetta is great and this book is swell... however (as one other reviewer also experienced) the cover came off my book after I had it for only one week! I couldn't believe it! To credit of the publisher they did send me a replacement. I think I will buy the sequel now. Too bad it's only available in hardcover, but at least that way the cover is much less likely to fall off. As for the third book, it seems to be completely unavailable except to those who are willing to pay over a hundred dollars for it!

Words cannot describe the beauty and passion in Frazetta's work; This book is filled with amazing art, from the original sketches to the final product; Lots of personal photographs and insightful narratives help to make this a satisfying package, but the artwork alone makes this book a must have. From his early career doing comic books and movie posters, to the grand scale of his fantasy art, this is a book that is sure to excite any and all who have a shred of creativity within them. Totally inspiring book!!!

When people think of fantasy artwork, they might think first of those Conan and Edgar Rice Burroughs paperback covers, or a berserker warrior on horseback, corpses of foes beneath him and dripping weapon above him. People think of Frazetta first, whether or not they know it's him they're thinking of. He's also done recognizable work for Mad magazine, Little Annie Fanny for Playboy, posters for Peter Sellers movies, and lots more.

Frazetta has done plenty of work in ink, especially for a range of comics, but his oil paintings are best known and most heavily represented here. It's easy to see how he became the inspiration for an entire generation of fantasy artists, and probably well into a second generation, too. No one captures the rippling sinews of barbarian warriors like Frazetta does, or beasts, half-men, dungeons, jungles, and every other fantasy-scape that he's rendered. Above all, no one comes close to the lush, rounded figures of his female characters. They can be warriors and wizards in their own right, or eldritch spirits, or even savable maidens. Some, as in "Moon's Rapture" or the standing figure in "Rogue Roman", show a rich and womanly figure at rest, but somehow promising as much raw physical power as any man.

I recommend this collection to anyone passionate about illustration or fantasy art. Any one of his paintings can be an entire course of study for a budding artist. They can also be seen as powerful narratives in imagery, or as a jumping-off point for dreams of far-away worlds and heroic adventures.

-- wiredweird

This ain't your normal miniature! Yeah, it's plastic, but the coloring, texture, and detail are really great. This sits on my office shelf, so I can look at it every day. Expensive, but worth the money for me.

I bought this dragon for my daughter who loves dragons. I had bought her the Gargantuan Black dragon and we were both impressed with that one. Well, the Red Dragon is just plain awesome!! It is a fantastic piece of work that blew my daughter away when she opened it. The only negative comment I have about it is the flame (breath weapon). It was difficult to get it attached correctly, but I don't consider that enough of a problem to rate the dragon below a 5 star rating. I actually thought the dragon looked better without the flames, while my daughter liked it with the flames. It has become the centerpiece to my daughter's collection!

Ok, it's not Godzilla ;) but when you drop THIS huge brute on yer gaming table, you can just see players wilt, muhaha!
-As a "miniature" (lol, bit of misnomer there, it really is colossal), it's good. the paint job is better than on most minis, as you'd expect for the size/price.
-Alas you won't use it much, I mean, how often do your players HAVE to fight a great wyrm dragon, hm? So it's mostly there for show and fun if you use the minaitures for Roleplaying, as I do, instead of playing the "miniatures game" itself.
-Only concern is the size, as the box is about 1'x2'x2', so, I hope you've got a loving spouse or plenty of room. It's quite light though.
-The material all the WOTC minis are made form is very tough and flexible, so, unlikely to get bits broken or paint chipped.

So, all in all, great "mini", but more for the "fun" than "use" factor :)

this product is every dragon lovers dream. this minuture sature is very well madeand has good detail. i like it's size too, not too small and not to big. i don't play D&D that much, but it is a woundeful addation to my collection of dragon satures.

The first thing I can speak of this mini is its huge size. When I got it out of the box, I at first thought it was in a larger box, but no; it was in a big box because this thing lives up to its name colossal. Superb details, coloration form, this mini will not only get used in my games, but will be displayed proudly on my shelf with the others.

