California Books

"Cinema By The Bay" by San Francisco-based film and culture writer Sheerly Avni is a profusely illustrated survey of influential, full-length, post-1960s feature films produced by five movie studios located in the San Francisco Bay Area (American Zoetrope, The Saul Zaentz Company, Lucasfilm Ltd., Pixar Animation Studies, and Pacific Data images), or which were directed by independent filmmakers living and working in Northern California (many of whom were recent graduates of the California Institute of the Arts and Stanford - where they had studied experimental animation). Enhanced with the inclusion of an informed and informative introduction by film critic Michael Sragow, filmographies, an index, credits and acknowledgments, "Cinema By The Bay"is a welcome and strongly recommended addition to personal, academic, and community library Cinema History reference collections and supplemental reading lists.

The pervasive influence of the San Francisco Bay Area on the American film industry certainly makes for a rich pictorial of quite a tapestry of movies. At first, it seems like the commonality of location would make for a contrived listing, but this book is not just about filming locations. What local arts writer Sheerly Avni does is a solid if rather lightweight job of capturing the frenzied spirit that has marked Northern California's moviemaking scene since the early 1970's. Unsurprisingly, she tends to get effusive about her publisher, George Lucas, and his limited output as a director, but it is a forgivable breech when one considers the breadth of films, both renowned and almost forgotten, that she writes about here.

The book is divided neatly into two sections, the first devoted to the five studios based in the Bay Area (Francis Ford Coppola's American Zoetrope, Lucasfilm and the Saul Zaentz Company, as well as the CGI powerhouses of Pixar and PDI) and the second to the filmmakers who are either from here or have chosen toe base themselves here. They include not only Coppola and Lucas but also Carroll Ballard, Clint Eastwood, Phil Kaufman, Michael Ritchie, Chris Columbus and Wayne Wang among others. A complete filmography is included for each studio and director, and Avni provides plenty of interesting information about the productions. The best part of the book is really the treasure trove of production photos provided for each major film presented, many rarely seen before. I also like how certain overlooked films of quality, such as "Tucker: A Man and His Dream", receive renewed attention here, as well as vastly talented filmmakers like Ballard, who do not usually receive much media attention.

Michael Sragow, film critic for the Baltimore Sun, provides the book's invaluable introduction, which summarizes the long history that Northern California has had on cinema starting with Charlie Chaplin's use of Niles in the East Bay as a shooting location for many of his early silents. Alfred Hitchcock is another filmmaker known for his love of Bay Area locations as seen in "Vertigo", "Shadow of the Doubt" and "The Birds", a topic covered thoroughly in Jeff Kraft and Aaron Leventhal's entertaining "Footsteps in the Fog: Alfred Hitchcock's San Francisco". In the meantime, this is a worthy coffee table book providing ample evidence of how San Francisco has been an enduring creative touch point for much of the best of American cinema.

This book sums up the last four decades of filmmaking that has come out of the Bay Area. When you see all these films collected between the covers of this book, one realizes just how much Coppola, Lucas, Eastwood, Kaufman, Saul Zaentz, and Pixar have contributed to our collective movie consciousness. The writing is crisp and lucid, but the images [many never seen previously] and page layouts are astounding. This would make a wonderful gift for *any* movie lover, but even those with a casual interest in film will find it captivating. I am pretty sure this is the first book from Lucas Books, and I applaud it.

From the founding of Francis Ford Coppola's American Zoetrope to Pixar's struggles to stay fresh, I learned so much about the Bay Area's contribution to American film reading this book. (And who knew film producer Saul Zaentz discovered Creedence Clearwater Revival in a prior life as a record producer?) I always thought of "The Godfather" as the region's major movie claim to fame, but this book covers five studios, and 12 independent directors, most of whose names even the most casual filmgoer will recognize. Of course, "Star Wars" and "Amadeus" are covered, but so are less likely suspects such as "Rumble Fish" and "A Perfect World."

The photographs and images are amazing, but Avni's spunky text really makes it. I will be giving this book to my dad, who has lived in the Bay Area for more than 30 years, for Christmas.

From the very first spread, I knew CINEMA BY THE BAY was going to be a very special book. The helicopters flying over the beach in APOCALYPSE NOW is one of the most referred to scenes in modern film history, for all of the elements of war and tragedy that it evokes, but also because it is a scene that demands watching on the big screen. Not only the big screen of a movie theater, also evocatively referred to by the layout of the first page, but the big screen of the imagination, which all good movies reside on.

