Blake Books

it's a must have by everyone who has once worked in a Victoria Station. I am mentioned in the book, kindly the writer thought it was interesting that someone who was born and raised in Spain ended up working in a VS!

Prime Rib And Boxcars: Whatever Happened To Victoria Station? by syndicated columnist Tom Blake is the intriguing story of the author's remarkable experience as an eight-year-running executive of a fast-paced chain of restaurants called the Victoria Station. As the company progressively grew from relatively humble beginnings to nearly 100 units nationwide, producing sales in excess of $100,000,000, the successful business upon which it was founded began to fail. Whatever Happened To Victoria Station? takes the story from its beginning in December of 1969 and provides the reader with a timeless and cautionary tale, which is very highly recommended reading for those who remember the successfully growing chain and curious as to what really did happen to once prosperous Victoria Station, as well as for those who find themselves currently engaged in business expansions of their own.

This is wonderful book that brings to life personal experience in the corporate environment at Victoria Station through the real life character of Tom Blake. As a waiter at Victoria Station concurrent to the time frame of the book it was fascinating to read about what was going on "upstairs" from where the employees were working. Tom describes the employee/management relationship perfectly. I know. I lived it.

I was a little sad to finish the book because I wished that it wasn't over so soon. If you worked at VS you have got to get this book. If you didn't work at Victoria Station you have to get it anyway because it is so much fun.

Dan Carlson

"Prime Rib & Box Cars-Whatever Happened to Victoria Station?" is a fun, adventurous book with a rich history. Tom Blake's writing style made me feel as if I was there, experiencing every moment of this exciting journey with him. Reading this book is a great ride! I carried it with me and read it every chance I had. I couldn't put it down.

The guts of VS were its operations. There is only one sentence in this book about the premier trainig operation in N.Lake Tahoe that turned out some of finest restaurant mgrs around.
This book is about a small group of corporate people who partied, had random sex, drove nice cars, etc. The author seems upset that he didn't get a promotion - after reading this me-me book, I can see why. Towards the end, the author becomes a tattle-tale and somehow puts blame on one of VS's founders. It was tough to get through. Not very tasty.

This is an excellent fictionalized account of the Kansas-Missouri war during the Civil Way. Though cowboys are on the cover there are no cowboys inside. The gorilla warfare was unheard of on the scale it was carried out by both sides during the Civil War in MIssouri. By following the life and times of William Anderson --Blake introduces the reader to the context and rationale behind these act. The events that take place in the book are accurate --and unbelievable. The correlations with the IRAQ conflict are undeniable. Be warned this a blunt accurate account. Nothing is left out or glossed over. Excellent.

All i can say about Wildwood Boys is that it made me want to fight the Unioners and rustle horses and roam to the great wild west.

Blake saddles you up and sends you out riding and raiding with Quantrill's Raiders and Bloody Bill Anderson's Gang. It was hell. The political situation was all screwed-up and the worst type of border warfare erupted all over. You'll see it all first-hand as only Blake can tell it. You'll ride like hell, fight like hell, stink like hell, and hell, some of you won't make it. Saddle up!

THIS WAS AN EXCELLENT BOOK. I LOVED IT. IT TOOK ME BACK TO THAT TIME AND PLACE, AND GAVE ME A LOOK AT A GREAT HISTORICAL STORY. ONE REVIEWER WAS SO BIAS, I AM SURE HE WAS FOR THE OPPOSITE SIDE IN THIS STORY. HE MUST BE VERY UNHAPPY AND COWARDLY IN HIS APPROACHES TO NOVELS.

I hate to be the dissenting voice to all the gushing reviews for this book, but I thought it was weak at best. The plot was thin, the dialogue sophmoric, the character development was forced, and the overall portrait of the war was unrealistic. For example, the bushwackers that form the core of the book are almost invincible except at times that aid the story. In battles with even seasoned federal calvary, they rarely lose more than one or two men while wiping out dozens of enemies. They never suffer from hunger, even at a time when many farms were burned.

But, setting aside the lack of historical credibility, the book never evokes the feelings of the war or its human impact in a way that Charles Frazier did (I only bring up the comparision b/c of the quote on the paper edition). Bill, our main man here, never develops as a character- he just sort of lurches from phase to phase.

I wouldn't bother with this book- there are so many other novels of the Civil War worth your time.

America's most famous gunfight has been immortalized on celluloid eight times with results ranging from truly awful ('Doc') to rip-roaring actioners ('Gunfight at the O.K. Corral') to cinema classic ('My Darling Clementine'). Noted film historian/author Michael Blake (CODE OF HONOR, FILMS OF LON CHANEY, etc.) examines each of those films in this 2007 release from McFarland Publishing. Wild West and Western film buffs alike will want to pick up a copy of this gem!

Before he delves into the various O.K. Corral movies, Blake wisely summarizes what is known historically about the Earps, the O.K. Corral incident and subsequent events. He then discusses each of the films starting with 'Frontier Marshal' and ending with Kevin Costner's 'Wyatt Earp.'

