New York Books

An exceptional book by far the best translation of the Shrimat Bhagwat Gita. You can also call it Shrimat Bhagwat Gita for Dummies.

I recently purchased my second copy of this book. The Jnaneshwari is an amazing window into the wisdom of the Bhagavad Gita. A hallmark of this work is the beauty of the language Jnaneshwar Maharaj uses to unpack and explain the many subtleties in the Bhagavad Gita's verses. I've read many translations of this work and Swami Kripananda's approach is by far the most heart-felt and inspiring.

This is a fabulous interpretation of a timeless epic. I have always been spiritual but have never identified with or even trusted religion. However, in spite of my skepticism, I could not deny the truths that were put before me in this book. I was able to easily understand and apply the teachings that were imparted by the writer. There is huge amounts of beauty and power in the translation. Jnanadeva, an Indian prince, lived in the thirteenth century. He used his great vision and wisdom to achieve a simple and poetic work based on a massive collection of ancient writings.

It has truly improved my health, relationships, and sense of spirituality immeasurably. I highly recommend it!

I wholeheartedly agree with the previous review. I was going through a rough time in my life when I noticed a non-hindu friend reading from this book. The poetry and meaning are simply beautiful. I had forgotten the power of meditation and faith(not religion). But the truths contained in this translation are absolutely undeniable. This book has changed my life and I read from it every day. I wish that I could share it with everyone...

It's a superb book, very nice photos, most of them i have never seen before. The thing that i notice in the pictures, is that John never smiled in this book (apart from the cover and other two pictures, i think), he look's old, small, sad or maybe depresed. I have the Instamatic Karma too, and it's other John that appears on this book, he looks alive, happy and reflexive. In the end, it's a must buy for any Lennon fans.

Thanks.

This book is simply wonderful. It has some of the most intimate and beautiful pictures of John and Yoko ever published. A must have for any Lennon fan!

John and Yoko: A New York Love Story contains a collection of photographs by photographer Allan Tannenbaum of the long lasting romance between John Lennon and Yoko Ono. Many of the photos may have been seen by the public, and several have not been published before. Tannenbaum shows John and Yoko in their most intimate moments, which were shot at New York's Sperone Westwater Gallery and Central Park; the concluding photographs do not need too much description and show fans paying tribute to John as well Yoko posing in the same spot where John and she had walked days before. And by looking at the photographs, one can see it was yet another end to an era.

The most interesting part about the book is its beautiful layout. With the turn of the first page one can see what they are in store for. The pages are comprised of a variety of size photos from proofs to blown-up portraits of John and Yoko in glorious b/w and color, which capture their candidness as a couple and individually; Tannenbaum and book designer Barbara Genetin do a great job displaying the images.

Overall, this is a highly recommended book for John and Yoko fans or photography aficionados. With its over-sized coffee table book format, this may make a nice addition to anyone's book collection.

Allen Tannenbaum's book "John And Yoko: A New York Love Story" is a candid photo album of John and Yoko at work and play in and around New York City. Tannenbaum is granted amazing access to the couples lives. The photos are beautiful and give one a sense of intimacy of John and Yoko's life together. The overall effect of the book is to remind us of the tragic lost of John Lennon for Yoko, Sean, and the rest of us.

Thanks to DuPont, American Federal Furniture is now much appreciated, and is some of the most expensive period furniture in the world. It's hard to fathom, that not long ago this type of furniture was not coveted at all, it was thought too austere and understated, the wealthy in the ninetenth century and early twentieth century wanted all things French, thankfully they finally came to their sences and now this style is considered one of the most beautiful. John Townsend was a master of the style, along with John and Thomas Seymour and Duncan Phyfe. This book does a wonderful job of highlighting his best work and the text is highly informative and the writing scholarly. If you have any appreciation for great craftsmanship or just love American Federal Furniture, then I have no doubt you will love this book.

This book mirrors the wonderful exhibit of John Townsend's work that was on display at the Metropolitan Museum, and for people like me who make reproductions of Colonial and Early American furniture, it is a source of ideas, inspiration, and goals.

It's also a source for humility. Seeing the work that this man produced without the help of table saws, routers and the other tools of the 21st century is humbling.