With that one choice Sherrly Avni brings home not only what is special about the filmmakers covered in her well-researched and totally accessible book, but what was important about the studios founded and fueled by the creative and business efforts of those men and women: that the works created by those artists and companies were defiant, revolutionary, often strokes of genius that come on like an invading army going to war full of dreams to change the landscape while at the same time shackled by the politics of an industry rooted so deeply in its old ways that breaking free was sometimes an impossible task. That all these studios were born in the same area of California amongst a group of creative people who alternated between being mentors and students of each other's work was hardly an accident, and as I made my way across the pages of the book, first learning more about the films of American Zoetrope, The Saul Zaentz Company, Lucasfilm, Pixar, and Pacific Data Images than I'd ever learned in a thousand books and magazine articles, then delving into the meatier director biographies, it was clear to me why these filmmakers have been the people who have shaped the way we all look at movies for most of the last century.

The book's layout is great, the writing crisp and direct, and filled with first hand observations from the people who lived the challenges of making the movies what they are today. I can't recommend the book more highly. If you're a fan of movies or just a fan of people and companies that defy the odds, you have to get this book!

Please see my review of the paperback edition. Although no single book is the final word on jazz, this comes close with a comprehensive description of most of the pioneers of the trad.jazz revival on the west coast. Kid Ory is given his due; and emphasis is given to some of the often unsung heroes, such as Pete Daily, whose early records with Jump, Jazzmen, and Capitol paved the way for Bob Scobey,Turk Murphy,and other groups. Particularly, his coverage of Eddie Miller, Pud Brown, Muggsy Spanier, Wild Bill Davison,Rosy NcHargue, and Yank Lawson-Bobby Haggart's World Greatest Jazz Band is appreciated. This is a must for the library of any Traditional or Classic Jazz buff!

This book stands out as a historical summary of trad jazz! No book is absolutely complete history, but Levin does a superb job of highlighting the trad jazz revival. His accounts of Eddie Miller, Rosy McHargue, Pete Daily, Bob Scobey, Turk Murphy, Muggsy Spanier, and others are flavored with personal reflections and accurate facts., He gives Kid Ory his rightful due, and, although too brief on Bix Beiderbecke, Red Nichols, the Original Dixieland Jazz Band and nothing on George Brunis, he treats the west coast revival of dixieland with much needed love and respect. I thoroughly recommend the book and believe it to be the best on trad jazz in this country.

Floyd Levin has always been a stalwart jazz enthusiast. Living in the Los Angeles area, he has had opportunity to know many of the jazz musicians personally and to share their stories with the readers. As the title implies, this is a personal recollection for Levin.

Floyd's book fleshes out some of the jazz history and clarifies some points. One is the story about the plaque in Touro Infirmary in New Orleans. Trumpeter Muggsy Spanier had a perforated ulcer which was operated by the famous Dr. Alton Ochsner, Tulane Professor and founder of famed Ochsner Clinic. During convalescence, Spanier composed and later recorded a tune called "Relaxin' at the Touro." Previous jazz writings had told about a plaque in Touro commemorating this event. Floyd tracked down the plaque which administration couldn't exactly locate. Because there had been renovation, the plaque was in a somewhat obscure location. Levin interviewed Muggsy about the event and they became fast friends. ( This is frequently a jazz quiz question: In the famous Muggsy Spanier tune, "Relaxin' at the Touro," what is the Touro? Now you know the answer.)

Levin writes about musicians he has known including Benny Carter, who wrote the foreword, James P. Johnson, Milt Hinton, Wild Bill Davison, Artie Shaw, Barney Bigard and many others. He also includes many West Coast musicians with whom he came in contact. There is a chapter on musicians, lesser known, who deserved greater recognition. Two of those included reedmen Pud Brown and Rick Fay.

Levin's concluding chapter covers the struggle to get an appropriate memorial for Louis Armstrong. Funds were being raised by various jazz societies and individuals for a statue of Armstrong to be erected in Armstrong's native New Orleans. He recounts how Bing Crosby donated the proceeds of a concert in San Francisco which put the fund over the top. That twice-lifesize statue of Armstrong stands in Armstrong Park in New Orleans and was unveiled on the nation's bicentennial in Jackson Square in New Orleans. Levin made the presentation, on behalf of the Louis Armstrong Statue Fund, to the city of New Orleans. Four years later, the statue was permanently erected and dedicated in Armstrong Park.

This book is not a definitive jazz history but an interesting view into the lives and careers of musicians who have been influential in shaping jazz--America's Music.

My review of this book is not without personal bias. I have known and worked with Levin on the Board of American Federation of Jazz Societies and have visited with him at various jazz festivals and in his home. Two of my photographs have been included in the book. I am pleased to have known him and congratulate him on completion of this book, his labor of love.

If you love New Orleans traditional jazz, you gotta read this book. Mr. Levin writes about many of the legends of jazz and recounts personal experiences with many of the the jazz musicians. I liked the depth of treatment by the author. He tells you a lot of interesting things about the musicians and their careers, but doesn't go overboard in telling you more than you really want to know. His telling of the story of how the statute of Louis Armstrong made it to Louis Armstrong Park in New Orleans is especially informative. I recommend it to most anyone who has an interest in traditional jazz, but especially to those who want ot knwo just a little bit more about the major players.

