Davidson Books

This is a nifty book. It givesa wide view of ways that a small business entrepreneur can use the Internet to market successfully. The dot.com craze may be over, but that doesn't mean that the Internet won't continue to be a long-term vital tool in marketing for small business. With this book, any budding or seasoned entrepreneur will gain a learn of get many wokrable strategies.

Get this book if you intend to use the Internet to market your business in
any way. It is loaded with marketing ideas and there are enough of them so
that any small business entrepreneur can benefit in some way. There are
lots of examples of people and businesses that have actually done what the
author recommends, and lots of web sites to visit as a follow up. I got
about 6 great ideas out of this book. Two or three would have made it
worthwhile.

I would love to read this book because I heard it was amazing, BUT Elephant Books sent me the wrong book. Now they will not return my phone calls or numerous emails, and they were done in good taste so I do not understand why they would not return my messages. Just wanted you all to know so you do not get shafted like I did. Have a great day!

Each of the "short stories" is long enough for a meaningful theme. The elderly Catholic titular queen of Carinthia's summary of the history of the Reformation alone is worth the price of the book, as Dr. Calvin flees from France to Germany, changes his name to Luther, is thrown out by the local ruler, goes to Switzerland, changes his name to Zwingli, and that's why the Switzers have to come to France to be confirmed.

Long before the words "magical realism" ever cropped up in literary criticism, Avram Davidson was quietly creating a spectacular body of erudite, eloquent, evocative history-as-myth. The Dr. Eszterhazy stories, along with the Vergil novels and "Adventures in Unhistory", are the pinnacle of his accomplishment.

No one has ever had a better ear for dialect, a better sense of the self-importance of minor officials, a better notion of how Balkan politics play out in the back-alleys of minor capitals. And certainly no one has ever had such a perfect (and reverent) sense of the ridiculous, when it comes to the probable behavior of the Vicar-at-Large of the Unreconciled Zwinglians, or the demands of the Frores for an independent Bureau of Weights and Measures, or the universal value of a glass of shnopps, wudky, or St. Martin's.

If you do not love these stories, you're probably just not ready for them yet.

Avram Davidson imagines a world where science is slightly skewed: alchemy works, phrenology (studying the bumps on a skull to determine personality) is a real science, etc. The author takes each "scientific" dead end of the late 19th century (and earlier centuries) and builds witty, cohesive stories around each one. His characters are great and all his plots neatly resolve. The more you know about European history, the more fun you'll get out of his books (Mr. Davidson is, I believe, a professor of an arcane branch of European history).

Davidson is famous for his series of documentaries that have aired on public television that chronicle the development of Africa, African wildlife, and even modern Africa. This work is no less exceptional. In this book, Davidson puts together primary and secondary sources relative to Early West Africa, Early East Africa, Antiquity, The Meeting of West Africa to Europe, as well as materials relative to and from the Eighteenth, Nineteenth, and Twentieth centuries. Davidson's editorial comments are rather insightful, whether helping to frame an issue in perspective or to introduce a totally new contributor. The combination of Davidson's respect for Africa and the wealth of material found in this anthology of sorts makes this book a must for the Afrophile or for the casual reader interested in the history of Africa and its people.

The book begins with a clear and erudite essay on the follies of eurocentrism and other roadblocks into the study of African History. It then follows with a short explanation of the sources for african history (Roman, Arabic, African ect). And then comes the great part. Page after page of first hand accounts of african cultures and civilization. Descriptions of an ancient world from those who actually were there. The stories of warriors, scholars, merchents and emporors. Even if this was fiction it would still be great! From Ancient nubia and ethiopia, right up to modern day africa. This book is a must have, must read, must buy. But this book you will not regret it! Buy Now!

Placing African history as vital to world history, Basil Davidson creates a much needed revision of the history of the mother continent. Beginning with the African civilization of Egypt and Nubia, Davidson explores all periods of African civilization from antiquity to modern times. Though at times he adds his personal perspective, he relies primarily with presenting the reader with documentations written centuries ago, by Africans, Greeks, Romans, Arabs, and Imperialist Europeans. Not so great for someone unfamiliar with African history, but a great add for those of us that are. Essential for a complete library of World history.