The book is definitely worth every penny for those who love the furniture of the period, who enjoy knowing the history behind a particular piece, or who just enjoy seeing objects that are beautifully built with matchless craftsmanship and care.

This was originally written for the Washington Woodworkers Guild Newsletter, Sept 2007
This lavishly photographed book is a summary of all the currently known and likely works by John Townsend and his shop in Newport in the late 18th century. It is the catalogue associated with the 2005 exhibit of John Townsend's works at the Metropolitan Museum of Art in New York in 2005.
This is not a woodworking book per se. The first portion of the book details the history of Newport, with an emphasis on how it turned into a great cabinetmaking city. The extended family Townsend is then documented, and the links to the Goddards, the other great "name" of Newport cabinetmaking is explained. John Townsend's life is then described in as much detail as is currently available, with some speculation on why and how his furniture is distinguishable from the other major makers in the town. The bulk of the book is photographs of every piece currently known or believed to have been produced by him and his shop, organized by type, and with descriptions differentiating the pieces.
There is some description of technique: 10 pages of the more than 200 in the book are in the section "Observations on John Townsend's Cabinetwork". Most of the book is about the time and place that these masterpieces were created in, and the pieces themselves. As a furniture design, construction, and appreciation aid though the book has major strengths. These include 110 pages of large high quality photos and descriptions of 47 major pieces, including many very similar pieces made over decades. Being able to see the effects of subtle changes in proportion and decoration, and of different wood grains on otherwise similar pieces, is worth the price of the book by itself. There are also many photos of the undersides/backs of pieces, which provide additional understanding of how structural issues in the pieces were managed.
For documentation on technical specifics, more detailed references are required. This book contains no plans, and no exploded drawings. There are references to other sources in this book, though most are of historical rather than a technical nature. This book is appropriate as inspiration, for some technical details, and for the very high quality images that could be used to help make reproductions.

The gulf between appreciation and understanding is immense and while anyone can look upon a John Townsend highboy and see that it is beautiful, understanding the world in which it was built (which was without electric tools), the builder and the technological aspect of cabinetry makes these fine pieces of furniture all the more awe-inspiring. John Townsend, who was a shining star in the rather large furniture industry in New England of which Newport might be considered the capital, is all the more interesting because his pieces and his life have been documented. This work that was produced by the Metropolitan Museum of art is fascinating even if you aren't a connoisseur of fine furniture. It is brilliant, well written and most importantly full of beautiful color photographs of all of the known John Townsend works along with several other masterpieces of 18th century New England furniture.

I don't know whether its best to call this work an art book, a collector's reference or a history book but it serves well in all capacity. As an art book it does an extremely great job of describing in word and image the qualities of a master cabinetmaker. Being a master cabinetmaker was (is) a talent and a skill not unlike being a great painter. The difference is the medium but similarly unique styles are developed skills are honed and a great deal of personality is brought about in each work. As a collectors reference this book shows what makes Newport furniture and furniture of New England unique and also gives a great catalogue of the work that is currently in existence. Finally as a historical account the book does good justice to describing Newport's furniture industry and what made New England the place where Furniture making would reach its American zenith in the mid 18th century.

I am happy to own this book and know that it will be often viewed and re-read. If you are a fan of colonial America or fascinated by early American Furniture you need this book. While it may appear expensive it is an excellent reference a great book for the coffee table or to be gently placed on your Chippendale lowboy.

Ted Murena

I read this book several years back and loved it. Recently, it came to mind again and I had to hunt it down. I was lucky enough to find a signed first edition. This story is so simple and heartfelt. The story of two men, their relationship, their friends and keen, sweet observations of their friend's relationships. The tragedy is unexpected and deepy moving. Davis prose is so captivating that I really felt as if I was there. Actually, I wanted to be there. I wanted to help these people and spend a sunny afternoon having cocktails on beach with them. I really do not want to say much about the story, it needs to be experienced by the reader. If you can find this and take the journey, you will be rewarded for your effort.