Maybe I shouldn't call the book a popouri of Jazz musicians because Levin's stories of the many personalities and events are well organized. However, a mine of classic jazzmen, famous and/or forgotten, are included with stuning, compeling and personal detail. Many talents I followed years ago who'd dropped off the radar, and about whom I've never been able to glean prior information, are included along with their more famous brothers and sisters.

What makes the book a real five star celebration are the first hand naratives along with page turning drama and pictures that carries along any New Orleans, Chicago, San Francisco, et. al. jazz lover. The book is in lyric style just like the music it presents with great pictures as well.

Persosnally I savored the mid-century west coast scenes, documenting what has not prevously been so well described, about Ory and the host of his compatriots including my favorite, Buster Wilson (whom I had never found in any other publications).

For me this is the best jazz book ever -- just what I wanted.

As a winewriter interested in all aspects of fine wines and communication dealing with wines, this is a Bible of a book. The book provides insight into not only the famous and well known winemakers and wineries, but also the least known, small production wineries. It is in this area, I believe, that the future of the real 'terroir' of the region will be discovered and maintained. The book also explores the development of the region as a vinicultural tour de force. The section on grape varieties is especially informative. The book indicates and follows the progression and sorting out of grape varieties in this region, and provides an educational backdrop to the crossover from 'Old World' to 'New World's wine production.'

There is no better guide for knowing the ins and outs of wineries throughout California. Large and small wineries they are all there. Forget some of the reviews. The background of each winery is great reading...

A vast array of information not easily available. Reliable reviews of the wines of virtually every known winery, and reliable comments about the future development and direction of wineries.

Actually it's more than that. It's like an encyclopedia, dictionary, atlas and buying guide all in one. I'm so happy to see a new addition of this book. There are so many new wines and wineries to know about that it makes my head spin. This book sorts it all out in a very concise and comprehensive format. Bravo!

I received this 11/98 version as a gift. I use it extensively as a reference for learning about different local varietals, and use it when purchasing, and then consuming, certain vintages. My one personal gripe is that I just cannot afford to try all the wines in recommendation. (Maybe that's a good thing!)

One of the most comprehensive studies on the subject I have come across. Leonard gives a thought provoking overview of the circumstances involving battered women who kill. Sure to bring invaluable perspective regarding "domestic violence" to every reader. The interviews with women serving time add an edge to the literature, that brings us into their lives, their fears, and their reality. Impressively thorough in introduction to the topic, giving readers a solid framework to process the real-life stories of women inmates. I highly recommend this book as a must have to any sociological library.

One of the most comprehensive studies on the subject I have come across. Leonard gives a thought provoking overview of the circumstances involving battered women who kill. Sure to bring invaluable perspective regarding "domestic violence" to every reader. The interviews with women serving time add an edge to the literature, that brings us into their lives, their fears, and their reality. Impressively thorough in introduction to the topic, giving readers a solid framework to process the real-life stories of women inmates. I highly recommend this book as a must have to any sociological library, And to the author, wonderful research! and much needed... I await your next publication.

How easy it is for most of us to go about our daily life without care or concern for those in prison. How easy it is for us to take the "They get what they deserve" attitude toward all prisoners. This books exposes the horrors of how the justice system convicts and treats women that come from homes in which spousal and child battering is routine, and who, ultimately kill their spouse in a desperate attempt to preserve both their own life and that of their children. It is horrific to see how sexist the system is, and how the concept of spousal abuse is so thoroughly swept under the rug and/or treated as non-issue. This occurs not only in the prison system, but in our country at large. Too many of us feel all prisoners are guilty, and that the system gives out an appropriate sentence for the crime.. do they? Do these women get equal treatment and punishment as the men do? Can you murder in self defense? Is spousal abuse for real? This book is a real eye opener, and a must read for anyone in or looking into a political, law enforcement or sociological career.

Elizabeth Leonard scored big with this book. The book approached the subject in an appropriate manner and will leave readers in anticipation for change. The narratives from actual California inmates really grabs your attention and makes you feel as if you want to reach out and touch these women. It has been long overdue for someone to bring the truth to light about spousal abuse and really make the public aware. That person was Elizabeth Leonard and she does it with perfection.

Elizabeth Leonard's book reveals a shocking difficiency in the United States' legal system. She systematically and clearly outlines the outrageous way the legal system treats victims of domestic violence when they defend themselves. It is the most fair and even book I have ever read on the subject, yet carries with it a passion and drive as such I couldn't put it down. The time and care with which the research has been done is astonishing, so much so that even Amnesty International has sat up and taken notice. If you want a well written sociological study of how women who have killed their abusers are treated in the American legal system, this is the best book to buy.