Blake is as a good a writer as he is a researcher. His accounts of each film's development, on-site filming and the reception each received from critics and the public make for fun reading. Leafing through the book, it's amazing to realize that none of the eight films accurately captured what actually transpired before, during and after the events of Octorber 26, 1881. Some came close; others are so far from reality as to stagger the imagination. Despite their inaccuracies however, there is some great movie-making going on.

John Ford's 'My Darling Clementine,' for example, is wonderful cinema. Henry Fonda made a great Wyatt Earp. Who can't enjoy his quiet, commanding presence, the balancing scene on the porch scene or his endearing knee-high dancing with Clementine? Walter Breannan is a wonderfully mean Old Man Clanton and Grant Withers' Ike Clanton, with his unblinking, dead-to-the-world stare is positively chilling. Unfortunately Ford's climatic shootout is total fiction.

The testosterone-soaked Burt Lancaster-Kirk Douglas 'Gunfight at the O.K. Corral' does a much better job with the Wyatt-Doc relationship but, again, the shootout is pure Hollywood. I'm willing to beat my next paycheck Earp did not say "Hit the dirt!" back in 1881.

'Tombstone' may strike the best balance between accurate history and engaging filmmaking. However I simply can't picture the real Wyatt Earp crying in public after Morgan's death. From my readings, the image I have of Wyatt Earp is a very tightly-wrapped, stoic, family-first/last/and always individual who acted decisively and with whatever force was necessary in a threatening situation.

'Wyatt Earp' had the potential to be definitive but, as shown in Blake's book, a movie can be ruined just as quickly by egos and bad direction as by historical inaccuracy. Though the critics trashed Costner's performance, I still wonder if that might have been a fairly accurate approximation of the real Wyatt Earp up there on the screen. And, as much as I loved Val Kilmer's performance, Dennis Quaid is THE Doc Holliday in my book. What a performance!

My only beef with the book is that I so wanted Blake to indicate what version he liked most, who he thought made the best Wyatt, the best Doc, etc. I would have enjoyed that.

In any case, if you love the Wild West and/or film history, you'll enjoy HOLLYWOOD AND THE O.K. CORRAL. It's a great read, maybe even a must read. Highly recommended.
*******

This is the book many western movie fans have been awaiting for years. In fact, it's amazing nobody got around to it before. It is fortunate, however, that Michael F. Blake was the writer to finally get it on the page.

After his excellent "Code of Honor - The Making of Three Great American Westerns", he has kept his focus on classic Hollywood westerns. This time, it's the eight feature films in which Wyatt Earp makes his famous walk down the dusty streets of Tombstone to the O.K. Corral. Whether simple B-movie entertainment, or hoped for grandious epic, the makers of these films had their own unique reasons for creating them. With each retelling, from the 1930s to the 1990s, the movie reflected the times in which it was made. Due to his incredible amount of research, Michael Blake discusses each one in detail. It is remarkable the changes several of them went through from casting and initial script to final release. Often scenes were filmed but never made it into the film. Blake discusses these deleted scenes, including several photos of them. (In fact, there are many never before seen photos throughout the book.) Finding out what actors were at one time considered for the casts is particular fun. Some of these "near misses" will make your head spin. Although each movie is given its due, the chapter on "Tombstone" will probably be of greatest interest to many readers. That story in itself is facinating.

Ask any western film fan the question "What is the most famous gun fight in history?"

Some might say the Alamo, some might say the Battle of the Big Horn, but most will say "It's the O.K. Corral". Because of a feud between the Clantons and Earps, a momentary exchange of gunfire has been immortalized, and one man, Wyatt Earp has come to symbolize an entire genre.

Michael F. Blake, in his book, "Hollywood and the O.K. Corral" has tackled the topic of what really went on, and why has it become so important that Hollywood has produced nearly 100 films on the topic over time. Even Star Trek used the O.K. Corral imagery in one episode during the 1960's! Due to the overwhelming numbers of films, Michael has focused on 8 productions. Given the 250 page length of the book already, it could be an encyclopedia if all the films were discussed.

The real even occurred on October 26, 1881 and lasted only a short time. Michael firstly presents a discussion of the real life of Wyatt Earp and his subsequent discovery by Hollywood. Most film goers do not realize that Wyatt lived in Los Angeles, and was infuriated with the manner in which the famous event was portrayed. Wyatt Earp was a good friend of William S Hart, and through his efforts an accurate recitation of the events was produced but it did not elicit any offers. Only after Earps' death, did Stuart Lake publish "Wyatt Earp, Frontier Marshall" to great acclaim, yet it was filled with historical inaccuracy.

But Hollywood was hooked.

Frontier Marshall (1939) was the first film. And in the book, Michael examines `Tombstone: The Town Too Tough To Die' (1942), `My Darling Clementine' (1946), `Gunfight At the OK Corral' (1957), `Hour of the Gun' (1967), `Doc' (1971), `Tombstone' (1993), and `Wyatt Earp' (1994) in detail. His familiarity with the nuances of the actual story, and the major films give the book a unique chemistry. Whether the discussion focuses on the script, acting, or subtle details altered to fit the vision of the film-makers, Mr Blake captures it.