It comes with battle maps and stat cards, although I hardly noticed them. This item can be a bit pricey, but it is very worth it.

I've played many minis games in my life (Warhammer, 40k, LotR, etc...) and I have to say this original of H.G.Wells is still one of the best rule systems out there! It's easy to understand, easy to use, and easy to get immersed into. No dice, no ambiguosness, just straight forward fun. You can play a day long battle royale of many armys, or a quick 20 min skirmish between to friends. It's also a fun look at history as the pictures of grown men, in full suits and straw hats, laying on the grass playing from the turn of the century are priceless!

Wells is the man! Thank you Skirmisher for putting this classic into my hands. It's a great family game - not too complicated, but not inane. Great game to play after a particularly rough loss of your favorite football team - you get instant revenge on the enemy!

It is immensely appropriate that I review `Little Wars' by H. G. Wells on the day Stephen Spielberg's remake of a film version of Wells' `War of the Worlds' opens in theatres around the country. I have known of Wells' little book for at least 45 years, when I first became interested in wargames and searched out titles on the subject which, in 1960, seemed to be few and far between.

The early sixtys were the heydey of Avalon-Hill's tabletop sized board games with little cardboard counters representing everything from a single sargeant to an army corp. These games grew out of the minatures rules which would later contribute, along with the popularity of the `Lord of the Rings' novel to the creation of `Dungeons and Dragons' roleplaying games. Both Avalon-Hill styled and Dungeon and Dragons styled boardgames have been partially superceded by computerized versions of these simulations and, while I still fondly fondle my chit representing the 82nd airborne division as it participates in the Normandy invasion, I get much more satisfaction out of a good computerized version of the same campaign.

And yet, Wells' simplified minatures rules with no more than a few dozen pieces per side and firing success being determined by real live aiming, physics of ballistics, and the effect of wind deliver the same kind of charm evoked by that old Robert Lewis Stevenson poem of the young boy with his toy soldiers navigating the hills formed by his blankets lying over his outstretched legs.

I am not intimately familiar with minatures rules, but what I do know tells me that they are quite complicated with lots of tables based on the role of dice. Wells' rules are much simpler. And, he is not deeply involved in realistic landscapes which are so interesting to minatures hobbyists. Not a word is said here about cleaning and painting raw lead or tin soldiers. All our troops here are fully clothed straight out of the box. All the landscapes are created by nothing more complicated than the kind of plain wooden building blocks I so coveted when I was a kid. These are embellished with the outsides of houses painted or drawn on the plain side of wallpaper which is then folded and glued around the blocks. There is not interest with any ability to hide inside any of these houses, as this would simply slow things down and make the rules more complicated. The only other concern is that if rivers are part of the landscape that there are enough fording and bridged points to not funnel things too much into a single choke point.

The rules only deal with three kinds of troops, infantry, cavalry, and artillery. As this book was written in 1913, and Europe had largely been at peace for almost a hundred years since the defeat of Napoleon at Waterloo, it is not surprising that the strategies evolving from these three types of troops are strongly similar to Napoleonic battles. As this was the period of muskets, long range infantry fire was remarkably ineffective compared to the destruction caused by Napoleonic era artillery. To a person versed in 20th century wars, it is strange to see the lineup of forces at, for example, the Battle of Waterloo, where the guns were in front of the main lines of infantry rather than far to the rear. This was before the age of indirect artillery fire, which just began in the American Civil War and it's great mortars.

So, the only way our small forces can inflict damage at a distance is by little cannons which fire real live wooden projectiles and, a soldier is killed only if you actually succeed in knocking the little fellow down with the wooden pellet.