C.B.F. Walker's book on Egyptian Hieroglyphs (part of the 'Reading the Past' series put out by the British Museum in cooperation with the University of California Press) is an excellent primer to the subject of this ancient language. Like the other texts in this series, the book itself is only 64 pages long, which makes the task of learning an ancient writing system like Cuneiform is daunting. Do not be deceived by the low number of pages - there is a wealth of material here.

The first bit of information clarifies a misunderstanding commonly held even among scholars - Cuneiform is not a language, in-and-of itself. Cuneiform is a script, a writing tool used by at least 15 different ancient languages (much in the way the alphabet from which you are reading this review is shared among dozens of languages, with minor variations). Walker talks about the origins and development of Cuneiform script out of pictogram writing, placing it historically alongside Egyptian Hieroglyphics, the other major ancient writing system of the Near and Middle East.

Walker talks about the history of discovery, up until very recent times, of the different ancient languages which used Cuneiform script. Dating back as far as 3300 BC, writing pre-dates all known major Empires. The idea that the Sumerians invented writing, long held, has had to be revised. Nonetheless, the Sumerians did develop writing, using the Cuneiform script, to a high degree, and this was passed on to the Akkadians and then further afield. Walker makes interesting digressions into the materials and direction of writing as he proceeds with his history of the script.

Chapters two, three and four develop the world of the script in further detail. Chapter two looks at tablets and monuments, the media upon which the overwhelming majority of the cuneiform script has survived for us. Chapter three looks at the issues of scribal training, scribal identities (some scribes signed their names, titles, or other identifying markers on their work), and libraries of the ancient world, which were often official storehouses of documents, or private libraries of wealthy individuals. Chapter four shows the widespread geographical coverage of cuneiform, and the different languages over time and place that adopted the writing, such as Eblaite, Elamite, Hittite, Hurrian, Urartian, Ugartic, Luvian and Old Persian.

The next final two chapters look at issues of decipherment (Old Persian being among the earliest languages to be deciphered from cuneiform) and gives some sample texts for the reader. This includes explanation of the niceties of professional archaeologists and Assyriologists, such as writing Sumerian texts in lower-case Roman script and Akkadian in italics, etc. This is not a text which teaches one to read or construct cuneiform, but recognition of patterns in basic inscriptions is presented here.

The final two-page chapter deals with fakes and forgeries, and to some this may be the most interesting chapter. Looking at the history of forgeries of cuneiform (they go back on the antiquities market as far as 1820, the forgeries now becoming valuable collector's items in-and-of-themselves) to the production methods used to scam modern tourists, Walker shows methods for identifying the most obvious of forgeries in the simplest of methods.

Walker includes a useful bibliography, and gets full marks for including an index for even so brief a book as this. He also gives a good list of places to go to see cuneiform script in museums around the world. Far from a complete list, it is still worthwhile. While this book is but the introduction to the subject, it is a great text for those who have interest in Cuneiform, ancient languages, or linguistics, but do not have the time or inclination otherwise to pursue a full course on the topic.

This excellent book, which is one of a series of concise texts dealing with ancient scripts, provides a comprehensive overview of ancient Mesopotamian cuneiform logographs. Helpfully, these are divided into various periods and cultures, spanning nearly three thousand years of the development of the written languages of this "cradle of civilazation." Outside the scope of this book is the basic liguistic philosophy which would place this group of languages in a wider context. Nevertheless, this text will help to open wide the heavy door which seals most of us from the legacy of these pioneers of incisive chronicle and timeless literature. Tellingly, I've been able to employ the tables in this book to aid in the decipherment of inscriptions of Old Babylonian cylinder seals.

CUNEIFORM by C. B. F. Walker. 64 pp. Volume 3 in the 'Reading the Past' series. University of California Press / British Museum, 1987. ISBN 0-520-06115-2 (pbk.)

The present book offers a brief illustrated survey of the cuneiform writing system which flourished in the Ancient Near East between 3000 BC and 75 AD. It covers the development of the script from its earliest pictographic signs, and explains the process which led to cuneiform being used for writing, not only Sumerian and Akkadian, but also many other Near Eastern languages.

After a brief Preface, seven chapters follow : 1. Origin and Development; 2. Tablets and Monuments; 3. Scribes and Libraries; 4. The Geographical Spread; 5. Decipherment; 6. Sample Texts; 7. Fakes.

The sample texts show us how the cuneiform script is analyzed into words and syllables, and also how to read the names of the most famous kings as found in various inscriptions. Extracts are given from Sumerian texts which describe how scribes were trained, and the many different kinds of inscription they wrote are illustrated.

