France Books

The Healthy Thai cookbook is great for someone like myself-I can cook but not as familiar with Thai cuisine. Also I am interested in keeping the dishes as healthy as possible. This cookbook was a good choice. The pictures were detailed. Many dishes had ingredients that were not only seasonal or regional. The sections were varied enough to find at least two or three dishes from each food category that would appeal to picky eaters.

I am Balinese, have a restaurant and love food. I especially love Thai food.

The recipes in this book are excellent and have obviously all been tested by the author. Follow them and you will not be disappointed.

The presentation is clear at all times and the photographs are superb.

Partcularly helpful are a couple of pages on which wines best accompany Thai food - and they are not those that you would immediately think of. The explanations are interesting and illuminating.

I would recommend this book to restaurant owners, as well as people cooking at home for a few friends.

very tasty. quite healthy. many recipes are quick and easy, too. some ingredients are a little tough to get, but easily substituted. gorgeous pictures.

This book has delicous recipes which are easy to follow (with color pictures of most dishes). The dishes taste like delicous restaurant-grade food and are healthy and easy to prepare.

Not a typical survivor book filled with hate, but more an accounting of the many good people who step up in horrific situations. An easy entertaining read, the chapters seem to flow, hard to put down until finished. Very easy to get involved and caught up in the events that happened. The author has a good memory for details of a traumatic time in his and the world's life.

Simon Jeruchim, the author of this memoir,was twelve years old when his secure world came to an end. With amazing recall,he relates how he came to hide in a small hamlet in Normandy. He worked on a farm, a harsh life for a small Parisian boy. Hardest of all was not knowing about his parents and small brother. He went dutifully to church and hid his identity from everyone. By nature optimist, he was looking forward to the end of the war and reunion with his family. He was reunited with his brother and sister, but his parents did not survive, unfortunately. This book is a beautiful example of a boy's courage and determination to stay alive.

this book was given to me as gift. i have a deep interest in matters pertaining to the holocust, and i was told that the book held a different perspective from other publications regarding the nazi era. and it surely did.....the author made no attempt to judge the nazi and the french in that era. all he did was relate this fascinating story, and i drew my own conclusions.

the book traces his journey, as a parentless jewish boy,keeping a step ahead of the nazi and french, and extermination..a brave human being. . mr. jeruchim is a talented artist, as evidenced by the wonderful pictures which he drew, and are included in the book.

...

Simon Jeruchim takes you into the horrible world of escaping and hiding from french collaboraters and the Nazis during the second world war. His narrative is so compelling that you practically relive his day to day existence. His recount of the compassionate gentile families who hid him and his siblings is written staight from his heart.

This is truly a masterpiece of editing. The author has truly done an outstanding job. This is a MUST book for any serious Higgins collector as well as anyone who enjoys beautiful glass. The author is certainly to be commended for this one of a kind work.

A "Must Have" for any serious Higgins collector. There is an almost overwhelming amount of information presented in a most organized manner. So many wonderful color photographs that I went into sensory overload. Loads of great, historical information and imagery. The only down side of the book is that the price guide is not representative of current market values but if looked at properly will still give you a good idea of how one pattern will relate to another in value. I wish other collectable genres had reference guides of this caliber.

this book starts to do justice to the wonderful inventive genius of michael and francis higgins, craftsmen and artistis, and the developers of advanced fused glass techniques. The book is steep at $60, but it's worth it for the great number of color plates. . . and if you know higgins glass, you'll know that a great many photographs were needed!

the only downside might be that the authors focussed too much on the dearborn years of mass-produced fused glass goods. This neglects somewhat the great variety and depth of studio work done by the higgins. But perhaps this is an apt subject for "adventures in glass, volume II".

If you want to collect Higgins glass, this book is an absolute must-have. The prices are outdated; with the recent death of Michael Higgins, I have seen pieces sell for double or triple the book's values. This is much more than a price guide, though. This book details the history of Higgins glass, their techniques, and how to identify what is and is not Higgins glass. There are several beautiful color pictures on almost every page, and I enjoy looking at them almost as much as I enjoy looking at the pieces in my collection.