How interesting can old American cigar labels be? Enough to fill up a full color 250 page coffee table book, at least.

The book is more than just a compendium of old labels from deceased brands, but a history lesson, a seminar in the materials and processes used in generating the labels, and a discussion of the various themes explored in the artwork, i.e. patriotism, women, theater, sports and gambling, cowboys & indians, you name it. Finally, there is some very informative stuff on collecting cigar art, searching for historic labels and estimating value. The book is the most complete work on the subject of this type of collectable Americana, and as such is recommended to all interested in the field.

Any true collector will appreciate Davidson's initial edition, and followup version, "Smoker's Art". For those of us who pore over piles of stuff seaching for a winner, be it cigar labels or anything else, this book is a treasure trove of high quality art.

As a graphic designer this book has served me well on many projects. It is detailed with a large display of labels that are well reproduced for the viewer. The catagories add a variety subjects to the art of labels which is why many of us feel this book is like a bible. It is the most complete book so far on this subject.

Knowledgeably written by Herbert Wagner (a recognized authority on Harley-Davidson motorcycles), At The Creation: Myth, Reality, And The Origin Of The Harley-Davidson Motorcycle, 1901-1909 is the meticulously researched history of this popular favorite two-wheeled motorized vehicle and the Milwaukee, Wisconsin company that made them. Black-and-white photographs (some of them vintage) wonderfully embellish the straightforward, factual recounting of the history of the Harley-Davidson motorcycle, including its first race, first dealer, the first customer, as well as the many myths concerning its creation that would later go on to become full fledged urban legends. At The Creation is an excellent and fascinating survey for motorcycle buffs in general, and Harley-Davidson fans in particular!

Koanes wrote:

Mr. Wagner obviously spent a great deal of time searching libraries for newspaper and magazine accounts of the period, as well as interviews with a few surviving old timers, to sort through the B.S and get to the facts about what was really going on in Milwaukee in 1903-1909. I can only imagine what it was like to see a motorcycle flying down the street with no brakes, dodging pedestrians, horses, carts, and wagons.

Herb Wagner has written a book that will become a classic. What
a good story. And his conclusions will amaze you. The pioneer days of motorcycling in America are brought to life with exquisite detail. Never seen before photgraphs. A must read for
any motorcycle enthusiast.

I think this book is perfect if your looking for a history of the Harley Davidson Motorcycle and the company. This gives great dates and also tells what was happening in the world beyond harley davidson.

If you love Harleys, then this book is an absolute must for your bookshelf. Great historical treatment of the company with plenty of pictures to satisfy even the hungriest eyes. Plenty of cultural references, too. If you saw the TBS special on Harley-Davidson, this will take you one step further.

I received this book as a gift several years ago and have enjoyed it each time I've flipped through its pages. It mixes american nostaliga with Harley history giving you a point of reference. It's a great timeline book. If you want to understand the mindset of america when certain Harley-Davidson models were around, then get this book.

This was required reading for a graduate course in the Humanities. A great story and important historical work in literature. Voltaire was a Renaissance Christian humanist who played a role in the development of the Enlightenment.

On the one hand, the structure of his novel Candide is Homeric, it is the journey narrative, the hero with a thousand faces, but it is a satirical restructuring of that classical motif of the hero on a quest. What is the importance of the quest in Candide? What is the quest about in the classical sense? The quest is about learning. In the classical sense the hero leaves, has to acquire some sort of knowledge, learn a set of skills that is going to help him or her enact the quest surmount the obstacles that they encounter at one point or another, and the finally what does the hero have to accomplish? What is out there the "Holy Grail" The prize, the whole quest is about attaining some sort of ultimate end or some sort of ultimate knowledge. Does it end there? No, you got to go back with that knowledge, because the quest is never just about attaining the goal, it's about bringing it home to make everybody better, to restore the community. The individual quest, the heroic quest in the classical sense always has a larger social corrective end. The purpose of the individual, the function of the individual all depends on his ability to return to the collective, whatever it is that he has found that he has acquired that is going to change the way things are. Now how does that compare to the journey or quest narrative in Candide? Contrary to the notion of what prepares us for the world, OK here is the important structure of the journey or the quest, and the critique of knowledge by Voltaire. It is contrary to the idea of the knowledge that we acquire prepares us for the world. That each new bit of knowledge that we acquire, prepares us for the next step, and prepares us for the next stage. Contrary to the idea that life is somehow to be understood or that human history is somehow to be understood as a journey organized around progress, around betterment advancement acquiring new knowledge more knowledge more science more learning, we're getting better again, Candide tells the story that goes in the opposite direction. So, then you acquire knowledge and then you spend the rest of the journey finding out that the knowledge is useless, bit by bit, and every lesson you've acquired has to be cast aside, everything you learn you have to abandon. Instead of gaining and getting better, it is throwing off, letting go, and getting worse. Where does Voltaire want us in the end to think of the notion and narrative of progress?