Also explained is the exciting story of the decipherment of cuneiform, and, since original inscriptions can be very expensive and are often faked, a few guidelines for identifying fakes are included for the benefit of collectors.

The book is rounded out with a useful summary of the main international collections, 'Where to see Cuneiform Inscriptions,' a short list of books for 'Further Reading' which includes such familiar names as Kramer, Oppenheim, and Chiera, and a handy Index.

The book is a large 8vo in size (9.5 by 7 inches), bound in a sturdy decorative wrapper, stitched, and well-printed (though in a rather tiny font) on strong paper. It contains a useful map, and is profusely illustrated with line drawings and with black-and-white photographs of many ancient cuneiform-bearing artefacts such as sculptures, clay tablets, seal impressions, stelae, and so on.

All in all, C. B. F. Walker's book is a handy guide, and sturdy enough to be taken along on a trip to a museum or collection to be used as a reference. But given the enormous importance of cuneiform as the vehicle of the most ancient and amazing body of literature that has come down to us, and of the basic civilizational patterns which the modern world has inherited from Mesopotamia and which still govern us, it seems amazing that this should be the only book devoted to a general survey of the subject in English (though there are chapters in others).

Although the style in which this book is written might have been a bit livelier, the illustrations are very nice to have, and anyone who is at all interested in cuneiform will find much to enjoy in it. A few other recommended texts follow.

For a sumptiously illustrated text on quarto sized pages which gives many large beautiful reproductions of cuneiform, readers are referred to:

A MANUAL OF SUMERIAN GRAMMAR AND TEXTS. Second Revised and Expanded Edition. By John L. Hayes. 471pp. Malibu : Undena Publications, 2000. Aids and Research Tools in Ancient Near Eastern Studies No.5. ISBN0-89003-508-1 (pbk.)

A reproduction of an incredibly beautiful 1861 copper engraving of a Royal Inscription which was one of the earliest pieces of cuneiform to be published after its decipherment will be found as Figure 1 on page 62 of Assyriologist Jean Bottero's :

MESOPOTAMIA : Writing, Reasoning, and the Gods. By Jean Bottero. Translated by Zainab Bahrani and Marc Van De Mieroop. 311 pp. Chicago and London : The University of Chicago Press, 1992. ISBN 0-226-06727-0 (pbk.)

This engraving is definitely something you shouldn't miss. I don't think we'll ever see the likes of it again. It's almost worth the price of the book. And the rest of Bottero's book is marvelous too!

Cuneiform is a type of writing that has been used for at least 15 languages, including Sumerian and Akkadian. Apparently, cuneiform could even be used to relay secret messages in English to your friends. According to Ancient Iraq, by Georges Roux, and Ancient Mesopotamia, by A. Leo Oppenheim, there are more than 100,000 Sumerian and Akkadian tablets written in cuneiform with, for example, 15,000 tables found at Tell Mardik and 25,000 found at Ashurbanipal. However, the book being reviewed (Walker) will does not provide the reader with any sort of start towards the goal of phonetically reading these tablets. Walker's book does reveal a few of the ancient cuneiform letters (pages 12-14), but does not reveal all of these letters, and does not instruct the reader how to string the letters together to form words, aside from an example given on page 56. The author does do a better job with a later form of cuneiform ("old Persian"), and here 36 cuneiform characters are shown. But again, there is little or no attempt at instructing the reader how to read any cuneiform text. An elegant job is done in illustrating various tablets, cyclinders, monuments, envelopes, and prisms, bearing cuneiform script. The photos are large, on glossy paper, of high quality, and generous in number, despite the concise nature of Walker's paperback book. If anything is missing from the pictures, it is a photo of the 1760 BC (71 cm tall) code of Hammurabi, that is, the one with the engraving of Hammurabi and Shamash, god of the sun and of justice. Walker's writing is first rate and comprehensible to the layperson. The author's credentials are appropriate and first rate (employee of the British Museum), and the publisher is Univ. of California Press (Go Bears!). The book provides us with a number of fun facts, for example, the clay envelopes used for inserting clay tablets, e.g., for security purposes, and the fact that Enheduanna, daughter of Sargon, the first king of Mesopotamia, is the first known author in the history of the world. However, the book really needs a second edition, with a full chapter devoted to teaching the reader some of the basic elements on how to phonetically read ancient cuneiform text and/or old Persian cuneiform, along with more examples of pre-translated examples, and exercises for the reader. In its present edition, the book should really be called "Archeology of Cuneiform" or "Concise History of Cuneiform."