A similar combat simulation which existed in parallel with Wells' and other minatures' rules is the kind of wargame simulations invented by the German General Staff with the very German name of `Kriegspiel' or War Play. An expert in English Kriegspiel practice compares this professional exercize with Wells' game and finds the latter far more fun, as the Sandhurst (English Army Military Acadamy) version is weighed down with rulings from referees and the kind of tables of outcomes so familiar to modern manual wargame rules.

Remembering that this book was written in 1912-1913, it is chilling to read Wells' final assessment of the lack of proficiency of professional military men at this little game. The most chillingly Strangelovean statement is that `You have only to play at Little Wars three or four times to realize what a blundering thing Great War must be'. This was written in 1913!!!

One may be discouraged from reading this book by the prospect of reading 120 pages of game rules. This is not what this book is about. All the details of the rules are compressed into the last six pages. Everything which goes before is the stuff which is written to bring out the little boy in us all. And, the author knows nothing of politically correct gender washing, as he is firmly committed to the idea that this is an activity for little boys, and maybe girls who think like little boys.

A minor classic worthy of it's famous author.

This is really worth picking up. A great book and a good time.

I've been an avid wargamer for 15 years. I'd heard of the rules set down by Wells but hadn't gotten around to reading them. I am glad I did. It took me back to the days of playing with toy soldiers in the back yard. It was neat to see how move, fire, and cover rules came to be. Unit integrity, hand to hand...its all there in its infancy. Its funny how Wells and his sons tackled the same issues that current game designers have to face. The book is a piece of wargaming history and any self respecting Grognard should have a copy of this on their shelf. It would be fun to read and share with children as well.

This book is just awesome....one can read it over and over and it has such a simple , sweet ending that you're left satisfied and happy....

the characterization is just apt and there are not to many characters to confuse the readers... the best part is David himself...

this is a must read.. hope u all njoy

My mother told me about this book shortly after I began my studies to become a school teacher. It had been one of her favorite books and she had loved reading it to my older brother and sister when they were children. She tried to find a copy in local book stores but had no luck. My sister, upon hearing about Mama's search, got caught up in the nostalgia and located two copies of the book from the original printing in good condition and had them shipped right away. It turned out to be money very well spent.

David is a most unusually happy, contented, naive, talented and loving boy. Almost everyone tries to change him, but the only one to stay the same is 'Just David'. Not as famous as her great 'Pollyanna' but nothing more perfectly typifies this wonderful author's warm and tender work. Eleonar Porter writes characters that do not exist - but should.

When I was young my mother told me that I was named after the boy in the title of this book. My mother loved this book and wanted her only son to be like its title character, whom she admired greatly. It pleased me to be named after someone who was the subject of a book but, for some reason, I never bothered to ask my mother for details about either the book or its principal character, although she often spoke glowingly about the David for whom I was named. After my mother's death I regretted not having queried her for more details about Just David and its hero whom she so admired. When I found that Just David was available from Amazon.com I immediately ordered a copy and read it as soon as it arrived. To my pleasant surprise I found that I shared my mother's love both for the book and for its hero. I also understood for the first time why my mother had raised me as she had. I won't pretend to have all of the virtues possessed by the hero of this wonderful book, but I believe that I have more virtues than I would have if my mother hadn't used Just David's hero as a template for rearing me. I'm deeply grateful to my mother and to this special book which I recommend highly to others. I'm also grateful that in my career as a NASA scientist I had occasion to edit a book, Heterogeneous Atmospheric Chemistry, which is also available from Amazon.com. Although my mother was not alive when this book was published I like to think that she knows of its existence and is pleased by it.

As the other reviewers, I was given the book, by an aunt, back in the 60's when I was in seventh grade. She said she had been searching for a copy for me to read because she had loved it. I remember doing a book report on it for my 7th grade English class (I got an A)--and it was one book I never forgot. I thought it was out of print & had been looking for it for years at garage sales and used book stores. Now I will have a copy to pass on to my new grandson. It is a special treasure of a book!