Rare photographs are included in the book. One of the most stark reminders of the `event' is the image of the Clantons lying side by side by side in matching coffins. Images from the films, in front of and behind the scenes, accompany each chapter and turn this `academic' discussion into a substantially complete presentation. The co-operation of actors, service providers, and directors in some of the films gives readers an insight into the magic of film making.

If you have ever been fascinated by the O.K. Corral fight and want to learn the facts behind the fiction, this is one book that should form part of your `Tombstone' shelf. [...]
Tim Lasiuta

Michael F. Blake is my favorite author, and this book is one of the reasons why. This is a well researched book, and it shows his love for the cinema and history. At the same time, Michael doesn't write above the heads of his audience, like many film scholars do. He writes for the working class audience, which is most appreciated. This is a wonderful study of Wyatt Earp, Doc Holliday, and those who brought their stories to the screen.

If you can't enjoy this book, then you either don't enjoy the history of the Old West, or you have no interest in Hollywood westerns. Anyone who does enjoy western americana will find Michael Blake's fascinating study of Hollywood's Wyatt Earp and the O. K. Corral revealing, and downright fun. The story of the Earp/Tombstone legend in film is a recapitulation of how images of arguably the most famous gunfighter and the most famous gunfight have evolved. The author demonstrates how historical forces have changed interpretations on celluloid. Blake, author of the previously well-received Code of Honor: The Making of Three Great American Westerns (comprising of High Noon, Shane, and The Searchers) takes the reader through eight feature films covering the years 1939 to 1944.

McFarland, publisher of numerous fine books in the western film genre, does its usual fine work in presenting Blake's book in a high-quality trade paperback 7 x 10 format. The opening chapter of the book is a capsule history of events leading up to October 26, 1881, and what followed, including Earp's vendetta ride and later life. Blake incorporates the most recent scholarship in Earp studies into this eighteen page essay. Chapter 2 is a discussion of Hollywood's discovery of Wyatt Earp by, among others, silent film western star William S. Hart. It also introduces the influence of Stuart N. Lake's popular biography Wyatt Earp, Frontier Marshal. Lake's shadow will loom large in later productions. This chapter also includes a look at fictional Earps- Gunsmoke's Matt Dillon and Hugh O'Brian in The Life and Legend of Wyatt Earp.

The eight movies examined in detail are as follows:

1. Frontier Marshal (1939)
2. Tombstone: The Town Too Tough To Die (1942)
3. My Darling Clementine (1946)
4. Gunfight at the O. K. Corral (1957)
5. Hour of the Gun (1967)
6. Doc (1971)
7. Tombstone (1993)
8. Wyatt Earp (1994)

Each movie gets a chapter wherein the film is examined in detail as to script, plot, casting, direction, production values, acting, authenticity, problems during filming, clashing egos and even music for each film. The author fearlessly gives his well-thought out views on all aspects of each movie, and while you may not agree with every assessment, you know they have been carefully considered. Blake places each movie in its historical context, and in gives them an overall review, rating them from the well-crafted and well-performed (Tombstone) to the failed (Wyatt Earp) to the execrable (Doc). Blake's own background as an Emmy Award winning makeup artist (he has written three books on Lon Chaney), period stills, film posters, many from his personal collection, his first-person interviews, all bring the reader as close as one can imagine to the production of each individual film. Hollywood legends like John Ford, Henry Fonda, Burt Lancaster, James Garner, Kevin Costner and others walk the pages of the book. Even the much maligned performance of Victor Mature as Doc Holliday in My Darling Clementine is seen in a new and more positive light. Many western movie buffs admire the movie Tombstone, and with the help of historian and film consultant Jeff Morey who worked for a time on the film, Blake tells the behind-the-scenes story of how Kevin Jarre's script became a cult classic.

In this candidly written and enjoyable book we see how the legends of Wyatt Earp, Doc Holliday, and the O.K. Corral gunfight became household names through their Hollywood images on the silver screen.

I could barely get through the first two chapters of this book as I found the author's views intruding too much. As to what to do about such humans I am never a supporter of the death penalty as it is uncivilized so life without parole is just fine.

Elliott Leyton (author) has written a superb detailed book focusing on 6 modern serial killers/modern mass murderers. Edmund Kemper, Ted Bundy (the charming young Republican), Albert Desalvo (the social climber known as The Boston Strangler), David Berkowitz (Son of Sam), Mark Essex (the racist) & Charles Starkweather. Leyton also touches upon other 'famous' killers to try and argue his case that all these killers are not alien people with deranged minds, but *'alienated men with a disinterest in continuing the dull lives in which they feel trapped.'(*author's quote). The book tries to go inside these killers minds (and backgrounds) to try and understand why they, as individuals, committed these crimes. Were all their childhood backgrounds so tragic as to contribute towards their eventual decline? If so, why do individuals with equally tragic (or more so) backgrounds choose not to kill? The book also seperates truth from fantasy. What we see in films such as The Silence of the Lambs, Hannibal etc may all be very compelling action and drama, and highly enjoyable to watch, but we must not make the mistake of believing that these films are based on reality. Leyton has done a thorough job of disecting these cases one by one, and the painstaking research that he has conducted is evident on every page. Buying this book will be well worth your time and money, for it may just be the one book that may well stimulate your thoughts enough to question everything you thought you knew about serial killers.