I read this book a few years ago but the bittersweet emotions it evoked in me still echo in my heart. Even today I can feel the warmth of the relationship between the Joseph and the Old Man as clearly as if they were my dearest friends. The ending of the novel, both ambiguous and haunting, is one of my favorite literary passages.

This was a wonderful book. Davis writes a chapter-less story that lulls us into its beautiful world through page after page of a touching love story. Just as life can lull us, and just as life can deal us surprises, this book does too. I strongly encourage anyone to read this--gay or straight.

Christopher Davis is one of those authors who is not praised nearly loudly or often enough, and whom I discovered by accident. I first read his work in Men on Men. His short story in that collection, "The Boys in the Bars," is also the title of his own short story collection that came later.

Joseph and the Old Man is easily read in one sitting. it is reminiscent in many ways of Isherwood's A Single Man.

Joseph is the much-younger lover of a famous author whom he calls "The Old Man," and in this chapter-less story, it turns out to be the Old Man's story, but told in the third person. How they met, how they love each other, and how they become the center of a loving circle of friends on Fire Island, and what happens when tragedy (sudden, and not AIDS) strikes, is told with stunning simplicity. I read this book in two days. It was hard to put down.

I just ran across Satan and Adam a few weeks ago and have thouroughly enjoyed the 3 CDs they released. This book is a very interesting look into some of the experiences they had while touring as well as an outsider's view of making into an insider's position as regards Adam's acceptance into the blues community.

I have been following Adams teaching for a while. His new book "Journeyman's Road" only increases his street cred. After reading the book I got a better feeling for talking the talk and walking the walk. If your a harmonica player, a New York blues fan, or a street musician this book is a must read. Adam Gussow give a first hand look at music in Harlem, his adventures with Mr. Satan, and becoming a respected musician.

Over the last several years I have written a lot of reviews for Crowsfeet Productions. They handle publicity for several labels. Betsie Brown has been my contact for the West Coast. It has been a pleasure to bring the wonderful entertainment of the East coast to the attention of readers and listeners here in Washington. Occasionally the review I'm asked to write is on other than music releases. Such as in this case. When I was asked if I was interested in reviewing this book I jumped at the chance. Even though book reviews are a lot more time consuming, than reviewing CDs or even DVDs, I feel that they are a media source that need more coverage in Blues reviews.

The secondary title to this book might suggest a very highbrow and hard to read tome concentrating on the literary works of Faulkner. Fear not. While there is a healthy chapter dedicated to the analysis of Faulkner's relationship to the Blues the majority of this text is an appealing, and easy to follow, observation of life as a street musician, jam session veteran and club performer. There are highlighted profiles of New York area Blues musician's that are compelling as well as occasionally touching.

Gussow is not only an award-winning scholar and an Assistant professor (English & Southern Studies-University of Mississippi). He is also a very accomplished harmonica player and recording artist who has been nominated for a W.C. Handy award. His partnership with Sterling "Mr. Satan" Magee was remarkably unlikely from the beginning. Adam Gussow was young, white and Ivy League and "Mr. Satan" was older, black, street-wizened and an accomplished one-man band. Nonetheless together they built a very large fan base, made a few albums, and performed all up and down the East Coast. In reading this book I became so intrigued that I bought two of their three CDs and have played them on my radio show. For my money that's why it's good that we, on the West Coast, can hear about this stuff. We need to know that there is some wonderful music that normally doesn't get distributed to this side of the country.

There are many parts of this book that I can point to as a highlight for me. Gussow's words of disgust for southern racism are similar to my own beliefs. His mentoring of young Bluesman Jason Ricci is a good read because I was participated in a post-concert interview with Jason and heard of his victory over his troubles with substance abuse. I found him to be a sensitive and talented artist. Addam Gussow can claim a little credit for that. My favorite part is Adam's writing about his own mentoring by Sterling Magee. This relationship is covered well in Gussow's first book, "Mr. Satan's Apprentice". There is enough of the Satan & Adam storyline here to serve as an excellent backdrop to the bigger dissertation. It blends together well compilations of articles Gussow has written for Harper's and Blues Access as well as critical essays. The comprehensive examination of William Faulkner's relationship with the Blues is covered here fro the first time. It is deep but I found it enlightening. It made me think about the famous author's place in literary history a little more.

