California Books

Golden Gate Park, partly due to its frost-free situation, has plants not generally found elsewhere in northern California. This book is an excellent guide. All the species are illustrated (although a few of the line drawings are a bit too stylized for my taste), thoroughly described, and locations of specimens in the park are also given. For anyone interested in plants and who visits the Park, I highly recommend it.

Great book. The maps are great, and if you love trees in SF this is the book to help you explore and enjoy Golden Gate Park.

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Trees Of Golden Gate Park And San Francisco is a 'must' bible of detail for any San Francisco resident or enthusiast who wants to know more about the city's urban forest and landscape. Chapters are packed with details ranging from early San Francisco landscape history to the evolution of its parks. The presentation is based on the writings of botanist Elizabeth McClintock, and presents the stories of almost two hundred different trees located in Golden Gate Park. No color photos, but the depth of text and detail doesn't need them; the b/w line drawings are enough.

...that there should be people in my community as to write such a book. Starting with the park's planning phases (did you know that Mr. Central Park himself, Frederick Law Olmstead, recommended putting the park along what is now the Van Ness corridor!), the book quickly progresses to encyclopedic coverage of the trees of the park... Sections from this book are destined to become long and enjoyable walks for us in the near future! Unlike many field guides, very fitting for pleasure reading.

The Ultimate INSIDERS City Guide to Pasadena is so handy I keep it in my car! If I'm looking for parking, restaurants, or services, I pull out the Guide and find them in a flash.

I love this book! As a recent transplant to Pasadena, this has become an indespensible resource for finding everything from a late-night dry cleaner to the best coffee shops to where to tune your radio station to NPR. The maps are very user-friendly and make finding your way around town a snap! I keep one in my car at all times. I wish every town had such a practical guide. Now whenever I have a question, "I just ask Martha." It's almost as good as having her in the passenger seat. Thank you Martha! This book is a life-saver.

This book is extremly helpful getting around and finding the places I need when visiting Pasadena. It is a must buy for people moving to the area or just visiting on vacation.

On a recent trip to Pasadena, I used this book every day to find places and services I needed, including grocery stores, movie theatres, restaurants, shipping centers and the airport bus. It had everything I needed, and the information was thorough and accurate. Author knows Pasadena and thought of everything!

So, you know the Blue State/ Red State version of what it means to be American no longer makes sense, and probably never has, and probably never will. You know either/or; black/white went out of fashion with the Inquisition. You have some sense of America that's far more complex, colorful and incomprehensable than you can ever hope to get your head around. And you like it that way. And you suspect somehow that others like it that way too. Prefer it actually than some washed out, toned down diluted version of what we're told America is like. But this is all just a gut sense, an intuition, an instinctual awareness of the future that half frightens and half thrills you. But you have not yet found the words to talk about it, have no images to point to. Well, then buy this book. Buy it because it will shatter your narrow view of America. Buy it because the words give you a way to articulate what this country is becoming. Buy it because now you have images to point to and can say: Is that not wacky? Is that not wonderful? Is that not the kind of country we wish to live in? Where mental boxes are banished. Where differences are celebrated. Where cultures, religions, beliefs clash in a wonderful cacophony of cultural dissonance and soul resonance. Buy it because you feel more human, less jaded when you're done reading it.

If you reach for a book because you want it to take you into a new world, excite you, surprise you, dazzle you, startle you, then get your hands on "Under the Dragon: California's New Culture," by Lonny Shavelson and Fred Setterberg. Like me, you will want this book not to end, for the richness each page offers. With some 80 stunning photographs reflecting "the American experiment" documented in seven major stories, you can appreciate as never before the complex range of multiculture expressed by this book. You will want to reread and savor stories that you could hardly imagine to be true, yet they are, and they enrich the world around us in the San Francisco Bay Area.

UNDER THE DRAGON: CALIFORNIA'S NEW CULTURE comes from a photographer who captures images of the changing ethnic and social makeup of California's Asian community, presenting a blend of color photos and essays surveying diversity and the changing ethnic makeup of California. From work and school life to celebrations, UNDER THE DRAGON should be required reading for any interested in contemporary California ethnic cultures - and for any California library.