I first read Hunting Humans 15 or so years ago and I have recently bought the new edition. It is a fascinating insight into the minds and motivations of serial killers, although I think Leyton struggles somewhat to fit them all into his particular thesis. Ted Bundy was extremely bright and personable and started his killing spree after his girlfriend had accepted an offer of marriage which he promptly withdrew two days later. Almost without exception, his victims all resembled this woman. He was also a necrophiliac, returning to have sex with his victims even when they were in an advanced state of decomposition. Perhaps my favourite part of the book, and one I often quote when faced with 'expert opinion' , regards the 'gentle giant' Edmund Kemper. He had spent several years incarcerated as a teenager for brutally murdering his grandparents (yes, they let him out!), and he was in the psychiatrist's office getting his release papers. The good doctor wished him well and felt certain that the young Kemper would go on to have a productive and useful life. At that very moment Kemper's car was parked outside. In the boot were the two severed heads of his latest victims. Chilling, but absolutely gripping reading.

Leyton is an anthropologist, and this study of serial killers focuses on sociocultural factors rather than individual pathology as a cause of multiple murder. Specifically, Leyton examines how class conflict has contributed to serial killings in different epochs. In the Middle Ages, royalty killed serfs; in the Industrial Age of the 19th century, the nouveau middle class killed prostitutes and other individuals from the lower rungs, and in the modern era serial killers target those who are just one rung up from them in the social ladder.

Leyton argues that modern multiple murderers are class-conscious and socially conservative men who are obsessed with status, class, and power. Emboldened by our cultural glorification of violence and serial killers, and trapped in alienating lives that do not match their class strivings, they kill the objects of their desire. And they keep killing until they feel that they have accomplished the mission that they set out on. It's a very interesting analysis, although I think Leyton selected case studies that fit his thesis and ignored others that did not. (He profiles Ted Bundy, Edmund Kemper, David Berkowitz, and four other cases, including the D.C. snipers in his new edition, but he ignores - for example - Jeffrey Dahmer, whose predilection for young Cambodian boys goes against his thesis.) Also, the fact that documented serial killers in the Middle Ages were royalty may be due to documentation issues; maybe serfs who killed serfs never made the history books (a possibility Leyton doesn't mention).

But these are minor limitations. The book is well researched and well written, and it is certainly refreshing to see a treatment of this topic that does not ignore the macro perspective of class, race, and culture. In my own forensic psychology practice, I have found it helpful to keep Leyton's perspective in mind, while still not ignoring the developmental wrong-turns and individual pathologies that also contribute to multiple murder. Overall, this book is well worth reading for anyone interested in the etiology of serial murder.

Leyton has written a classic study on the rise and motives of serial killers and mass murderers. The new edition of this book originally published in the early 80's includes a discussion of the DC sniper attacks and case studies of various killers including Ted Bundy, the Boston Strangler Albert DeSalvo, David Berkowitz aka the Son of Sam, and Mark Essex. Leyton lays out a very convincing argument about the motives behind the killings of multiple murderers. He casts asides psychopathology as the primary reason for their crimes and instead contends that an inability to cope with social position and class consciousness drives these killers.

Leyton views multiple murderers from a sociological rather than a psychiatric standpoint. The evidence underlying his arguments is solid. His main conclusion is that multiple murderers seek to destroy members of a social class secure in its position in the social hierarchy that have excluded him (sometimes her) from their ranks. Bundy, DeSalvo, and the rest belonged to the lower or lower middle classes and despite being superficially accepted by the social hierarchy above them, they were acutely aware of their humble origins and hypersensitive to rejection. In fact, all of the murderers that Leyton discusses in detail spoke greatly at length about wanting to punish the people they felt had rejected them. Though it is hard to imagine that multiple murderers are not psychotic, it appears that not only are they sane for the most part, they have a conscious or subconscious agenda to destroy the people they feel will never accept them.

The case that best exemplifies Leyton's thesis, in my opinion, is the case of Mark Essex. Essex was killed on the roof of a hotel in early January of 1975 after a killing spree that left over 10 people dead. Essex was not a raving madman, but a black man who suffered the devastating consequences of racism during his years in the Navy. He was insulated from the consequences of his skin color as a youth but soon realized that he was not considered an equal even by his country's own military. His experiences left him deeply disillusioned, and several years after his discharge, he took revenge on the people that held him down. In his mind, this included all white people. No one who knew Essex portrayed him as a psychotic. Rather, he was described as an intelligent and diligent worker who felt rejected by the social class above him and that he was not willing to accept his permanent social position beneath white people just because of his skin color.

Each of Leyton's case studies are meticulously researched, and his sociological arguments are solid. The last chapter of his book "A Historical Overview" ties all of his ideas together neatly. He mentions several cases of multiple murderers dating back several hundred years, and all of them represent struggles between a member of a class whose members are facing uncertainty or alienation against a class that is secure in its social standing. This chapter really represents what is best about this book. Leyton's convincing arguments don't just explain what drives people to kill so many of their fellow human beings in modern times but they also provide a framework to discuss multiple murderers from the past.