Boris Karloff, equally comfortable immersed in literary horrors as he is portraying monsters and fiends on the big screen, collects his favorite ghostly tales of suspense and terror in one big volume of quivering chills. Enjoyable for fans of Karloff and classic tales of terror.

There should be this label on TALES OF TERROR: Warning: do not take before bedtime!

Out from the crypt and back in print. Just like Frankenstein's legendary monster you cannot keep this superb collection of frightful tales dormant for long. Now, if they could find a way to bring Boris back....

With an eye for the sinister and satanic, Karloff opens the Pandora's Box of vintage terrors to select the most enjoyable and eerie for his first collection of literary horrors. Unlike the horror stories books in the 60s and 70s with Karloff's name on the cover, this collection was actually selected and edited by him.

Karloff gives his seal of approval to this anthology of his most cherished and macabre ghost stories authored by some of the most influential authors of the genre. Lurking between the covers you will come face to face with unspeakable horrors; still as shocking as the day they were written. If you prefer haunting time-tested literary classics instead of some modern contrivance of blood and gore, you will not be displeased by the purchase of this fine book.

Received the book promptly and was received in the condition described. Thank you. V. Santana

The Art Spirit is a classic. No artist should ever be without a copy. This book invites reading time and time again. It brings us back to the principles. The value of things. Right thinking. Relationships. As a practicing artist, I can think of few books that have meant so much.

Any artist who does not have this book in his or her library is being cheated out of great insights:

"There are mighty few people who think what they think they think."

"Be willing to paint a picture that does not look like a picture."

"...pictures which do not represent intense interest cannot expect to create an intense interest."

"Effects of perspective are made or defeated by sizes of strokes or by their tonality."

And this is just the teaser.

George Bellows, Edward Hopper, Patrick Henry Bruce, Stuart Davis, Rockwell Kent, Guy DuBois, Alfred Maurer, Carl Sprinchorn and countless others studied with Henri and went on to do great work. There are too many for this to be simply coincidence. The "Art Spirit" is the closest thing we can get to the Kool-Aid that flowed in Henri's classroom. One can glean quite a bit from the pages of this book. It is both practical and inspirational. I have to say that it can be a bit frustrating not being able to see anything or ask a question, but its much better than nothing (thank you Ms. Ryerson!). Buy a copy and read it.