Diane C. Donovan
California Bookwatch

Many of us like to think that we fully subscribe to the "American dream" notion of accepting any and all to our shores, seeking whatever it is that they hope to find here. But deep down, many also feel that we are in danger of losing some of the "old traditional values that made this country what it is." When I opened "Under the Dragon" I expected nothing more than a picture book that would coddle us into feeling comfortable about the many strange cultures that have flooded the country. Well, let me say this book is just the opposite. It may superficially glorify exotic culture, but its outstanding photographs with accompanying text bring home forcefully the idea that it is this very diversity that will keep the American tradition going. With all its warts, this country is still unique in the world, and instead of ending up as a warzone of battling ethnic groups, it will merge into one of the most dynamic and culturally interesting countries the world will ever see, with California leading the way.

this book is filled with information from yesterday ,and is still valued in todays Baja travels.If you can find this book ,I treasure mine as a must for my Baja library.Ray Cannon was a great writer, and a true Baja explorer

This magnificent book covers the life of Ray Cannon,who wrote The Sea of Cortez. It is a facinating and well organized assemblege of the man's colorful life. It took me to a simpler time and a place on earth that was unspoiled. A wonderful book.

The California Outdoor Writers Association awarded the title "best book of the year." It's easy to see why. Kira pays homage to Ray Cannon, who wrote the bestseller The Sea of Cortez which documented the "Golden Age" for Baja. No one could have written a better tribute than Kira, a Baja afficionado whose enthusiasm and affection for the peninsula can be detected on every page. Rare photos and drawings complement the text. This is a beautiful book!

Wonderful photos and you hold in your hand a book that can transport you, via his own words, into the inner circle of an astounding man, Ray Cannon, and the glamorous and mysterious friends he drew around him. He left Hollywood and the big-city life of the movies, where he had money and power, to take up the life of a country fisherman and a writer of essays. But he was never a country fisherman. He was an institution, living the romantic life in a wild, untamed place, among beautiful scenes and unforgettable people who did outrageous things. Great book. Wonderful company. A trip you can take over and over again.

John M. Daniel's VANITY FIRE tells of a publishing firm which burns to the ground, leaving a body and a total loss. For Guy, it's the end of a career and a lover - and possibly the beginning of a new career and encounters with two strippers. It's a Faustian arrangement that blends the irony and terror of murder with a pact that could rescue or condemn Guy in this excellent mystery.

Diminutive Guy Mallon runs a small press firm with his partner Carol Murphy in picturesque Santa Barbara, California. Guy agrees to accept payment from Fritz Marburger to publish singer Lorraine Evans' novel. Fritz, a pushy and shady character, lets it slip that Lorraine's novel might be autobiographical, and the news media swarms her. Upset, Lorraine decides she wants out of the deal.

Guy is left facing debt and paying the rent on a huge warehouse, not to mention the stacks of unsold books. Then his warehouse burns and a dead body is discovered inside it. This is all told to us tongue-in-cheek by the crusty, affable Guy. And how can you not like Guy? He owns an enviable collection of first-edition poetry volumes and has a big heart to boot. But his judgment sometimes isn't the wisest or most practical. A briskly paced mystery, VANITY FIRE is more of a caper about Guy working his way out of a jam with the help of his many equally colorful friends. A fun read.

Guy Mallon is perfectly content running his small publishing company with his business partner and lover Carol Murphy. Trouble comes to the happy couple when retired businessman Fritz Marburger offers to pay them to publish his young lover's book. The author is fancy jazz singer Lorraine Evans. Once Carol and Guy read it, they believe they have a hit on their hands. Marburger is Lorraine's agent and together they set up a publicity scenario where the singer appears on Oprah and does a spread in People.

When Lorraine nixes the People article and refuses to go on Oprah, sales plummet. The warehouse that Guy rents from Marburger to store the books inside also has a tenant, Roger, who is running a POD scam and making a fortune. Carol leaves Guy who in order to avoid bankruptcy; he goes in on the POD scam with one of his authors. The warehouse burns down and all his books are gone. The police determine the cause of the fire is arson and a body is found in the ruins. Roger has disappeared and Guy intends to find him and earn back his self esteem that he lost by dealing with a criminal.