What I assumed would be a slightly self-indulgent semi-autobiographic of Mr. Gussow's life in Blues actually became more of a modern day true life text book. This would serve well any class on black history, Blues history or literary history. There is so much more to Journeyman's Road- other than what I have outlined here. Find out more by visiting his web page & on YouTube (www.modernbluesharmonica.com & www.youtube.com/kudzurunner). To purchase contact www.utpress.org ($30 hardcover)

Well done Mr.Gussow! I believe I shall now have to find Mr. Satan's Apprentice. I can't wait to read it.

I first became aware of Adam Gussow through his YouTube blues harmonica lessons. That is how I became aware of the fact the he was writing this book. I have read many books. This is the first time that I have ever felt the need to write a review.

At first glance it would seem to be a collection of short stories or articles which could stand on their own if read as such. It is much more; it is a book that should be read from front to back in its entirety. It is actually several books in one, each with their own appeal.

It is the story of Adam Gussow, an interesting man, who is both a street blues musician who played the streets of Harlem, and toured the blues joints, and a teacher of much more than the blues harmonica. He bares his soul through his music (his CDs are available at Amazon.com), and with this book.

It is the story of blues musicians, and indeed, it is even the story of the blues itself. A story of the call and response music form that is the cry of love lost, or unfound, and the promise of how good life could be if you can just find it.

He reminds us of the "bad old days" that spawned the blues, where the black man's call for love went unanswered. It is a bit painful to read, but he takes the reader to a place of hope. Perhaps the influence of the music itself is an answer to that call.

It is the story of Sterling Magee (Mr. Satan), and Adam's relationship with him. It is a story of respect and love for the man that he apprenticed himself to.

Mr. Gussow gives the love to the blues men, and women, who gave him the gift of their music. He passes on their gift, and he finds the love. The long awaited response to his own blues call.

The first readers of this book will undoubtedly be blues harmonica players. The book deserves a much wider audience than that. It will appeal to a wider audience than that. I hope that many people discover this book, and read it. I'm glad that I did.

julia margaret cameron's women contains 63 different plates representing magnificent victorian portraits photographed back in 1864 to 1874. every plates are monochromed in sepia or black & white. ...5 pages are consacrated to her models biographies,her favorite ones like: julia prinsep jackson (mother of virginia woolf & painter vanessa bell), mary ann hillier (her maid,cameron described her as one of the most beautiful & constant of her models.) , Alice Pleasance Liddell (aka the little girl from whom Lewis Caroll wrote "Alice's Adventures in Wonderland" in 1865)..etc.. - 5 other pages focuses on cameron's Literary & mythological subjects:from "DAPHNE" (nymph pursued by the god Apollo) to "OPHELIA" (from shakespeare's "Hamlet")..all are well explained and presented...the rest of the 242 pages are dedicated to margaret's life, her debuts,her Illustrations to tennyson's "Idylls of the king", her different relations... - all fans of painting & photography should own this book! it is a unique reference! cameron was and still is one of the greatest portrait photographers of all time...

other interesting books in this genre: "Reflections in a looking Glass" a centennial celebration of Lewis carroll. , "Photo Historica" landmarks in photography , "a new history of photography" edited by michel frizot.

Most photographs here were made in ca. 1870. Looking through the book, I imagine that at that time photography was still so new, so unprecedented, that no one yet had idea of what portrait photography was to become. An art? Or a detailed recording of what the eye perceives? In this ambiguity, Julia Margaret Cameron shows herself in this volume to be great artist, a portrait photographer second to none. In the faces of her women, I can see stories and history as recorded nowhere else.

Most notable is the series of images of Julia Jackson. (She also appears on the front and back covers.) One can see her life evolve over the time span of the photos. These images become even more interesting upon learning she was mother of Vanessa Bell and Virginia Woolf. So here at last is the real Mrs. Ramsey.

This amazing book is well worth the investment. These photos still have the power to knock one over the head with their dizzying beauty. Too often people look to the men who made up the Pre-Raphaelite Brotherhood for an ideal of the Victorian woman. For a fresh look, one should explore Victoriana through the eyes of the women themselves. Cameron's photography is the perfect counterpart to Christina Rosetti's poetry. Enjoy.