Of course, you know that Candide is steeped in so many of the political and philosophical controversies of the 1750's. One of his big critiques is of the philosopher Leibnitz who said that `this is the best of all possible worlds," the idea championed by Leibnitz was a simple version of the philosophy espoused by enlightenment philosophers that the existence of any evil in the world was a sign that god was not entirely good or very powerful. The idea of an imperfect god would be nonsensical. So if you are a philosopher who takes for granted that god exists, you would have to conclude logically; and here is where humanities and Christianity really start messing with each other in all kinds of obvious ways, that god is perfect if you logically conclude that god exists. Therefore, his creation, the world, and man must also be perfect. According to many enlightenment philosophers, people perceived imperfections of the world only because they do not get the plan. This is a teleological idea of the world. Now obviously Voltaire does not accept this theory, or that god or any god has to exist. Therefore, he makes fun of the idea that the world is completely good. Much of the novel is a satire addressed to the notion that the optimists who witness countless horrors and unbelievable injustice such as floggings, robberies, and earthquakes will always find a way to write it off. They will say, `oh well there must be part of a plan, even though none of these calamities seem to serve any good at all it must point to human cruelty ignorance and barbarism and points to the indifference of the natural world. Pangloss the philosopher in the book throughout the story is always trying to find some justification for the terrible things that he sees and the arguments that he makes seem increasingly to be absurd, like his quote that "Syphilis needed to be transmitted from the new world to Europe so that Europeans could taste new world delicacies. What other things is Voltaire criticizing here that connects to some of the debates that define the enlightenment period of the 1750's Religion? Religion- He criticizes the whole hypocrisy of religion. In the book, Voltaire has a parade of corrupt hypocritical religious leaders who are like the Pope that has a daughter (should have been celibate). Hard line Catholic inquisitors, a Franciscan monk who should have vow of poverty but is a jewel thief. Here Voltaire provides countless examples of the immorality and hypocrisy of religious leaders, he does not really condemn believers per say, he is really out to attack church leadership and church hierarchy. For example Jacques, who is an Anabaptist is arguably one of the most generous and humane characters.

What else does Voltaire criticize or satirize? Wealth- money corrupts; Candide seems to have more problems when he has lots of money. Things get worse he gets unhappy. An interesting point, Voltaire was deeply involved in a debate with the many deep thinkers of his time, most notably was Rousseau, who lambasted the aristocracy. Voltaire himself really moved very comfortably among aristocratic circles and interestingly the French enlightenment philosophy really took off among the French aristocracy. Since they had the leisure time to contemplate so many of the new ideas in reason, science and rationalism and his notions of progress and advancement were ideas that were principally championed and discussed by members of the French aristocracy. Therefore, it was among some of the idle members of the French aristocrats that these enlightenment philosophers were able to find their most ardent followers. Despite the fact that the church and the state were not more often that not completely allied with each other, kings could be attracted on occasion to arguments that seemed to undermine the authority of the church. The fact that the aristocrats were very much unaware of the precariousness of their position tended to make them overconfident. Dabbling in some new ideas that were part of the enlightenment movement caused them not to take seriously the kind of jeopardy they were in or what the enlightenment would lead to in the championing of the common man and the overthrow of the French aristocracy. Because they found these ideas somewhat new, interesting, and exciting and they did not really see this as at all leading inexorably to the demise of the aristocratic class. Now of course it was thinkers like Rousseau not at all like Voltaire on this particular point that made his chief adversary. Rousseau distrusted the aristocrats out of a hunger to overthrow the class but because he believed that people of wealth betrayed decent traditional values. Rousseau opposed the theatre, which is Voltaire's lifeblood; he shunned the aristocracy, which Voltaire very much courted. He courted their attention he courted their interests. Rousseau argued for something dangerous like democratic revolution, and Voltaire argued that equality was impossible it would never come about. Rousseau argued that inequality was not only natural but that if it were taken too far it would make any decent government a total impossibility. Voltaire was very charming and witty, which led largely to his success in moving about aristocratic and social circles. Rousseau insisted on his own correctness and was not a charming person to be around; he was very intense and very serious about his ideas. Voltaire endlessly repeated the same handful of core enlightenment notions, where as Rousseau was a deeply original thinker. Who was always challenging his own way of thinking contradicting himself, coming up with ideas on the equality of education, the family, the government, and the arts in a matter that was much more radical than Voltaire was ever willing to go along with. They were both skeptics, and Voltaire is nothing if not a skeptic.