In the initial account of the apparitions Dr. McEachern uses the method of drawing lines from various different accounts given by the Saint over several different years in order to present one comprehensive report. If you accept this methodology as valid, you will draw much from this book. I felt a bit uncomfortable realizing I was reading a mosaic of shards shattered and shorn from so many different sources and presented as her complete account, but perhaps such textual criticism does not present a problem to other readers. I would prefer to read the accounts in their entirety, including to the various ecclesial and legal authorities who questioned her, in chronological order, and piece together a conclusive report from that entirety. Here this work has been done for us, leaving only the golden threads from among the whole cloth. I would hope one day to see the fullest tapestry.

After that opening, the compiler of this volume does leave us a fairly representative collection of the Saint's letters, translated. Again I hope one day to see them in the original, including the regional dialect, and in chronological order, as here we find the intriguing and often difficult and treacherous work of translation done for us.

I also found the opening introduction touched by a persistent trait of other reports on this Saint, the disparagement of her family and conditions and education and mind, rather than a charitable embracing and comprehension. I am always uncomfortable to read such judgmental emphasis, yet here find it more balanced and contextualized than in earlier standard texts. The Saint herself suffered this from the first moments she reported the Visions, and for the rest of her life on earth, and accepted this suffering, for reasons she examines in this book, including unmentioned yet infinitely consoling comments by Our Lady herself, who was of similar age and education and conditions. I am not so holy and so feel deeply uncomfortable for the Saint suffering such mistreatment both during and after life, but I must resolve to convert by her very wise and holy and compassionate example, and by her own exhortations shared here in her own, translated hand.

A necessary addition to any Catholic spiritual library, and probably the best we can get for this Saint.

In developing my own book on the famous apparitions at Massabielle (Lourdes: Font of Faith, Hope, & Charity, Paulist Press, Sept. 2007), I researched a great number of titles. None of them, however, gave me better insight into the real person of Bernadette Soubirous than A Holy Life. Thanks to Patricia McEachern's careful translation, English-speaking readers can appreciate the oftentimes difficult journey to sainthood through Bernadette's candid letters and journal entries as she lived out her sanctity in the motherhouse at Nevers. A true treasure -- it was like meeting the visionary in person!

This book is a wonderful resource for all who want to know Bernadette better. From her writtings one can see the depth of her faith. She saw all that occurred in her life as the will of GOD and she accepted everything that came her way. One learns that Bernadette carried her cross in life with acceptance and love. She suffered greatly and wanted to unite her suffering with Jesus' for the sake of all sinners.

This book is very revealing. I had thought it likely that I would find out more about Bernadette's life as a nun from her writings; but she was little concerned with her material life, and almost completely concerned with her spiritual life. She constantly sought to be as saintly as possible, making a conscious attempt to be worthy of the sainthood which she suspected was her destiny. She cultivated within herself humility, altruism, patience, and love for and dedication to God. She also turned out to be very sensitive, and sought emotional support by corresponding frequently with her family. In her letters, she was very loving toward them. After reading the book, I believe that Bernadette achieved her goal of being worthy of sainthood.

At this point, given the reviews, it is clear that Anne Atik has written a fine memoir. What I would like to comment on in particular is the role she herself plays as both writer and actor. She manages to be remarkably self-effacing, something not at all easy for a writer who was a close friend of a famous artist. There is no tone of bragging, there are no self-serving anecdotes, and there are minimal details about the memoirist herself. In fact, if anything, I found myself wanting to know a bit more about her. But her discretion is admirable.

This is a revealing, insightful portrayal of the great Irish writer, by a close friend of his, the poet Anne Atik, wife of the painter Avigdor Arikha, whose striking portraits of Beckett are reproduced here. The book is unique for its descriptions of, and insights into the springs of artistic creation, for the refined 'table talk' it lovingly and discretely recounts, for the details that only a friend could know and see so well - all told by a poet. This is definitely a must for Beckett fans and lovers of literature.

This memoir is what we hope for. Lots of new information, inside anecdotes, and pictures.

If you love Beckett you must have this book. I would've gone without meals to buy it, if necessary.

Also be sure to buy Why Beckett, by Enoch Brater. It is magical.

This book ( How it was)

well,... it was amazing.

I am so glad I bought it.

I was in cafes with Beckett....