This amazing book is well worth the investment. These photos still have the power to knock one over the head with their dizzying beauty. Too often people look to the men who made up the Pre-Raphaelite Brotherhood for an ideal of the Victorian woman. For a fresh look, one should explore Victoriana through the eyes of the women themselves. Cameron's photography is the perfect counterpart to Christina Rosetti's poetry. Enjoy.

"Richard Kern rapes the nude brain of a chemical=anthropoid and generates the cyber-pornography for a drug fetus." - Kenji Siratori, author Blood Electric

Richard Kern here has presented a fine collection of photographs. Though his style, at least in this presentation, seems to be mostly snap shots of ameture models; there are some nice shots none the less.

This volume could also be called 'The Best of Richard Kern' as it presents a review of his work ranging from 1976 to 2001. Covering a wide range, we find bondage shots and girls with guns, as well as girls in the bedroom, bathroom and other scenarios, presenting an overview of Kern's interests and low-key fetish work.

Perhaps the strongest pictures are the close-up portrait shots, where the models reciprocate your gaze, as though daring you to enter their slightly dark and edgy world. In one shot, a small lizard crawls over a model's face, in the stark monochrome looking almost like a tribal tattoo. Most striking is the picture from 1993, simply titled 'Monica with Candle'. The model tilts her head backward and a lighted candle protrudes upright from her mouth. A very arresting picture the first time you see it (why that was not used on the cover is a mystery. Too provocative maybe?) Certainly a deeply erotic image.

Like all the best books of photography, this one starts well and gets better the more you look into it. A good one to keep on the bookshelf and delve into from time to time, and well worth buying.

As a young man I have been searching for the perfect woman and theres no such thing. But Kern captures both a meaningful persona and porcelain like femininate in his photography. And this book delivers all expected from Kern and more, its better than New York Girls and thats hard to do. This book deseves to be on even the Queen of Englands coffe table but I for one will keep it hidden away as a unsering boy may hide his chocolete easter eggs from his anoying sister. (ABLOL)

Gorgeous portraits - full of emotion and complexity. I originally bought this book because I was interested in the fashion celebs - Todd Oldham, As Four, Simon Doonan, John Bartlett, etc, but all the other celebrities in the book - John Waters, Edward Albee, Michael Cunninham - certainly don't hurt, either.

A compelling, gorgeous book - totally unique. Gay and straight readers alike will be captivated by the interior images so beautifully displayed in this newly published addition to the photography genre. While by no means a book on interior design, the spaces depicted will be a source of fascination to readers who delight in viewing interesting homes. The human subjects, too, are intriguing. Alternately calm and kooky, they don't dominate the photographs, but are essential to the composition. A thrilling read. (Or, rather, experience.)

So refreshing to see a gay photography book that is thoughful, insightful, not obsessed with young bodies, and at the same time absolutely gorgeous.

The photographer Tom Atwood writes in his "Artist's Statement" that he wanted to do a book of color photos of clothed gay men in New York who live in apartments. The photographs should balance both the portrait of the individual with his environment. He describes this book as a "miscellaneous catalogue of personalities and living spaces." The models come from a variety of professions: writers, artists, composers, designers, interior decorators, attorneys-- John Waters, Edmund White, Ned Rorem, John Ashbery, Edward Albee et al. Most of them are collectors of practically any and everything: books, crosses, musical instruments, paintings, photographs, porcelain poodles, wigs, etc. Some of the subjects arrange their "stuff" well while others do not. I could not be in Joe Holtzman's kitchen (p. 42) for more than five minutes without jumping out the window. On the other hand, the apartment of Eric Bernhoft and Peter Mintun (p. 15) is most inviting.

The photographer in 70 frames or so manages not to repeat himself at all or even come anywhere close to repeating himself, no small feat. Some of my favorites are that of Billy Basinski (p. 64) where the model is seated on a sofa in front of floor-to-ceiling windows with beautiful light streaming in, Andrew Solomon (p. 61) in a beautiful but claustrophobic shot and Christophe Le Gorju (p. 39) where the model is standing to one side of a window which makes a beautiful Modrian-like grid. The most unusual living space has to be that of Tobi Wong (p. 31) which is described as being an eight by nine foot apartment.