For the people that are comforted by the idea that multiple murderers are psychotic maniacs who have an unrestrained lust for killing people, this book will change your mind.

A wonderfully written and concise insight into the lives and careers of three of the greatest modern architects of our time. Blake, an architect himself, is more than qualified to give us accounts on each of these fascinating characters. An entertaining and insightful read for anyone who has limited knowledge of architecture and wants an introduction to the great `masters' of the 20th Century.

If you are looking for a book that clearly articulates the style and influences of the major early 20th century architects, this is the book for you. Great for students who need to review stylistic characteristics succinctly for college courses as well as architectural enthusiasts. This book clearly set in context how the personalities of Corbusier, Mies, and Wright and their cultural backgrounds influenced their architectural style. If you need to own one book about these architects, this is it!

For those interested in the development of American architecture, this is an excellent source. It spans the works of the 3 great architects who laid down the guiding principles for modern architecture in the United States and shows the evolution of each. Many of their beautiful works are pictured and described by the author, a former architecture school dean. The principles involved and aesthetic qualities are elaborated. It gives an appreciation of how many current architectural styles evolved and also comments briefly on some of the failings of today. It also traces the interplay between artistic movements - Art Noveau, Cubism, Impressionism, de Stijl - and architecture.

The book is well written, highly literary and frequently humorous. It is enjoyable and educational for anyone with an interest in contemporary architecture and the artistic geniuses who created it as it came about in the United States thru the 20th century.

Maybe the only book that attempts to compare (rather...state) the big 3. However I think that it degenerates to being a history book that just states facts that are already available in any monograph on each. There is less commentary and more facts. I guess it is a biggeners book to understand who these men were and what projects they did in their lifetime. The only good thing is that this seems to be the only place where you can read about them as a kind of a time-line.....realizing how each one affected the other.

I wish there was a more discussion and comparison/differentiation of the kind of space that these 3 were talking about and a more indepth analysis of their ideologies. Guess we have to wait for someone else to take that risky venture.

This book seeks to profile three architects of worldwide influence, each of whom has profoundly influenced the built environment we experience today. It provides rich glimpses into the architectural environment of the early 20th century, and tells a compelling tale of three architects who each shook off the vine-covered frippery of art nouveau in their own way. It's a good book, but upon re-reading it last year, the author's clear bias towards (almost hero-worship of) Le Corbusier came through much more strongly than when I was a neophyte in college. The book paints Mies Van der Rohe as a cold German technocrat with a talent only for efficiency; Frank Lloyd Wright as a pure iconoclast and egomaniac whose vision was so ideosyncratic that it had only limited influence; and Le Corbusier as a genre-defying revolutionary hero who singlehandedly rescued and reinvented architecture as art. In my opinion, at least, each of these judgments are almost entirely wrong. Even if you kind of agree with Blake's pantheon, the hagiography of Corbu gets a bit embarrasing in places. A great book for the history and context, but I would certainly hope that this book wouldn't be the last thing you read about any of these men.

This book was a lot of fun. The characters, dialogue, action scenes, and plot were all very well done. I'll flesh this review out at a later date, but just wanted to add my five stars to the average for now. If you like superheroe's, you can't go wrong with this well written, entertaining book.

On a seperate note -- I think this book deserves the wide release and the attention Soon I will be Invincible (a similarly themed book) recently received. Both books are fun, but Other People's Heroes is better plotted, has better characterization (and characters,) and has better action sequences and suspense. Honestly I'm not sure why this book hasn't received the same level of attention. If someone wasn't going to read both books, this is the one I'd recommend. Heck, even if someone didn't like Superheroes, I'd recommend this book. This book, Superfolks, and Tom Dehaven's It's Superman currently top the list of superhero novels I've read, with this and Superfolks being the best (Superfolks being a brilliant novel with a great, clever, well thought out, touching plot that's occasionally hindered by going a little over the top -- highly recommended to anyone who hasn't yet read it.)

Now can we just get the sequel to Other People's Heroes in print? I'd like to have a copy of 14 Days of Asphalt on the shelf next to mt copy of Other People's Heroes. I haven't read 14 days yet, but I liked Other People's Heroes enough to be excited for it anyway.

If Other People's Heroes were a Hollywood superhero film, it would be Sam Raimi's Spiderman. In both stories, an average guy gets extraordinary powers, and then has to confront an even more extraordinary threat. Although these characrers are superhuman, both heroes (and their respective allies and adversaries) breathe as real people, not cartoons. In addition to plentiful humor (with a tinge of pathos for color), both stories feature numerous well-realized action set-pieces, and both climax with an extended, bang-up brawl that is truly exciting (as opposed to just loud).

There have been many other superhero movies, but none are quite as close in spirit. Heroes is frequently funny, but is not slapstick like Batman (1966). Heroes also has a few dark moments, but is free of the pervasive gloom of, well, Batman (1989). Heroes doesn't take itself as seriously as X-Men (or 2, or 3) (2000; 2003; 2006), but doesn't try as hard (and fail so miserably) at being hip and funny as Mystery Men (1999). Unlike Superman Returns (2006), Heroes' protagonist is not a flat and emotionless bore, and, unlike The Punisher (2004), Heroes' protagonist also is not a psychopathic lunatic. And Fantastic Four (2005) just stank.