( no other book can do that)

I wondered for a long time whether I should buy it...

I'm glad I did..


What a wonderful book!

if you love Beckett

This book is a real eye-opener.

I hope that more of our politicians read this book and act on its contents.

It has certainly changed the way I think about things - in a positive way.

This latest Cousteau/Schiefelbein book is thought-provoking, passionate, and brilliantly written. I loved it! It gives insights and little known facts about Cousteau's pioneer experiences an an oceanographic explorer. It weaves together fascinating stories, discoveries, anecdotes, and masterful writing to make you want more and more. Simply put, this is a must-read book for all of us -- especially people interested in conservation and the ocean, climate changes, the modern-day Age of Discovery, unique personalities in our time, and writing so skillful and flavorful that every page is a treat. Read this book! Tell your friends. This book is masterful.

Again and again the worlds most brilliant scientist are telling us that we are rapidly depleting the natural world that sustains us.
Cousteau explains it again a lyrical way that only he can.
If you loved Jacques Cousteau in the '70's, you will realize what a real super hero he was after you read this book!
Well written, easy and fun to read. A facinating journey with a remarkable man.
Saccage is Cousteau's term for ransacking natural resources. He believed that people would protect that which they loved, with his films he tried to show us the beauty of his undersea world, his book gives us an important lesson in conservation of the ocean, its creatures and the planet.

My son is a well-read, well-informed world traveler at sixteen years old. His blank look when I told him I was reading an advanced copy of a new book by Jacques Cousteau is just one of the many reasons I am excited about the long overdue publication of this book. Cousteau died in 1997, and the absence of his influence in the past decade is echoed in my son's generation's lack of recognition. From the foreword by Bill McKibben:

"For those of us who come of age in the 1960s or '70s, the picture of Jacques Cousteau is fixed forever in our minds. A slight but wiry man, yellow tank peeking over his shoulder, falling backward off the stern of the good ship Calypso as he prepared for yet another dive down among the rays or the jellyfish or the sea cows or the parrot fish - down, literally, into his world, "the undersea world of Jacques Cousteau." His voice became just as familiar, with its somehow slightly wistful but still infectious Gallic intonation. "In ze wisdom of ze dolphins lies ze test of human wisdom.""

Always passionate, frequently logical, sometimes preachy, The Human, The Orchid and The Octopus presents Mr. Cousteau's unique perspective on personal exploration, the environment and our power to influence it. It sits well on my bookshelf next to volume 1 of The Ocean World of Jacques Cousteau that my father gave me years ago, a tribute to one of the world's great explorers and visionaries. The influences of Cousteau and his unique perspective on man's effect on the environment are felt in the perceived environmental calamity in my own novel, Dusk Before the Dawn.

The 25-page introductory biography of Cousteau, penned by his writing partner on this effort (and others), Susan Schiefelbein, is a reminder of the many marks Cousteau left behind, in the world of scuba, exploration, conservation and political maneuvering. It puts into perspective the small amount of time that humans (with the exception of noted free divers of the world) have spent exploring the underwater world (only about sixty-five years have passed since Cousteau's first 1943 dive with his aqualung).

The first part of the book depicts Cousteau's drive to explore and his risk taking, his chapters titled "Personal Risk" and "Public Risk". Part autobiography and part philosophy, these pages put forth Cousteau's reason for being: his need to understand, to research, to discover, and when and how he took risks both personally and professionally. He compares those to the risks and lack of communication and consideration companies and governments take when undertaking risks on "behalf of" the public they serve or sell to:

"Those who plan public risks do not say "Follow me." They say "Trust me." Politicians may rarely be in a position to try technologies for themselves. But they are always in a position to demand that risks be full investigated and that the people who face risks be fully informed. Too often decision makers abdicate this fundamental responsibility of risk management. They do not lead us through truly calculated risks for which they have isolated and then eliminated hazards; they instead goad us into a game of Russian roulette, instructing us to pull technical triggers without telling us if there are bullets in the chamber. This is not leadership. This is no democracy. This is technocratic dictatorship; this is market dictatorship."