A friend of mine used to say that regardless of how diverse the objects were, that you could hang anything together on a wall so long as you grouped them. This book of very fine photographs perfectly illustrates that theory.

I just thought I'd reprint an updating of my review of years ago, this time with my pen name spelled correctly. (I SWEAR I entered it correctly at the time! I even refer to the Kularnava Tantra in the review.)


As the popularity of hatha yoga increases by quantum leaps, (thanks to popularizers such as Madonna, of all people), interest in Tantra has kept pace. Unfortunately, faddishness can breed mediocrity, as evidenced by hatha yoga's demotion to mock-spiritual aerobics, Tantra's characterization as "the yoga of sex" and the ancient Tantric spiritual practice (NOT theory) of Kundalini equated to a self-induced acid trip. All three views are as accurate as a vote re-count in Florida.

Now, Professor Lillian Silburn brings an academic's / scientist's eye and a novelist's style to her investigation of Kundalini and the result is a masterpiece of clarity, concision and, simple, honest-to-God truth. Without a hint of nastiness, she quickly disposes of popular misconceptions and presents three of the most important views of Kundalini practice - those of the Trika and Krama traditions within Kashmir Shaivism and the Kaula tradition ("Kulamarga"), the most concise presentation of which can be found in the ancient KULARNAVATANTRA. Her achievment ranks alongside the pioneering work in Tantra of Arthur Avalon (Sir John Woodroffe), although Professor Silburn doesn't let any puritanical inclinations cause her to censor the source material as Avalon did.

Madame Silburn builds her presentation systematically. The book's first part includes a preliminary exposition of yoga anatomy and clearly defines and explains terms such as "chakra" (wheel), "nadi" (energy current), "trikona" (mystical triangle), along with crucial Tantric tools and concepts such as "mantra" and the importance of understanding the outward and inward expressions of vibration and the still centers between the two in which the true yogi resides. Armed with this, even the newcomer to Tantric yoga will be able to follow the mystical and metaphorical rise of the Kundalini serpent through "sushumna" (the subtle middle spiritual channel of the spine), and the means by which it sets the energy centers ("chakras") whirling and vibrating as the yogin journeys ever onwards to final release from the mundane bonds of human life.

The book's second part explains the absolute necessity of the transmission of Kundalini knowledge from Guru to Disciple. The yogin's very safety depends upon this sacred initiation. Then, the processes themselves are described in detail, although Silburn has stated honestly in the Foreward that "Nevertheless, I have left enough points unclarified so as not to incur the wrath of the ancient masters". She means it. And, to underline the point, Silburn allows great Tantric masters such as Somananda, Goraksha and the magnificent Abhinavagupta do most of the explaining in well-chosen and faithfully translated excerpts from their most important works. This enviable practice reaches its apex in the book's final chapter.

The book's third and final part is entitled "The Deeper Meaning of the Esoteric Practice". This sums up pretty well the section's contents. It must be pointed out, however, that even if what preceded this section had been worthless and unreadable (which it definitely isn't), Silburn, in her final chapter presents an English translation of a small, yet powerful section, of that most supremely wide-ranging of all Tantric texts, Abhinavagupta's TANTRALOKA ("Light of the Tantras"). This towering work of sheer philosophical-mystical genius has yet to be translated into English. Silburn humbly turns to this great master, in his greatest work, to give shape, substance and meaning to her own modern masterpiece. Neither the Seeker nor the merely interested could ask for more.

After reading "Kundalini - Energy of the Depths", pick up "Vac" by Andre Padoux. In reading these, you can be satisfied that you are getting the real goods. Leave the trendiness for followers of Shiva Rea and Seane Corn. Let the academics have the terminally-footnoted tediousness of D.G. White's "The Alchemical Body". Lilian Silburn will take you where you want to go.