What does Voltaire do with the idea of philosophy in Candide? Philosophy- What is the value of philosophical speculation? It is useless for Voltaire; it is one of Pangloss' biggest flaws. Abstract philosophical argument is not based on any real world evidence. In the chaotic world of this novel, philosophical speculation repeatedly proves to be useless, and at times even dangerous. Time and again it prevents the characters from making any useful assessment of the world around them, it prevents them from bringing about any kind of change, it prevent them from thinking that they might try to bring about some social change. Pangloss is the character most susceptible to this kind of foolishness. Example, while Jacques is drowning, Pangloss stops Candide from saving him by proving that the bay was formed for Jacques to drown in. Therefore, at the end of course at the novels conclusion Candide rejects Pangloss' philosophies. If philosophical speculation is useless, what does Voltaire suggest you put in its place? Hard practical work in general. Therefore, it is somewhat surprising in that sense that this judgment against philosophy that is portrayed in the book becomes very dramatic when we think about Voltaire's own status as a philosopher.

What about the garden at the end of the novel? At the end of the novel Candide defines happiness in raising vegetables. On the one hand it is indicative of the turning away from the following of philosophy, from the abstract speculative nature of philosophy towards something hands on something pragmatic. Does the garden have a symbolic resonance to it? Is it related to the Garden of Eden? For Adam and Eve the garden is the beginning of their troubles, here it is the end of their troubles. It is the end of the narrative the end of their quest, their journey, and the end of their travails. This is where they wind up this is where they retreat. In the Garden of Eden Adam and Eve do not have to work to have fruits of the garden; this garden requires work, and constant tending. In that I think the garden here represents much, more in a very different way than the biblical garden represents. An embrace of life, but an embrace of life of what? For all the horror, hardships, and nightmares that these characters experience throughout the entire course of the text, at the end, they embrace life; they take it they say yes.

The status of knowledge in Voltaire, what do we know? The garden is a final retreat from activism, or social engagement in the world. Finally, what Voltaire is saying is look go back to the basics. Do not try to change, analyze the world, or try to speculate about the nature of our existence. Retreat into your own sphere and do not mess with the world around you, because ultimately you are powerless, to do anything in this world. I think Voltaire is commenting on in a sense the Utopian impulse and imagination. Specifically as it influenced enlightenment philosophers of the period with respect to the notion of progress and advancement.

Recommended reading for anyone interested in history, psychology, philosophy, and literature.

(This refers to the Peter Constantine translation from 2005.) This wonderful and short book ought to be first called philosophical, then satirical, then an adventure, and finally political. Unlike his contemporary Flaubert (such as in A Sentimental Education), Voltaire manages to keep contemporary references staggered in a perfect quantity to not overwhelm his 'main meal' with spices of political reference and opinionated controversy. While the story itself is a little unbelievable and facile, this fits perfectly with the satire Voltaire is able to exact on just about every nation, religion, political party, playwright, and idea he chooses--and he chooses to be inclusive! The bashful optimist Candide, the love of his life Cunegonde, and his troupe of intermittent companies such as a mulatto sidekick, a practical foil, an 'old woman', a womanizing abbot, and finally his lifelong tutor, Professor Pangloss, who teaches primarily 'metaphysico-theolog-cosmo-idiotology all serve to act out an adventure and a wonderful debate on how to think about and act toward this very hard thing called life. While not a Buddhist tract by any means, it certainly concludes with some telling signs supportive of 'calm abiding'; and resolves to a very simple, perhaps almost Theroux-esque philosophies. This is put together well on all levels and will be enjoyed by all except staunch and sensitive believers of their own religion. The book is tawdry and explicit at times, which dulls its impact.