Other People's Heroes does not quite scale the heights of The Incredibles' (2004) astounding blend of humor, action, emotion, and philosophy. But Blake Petit has produced a novel that is extremely accomplished. And in the world of superheroes, Spiderman is mighty fine company to keep.

I've been following "14 Days of Asphalt," the sequel to OPH that Blake has been posting online at www.evertimerealms.com, and CAN'T WAIT to see how it ends. I hope he finds the means to get the sequel published and the time to write many more books about the Masks and Capes of Siegel City. Great book. Thanks, Blake.

This book brings you into a whole new world and makes it believable. It has suspense and humor. The writing is excellent, but always accessible. The book is clean enough (and fun enough!) that you can feel confident and comfortable recommending it to anybody. Don't dismiss this as "just a book about superheroes"-- it has depth and poignance. I was so sorry when it ended-- I hope this author publishes more novels!

Granted the positive influence of graphic novels like Alan Moore's Watchmen on the maturation of superhero storytelling, there are still very few traditional novels that translate the best qualities of the superhero genre beyond the comics format. Blake Petit's book does that, in spades. If you're interested in a story that has mature heroism-- both idealistic and skeptical--, convincing characterization, well-paced adventure, and the good fun of discovering a truly unique fictional world, read Other People's Heroes. In a genre defined, and oftentimes overrun, by long-standing tropes, the author successfully writes along the fine line between satisfying conventionality and surprising originality. Big praise, I know, but it's well-deserved. This is one of those books I will reread many times.

1. The best intro to Christianity for people who wouldn't respond well to "Mere Christianity".

2. I have bought seven of these in three years.

If you know anyone who is "spiritual but not religious", and is open to learning, this is the book to give them.

Quite simply, this book has changed my life. As a christian who still has a lot of questions, I love how Chris's writing addressed so many deep yet everyday questions that I ponder. His style of writing and way of relating concepts are beautiful. I really just wish everyone could get a copy of this book - it is so full of tidbits of wisdom and passion and it truly will give you a new and refreshing perspective on the love of Jesus.

Wonderfully honest, open book that takes on some tough questions. Presents a new way of looking at things, including the fundamentalist teachings about hell. Hey, if you're not sure, order it used!

The greatest commandment in the Bible (for Jews and Christians) is to love the Lord your God with all your heart and mind and soul and strength. This is a book about loving God honestly. Chris Blake confronts barriers to loving God that he has had to overcome, that many of us struggle with. The book is liberating. In fact, one of the book's themes is that loving/knowing God sets us free and that freedom is sacred to God.

For example, Blake says, "Falling in love with God is impossible unless we understand His part in the world's suffering. God is a God of recovery...[It is misleading to state, in effect] 'The Doctor says that if his patients don't take their medicine, he will kill them'. . . Those who say, 'The Doctor told us that if his patients don't take their medicine, they will die,' present a truer picture. This compassionate doctor reasons and pleads, but the decision is finally ours."

Blake's writing flows and is well-organized. He does not ramble, but always has something to tell or teach. Sometimes he is funny; sometimes thought-provoking. Sometimes he relates his experiences with students, and it is evident he is a true teacher for the reader, communicating the subject with genuine passion. This book certainly has moved me and is one I will come back to again and again.

This book belongs on the same shelf as Harold S. Kushner, Philip Yancey, and Norman Vincent Peale.

a great book which simply goes to show how well-read the author is. he covers the basic issues in life quoting from hundreds of various thinkers and people of all ages, beliefs, races, and nations. i have read the book twice and have recommended it to friends and family

This is the book you need if you have to deal with horses from the ground. There are many riding books, but few on how to get along with them. That's what this is about. Horses are quite willing to communicate with gestures, and this will teach you how to "talk horse".

Henry Blake's first book is wonderful. It is not only a retelling of personal experiences but full of practical advice as well. Blake has several useful suggestions for improving the relationship you have with your horse.

It was entertaining as well as informative. As a new horse owner I am glad it was the first book I read on the subject. Effective communication skills is a must wheather you are a first time or long time horse owner. It was very helpful to be educated on the psyche, and language of horses and to be given examples that just like people, horses each have their own individual personalities. Mr. Blake has had experience with a large number of horses over the years and has developed a reputation for his patience and handling of difficult horses....and reading about how much enjoyment he received from it was a real inspiration!

Sherry and James Fannon

Not a bad book. He gets the point across about communicating with horses. Mr Blake a great trick of telling funny anecdotes to get his point across. I haven't had enough to do with horses to confirm the ESP thing yet.

Talking with Horses As a first-time horse owner, I found this book to be quite useful if your goal is to create a partnership with your horse. Being an alpha rider means firmness, consistency, but most important generating enough trust so that when your horse is fearful, misbehaves, or acts in any non-calm manner, he/she is responsive to your commands thereby providing a safe environment for all. This book teaches, through many anecdotes, the nuances that are typically omitted from other horse books ... and are not evident even in the people who have ridden/owned horses for years. Some of Henry Blake's suggestions might be for the very advanced rider or very excitable horse. For an enjoyable and informative read, I heartily recommend Blake's book.