C.B.F. Walker 'dubsar' (you just have to read the book to understand) has authored a well laid-out work. Reflecting the idea of writing in a limited space on clay tablets, he made his words count with a limited number of pages. If you are only slightly interested in this subject, you will enjoy this book. The main body of reading totals 60 pages (he must have choose this number out of respect for the Babylonian's sexagesimal numeral system). This book can easily be read in a few sittings. As if Walker's words weren't comprehensible enough, he adds clear pictures and drawings. He utilizes simple cuneiform inscriptions as examples.

The chapters are:

Origin and Development. Topics include: the history and explaination of pictographs and syllabic writing, direction of the script (as it changed over time), cuneiform in relation to Akkadian and Sumerian languages, historical divisions, the use of various forms of cuneiform throughout history with a timeline, and different forms of numerals (including a few fractions).

Tablets and Monuments. Topics include: tablet shapes and sizes, writing stylus, envelope useage, stamp and cylinder seals, monuments and commemorative inscriptions (clay nails, bricks, prisms).

Scribes and Libraries. Topics include: scribal training and tradition, colophons, and libraries.

The Geographical Spread. Topics include: a description of the use of cuneiform in Eblaite, Elamite, Hittite (Nesian), Hurrian, Urartian, Ugaritic, and Old Persian. (Sumerian and Akkadian are discussed throughout)

Decipherment. Topics include: history of decipherment and original examples used to decipher.

Sample Texts. Included are guided examples of translated inscriptions.

Fakes. Two interesting pages describing qualities of real and fake tablets.

This is an excellent book to read before enjoying a museum visit.
The price of this book is very affordable because of the size, yet the information presented is well worth the price.

I originally bought this book when it was first published, in 1982 -- at the book release party, which was held at The Mabuhay Gardens in San Francisco. I loved it then, and was happy to find it was still for sale after all these years. It provides such an accurate picture of what was going on in San Francisco during the late 70's; not just the music scene, but the scene in general. And much of it's timeless, but the parts that aren't are fascinating in their 'time capsule' quality.

I'm twenty, so hadn't been born when this book was being written, but I thought it offered a fascinating glimpse into the lives and thoughts of music people in San Francisco during that era. But your site says there are two other reviews...I couldn't access them, though.

I remember a lot of the people in this book -- of course, a lot of them are still going strong! I particularly loved some of the photographs, especially the ones with the author in them. Even though it was written a long time ago, and rock books usually become dated, for some reason this one seems fresh. I recommend it to all boomers!

Hey, this one took me back! I remember a lot of these people, seeing them perform at The Old Waldorf and The Mabuhay Gardens! Those were the days...and the author does a great job of bringing their thoughts together in a coherent manner. An impressive first book, eloquently told and organized for so young a writer.

My daughter, Nadine Morse, recommended this book to me. It says something about the timelessness of the book that it appealed to a 20-year-old and a woman (slightly!) over forty. I found it fresh and invigorating, and am amazed it was written by a woman younger than my daughter.

I found the quotes from people in the music industry to be highly entertaining, but the best parts of the book were the author's introductions. I'm going to look for more books by this author.

I read about Saroyan in Closing Time (Heller's disappointing sequel to Catch-22), I was inspired to pick up this book and I'm so glad I did. I'm about 2/3 of the way through the book, and so far the preface remains my favorite part. Fortunately, that's because it's an amazing preface that, brief as it may be, would have been just barely worth the purchase price all on its own. This is, of course, not an issue, because so far every story has been a bite-sized morsel of goodness. Especially great for the sort of person who likes to read a few short stories in one sitting, they're compact and plentiful and thoroughly satisfying. So... get this book.

Saroyan has a rare sense of language usage and introduces thoughts and ideas causing you to stop and realize how the grind of everyday life can be refreshing, moving, and humorous. His writings represent a slice of life in everyday America as well as amusing insights into the wacky right braininess of a writer. Once you get through the first chapter and can stand up again, the rest of the book is one deeper-than-real-life-story after another. Like Edith Wharton, Saroyan has a command of the craft of writing that seems lost in today's works.

A masterful work. Most of them written in a thirty day period, in which Saroyan promised to send the editors od Story magazine a story a day for thirty days. He proceeded to do this and this book made Saroyan an instant celebrity.

Saroyan eventually went on to win the Pulitzer for his play "The Time of You Life", but turned it down.

This book was a stunner when it first appeared. The simple yet poetic language ran against the trend of the times.

Saroyan is a nearly forgotten genius, yet his influence is evident in even his enemies, like Ernest Hemingway.

Buy this book, read it, and then give it to somebody. They will thank you and so will I.

I think there are not many books, that can change your life. This is one of them. I was sixteen when I read this book for the first time. I was not very happy in that time and I was rather confused by life but it has changed. In these short stories I could read about thoughts and feelings, that were similar to mine, but I had not be able to express them. But angle of wiev was new. It made me to live in spite of the world.