Ultimately, this book is about conservation and the environment. Based on his years of exploration and hours underwater, no person had more experience in how how changing world has affected the seas and the rest of the earth that Jacques Cousteau. He writes of visiting places where he explored via scuba, then returning many years later to see the coral gone, the sea life receded, the sea floor picked over. In a chapter titles "Saccage" he describes the phenomena:

"Saccage begins where life began: In the nurseries of the sea. Life thrives in three parts of the ocean: the surface waters, penetrated by sunlight, where plant life blooms; the bottom, where organic detritus settles and the area in which these two life-nurturing factors combine, the continental shelf....These waters - just one half of 1 percent of the total ocean space - support 90 percent of all marine life....It is precisely on these coastlines where saccageurs wreck their havoc. Construction companies dredge for sand and gravel, scraping away Posidonia and fish hatchlings, shaving the bottom like a bald man' pate..."

In the subsequent chapter "Catch as catch can", the fishing industries quota and protected waters policies come under Cousteau's logical and emotional scrutiny. He explains who the boundless supply of fish from the oceans is being illogically and wastefully fished out, with the following facts:

* "Fish provides on average only 5 percent of all protein humans consume daily";
* "While it takes only 15 pounds of grass to produce 1 pound of beef, the ocean must supply some 1,000 pounds of plant life to feed all the creatures that will ultimately feed 1 pound of tuna";
* "If we really wanted to feed the world with fish, then why do we throw so much fish away? Officials say that each year fisherman toss some 5 million tons of fish - more than 550 tons an hour - back into the sea to make room on their ships for the catch that will bring them the highest prices";
* "If we really wanted to feed the world with fish, then why do we feed so much fish to our livestock? Pigs and chickens eat more than one third of the world catch";
* "If we really wanted to feed the hungry world with fish, then why have industrialized nations depleted the waters of the hungry world?"
* "Fishing does not, nor has it ever, undergirded the economy."

He provides some recommendations to the failing fisheries strategy towards the end of this chapter.

Cousteau relates his views on nuclear power and his own personal fight against disposal of nuclear waste in the Med in the chapter entitled "The Hot Peace: Nuclear Weapons and Nuclear Energy." Cousteau protested against nuclear energy in France with General DeGaulle, and details not only the proliferation of nuclear weapons and nuclear power but also his arguments against their quick, widespread and sometimes secret deployment.

The last two chapters are Cousteau's imagination and plea about life, his summation of what he sees man inflicting on the environment and upon himself; he imagines a hoped for "Life in a Billion Years" and describes his sense of wonder and awe at "The Miracle of Life" in the final chapter.

The book is brought up to date in the Epilogue by Ms. Schiefelbein, cataloging some of the events in the ten years since the books writing (the book was published in France shortly after Cousteau's death).

While the topic of man's impact on the environment is a tired one, Jacques Cousteau's unique place in the history of exploration of the world and the sea makes this treatise on conservation required reading.

This review was originally published on my website, www.duskbeforethedawn.net.

The last thing anyone needs is a dry, textbook account of what it's like to face the big "C". People who have recently been diagnosed (or are undergoing treatment) are hungry for answers and hope, commodoties that are all too often elusive in today's cyber-saturated culture. Fortunatly, Jim Chastain decided to write a book.

Much like the 1966 movie "The Fantastic Voyage" - in which a submarine is shrunk and injected into another human body - Chastain's poignant and unflinchingly honest account of his battle with cancer takes the reader inside his world with astounding grace and ease. Each chapter is a story in itself, offering just the right mixture of confession, contemplation, and hilarity. In it you'll hear of the gut-wrenching decisions he faced, the fear that often dogged him, and evidence of a hell of a lot of courage. But perhaps the greatest beauty of this delightful little book is the over-arching canopy of humor that enfolds it. My coworker - who is also a two-time cancer survivor - laughed until he literally cried while reading a section I put in front of him.

Who was it who said that if we don't laugh, we'll cry? Chastain does some of both in this must-read book for anyone who cares about the plague of cancer in our society. Fortunately I've never had the disease, but found this book immensely helpful in understanding the plight of those who do. And as crazy as this may sound, I thoroughly enjoyed reading a book that essentially offers a front row seat to the hardest thing this man has ever faced. Guess that's some of what grace and redemption are all about.