The Constantine translation is light, wry and true. It feels as if this is most like what a contemporary reader must have transacted out of the book at the time it was written, certainly in terms of humor and light pique. The last time I read this was in French in middle school and it was much more of a pleasure in English in this version.

According to many scholars, Voltaire (pen name for Francois Marie Arouet) was the embodiment of the Enlightenment. Born in Paris is 1694, he was well educated by the Jesuits, studying law prior to turning to writing as a profession. His lampoons and satires won him fame and infamy; he was imprisoned and exiled at various times for his writing. He was forced into exile from France to England; later, he was invited to work for Frederick the Great in Berlin (politics and his reputation blew rapidly in the ever-changing winds of Europe). Voltaire wrote 'Candide' shortly after this period, when he had moved to Geneva. In 1778, the year of his death, he returned to Paris, a triumphant celebrity -- many of his ideas served to strengthen the movements that would eventually culminate in the French Revolution.

The story of 'Candide', the primary character in the Voltaire's novel, is the story of the search for answers. It is hard to classify 'Candide' solely as a political satire, or indeed in any other genre where it might find similarities. Voltaire explores religious and theological ideas, social and political situations, personal and intellectual issues, and the general strand of history. How could an omnipotent and benevolent God permit the world to be as it is? How can human beings, supposedly rational beings, treat each other as they do? How can rational beings act, feel and believe so irrationally?

The Enlightenment brought the ideas of Deism forward as important, and began to explore in earnest intellectual and political freedoms for people. The acquisition of knowledge, both pure theory and experiential/applied, was of high value. Candide was a student more than anything else, although in the course of the story, he holds many roles. Others who appear include Pangloss, the know-it-all philosophy teacher; Cunegonde, Candide's on-again, off-again love interest (who has her own set of adventures reported); Martin, another scholar (this one rather hopeless, in more ways than one); various other characters including Jewish merchants, Grand Inquisitors (the Enlightenment equivalent of Monty Python's Spanish Inquisition), and other bit players.

Candide travels all across Europe, from Westphalia through the Latin countries, ending up finally in Constantinople. No stone is unturned to expose the foibles of the locals, the problems of the travelers, and questionable underside of all society as they move from place to place, culture to culture, and crisis to crisis. Ultimately, the plot is not as important as the characters and characterisations -- for a book written in the 1700s, it is remarkably modern, hinting at sexual innuendo (including homosexuality) among royals and clergy, making fun of the military mindset and leadership (the king of the Bulgars is modeled upon Frederick the Great, and the Bulgar army is the Prussian army) and the church (the pope here has an illegitmate daughter, etc.).

The key satire, however, is against Leibniz, philosopher and mathematician, very intelligent but obviously not in directions Voltaire cared for. Leibniz had a directional metaphysics and historical sense -- this was the best of all possible worlds (the most famous phrase from the novel, put in Pangloss' mouth); the amiable but not-swift-on-the-uptake Pangloss is the stand-in for Leibniz.

Norton's Critical Edition includes several essays, in addition to the text of Voltaire's 'Candide' -- the novel itself is a mere 77 pages, translated by Robert Adams of UCLA. There are several background pieces, including a general survey of the intellectual background, philosophical explanations, and a brief biography of Voltaire.

Essays on criticism include discussion of Voltaire's narrative art, the ideas of pessimism and providence (it is worth remember here that Voltaire's purpose in writing 'Candide' was as a critique against optimism, of a sort), and various controversies. This is truly a fascinating collection, with pieces by such heavyweights in literary history as William Blake and Heinrich Heine giving their impressions on Voltaire and the issues addressed in 'Candide'. Gustave Flaubert and Anatole France give reflections on Voltaire's humanity; Victor Hugo discusses his greatness.