John M. Daniel has written an adrenaline racing, heart bumping crime caper that has so many interesting plot twists that readers really don't have a clue who besides Roger is the antagonist. What this reviewer likes about VANITY FIRE is that nobody can predict what will happen next. This leads to a one sitting reading to find out how Guy's problem all turn out.

Harriet Klausner

Reviewed by Beverly Pechin for Reader Views (7/06)
"Vanity Fire" is truly a suspense novel that as you piece together the facts, you will always come up short. Never ending guessing evolves into utter surprise as you read into the lives of the characters and think you know the answers. The key word here is Think. Fortunately for us, Mr. Daniel knows how to keep you drawing conclusions but never finding answers.
This nonstop thriller will seriously challenge the best of mystery solvers. "Vanity Fire" is a well-written piece of literature that truly would be a wonderful addition to any mystery and thriller collector.
Guy and Carol think all their dreams have come true as they are suddenly blessed with an offer they can't refuse that will put their tiny, lifeless publishing business into the headlines with a best selling novel and a financial backing. But is the dream for real or does it come with unthinkable consequences?
Peppering the story with absolutely wonderful characters, so well described that you know exactly the type he's talking about, you will enjoy seeing some of the most interesting people you've met in a long time become fully engulfed in a rather "scorching" situation. Combining mystery, business, romance, murder and some pretty good disappearing acts, you will come up drawing conclusion after conclusion only to read a few pages further and go "I can't believe it!" as your intuitions are quickly put back on the shelf to rest.
Excellent writing, wonderful characterizations, and an even more intense plot than some of the best mystery writers of today's literature have been able to bring out. Highly recommended for anyone that just can't seem to find a book they truly can't "figure out" before the end, because I guarantee that what you think is happening, definitely is not!

This is an easy read, and a surprisingly thoughtful, careful, and broadly informative book. It dives deeply into the endless, diverse difficulties of modern life in Venice, but with excellent historical context. Its history of Carnival, and its revival, for example, is the best I've read. It's blemished by two or three uninteresting pages of symbolic/semiotic analysis, but these minor problems are vastly overwhelmed by impressive reporting, review and research on important issues of the day.

A must for the regular visitor of Venice. Davis and Marvin show clearly how the historical center and the outskirts (!) are sacrifized to the needs of mass-tourism. They describe how the the city is transformed sytematically into a historical theme-park in which the remaining locals have only a stage-role. And 'resistance is useless': the inhabitants are able to slow, not to stop the process.
The book predicts an ominous future of this cultural heritage site. Food for thought.

As an inveterate traveler, I usually find that books about places I have visited leave me sorry I read them - travel guides are often so filled with tourist hype or stereotypical portrayals or out-dated analysis. But, this is not a travel guide: it is a thoughful and well-researched critique of Venice as both a tourist city and a (struggling to remain) actual city.

Over the years I have related to Venice in three ways: a member of the day-trip brigade (with two children in tow); a more serious tourist making a five day stay of it; a long-term (six month) resident in one of its working class neighborhoods. From all of those perspectives, this book speaks to my experiences.

But, more than a souvenir of my times there (see the excellent discussion of the role of souvenirs in a tourist city), this work has opened my mind to other ways to see my beloved city. I now see the city and its people with new eyes, for the authors' critical eyes and ideas challenged me to experience Venice once again anew.

If, as I would claim, I love Venezia, then I would also want to engage my heart and soul in the challenge they pose for the future of the city: not the worries about "sinking into the sea" but the worries about becoming "lost in the tourists."

And did you know that tourists have been coming here for over 500 years (yes, fellow Americans, that is before any tourists invaded North America), and that tacky souvenirs have been available for at least 300 years? Lots more to know as well as ponder in this work.

If the City of Venice (Italy) ever decides to build a model of Las Vegas, will the model include a little replica of Las Vegas' Venetian Hotel, itself a model of Venice? It's the kind of question I might address to the authors of Venice: The Tourist Maze, this entertaining and rewarding account of what may be the most touristed city in the history of the planet.