William Saroyan was brought to my attention by Jack Kerouac's early writings in "Upon An Underwood." I can see why Kerouac was turned on by Saroyan...and so am I. This book of stories is very inspiring because, in a good-natured way, it defies the conformist rules and regulations that "academic literature" tries to enforce upon young writers. It's as funny as it is insightful...and even a bit bizarre. It easily belongs on the TOP SHELF of any library.
Its value is timeless.

A fascinating introspective look into the mind of one of the great American photographers of the beginning of the 20th century, Edward Weston. With his intricate, yet simple, and sometimes abstract images, Weston created a world of his own together with his "one true love," his camera. By evidently pouring his soul into every entry of his daybooks, Weston makes the reader gain a greater understanding of his technique and extraordinary eye for beauty. The chronological organization of entries takes the reader from Weston's days in Mexico through his days in California.
Not only writing about photography, Weston describes his many acquaintances (his encounters with Stieglits are most interesting), his dinner parties, his adventures in a foreign land, his romantic dealings, etc. It was interesting to read of his take on Mexico of the 1920's. Also interesting is the glimpse into the life of a struggling artist who depends of every "sitting" to survive...the life of a true artist. The pairing up of his writings with sporadic clusters of his wonderful photographs enhanced and completed this Weston experience. Alltoghether a fascinating compilation of thought, highly recommendable.

I can tell that this was a really interesting book. After reading it front to back more than once, I now have a new outlook on Edward and his work. I finally understand what he was trying to convey though his images thanks to this book. Edward Weston had a fascinating life especially with all who he encountered. This is a must read if you are an artist, photographer or not!

This book stands alone in the annals of art history. No other book gives such an intimate view into the day-to-day trials of a working artist. Weston, who from time to time fostered ambitions of becoming a writer, genrously shares his thoughts and his experiences over a 15 year period, culminating in a remarkable portrait of the artist as a human being. While literary critics may have occasion to fault his prose, which at times seems flowery and verbose, given his Victorian-age education this can be forgiven of him. Weston takes us through his decision to leave his family and travel to Mexico, where he chronicles not only his own work, but that of other artists. He writes of the bullfights, love affairs, the scenery, and of the many unforgettable characters he met along the way. Weston moved in many circles, and thoroughly enjoyed himself, whether his company be artists or revolutionaries. He shares with the reader his many instances of self doubt, of guilt, and of poverty. He also shares his many triumphs, as his original photography begins to garner commercial success. We see Weston as an art critic, giving unflinching opinions of the works of Diego Rivera, Carlos Orozco, Robinson Jeffers, and a host of others. He is no less honest in his evaluation of his own work. Included in the volume are 72 extremely well-reproduced photographs divided into the various periods of his photographic life. We are givin a behind-the-scenes look at how these photographs were made, from both the artistic and the technical point of veiw. Most importantly, the Daybooks is not just for photographers or Weston afficianodos, but for anyone who appreciates a well-written autobiography of a remarkable artist.

This book is a great book to get to know the thoughts of Edward Weston on his daily work of photography and personal life. This is a diary type book of daily entries of thoughts. It has some funny points and sad points (as a lives do). Photographers today can identify with the great Photographer on his progress of daily work. If you want to see Edward Weston's thoughts in his daily life this is the book to get! I'd have to say it's awesome to know the thoughts and happenings of a great photographer of the past!

Second time reading Weston's Day Books over thirty years. First time I was young and only looking for technical hints. This time I'm much more interested in relationships, family, and Weston's struggle with his art, money and life A must read for all artists.

Kate Gillespie, Homicide Inspector for the San Francisco PD, finds herself entwined in an apparent murder-suicide case involving an old school friend. The deeper Kate digs, the more involved the case becomes, leading Kate to question some basic truths from her past. This is the third Kate Gillespie book and a great addition to the series.

Robin Burcell has written another police procedural that is both interesting and even better, if that is possible, than her previous two bestsellers of Inspector Kate Gillispie. Kate and her new partner, Rocky, go on a chase for a double murder killer, and Kate discovers an old college friend was not the gody-two shoes she appeared to be. Kate is delightful as a woman who is guilty over some of the things she has to do as a police officer and a person. A thriller worthy of a good read at night. I recommend it highly.

In San Francisco, Homicide Detectives Kate Gillespie and Rocky Markowski investigate what appears is a murder suicide with two corpse inside a car. When Kate sees the female victim, she realizes she was her estranged best friend Eve Tremayne. Kate cut off her relationship with Eve because the latter was into kinky S&M.

Kate and Rocky explores Eve's residence where they find a sex room including adult toys and an album containing pictures of the deceased's clients. Kate sees a picture of her dead father and absconds with it. On the other hand she leaves behind inside the album the picture of her ex-spouse. As Rocky takes over the lead with another cop, Kate is relegated to providing support. The SFPD digs into a violent underworld filled with treachery, duplicity and selfish cover-ups by individuals who will not lose a minute of sleep if three cops must die.