The Art Spirit. Now there's a bold title. The implication is not only that there is such a specifically identifiable thing as an "art spirit", but also that the author, painter, and teacher, Robert Henri knows these specifics; a bold implication indeed. The difficulty (wherein lies the boldness) whenever one attaches the word spirit -or spiritual- to anything, there are, of course, as many understandings or perceptions of that word as there are hearers and readers of that word. This may exist to no greater degree and appear no more obvious than in the world of visual arts. Henri himself acknowledges this, writing in the forward, "...the opinions are presented more as paintings are hung on a wall, to be looked at at will and to be taken for what they are worth. If they have a suggestive value and stimulate to independent thought, they will attain the object of their presentation..." And later, "There is no idea that anyone should agree with any of the comments or that anyone should follow the advice given. If they irritate to activity in quite a different direction, it will be just as well." Although he embraces this free thinking, to-each-his-own, take what you will from it approach, it is merely one of the specific personality characteristics evidenced in the Art Spirit. Henri intends to show there is an "art spirit", and it is the province of every human being.
This is the crux of the issue for Henri, his point of departure from other artist/writers, and the chief value of this book: The Art Spirit is attainable by anyone, can be exhibited by everyone.
Other works on the subject tend to be either the less specific, more nebulous notions where we are expected to buy the fancy explanations and just accept that there is something spiritual, or of the spirit, going on here, or the very specific, artist-only oriented varieties. For example, consider Mandarin's grid "composition" series and his writing about them. While his theosophically induced explanations may help some to a degree of understanding, we are essentially left to take his word for what we are supposed to be seeing in the canvas. In his "Concerning the Spiritual in Art", although Kandinsky presages Henri -discussing psycho-emotional, expressive, and contemplative states of artists out in the real world and before the canvas- he ultimately leaves it with the artist, not really taking it out of the studio and into the factory, construction site, or office cubicle as Henri does. Whereas Kandinsky seems to digress at times into a sort of "how -to" instruction guide for defining and placing spiritual elements into a picture, Henri takes it further, defining his Art Spirit, then setting about showing us how to tell when it's present. This every-man definition is offered at the very beginning of his book:
"Art when really understood is the province of every human being.
It is simply a question of doing things, anything, well. It is not an outside, extra thing.
When the artist is alive in any person, whatever his kind of work may be, he becomes an inventive, searching, daring, self-expressing creature. He becomes interesting to other people. He disturbs, upsets, enlightens, and he opens ways for a better understanding. Where those who are not artists are trying to close the book, he opens it, shows there are still more pages possible.
The world would stagnate without him, and the world would be beautiful with him; for he is interesting to himself and he is interesting to others. He does not have to be a painter or sculptor to be an artist. He can work in any medium. He simply has to find the gain in the work itself, not outside it."
Henri then spends two hundred and forty five more pages illuminating and reiterating how one is -or can be- an inventive, searching, daring, self-expressing creature; how to live life to the fullest. The Art Spirit manifests itself in the appreciation of the non-material things in life; in the "true student" who self-educates and explores feelings, meanings, who contemplates, who really sees, who learns to express "who is you"; in what comes from the external world and inside you; in the full enjoyment in the living of life; in doing a thing well ... anything.
Henri accomplishes a difficult task here; a book with specific and important information for the artist, yet within that structure filled with insight and compelling ideas for the non-artist. One is urged to make a full reading, since quite often both are mingled in the same sentence or statement. For example, a non-painter might be tempted to skip the ten-page section on brush strokes (pg. 62-72), seeing no need for it. The unfortunate reader would then miss out on many little gems of insight and information. What is a brushstroke but a purposeful committed action by an artist? So then, consider the message in these statements when you substitute the word "stroke" with "action" or even "attitude" (parenthetical insertions are mine ):
"Strokes carry a message whether you will it or not. The stroke is just like the artist (person) at the time he makes it. All the certainties, all the uncertainties, all the bigness of his spirit and all the littleness are in it."

"There are more strokes which laugh, and there are more strokes which bind laughter, which freeze the face into a set immoveable grimace."

"(There are) bad strokes which are bad because a brush (a method) or a condition of paint (situation) were chosen which could not render them."