You might suppose there is nothing new in a critique of Venetian tourism. Venice first licensed tour guides in 1219 (and right there is a factoid I did not know until I read this book). Any number of others have left accounts of tourism in Venice, and quite a few have left accounts of accounts.

Davis and Marvin do a creditable job of trying not to replow old ground. There's almost no mention of Mary McCarthy, Jan Morris, Viscount Norwich, and other visitors who have done so much to inform and entertain. There's only a bit of Henry James; almost none of Proust and only a glancing reference to that most famous of all sex tourists, Thomas Mann's Gustav von Aschenbach. Instead, they give their primary attention to tourism as an activity, from the standpoint alike of the provider and the consumer. You might almost call it an account of "the enterprise of tourism," except this makes it sound, misleadingly, like yet one more business book.

There is a whiff of the lamp about the presentation, although it never gets overpowering: the chapter on the gondola is called "the floating signifier," which is, I guess, the kind of joke you are bound to get when academics try to have fun. They say they "take advantage" of a notion of one "Appadurai" (who?), although he never makes it to the bibliography. A more obvious progenitor is Dean MacCannell, whose "The Tourist" is one of those rare books to make fancy theory both interesting and plausible. A still better source, though surely unintended, would be the trdition o;f the mystery novel, where the hard-boiled detective sees the great city from the underside (indeed I am a little surprised that they don't say a word about Donna Leon, the Arthur Conan Doyle of the Venetian murder mystery).

But forget about the theory: some of their best stuff is the nuts-and-boats practical. There is an admirable sketch-history of the gondola and its monster offspring, the vaporetto. And I particularly liked their discussion of the economics of the "artisan." They explain that Murano glass "works" because the craft is showy and dramatic, but that Burano lace-making does not "work," because the craft is not showy, and because real Burano lace is prohibitively expensive. Papier-mache masks work especially well, because the price is right, and the technology is accessible to any schoolchild. By the way it appears that those fancy designer masks (confession: I have one on the living room wall) are no part of the tradition of Venice: masks at the /carnevale/ were for the most part mass-produced.

The climax comes, inevitably in a discussion of the other Venice, the Venetian Hotel at Las Vegas (but why can't I find it in the index?). They provide an entertaining account, appropriately fascinated and appalled, of the Venetian as the private obsession of Steve Adleson who has lavished on it (so they say) the sum of $1.5 billion. They seem not to have noticed that from a business standpoint, the Venetian seems to have been a rousing success. If tourists still flock to the real Venice, they seem to descend at a comparable rate on our little Venice in the desert.

Its neat to see pixs of San Fran back in the days. I love this style, the pictures are large and the calendar dates are still big and clear.

Love the historic photos. The calendar area could be larger. Overall, a wonderful product.

Just some of the reasons why I love San Francisco were in this book,the picture book was well done ,such an unique city and the photos told so much of its story

Compiled and edited by Peter Bernen, Vintage San Francisco is an absorbing presentation of black-and-white historical photographs of San Francisco taken by members of Moulin Studios, especially California's premier photographer Gabriel Moulin (1872-1945). These images range from the ruin left by the Great Quake of 1906, to images of the glorious Golden Gate. A few simple quotes about this grand city embellish the captivating images. Vintage San Francisco is an excellent and inspirational photographic tribute to one of California's most historically important and influential cities.

George Francis' provocative book, VIRGIN, is a sensual mystery story that focuses on interactions between one man and two women. It is a tribute to Francis that he is able to galvanize the reader's interest and take them completely by surprise at the end. The book has the ring of truth, and one can easily imagine the dialogue that thickens the plot and transfixes the reader. It is one of those tales that is hard to put down once started.

Stanley Krippner, Ph.D., Professor of Psychology
Saybrook Graduate School, San Francisco

Virgin is a beautiful love story. Yes, it's racy, but "racy" fits the personality of the characters and their circumstances. From the very first chapter it shows what excellent writing skills Francis has. I tried savoring each chapter because I didn't want it to end. I must admit, I cried at the end. But there is closure; it was a good cry!