The first edition was an incredibly valuable resource, and I referred to it often in my work. I could easily find answers to all kinds questions about type and design. This new edition is even better. It's still as thoughtfully and clearly written as the first edition, and is still filled with great designs to illustrate a point. But it's been completely updated so it's current with the latest versions of software. And it has some new features like "Type Tips," which I'm finding especially enlightening, and exercises at the end of each chapter, which must make this an excellent text for teachers. This is a "must-have" for graphic designers.

A thorough, straightforward and clearly understandable guide to the effective use of typography. Bravo. Strizver certainly knows the ins and outs of typography from the essential basics to some very sophisticated fine points but, more importantly, is able to communicate this knowledge in a concise manner that will be useful to a beginner but, might even impart some new tips to the experienced aficionado.

The author teaches at SVA, where I'm a student. I had hoped the exercises in this book would improve my skills, but it's really for beginners, giving an overview of the basic principles. And the exercises aren't of much benefit without anyone to critique the results. There are better books out there for a general overview (re: typology).

This thoughtfully designed and written book works (rules!) on all levels. For someone entirely new to typography the book is approachable while providing a considerable education. For industry professionals who "know everything there is to know" about typography, the book is an excellent creative reference to remind one of a rule or technique long-forgotten or to alarm one with the realization they do not know everything about typography. The visual examples utilized in the book were well-considered and drive home the messages. The Quark tips alone make this book worth purchasing. As a companion to any library of typography or design books, Type Rules! is the designer's "Elements of Style" -- a reference book no one can afford to be without and one that never goes out of style.

Type Rules! - geared specifically for teaching at the college level - is one of the best basic typography books I've seen. Ilene Strizver has done a terrific job of breaking down the components of typography into digestable chapters, each complemented by clear, intelligent exercises. The book is replete with illustrations that serve as solid examples of each concept she articulates; and includes guidance for utilizing current design software. I'd recommend this book hands down to any teacher or student of design - as well as to any practicing typographer seeking to hone their skills.

"Black Mischief" is not a safe book; it delves into racial and political divides as wide now as then and lets you know its author isn't aboard for any of that 21st-century sensitivity rot. Despite or perhaps because of this it is a good book, perhaps a great book, and worthy of your time.

In the island nation of Azania, just off the coast of East Africa, Oxford-educated Emperor Seth attempts to force his backward, war-torn nation to emulate the West. Help arrives in the form of a British ne'er-do-well, Basil Seal, "a man of progress and culture" as Seth styles him. This of course means Seal is trouble as well.

As I read deeper into "Black Mischief", I was struck by two things. One was how easily it flowed, not only with Waugh's always elegant prose but the plot itself. Waugh isn't ordinarily so clean a scenarist. The other was how like Joseph Conrad's "Nostromo" this is, making the same points about First World meeting Third World. Except where "Nostromo" was clumsy and dry, Waugh sells his message with wit and surreal humor.

He even goes to the trouble of mapping out Azania, which helps a lot given it is a nation entirely of Waugh's own imagining. As the characters cross its expanse, I found myself referring back to the map in front and enjoying how well it matched up with the narrative.

When I picked up "Black Mischief", I was concerned about the obvious racial aspects. Waugh was capable of writing hurtful things about blacks as well as other groups Waugh experienced from a distance. "Remote People," published in 1931 just one year before "Black Mischief", presents Africans in the role of bloody-minded savages.

Well, there are plenty of savages in "Black Mischief", too, only most of the ones we get to know best and like least are European. Seth begins to go wrong when he tries to imitate his imagined betters, picking up and dropping one faddish craze after another, whether it be autogyros or universal contraception. "THROUGH STERILITY TO CULTURE" reads one banner.

"He'll discover every damn modern thing if we don't find him a woman damn quick," an accomplish of Seal complains. Not that Seth's gullible. The West is just too full of bad ideas.

Take a couple of middle-aged animal-rights activists who walk through Azania's impoverished streets throwing scraps for dogs and complain when children try to make off with them instead: "Greedy little wretches."

Not all the jokes go over. Waugh does hit the same points over again, like the dense senior British envoy Sir Sampson and his scheming French opposite number M. Ballon. The notion of Azania as a plaything for Western mediocrities is a worthy one, central to Waugh's point regarding former colonialists suddenly opting to lead their ex-charges on the road of improvement. I just wished he was more subtle at it, or tied that part of the story better to the rest.

But there's nothing really bad in here, at least not anything like I expected, and there's quite a bit good, even brilliant. The first chapter alone packs enough intrigue and suspense for Frederick Forsyth, and the Conradian mood, though limned with humor, stays intact throughout. There are gulp-inducing moments, and laugh-inducing ones, and the marvel is not only how often these come up but how closely together.