A MUST READ for anyone who's either experiencing cancer themselves or has a loved one who is. This book is enlightening to a patient, a care giver, family member, or friend.

I gave a copy to a dear friend who is currently undergoing treatment for lung cancer. I am absolutely sure this book will bring a chuckle, or two, or three, or four, etc.

It was THIS BOOK that EMPOWERED me to visit her and her husband (besides, I had a copy of this book to deliver!). We went ... to deliver the book (well, and maybe give a little moral support.) Subsequently, I have ordered another copy for my library. This book is filled with hope, humor, and inspiration.

I've also forwarded my recommendation as a "must read" to our Employee Assistant Professional at work.

A truly talented writer who deserves a standing ovation!
May his humor help you and yours through difficult times.

Jim Chastain's humor doesn't stop at the title of the readable, unsentimental, and personal account of what must have been a harrowing experience. I read it almost all in one sitting, and it held my attention throughout. Chastain isn't afraid to say he cried, or that certain body functions reacted to cancer treatment in absurd and hilarious ways. The book captures both the humor and the pathos of his experience, but most of all, it serves as a reminder that talking about cancer or any other life-threatening disease should not be taboo, and that the person does not become the disease.

"I Survived Cancer but Never Won the Tour de France" is author Jim Chastain's personal, funny, poignant, and enlightening; memoir offering a unique, entertaining and informative memoir of living with cancer and dealing with all of its seeming contradictions. Completely candid, illustrative stories of the emotional battles that every cancer patient and their loved ones must go through (including, in Jim's case, multiple cancer surgeries that included the amputation of an arm), "I Survived Cancer but Never Won the Tour de France" is ultimately encouraging in its story of a young man seeking to hold on to his dreams, his marriage, fatherhood, and personal spirituality throughout the life-altering ordeal that inevitable is a part of any cancer diagnosis. Highly recommended reading - especially for patients and their families who are having to copy with the diagnoses and treatment of cancer.

This was one of the most informative books I have read on the subject of Impressionism. I found the writing easy to follow and Mr.Herbert's command of his subject matter is fantastic. The narrative was so that one could grasp the concepts and his writing style was a delight. If I were to rate this, it would be at the very top of my list of recommended reading, not only for artists or historians, but for anyone interested in the subject.

I must say that I've read quite a few Impressionist books in recent years. In no way do they come close to the entertainment and ease which I found in this book! As I began to read it, more for pleasure than anything else, I found that I was actually interested enough to continue reading it until the end! There was no overtly boring or tedious sections to the book and the full page photos only helped to enliven my imagination. An excellent read and an easy study!