Marjorie Stampfl, editor (retired)

George Francis tells a story of a young man who is jailed for crimes he
did not commit, and is retold through the eyes of the Sheriff's
daughter, who falls in love with him. While it is a work of imagination,
the story is based on historical events. VIRGIN takes place at
the close of the 19th century, and can be viewed as a work of romantic
historical fiction. While I find the telling itself to be candid and
forthright, it's the moments of inner-reflection of the characters that
reveal the true heart of the author.

Kent Fillmore,
College Professor
Vancouver, Washington

George Francis takes us through the heart and soul of a complex character, whose intellectual and romantic exploits intersect with the early days of California's Monterey Peninsula. But then the promise of this brilliant and handsome young artist crashes to an unexpected conclusion. Francis introduces us to a plethora of interesting characters and exciting episodes. It's a tale with film potential.
David Donnelly, Ed.D.
McCall, Idaho

A good read. The similarities between the initial phases of a large wildland fire and "combat confusion" are apparent. Too many people doing their own thing, at least in the initial phase of the fire. A tribute to the firefighters of different agencies that no one was lost on this fire.

This book tells the story of one fire in Southern California. It's not really a battle to save Southern California, only one small part. But laying the sub-title aside, it's a good inside story on how they fight a big fire.

As I read the book I find myself with several related but almost random thoughts.

First, these kinds of fires were beautifully described in John McPhee's book 'The Control of Nature,' (recommended reading) along with other things that people do that contradicts what nature wants (think New Orleans). This book is much better in discussing the fire fighting efforts, but McPhee covers other things like the Mississippi river wants to change course but the Army Corp of Engineers is keeping it where it is.

Second, when people want to live in areas like this, they should at least bear in mind what might happen. Some houses were built of fireproof materials (wood shake roofs are especially bad), remove brush from being close to their house, and so on. These houses survived.

Third, the mountain right across the valley from my house hasn't burned for 20 to 30 years. The fuel from all those years is sitting there waiting for a good lightening strike or thrown away cigarette.

Fourth, one thing mentioned in the book was firefighter management not wanting to call the airborne water tankers to put water on the fire. Here some six or seven agencies (National Forest, State Forest, Bureau of Land Management, etc.) have gotten together to fund the water tankers. The costs are automatically split between the agencies regardless of where the fire is. I wonder if this is a result of the problems discussed in this book.

All in all, this is a 'cannot put down book' that anyone living in the fire prone West should read.

I loved this book. If you want to know how it felt to be on the front lines of the Grand Prix or Old Fire during those days in October,2003. I worked in the San Bernardino Police Department mobile command post the first night of the Old Fire and remember watching the flames marching down Waterman Canyon towards us. Mr. Krauss captured the fire fighter's story quite well. He also touched on Critical Incident Stress which most authors leave out of their books. As part of the SBPD CISD Team I too was faced with dealing with Police Officers and Dispatchers who had lost their houses or were facing the loss of their homes. In fact, one of the dispatchers I worked with at the mobile command post watched the TV coverage of the Old Fire and saw his neighborhood go up in flames so I kicked him loose to make sure his house was okay. The next night, my neighborhood was evacuated but, after working through the early stages of the fire, I was too tired to evacuate. I would like to see more on the fight against the Old Fire in another book. After having lived and worked through it on the law enforcement side, it was good to read at least the small part that was included in this excellent book.

My uncle told me that I would love this book, and he was right. Although I don't fight fire, most of my family does. I grew up around firefighters as a child, but I didn't truly understand what they went through on a big fire until I read this book. It made me realize that when a big one hits, there is very little firefighters can do but steer the blaze around threatened communities. The problem is made worse by organizations such as Fish and Wildlife that doesn't let the fire departments conduct prescribed burns. The wild land fire departments have their hands tied with red tape, but when big fires happen like the grand prix , they get blaimed for not putting the blaze out in the first few hours. This book documents the battle (both with the fire and politics)that occured on the front lines of the biggest fire siege in California history back in 2003. With helicopter pilots, hotshot crews, dozer operators, municipal crews and Incident Commanders each getting their own chapters, you get to see all sides of the fire and the different opinions that are occuring out on the fire line. It shows how the lack of communication between the wild land guys and the municipal guys can cause disaster. An exceptional read!!!