The only humor today that even comes close to that of Black Mischief, is ironically, that of the outrageous, black comedians- otherwise Waugh rules.
The whole concept of the British in exotic countries is a farce, and when mixed with Waugh's equally lunatic native characters face to face with bizarre and inexplicable Western civilization- whew- anything could and does happen. There are no noble characters, of course, but redeeming fools, which is about as good as one can get in a Wauvian satire. My favorites are the animal rights ladies who come to Africa to see that the natives are treating their livestock well. These ladies, one named Miss Tin, land in the midst of a revolution and have to hit a driver in the head with a brandy bottle to get a ride to the English settlement. They followed a fellow anti-vivesectionist cleric who led the ministry of our `dumb chums.'
There is every kind of European religion stirring up trouble and as usual, the British are completely sequestered amongst themselves preoccupied with their gardens and other habits in blissful and selfish ignorance. The leader of these Imperialists is described as "a self-assured old booby." One of the titled females is named `Lady Everyman.'

The political relevance is so acute that it seems impossible that this was written in 1932. Waugh even seems to have some political consciousness in this book, certainly, he is gentler, on the whole while being enduringly funny. I would definitely place this as my second favorite Waugh. It has a gripping end and is a statement less of bigotry, (of which he probably was one, but who wasn't,) but also of the need to reevaluate what in the name of God all of the colonizing was about.

I suspect this classic novel is out of print in the US for reasons of misguided political correctness, which is a great shame for this is probably Waugh's finest and funniest novel. (Penguin Books in the UK publish a copy which is available on the www.amazon.co.uk site).

Black, Oxford-educated Seth ("Emperor of Azania,Chief of the Chiefs of Sakuyu, Lord of Wanda and Tyrant of the Seas, Bachelor of the Arts of Oxford University")attempts to reform his backward, corrupt African nation with the aid of an amoral Englishman, Basil Seal. This being Waugh, all ends hilariously tragically. All the usual Waugh-like elements are here: the "disappearing hero" (ie non-active protagonist); the comic but desperately tragic fate of the main characters; the utterly misogynistic & unsympathetic view of all mankind; and all written with his usual, biting, elegant, hilarious satire. This novel is not racist. It may be a trifle politically incorrect to our enlightened generation (political correctness of course meaning that we think it but don't say it)but as with all novels more than 20 years old we have to read it in the light of the attitudes and opinions of the era in which it is written and this novel is a very accurate and funny reflection of the attitudes of the 1930's.

Despite the novel's title, the satire is aimed at all races and ethnic groups, with the white British Legation (portrayed as ignorant, inane, out-of-touch idiots) coming in for the bitterest attacks. Indeed, if our sympathies lie anywhere, it is with the well-meaning, likeable but ultimately ill-advised black emperor, Seth. Waugh was possibly the greatest and sharpest satirist of the 20th Century and this is possibly his greatest and sharpest novel.As an Englishman, I feel it is very sad that American readers are denied access to this classic work. ("If we can't stamp out literature in the country we can at least stop it being brought in from outside" - Evelyn Waugh, 'Vile Bodies')

Such advocates of political correctness should perhaps adopt Seth's own slogan for his doomed campaign "We are Progess and the New Age. Nothing can stand in our way." Read this novel - order it from the UK site if necessary - & judge it for yourself. I guarantee you a good read.

BLACK MISCHIEF is the sixth Waugh book I've read, and it's one of his funniest. The plot concerns goings-on in the fictional African empire of Azania (which is supposed to be off the coast of present day Somalia). Civil war has just erupted, and an English educated Azanian named Seth ends up the victor. He gets caught up with the British legation, including frivolous Basil Seal (an acquaintance of the recurring Waugh character - Lady Metroland). Basil is made the Minister of Moderization and has Seth's constant ear. Naturally, things spiral downward from there. BLACK MISCHIEF starts off a bit slow, and the first 75 pages are a bit tedious and confusing. However, things really take off afterwards. Waugh is always funny, but this book has more laugh-out-loud moments than most of his novels. Highly recommended for fans of Waugh and good satirical novels.

The only humor today that even comes close to that of Black Mischief, is ironically, that of the outrageous, black comedians- otherwise Waugh rules.
The whole concept of the British in exotic countries is a farce, and when mixed with Waugh's equally lunatic native characters face to face with bizarre and inexplicable Western civilization- whew- anything could and does happen. There are no noble characters, of course, but redeeming fools, which is about as good as one can get in a Wauvian satire. My favorites are the animal rights ladies who come to Africa to see that the natives are treating their livestock well. These ladies, one named Miss Tin, land in the midst of a revolution and have to hit a driver in the head with a brandy bottle to get a ride to the English settlement. They followed a fellow anti-vivesectionist cleric who led the ministry of our `dumb chums.'
There is every kind of European religion stirring up trouble and as usual, the British are completely sequestered amongst themselves preoccupied with their gardens and other habits in blissful and selfish ignorance. The leader of these Imperialists is described as "a self-assured old booby." One of the titled females is named `Lady Everyman.'

The political relevance is so acute that it seems impossible that this was written in 1932. Waugh even seems to have some political consciousness in this book, certainly, he is gentler, on the whole while being enduringly funny. I would definitely place this as my second favorite Waugh. It has a gripping end and is a statement less of bigotry, (of which he probably was one, but who wasn't,) but also of the need to reevaluate what in the name of God all of the colonizing was about.