While Henri plays to both artist and non-artist audiences, it is at these times when he addresses the artist more directly he more closely aligns himself with Kandinsky. Both men bring their great passion for the subject into their text in their strong, clear, and pleasing voice. Kandinsky, sounding alternately-yet only slightly more- poetic here, technical there; Henri with a bit more enthusiasm. They share the same territory on many issues, such as the shape, direction, and function of line, intention of every stroke, careful planning followed by exuberant expression and more. Yet, while they may travel the same road, they do not share the same vehicle. There is an important distinction in each man's approach to spirituality, or the art spirit. For Kandinsky, there is a spirit world out there, and a spiritually inspired painter can -and should- find ways to represent both that indwelling spirit and that exterior spirit world to which we are all connected. Henri says (when) we search the external world with appreciation and wonder, and we search within ourselves, and when we become more self-expressing creatures, we have the art spirit...we are the art spirit. Kandinsky believes only non-objective images can reveal the spiritual, Henri says it matters not what you paint but how you paint it-compelled by the spirit. So while Kandinsky can use the "psychic effect" (pg. 24) of color to manipulate the viewer's emotional state toward a comprehension of the spiritual, Henri says the artist's mark itself can manifest the Art Spirit. While, in both cases it takes a more or less purposeful opening up to the notion of the spirit, for Henri it is not trying to grasp the spirit and record it, it is about internalizing and building the spirit inside ourselves, and our resulting expressions will, by definition, represent the Spirit. And it is possible for all of us.
The long quote above (from pg. 5) is written exactly as printed in the fifth edition printing not only as expository text, but as a means of illustrating Henri's bright, clear and energetic voice that runs throughout this book. The subtitle for The Art Spirit reads, "notes, articles, fragments of letters and talks to students, bearing on the concept and technique of picture making, the study of art in general, and on appreciation," and that is exactly how it reads. Much of this is due to Henri's considerable gift of communication, and the balance is credited to the physical layout of the book. There are no chapters, even very few headings to sections, lending itself very well to opening to any page and beginning to read. At times, a lecture, or perhaps advice to a single student goes on for five, six, seven pages. Other times, pages are divided into two or three sections, or set up in individual sentences which concern the same subject, yet stand on their own. The resulting effect is the feeling of being in the very classroom of Professor Henri. There are also considerable instances of repetition here, albeit in subtle variations. The index, however, is usefully repetitious as well, helping to differentiate between those subtleties when one may be in need of a specific quote or reference.
The last thirty pages are exact notes taken by Margery Ryerson, a Henri student who eventually compiled the notes, fragments, etc.(in the revised edition, she is credited as Editor). This is an excellent addition to the book. Reading Henri's comments and insights in her necessarily abbreviated, note-taking style provides fresh psychological weight to the reality of Henri's classroom.
One area of disappointment concerns the photograph illustrations of Henri and his work. In the fifth edition, the plates are in black and white. Although understandable at the time of inclusion (1930), they do not allow for close comparison with Henri's ideas and techniques about painting elaborated in the text. The real disappointment is to find that the current edition available from booksellers has not updated to colorplates, but jettisoned the pictures entirely, save for the full color cover.
I recommend The Art Spirit to anyone involved in the creative process. It is a must have, particularly for those times when one may be experiencing a creative burnout, or to shake off the cobwebs. I am recommending The Art Spirit to non-artists as well -anyone who is looking for a little spark, a little positive push toward self-actualization.
For the artist, I am not recommending The Art Spirit over the Kandinsky classic; I see Henri's work as more of a continuation, or a rounding out of what Kandinsky started years before. Artists and aspiring art appreciators must read both if there is to be any hope of understanding

Loved the book and the game! Thanks Skirmisher for bringing HG Wells back to the masses!

Maybe it's not the first of the civ building type games, but it's the first rule set for those games. Played between H.G. Wells' kids, with him as moderator, this nation versus nation in combat and comerce game is still fun to play. It's very family oriented and a good way to bond with parents and kids. Since everything is physical there is no ambiguous rules to be misinterpreted, this helps belay blow ups between siblings. A fun fun game for all!

I am long-time gamer and also a great fan of H. G. Wells. When this reprint came out, I knew I just had to have it. It is really neat. Thanks to Skirmisher Publishing for making it available again!

If you haven't read H. G. Wells's "Floor Games" (and the later but better known "Little Wars") you owe it to yourself to check them out. They're funny, creative, insightful, and elegantly written--a century-old testament to Wells's genius. Kudos to Varhola and Skirmisher Publishing for rescuing these classics from obscurity.

I must admit I had not heard of "Floor Wars" prior to reading "Little Wars". The book predates "Little Wars" but is often considered a companion to the other book. It focuses more on the collecting and building of settings than actual wargaming. The books compliment each other well. "Floor Wars" sparked my imagination even more...taking me back to the little countries and armies that I used to think up in my youth. It was amusing listening to Wells go on about how good figures for certain periods and ranges were not available. I guess nothing really changes after all!

Being interested in innovation and entrepreneurship I was looking forward to reading this book, and I was not disappointed at all. It is well written, holds the attention, and paints the picture well of James Dyson's life and what it took for him to become a successful inventor, designer and businessman. It is full of very useful information and insights of what worked and the many things and actions that didn't work for him in his early business ventures. A very good role model for any inventor or entrepreneur looking to know what it takes to be successful.