I started buying products in Amazon this year and i'm very satisfied with your service. It's easier and cheaper than our products here in Portugal. I'll be back soon on amazon!

Lázaro Silva

São Mateus, Terceira Island
Azores, Portugal

i am writing this for the benefit of non US readers especially those from my country india which makes 900 films every year.i am in the process of writing a book on screenplay in my native language Telugu and i have been devouring every book that's available.I was thrilled to read about the 'belatedness' Bordwell describes as i share the same dilemma.his summing up of the film writing & film making arts is very usefully informative and inspiring,too.Tollywood( Telugu film industry) churns out around 200 films every year,but nobody here treats screenwriting as something one could learn, and excell if one had the creative talent.I am glad Mr.Bordwell applauds the value of screenwriting books in helping keep the narrative standards from falling.wish guys from my film industry read this book.

David Bordwell is one of the most widely read film scholars around, and not without reason: he writes with ease and ellegance, his insights are often deep and almost always relevant, his starting points are usually essential for better understanding cinematic art. Is he always right?
Of course not, he is not a religious profet or Jacques Lacan (Oops!).

However he usually describes the area of his study quite well, cites references and data he would like you to check in order to see whether he is right and, well, does serious scholarly work. Not a small achievent in a fastly globalizing (and fastly "mcdonaldsizing") academic community of cultural gurus who know everything about everything... Therefore, when you disagree with him (as I sometimes do), you usually know what your are disagreeing about and why.

This book is another Bordwell's insightful contribution to the study of American and global cinema (styles in cinema are basically more international/global than in literature; probably less than in classical music or jazz), explaining how contemporary cinema develops from older stylistical patterns. From the era of silent movies or Slavko Vorkapic's experiments for Frank Capra to modern-era (greatly digitalized) blockbusters, Hollywood's manners and procedures of telling a story can be compared with quite a fruitfull result.
Ofcourse, simple description of stylistic trend or procedure does not directly serve as a proof of aesthetic value, but the subject of this book is, basically, style, not aesthetic value or anything else that can be connected to (and is intertwined on many levels with) style.
This book is equally useful for scholars, teachers and (thanks to his nice style and clear argumentation) students of cinema and all other educated art lovers.

Like the author's other works, this is a highly meticulous and empirical study of the way contemporary Hollywood films function. Paying close attention to selected films by intensive frame analysis, Bordwell calls into question many contemporary "sibboleths" concerning the status of "post-Hollywood" which he reveals as having more connections with its classical counterpart than most critics believe. His attention to fine detail and references to "American Cinematographer" and screenwriting manuals reveal that he has really done his homework. He challenges his contemporaries to do likewise before they engage in problematic "post" judgements whether they be on the realm of postmodernism, post-colonialism, and post- anything which may become academic equivalents of those formerly fashionable platform shoes or flared trousers that often date episodes of the 1970s British cop series THE SWEENEY.

The references to contemporary Hong Kong cinema and analysis of films such as Johnny To's A HERO NEVER DIES are also valuable components of this book. Like DRAGNET's Sergeant Joe Friday, Bordwell insists that we supply facts based on viewing the evidence ourselves. We should not ignore important empirical aspects before we begin to make meanings that may eventually prove to be non-substantial. Those who choose to avoid the well-researched findings of this book should be issued with speeding tickets and forced to attend a scholarly version of "community service" or "boot camp" involving the detailed viewings of as many films as possible, reading interviews with film directors, and studying important journals such as AMERICAN CINEMATOGRAPHER. This is equally important for those newly converted "film experts" in English Departments of postmodernist persuasion who recently discover Laura Mulvey's 1975 essay on "Visual Pleasure and Narrative Cinema" and regard it as a "gospel" truth which remains unaltered today! These feelings are more akin to non-linguistic theological studies and not the highly textual, linguistic based explorations of biblical and near eastern studies that relay on studies in pre-semitic studies, Canaanite, Aramaic, and Arabic studies to reveal key empirical structures influencing "holy writ."

This is another indispensable work by an important scholar that every serious professor and student should learn from even if it only involves better interpretation and a more professional "making of meaning."