The book "Impressionism: Art, Leisure, and Parisian Society" by Robert L. Herbert gives reader a very interesting insight into the lifestyles of Parisians of the early 1860's to mid-1880's. Generally received very well and highly recommended to broad audiences, the book makes an excellent material for course reading. The factor that makes it innovative and especially interesting for a wide audience of readers is the author's insight, his relation of emergence and development of Impressionism to the social institutions and changes in the lifestyles of the French and especially those of the Parisians. The book is very well structured and gives a good overview of the early Impressionism. The author refrains from using terms unknown to a common reader. The style of writing and language are very pleasant, which makes the reading rather delightful. What makes it especially interesting is the inclusion of the accounts by contemporary visitors, who express their ideas on the new "Haussmannian" Paris. The new Paris with its broad boulevards in author's opinion is directly related to emergence of the new trend in art, the Impressionism. Supplied with a broad variety of images (311), which include paintings of the leading impressionists, such as Edouard Manet, Claude Monet, Auguste Renoir and Edgar Degas, as well as contemporary prints and posters, photographs, plans and maps of Paris and its surroundings, the material is colourful and exciting. Each chapter of the book discusses in detail a particular subject, an aspect of Parisian social scene. Robert L. Herbert also employs an unusual comparison of the paintings in his book: rather than comparing impressionist pieces to works of earlier periods, he makes comparisons among the impressionist paintings always tying the theme of the pieces to the social situation. He also ties the main motifs in each of the artist's works to their social background and upbringing. Overall, the book is very interesting and the author expresses some innovative and intriguing ideas. Nevertheless some criticism can be made. The manner, in which Robert L. Herbert has divided his book into chapters, makes it evident that the book has been developed on the basis of lecture notes. Restricted timeframe, the period from the early 1860's to mid-1880's, and specific attachment to Parisian social scene bring out constricting boundaries on the development of the subject of Impressionism in general. Perhaps, that is the reason why the author overlooks some themes in the impressionism, such as still life, landscape, riverscape, portraiture, series paintings and painting in the Southern France, Italy and England. Such restrictions also permit the author to ignore late Impressionism as well as Post Impressionism, which could have made the book on Impressionism more complete. The book focuses on social history of Impressionism, and taking into consideration the above-mentioned restrictions, the book covers the themes of Parisian social life very well. Nevertheless, being a book on Impressionism the alternative manner of structuring such a piece could have been either by artist or in chronological order, which could have been advantageous in a way that the present structure could have been preserved to an extent, but there would not have been such a heavy reliance on only four artists, Manet, Monet, Renoir and Degas, and the author could have paid more attention to such artists as Camille Pissaro, Alfred Sisley and Gustave Caillebotte, whom he mentions rather marginally. The female impressionists are briefly represented by Berthe Morisot and Mary Cassatt, which indeed could have been developed into a topic on its own. The book gives a rather detailed description of style of life of the Parisians of the mid to late 19th century. However the author is rather limited in discussion on style of each artist. Moreover Herbert lacks an important topic: change of style throughout the course of the career of such artists as Degas and Monet, which could have made an interesting issue. Interesting parallel between the backgrounds of each of the artists, mentioned in the very last chapter of the book could have been broadened and perhaps supplied with a brief biography of each one of the key impressionists. In addition, although the author does it in several cases, he could have used more comparisons of the impressionist pieces to earlier works. This does not necessarily imply looking for similar themes in earlier pieces for each of the impressionist paintings. It would have been a little bit more exciting to have images of Titian's Venus of Urbino and Edouard Manet's Olympia next to each other, rather than having to be satisfied with a verbal comparison. It is evident that the approach taken by Robert L. Herbert toward Impressionism in his book "Impressionism: Art, Leisure, and Parisian Society" is that of a social historian, rather than that of a traditional art historian. Such manner brings out very interesting and often times omitted issues, such as the social structures, status and institutions and their role in the development of art. Certainly, this brings about a very peculiar angle to the subject. However it also limits the discussion to a particular physical setting, in this case to the city and surroundings of Paris, as well as to a limited timeframe, which clearly does not reflect the full extent of Impressionism. Instead the structure chosen by the author permits the reader only the review of the early Impressionism, rather the examination of the entire style.

I taught college level painting and art history courses for ten years. This is one of the most memorable books I used as source material. Usually a treatment of Impressionism will write of it as a movement in response to the paintings of the Academy; an inquiry into the play of light and instantaneity. Fine, fine, but how many books do we really need that say the same thing ? This book looks at changes in the architecture of Paris which changed the city from a network of villages into a web of wide boulevards and massive, sometimes monotonous buildings. People (many of them young) were moving into the city and feeling the displacement and dehumanization which we usually associate with depictions of Victorian era London.

Herbert spends a good bit of time looking at the clothing of individuals portrayed in paintings to ruminate about their social standing. His keen eye for gesture picks up a lot. Looking at an outdoor cafe scene by Manet, he notices that the young man at the table with a woman is actually kneeling next to her, not seated there. From this he infers that the man is trying to pick up the jeune fille. The rather prudish look on her face seems to confirm that this is what's happening.

The copious illustrations are wonderful. Many are of paintings which are infrequently reproduced in art books. There are also a lot of works by Gustave Caillebotte whose compositions are so fascinating. The writing is lively. I think this is a terrific book for a lover of Impressionism and/or a lover of Paris. It's a wonderful fusion of images and prose. I'm just so glad to find it available at such a reasonable price.