As Adams says, it is a surprise to find that 'Candide', a classic, is nonetheless funny. However, that is because it is so readily identifiable -- many heroes in modern stories are re-worked Candides of one sort or another; it is an Enlightenment Everyman, and we live in a period still heavily invested in and self-identified with Enlightenment ideas.

This is obviously the best of all possible Norton Critical Editions of Voltaire's 'Candide' from Adams.

This book is the sequel to "I Claudius" which is my all-time favorite book. Though not quite up to that first book in intrigue and overall flow, it is still a great book in its own right.

There is a lot of rich descriptions of battles undertaken by the now Emperor Claudius that stretch for many pages. Also, Claudius has to deal with the betrayal of his friend Herod as well as his scheming wife Messalina (along with her debaucheries) while Claudius' advisor Pallus is also trying to usurp him.

Claudius' grand scheme to eliminate the monarchy and restore the Republic spawns the evil Nero (though he is not quite as evil as Caligula). Should not be missed!

There are certain people who, after creating a role on television based on a character in literature, make such an impression as that character that the mere mention of that character brings that actor or actress's name and face to mind ... and Sir Derek Jacobi's portrayal of Tiberius Claudius Drusus Nero Germanicus "this-that-and-the-other" in the BBC TV series I, CLAUDIUS based on the two novels I, CLAUDIUS and CLAUDIUS THE GOD by Robert Graves is in the forefront of such portrayals. In 1980, Dove Audio decided to bring the Graves novels to audio book form, and the absolutely best idea they had for the narrator was to ask Sir Derek to recreate his role as "Claudius", which he did magnificently in the audio book I, CLAUDIUS and now returns (again even remembering to include Claudius' stammer) to complete Claudius' autobiography from his unwilling election (courtesy of the Roman Army!) to become the fourth Emperor of Rome to just before his death in 54 A.D. (at the hands of his fourth wife, although this historical fact is NOT contained in the audio book!), which he tells his audience that he expects at any moment. Sir Derek's wonderful voice and vocal inflections bring Claudius to life as he recounts all the details of the history of Rome behind the history ... all the things that the official historians either never knew, overlooked or deliberately buried! But Claudius, who managed to cleverly survive THREE reigns before he got stuck with the job, is deliberately writing for US, the people of future posterity, sees no need for secrecy and takes us the reader/listener step by step through the Roman military campaigns, the private lives of the Roman aristocracy, and the various plots and murders of those men (and women too!) trying to claw their way to the Imperial throne AND those who were already there trying to keep themselves there!

The only thing I have to complain about this audio version is that while it is extremely satisfying to listen to, it is an Abridged version, but in the slightly-more-than-two hours that the recording lasts you the listener will never be bored! You may miss the overtly sexual scenes and acts that the TV series showed, but Claudius never glosses over that part in his narrative, and Sir Derek's voice expertly conveys not only the professional historian that Claudius was (in the novels, anyway!) but also a great deal of Claudius' emotion, especially in this half of his story when he is faced with the ultimate betrayals by those nearest and dearest to him. Definitely a MUST for any audio book collection!