Lilian Silburn, french author born at the beginning of the 20th century, was far in advance. I read about 200 books on Kundalini and the very best would be On a Farther Shore, Prayer of Oraison and Energy of the Depth. Of course Gopi Krishna goes first when you begin. He is a bridge. But when you are inside yourself, then Lilian SIlburn is great. She elaborates on little triffles that will become important when one understands them. She is a kind of interior architect, with a precise mind and astonishing knowledges.

The author has done a good job of researching and putting together what seems like an encyclopedia of Kundalini.

The books she has used for researching Kundalini are Eastern, so it may be hard for some of us Westerner's to follow. Then again, one has to remember that the Kundalini experince is different for everyone. Also it seems to be written by someone who has not experienced Kundalini awakening.

Overall a very interesting book on the subject of Kundalini that I would recommend to anyone who is interested in this subject.

As the popularity of hatha yoga increases by quantum leaps, (thanks to popularizers such as Madonna, of all people), interest in Tantra has kept pace. Unfortunately, faddishness can breed mediocrity, as evidenced by hatha yoga's demotion to mock-spiritual aerobics, Tantra's characterization as "the yoga of sex" and the ancient Tantric spiritual practice (NOT theory) of Kundalini equated to a self-induced acid trip. All three views are as accurate as a vote re-count in Florida.

Now, Professor Lillian Silburn brings an academic's / scientist's eye and a novelist's style to her investigation of Kundalini and the result is a masterpiece of clarity, concision and, simple, honest-to-God truth. Without a hint of nastiness, she quickly disposes of popular misconceptions and presents three of the most important views of Kundalini practice - those of the Trika and Krama traditions within Kashmir Shaivism and the Kaula tradition ("Kulamarga"), the most concise presentation of which can be found in the ancient KULARNAVATANTRA. Her achievment ranks alongside the pioneering work in Tantra of Arthur Avalon (Sir John Woodroffe).

Madame Silburn builds her presentation systematically. The book's first part includes a preliminary exposition of yoga anatomy and clearly defines and explains terms such as "chakra" (wheel), "nadi" (energy current), "trikona" (mystical triangle), along with crucial Tantric tools and concepts such as "mantra" and the importance of understanding the outward and inward expressions of vibration and the still centers between the two in which the true yogi resides. Armed with this, even the newcomer to Tantric yoga will be able to follow the mystical and metaphorical rise of the Kundalini serpent through "sushumna" (the subtle middle spiritual channel of the spine), and the means by which it sets the energy centers ("chakras") whirling and vibrating as the yogin journeys ever onwards to final release from the mundane bonds of human life.

The book's second part explains the absolute necessity of the transmission of Kundalini knowledge from Guru to Disciple. The yogin's very safety depends upon this sacred initiation. Then, the processes themselves are described in detail, although Silburn has stated honestly in the Foreward that "Nevertheless, I have left enough points unclarified so as not to incur the wrath of the ancient masters". She means it. And, to underline the point, Silburn allows great Tantric masters such as Somananda and Goraksha to do most of the explaining in well-chosen and faithfully translated excerpts from their most important works. This enviable practice reaches its apex in the book's final chapter.

The book's third and final part is entitled "The Deeper Meaning of the Esoteric Practice". This sums up pretty well the section's contents. It must be pointed out, however, that even if what preceded this section had been worthless and unreadable (which it definitely isn't), Silburn, in her final chapter presents an English translation of a small, yet powerful section, of that most supremely wide-ranging of all Tantric texts, Abhinavagupta's TANTRALOKA ("Light of the Tantras"). This towering work of sheer philosophical-mystical genius has yet to be translated into English. Silburn humbly turns to this great master, in his greatest work, to give shape, substance and meaning to her own modern masterpiece. Neither the Seeker nor the merely interested could ask for more.

For anyone wanting to avoid the blatherings that so many modern writers ignorantly attach to this most beautiful and powerful ancient concept of Kundalini, he or she need look no further than Lilian Silburn's KUNDALINI, THE ENERGY OF THE DEPTHS.