In the South of France, by Don Krohn, is so much more than a book of beautiful photographs. I was drawn into the book by the luscious color plates, eager to see what this famous land - the south of France - looked like. Page after page, rolling sunlit landscapes and intimate private moments delighted my painter's eye and wanderlust! But upon entering into the narrative that accompanies the photographs, I became enthralled with a sense of the day-to-day life there as it was revealed in the pages, and I found many passages that went from poetic to descriptive to profound. I had a lot to ponder as I again meandered through the photographs, choosing a few favorites that still beckon me to the south of France. Mr. Krohn was able to bring the area to life for me both visually and intellectually, even though I have never been there!

Photographer Don Krohn's rich palette and unique vision are highlights of this volume. From abstract landscapes to witty village scenes, he reveals an intimate knowledge of this legendary place. His preface demonstrates a sweeping knowledge of the history of Provence and also reveals something of how an artist approaches a new subject. His generous selection of quotes by various artists and authors adds to our appreciation of the many qualities of this beautiful spot. A great gift or mini-vacation for the coffee table.

What a remarkable and brilliant collection of photos are included in this beautiful new book! I don't usually go for the photo gift book, but this is like nothing I've ever seen. Each photo captures some wonderful moment of the French landscape, whether it be a natural or built one. I loved the way Krohn understands the color and shapes of any one of his photographs-they really become a bit like abstract paintings at times. The section of quotations by a variety of authors (from Robert Stevenson to MFK Fisher) placed at the start of the book is a wonderful treat. A perfect book for the holiday season.

I received this elegant and enjoyable book as a gift and will surely buy it in the future to give to friends. The photographs offer glimpses of the deep beauty and daily life of the south of France, and the graceful text adds personal, historic and artistic background - a rare combination from one artist.

This is really a landmark achievment to write such a good book in such a way, understandable .

The author has a splendid writing gift, and she has produced a broad and wonderfully clear survey of the state of the art in this vigorous field. For a detailed summary of what you will find in the book, check the editorial review (above) from the New England Journal of Medicine.

It seems to me the book might well be read in the context of two other important books in this field: One is Bertil Hille's classic, "Ionic Channels of Excitable Membranes." As a science gathers momentum (and this one is certainly surging) we tend to lose track of what is known and what is simply assumed. Hille's book will fill in some blanks at the fundamental level - and show you exactly where the underlying assumptions are in this science. If you are at all skeptical, and of course you should be, you will like Hille's calm precision and care.

The other background book is Spikes, by Rieke et al. The implication of Spikes is that Adrian was wrong and that, therefore, all of us have been wrong about what nerves actually do - and wrong since 1926. The authors put this rather more diplomatically than I have, but there it is: Adrian wrong.

Spikes summarize evidence accumulated since about 1993 that a single nerve impulse, all by itself, can somehow convey information to the brain. This shocking news will have to be either explained or explained away in terms of the biochemical machinery of the neuron. The current explanation (which is based on precise arrival timing) would seem to rely upon the physiological equivalent of a quartz crystal, um, a device we don't often come across in biochemistry.

It would be my guess that a better understanding of ion channels will point to a more biologically realistic solution. And a new and better picture of how the neuron works.

Ion Channels and Disease is the most current and broadest survey of the subject. The key to the problem is probably in here somewhere, or is referenced here, and is waiting to be discovered. I would pay particular attention to any type of evidence for linkage, structure or signaling between "individual" channels. Linkage between discrete trans-membrane ion channels could create a longitudinal channel running the length of the nerve, probably many of them. A multi-channel axon - a cable rather than a wire -- would be one possible solution to the new mystery of how a single impulse can be freighted with graded information.

This is a lucid discussion of the role of ion channels in disease. It begins with a wonderful introduction to molecular biology and physiology of ion channels suitable for neophyte as well as the seasoned investigator. Then individual ion and ligand gated channels are discussed in individual chapters. After the basic properties of each channel are introduced, diseases of the channels are discussed.

This is a fantastic book for anybody interested in ion channels or molecular medicine. If you happen to be a graduate student preparing for an exam in the field - this is your salvation! Personally, I read it with enormous delight. What a great compendium of this fascinating, quickly growing field! The style is very elegant, everything is lucid, the concepts come through crystal-clear. This was certainly an enormous amount of work and the book will be helpful to many in the field - for brushing up on channels that you don't work on, for checking things quickly, for teaching, and just for fun!

Blanche Schwappach, Howard Hughes Medical Institute, University of California, San Francisco