This novel, like its antecedent I, Claudius, will mesmerize those who love classical history, although casual readers may find it tedious. The two works together form a fictional autobiography of the Roman emperor Claudius, who - at least in this literary incarnation - is both an astute observer of first century Roman political society and an extraordinary character in his own right. Born into the Roman imperial family but repelled by the violence and treachery surrounding it, Claudius retreats from power for much of his adult life. He buries himself in obscure academic pursuits and hides, for what he believes to be his own safety, behind array of weird physical disabilities. When his nephew, the mad emperor Caligula, meets his just reward, the middle-aged Claudius is literally dragged against his will onto the Imperial throne. I, Claudius ends with this bizarre scene and Claudius the God takes up from there with the improbable emperor's own account of his reign up to point of his death. Much to everyone's surprise, Claudius emerges into the public eye as an energetic, able and just ruler. And while the great pride he takes in his enterprise is evident, both the style of his rule and the tone of his narrative is characterized by a wry and self-deprecating humor. Much of the book consists of a detailed recounting of the administrative, judicial and military minutia in which Claudius immersed himself. However, there is a deeper theme at work too, which is the inevitability that innocence in a corrupt world will be betrayed. Claudius's closest friend for much of his life is Herod Agrippa, the grandson of the biblical Herod the Great. Herod Agrippa is a charming rogue and schemer who, while genuinely fond of Claudius, teases him mercilessly for being a fool and warns him, as it turns out in all seriousness, to "trust no one". The irony in the admonition is apparent when Herod himself betrays Claudius, plotting militarily against him and almost succeeding. This is only a side story, however. The thematic climax of the book occurs when it comes to light that Claudius's beautiful wife Messalina, whom he adores with the intense innocence of a teenager in love, has been using him all along for the fool, taking lovers and mocking Claudius behind his back. He finally discovers the truth when she is found to be conspiring with one of these paramours to seize the throne. She is executed for her treachery, but Claudius's spirit dies with her. He re-marries, but to a woman he cares nothing about and who, with his knowledge and acquiescence - for his death has been foretold by augury - begins amassing power on her own and conspiring to make way for her own son by a previous marriage. This son is later to enter history as the decadent fiddler Nero. The book closes with actual historical accounts by Tacitus and Dio Cassius of the real-life emperor's death at the hands of his ambitious wife, who poisons him. The last pages give us the final degradation, a bitterly satirical account Seneca, depicting Claudius - in death, once again the fool - trying to enter Olympus as the deified emperor but being banished mockingly to Hades by the other gods. The book is cynical and deeply sad. It's beautifully written and I recommend it, although it won't be to everyone's taste.

This book, and a traveling exhibit due at Yale this fall and The Smithsonian in early next year, captures the feelings and human aspect of what happens when a family owned furniture factory is closed due to a hostile takeover. The pictures and accompaning text document from an historical and extremely personal perspective the lives of workers in a small town in North Carolina, dependant on each other and the factory, and the devastation that occurs when big city, outside forces make an impersonal decision regarding people 1000 miles away.

a reasonably balanced view of a factory closing that doesn't make the owner out to be a devil (although some former workers clearly feel that way). Shows the human side of what happens when decisions are made based on the aseptic "bottom line". If anything, the book is not hard enough on the original family, the 1st generation that admirably built the company and the second generation that let it deteriorate (the book details how the 2 family members at the top didn't even talk to one another and used separate entrances to the building! Is it any wonder the financials deteriorated and they had to sell?)

The only thing missing is an interview with the capitalist that closed the plant. If they tried and he refused the book ought to say so, otherwise it seems that at least a few pages could have been devoted to his side of the story.

All in all, though, a great book to read, as a counterbalance for all of us that invest thru our 401Ks and retirement accounts expecting great returns and divorced from how those returns are obtained (and at what cost to some people).

This book does an excellent job of demonstrating the effects of a factory closing in a small southern town. As a former resident of the town (childhood home) and a former worker in the machine room and rubbing room of White's Furniture Factory, I was amazed at the depth of analysis and truthfulness in this book. This book demonstrated how the closing of a factory not only affects the workers, but prior workers, and the entire population of the town. I was surprised to see the pictures that were included that told a story all to themselves. This book is highly recommended for college professors wishing to pursue the effects of a factory closing and other downsizing efforts on a small town's population. A great story line supplemented by outstanding pictures as the authors take the reader through the last years of a 100+ year factory that the entire town centered their lives around. Highly recommended for those interested in the effects of a closing on the local population.

This book is what i use in collecting early U.K. coppers. It has photos of the different varieties and has been very helpful to me. The best i could find in this field.

Richard Lobel has put together a definitive work on the coins of the UK and England from 1066 to present. The information is at its most informative when establishing rarity or variety. There are many line drawings to help the reader establish the differences in many of the earlier hammered coinage of England. This is in addition to the wonderful pictures of coins that are throughout this reference.

I would whole heartedly recommend this book for the serious collector of the coins of England and the UK.

The 1998 edition of the catalogue is vastly superior to previous editions of the work. The historical information, the pricing, the photographs, and the quality of the binding are all unsurpassed for reference works of this type. I am especially pleased with the line drawings that have been provided to help numismatists distinguish the various varieties of the Edwardian pennies. The collecting tips which are provided for each issue are also useful for those who have not spent a lifetime collecting the series. If you collect English coinage you MUST have this work on your shelf.