His tenacity in getting the cleaner to market is a lesson for us. Many of his observation such as - Engineering is a state of mind, only by remaining as close as possible to pure function of the object that beauty can be achieved, creativity does not arise by staring at an empty board etc etc is of much food for thought. Loved it.

A good book for anyone who enjoys biographies by entrepreneurs. Not too long and not too much back patting. Some invaluable advice was shared. I came away with a good appreciation of the struggle to survive and then succeed.

I work for Dyson US and this book is something we give to every new employee. When I got my copy I read it in about 8 hours- I couldn't put it down! It's a great "story" and although he speaks mostly about the "invention" process and the obstacles he faced, you still get a great feeling for who James is as a person. I hope you enjoy it as much as I did.

I've read many books on business, having started and now running a successful business for 12 years, this book describes EXACTLY what it is like to start/run your own business. There are a host of books out there on the theoretical aspects of business, i.e. business plan, financing (blah blah), however they don't touch on the essence of this completely nerve racking, friendship killing, desperate struggle of a process. Starting a business, is not a journey it's an odyssey. Reading Dysons book takes you along for the ride. I can't say this book is for everyone, simply because so few people choose this direction to follow and succeed, but if you do, this book should be read many times. It will also give hope to the person of average intelligence, as I believe, Dyson conveys he is not a genious, he simply doesn't give up, ever.

Kevin Sheehan has simplified the great qualities of important leaders and placed them in an entertaining text. A gift which I have passed on to my dearest friends, this book is both inspirational and educational. My highest recommendation.

Poignant, powerful stories. Beautifully written with a distinctive and important design. This book's not to be missed--by you, your friends, your business colleagues. Bravo!

Within his book A Leader Becomes A Leader, Kevin Sheehan delightfully illustrates the essence of true leadership. He poignantly definies a diverse group of past and present leaders; while exploring their life events and characteristics of greatness. Encourage your friends, family and coworkers to read this motivational book!

The author does a phenomenal job of breaking the topic down into small manageable and inspiring readings; also covers a great cross-section of leaders and the characteristics that made them successful. I ordered a dozen copies as executive and motivational gifts.

J. Kevin Sheehan presents a celebration of what's possible in his biographical snapshots of great leaders. By focusing on the unique character traits of outstanding leaders the author transforms the mysteries of leadership into something very real. He answers the question "what made them great?" in an extremely concise and inspirational style. Great as a corporate gift or graduation present. My children have used it for school projects and I have found inspiration for my own business. No home or school library should be without this most valuable tool.

I just finished running the San Francisco Marathon where I also had the great privilege of meeting Bart Yasso. He was kind enough to meet with me one-on-one in our hotel and just chat about life, and then autograph my copy of his book. I admire him most for his ability to talk about those obstacles he has overcome and his tremendous accomplishments without sounding vainglorious or boastful. This book is a great example of Bart's ability to inspire anyone who will read or listen simply by sharing a piece of the Man he is. Buy this as soon as you finish reading this review. Seriously. Do it now! Thanks, Bart!

Bart's book is absolutely hilarious and inspiring. His stories are witty and humorous. I was laughing out loud at the Taco Bell story, the cross country bike story, and the bare buns run! Great read, I couldn't put it down. Bart is a legend.

This book cracked me up. Bart is inspirational, funny, and crazy. All the making's of a runner:)!

Bart Yasso's stories are funny (he is a pun master) and entertaining,while inspiring the reader to get out and run a lot of miles! I read excerpts from this book in Runner's World, bought the book, and have given copies as gifts. Everyone I know who has read it really likes it.

I really enjoyed this book a lot. I just started running again to get back into shape and his stories inspired me challenge myself more. His stories are also very funny. The story about his experience running in the nudist run made me chuckle out loud. I definately recommend this book!