Fans of police procedurals will want to read DEADLY LEGACY, an exciting tale starring a strong cast of characters. Kate is an ethical lead protagonist whose conscience reminds her that she tampered with evidence when she removed the photo. Though everyone insists that Eve was a highly ethical person, Kate knows first hand otherwise. Rocky provides a steady balance and an internal affairs cop adds a romantic angle. The who-done-it is complex as the so-called loving relatives of the victims do everything to avoid exposure. As she did with Every Move She Makes and Fatal Truth, Robin Burcell provides the audience with a strong mystery.

Harriet Klausner

If y'all have't read a Robin Burcell book, you are in for SUCH a treat! :D

All the characters ring true, and Kate Gillespie is the epitomy of a true heroine, the BEST of what we want cops to be. Plus she's way funny. Read all her books ASAP!

Pat, BIG fan of this fabulous author!

I enjoyed 'Every Move She Makes' and 'Fatal Truth' so much that I couldn't wait to read 'Deadly Legacy', but I wasn't certain that Burcell could maintain the same intensity in the plot and between the characters for this third outing. Happily, I was just as intrigued with the story and the relationships this time. Once I began reading I was unable to stop until the surprising conclusion.

This story begins with the murder/suicide of an unknown man and a young woman that San Francisco Homicide Inspector Kate Gillespie knew well once upon a time. As Kate and her new partner Rocky Markowsky investigate the deaths become more suspicious. Everyone has something to hide including Kate. Kate initially begs to be removed from this case to which she has so many unhappy associations. However, when she is asked to step aside she is unable to let go of her investigation despite the fact that someone is trying to make her stop permanently.

Burcell's characters are so well developed that you feel like you know them. They are also intelligent, dedicated, honest but flawed just enough that you really want to know them.

The on again off again relationship between Kate and Mike Torrance adds spice to the story, and I would like to see it progress further in the next installment. My only objection is that the book wasn't long enough.

Make no mistake: this book can be very tough sledding. Reading about the sad, often lonely, always uncomfortable deaths Scannell's patients suffered would be tough for any but the most hard-hearted reader to take. How could anyone not cry when reading about the dying man who wanted nothing more than to end his life in the midwestern home he grew up in, yet was forbidden to do so -- and therefore died alone, far away -- because his parents feared his son's illness would turn their small community against them? Yet it is against this backdrop of sadness and isolation that Scannell writes about her tender, compassionate, and often very creative ways of caring for her patients. Through her eyes we can see that, even when there is no hope of extending life, the lives of the dying can still be valued and enriched in the time they do still have. On a personal note, although I haven't lost nearly as many friends to HIV/AIDS in the last 20 years as some have, I have still attended far more than my share of memorial services and have said goodbye (or worse, not had the chance to say goodbye) to a handful of friends who I sometimes still cannot believe are really gone. I remember all too well the dark days Scannell writes about, and am grateful that advances in medicine since the mid-90s have helped reduce the terrible loss of human life. But the lessons Scannell offers are timeless and independent of person or illness. I don't recommend this book if you are currently coming to terms with a loss, because it may prove to be too painful. But if you are starting to lose your faith in mankind and need a dose of humanity, reading a few chapters of Scannell's book can offer a healthy reorientation.

This is one of the most touching, beautiful books I have ever read. Scannell shares her life with her readers and honors the memories of her AIDS patients through her her series of "anecdotes." Each chapter is a different story, or memory, making it easy to read over a span of a week or more, or even in a day. In it, she touches upon a variety of issues like healthcare, sexuality, gender, death, family, and fear and she talks about her evolving from a good doctor (i.e. seeing the patient's physical needs) to a compassionate doctor (treating the patient holistically and considering their emotional needs).
In the last chapter she reflects on her five years of experience on an AIDS ward and how it helps her cope with her discovery that she has cancer.
When I read this book, I felt like she was next to me in person telling me these stories. I laughed; I got sad; I felt hopeful. This is a testament to human life, and I would recommend this easy read to anyone.

Beautifully written and mesmerizing stories. It's extraordinary, and even reassuring, to read the reflections of a doctor who is so carefully aware of the human and spiritual depths of the doctor-patient relationship. It's unforgettable and shouldn't be missed.

What a wonderful set of truths Scannell reveals in her experiences of caring for dying patients. Honest, raw, funny experiences that shed light into a world few of us can ever know. How great, too, that she "expands the traditional narrative" of physicians' lives.

There exist so few memoirs written by women physicians. It is refreshing to see Dr. Scannell's experience expand the narrative about all physicians' lives. Her mix of humor and sober observation is a beautiful weave of writing.