LADY LIBERTY: A BIOGRAPHY is a wonderful crafted book written by Doreen Rappaport and illustrated by Matt Tavares that tells the story of the how the Statue of Liberty came to be created. The story is told in short poems spoken from the point of view of the people who made Lady Liberty and brought her to the United States. These people include Edouard De Laboulaye, Auguste Bartholdi, Marie Simon, Gustave Eiffel, Emma Lazarus, Charles P. Stone, Joseph Pulitzer, Florence De Forest, Jose Marti, and an introduction written by Doreen Rappaport. In some cases the biographical poems use the actual words of the people who spoke them. The end of the book has a few selected quotes from immigrants who legally came to the United States and passed by Lady Liberty, as well as a page full of the Statue of Liberty's measurements, and another page presented a timeline of important events in her creation and life. The book does an excellent job of illustrating how it was the people of France and the United States, and not the respective governments of those countries, who made the Statue of Liberty possible. The book is really well researched and is beautifully illustrated. I even learned something from reading this book; I didn't know that Liberty Island was originally called Bedloe's Island. LADY LIBERTY: A BIOGRAPHY is an excellent historical children's book.

Doreen Rappaport and Matt Tavares have created an incredibly beautiful and moving book in Lady Liberty: A Biography. Each page features the perspective of those involved in building and promoting the monumental Statue of Liberty, from Auguste Bartholdi the sculptor to Emma Lazarus, the poet that created the words that grace the bottom of the statue. The illustrations are absolutely beautiful and accompany the text perfectly. Also included are the dimensions of the statue and the important events surrounding Lady Liberty, from construction to completion.

This book is an must have for all library and school collections, never have I come across a better description of how the Statue of Liberty was created and the emotions it evoked in the many different people connected with her. I loved reading each page and savored the lovely illustrations. Though the size of a picture book and about the same length in pages, I think I involved myself for close to an hour while reviewing it. I really believe kids will love to read this book, especially if they've seen the Lady up close, and adults will enjoy it in the same way I have, savoring the facts and the illustrations alike. A lot of other bloggers have posted about this title, all positively as far as I can tell, and I'm certainly in agreement with them. Definitely a must-have!

Told from the viewpoints of the people who conceptualized, financed, and built the Statue of Liberty, this remarkable book describes how the Lady Liberty was transformed from a bold idea in France to an enormous symbol of freedom in New York Harbor. In France in 1865, Professor Édouard de Laboulaye shared with his colleagues his vision of building a monument to commemorate the American Revolution and to celebrate the friendship between France and the United States. Ten years later this vision began to take shape through the hands of Auguste Bartholdi, a French sculptor who believed in the possibility of de Laboulaye's dream. It took another eleven years for various crews to design the copper sheeting, engineer the internal steel structure, ship the pieces to America, build the pedestal, erect the steel skeleton, attach the copper shell to the steel framework, and formally dedicate the Statue of Liberty.

The author and illustrator do an excellent job in communicating both the visible and the less visible work involved in building the Statue of Liberty. Much credit goes to the efforts by poet Emma Lazarus to write the inspiring sonnet that was engraved on a plaque on the statue's base: "Give me your tired, your poor, your huddled masses..." Joseph Pulitzer, publisher of the New York World, also played a crucial role in raising money to finance the construction of the pedestal in the face of opposition from government and business leaders. Intertwined with the interesting historical narratives are valuable economics lessons about human resources, jobs, immigration, and altruism. The stunning artwork and informative text work well together to make reading this book a truly rewarding experience.

This is a wonderful book about the Statue of Liberty. It is very moving and I am very impressed with it. I teach ESOL students so immigration is a factor in all my students lives whether they are living here for the rest of their lives or just visiting here for a couple of years while their parents attend university here. I am also a big fan of Doreen Rappaport who wrote wonderful picture books about Martin Luther King Jr. and John Lennon. Lady Liberty tells her story by covering life stories of major figures involved in the creation of the statue. This is quite effective. I learned more about the making of the statue than I had before and I felt very in tune with the people who made the statue happen. The French governments and the US governments weren't all that interested in the project, they had other concerns on their minds and it was more of a bother than anything anyone wanted. It was the pushing of some people from both continents to make it happen and the rest liked it. The courage of the creators was enormous because at any time, people could have convinced them to call it quits. Human creatively and determination is always a good tale.