Dean Books

In the climax of their phenomenal careers, Jayne Torvill and Christopher Dean won the 1984 Olympic gold medal in Ice Dancing and set the standard against which every dance team since will forever be measured. This book is an invaluable insight into the training of ice dancers and of the sport itself. A must for skating fans and anyone who wants to learn to appreciate this symphony on ice

professor Dr. dean Dean Bell's book is the best book I have ever read about Jews in the early modern era.In the begining of the book there is an amazing timeline. this catagory has needed a book like this for a long time. I think everybody should check it out. wether youre using it for study or for school it is worth it. it is also cheap for this kind of book.

I truly enjoyed Johnstown and would strongly recommend it. The book has wonderful historical pictures and interesting descriptions. Many of the pictures have never been published before. Henderson combines thorough research and photographs with fascinating pieces of history. A quality book!

This is a wonderful book about friendship. Although not written as poetry, the metre and often-rhyming prose make it pure pleasure to read aloud. Children love the rhythm and the story of how a friendship happened between two children who lived on opposite sides of a big hill. The places they went before they met up with each other make a truly delightful story.

I read this book for a graduate Humanities course. Joseph Conrad's Heart of Darkness, written in 1899 is a seminal work about the ills of colonialism, as well as a postmodern look at the subject of mankind. Conrad's book had a crucial influence on five important works of the twentieth century: J. G. Frazier's book The Golden Bough. Jessie L. Weston's book From Ritual to Romance, T. S. Elliott's poem the Waste Land, Joseph Campbell's Hero with a Thousand Faces, and Francis Ford Coppolla's movie Apocalypse Now, screenplay by John Milius, was based on Conrad's book. Another interesting fact is that this work was read by Orson Welle's Mercury Theater Players on the radio and was to be his first movie. After doing some work on it he abandoned the project to do Citizen Kane! I would have loved to of seen what Welles could have done with this story. Conrad's story is so riveting in part, because he himself served as a riverboat captain. High school teachers and college professors who have discussed this book in thousands of classrooms over the years tend to do so in terms of Freud, Jung, and Nietzsche; of classical myth, Victorian innocence, and original sin; of postmodernism, postcolonialism, and poststructuralism.

Just a taste of the plot reels you in! Marlow, the narrator of Heart of Darkness and Conrad's alter ego, is hired by an ivory-trading company to sail a steamboat up an unnamed river whose shape on the map resembles "an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country and its tail lost in the depths of the land" (8). His destination is a post where the company's brilliant, ambitious star agent, Mr. Kurtz, is stationed. Kurtz has collected legendary quantities of ivory, but, Marlow learns along the way, is also rumored to have sunk into unspecified savagery. Marlow's steamer survives an attack by blacks and picks up a load of ivory and the ill Kurtz; Kurtz, talking of his grandiose plans, dies on board as they travel, downstream.

Sketched with only a few bold strokes, Kurtz's image has nonetheless remained in the memories of millions of readers: the lone white agent far up the great river, with his dreams of grandeur,his great store of precious ivory, and his fiefdom carved out of the African jungle. Perhaps more than anything, we remember Marlow, on the steamboat, looking through binoculars at what he thinks are ornamental knobs atop the fence posts in front of Kurtz's house and then finding that each is "black, dried, sunken, with closed eyelids-a head that seemed to sleep at the top of that pole, and with the shrunken dry lips showing a narrow white line of the teeth" (57).

I especially became interested in Joseph Conrad's Heart of Darkness from the movie Apocalypse Now. There is a scene in the movie that shows Colonel Kurtz's nightstand in his cave. T. S. Elliott's poem the Waste Land is one of three books on the nightstand. The other two are Jessie L. Weston's book From Ritual to Romance, and J. G. Frazier's book The Golden Bough. Anyone wanting to understand the movie Apocalypse Now, especially the character of Colonel Kurtz, and what Milius and Copolla are trying to tell their audience need to read these three books as well as Conrad's Heart of Darkness!

As a graduate student reading in philosophy and history I recommend this book for anyone interested in literature, myth, history, philosophy, religion and fans of Apocalypse Now.

I read this book for a graduate Humanities course. Joseph Conrad's Heart of Darkness, written in 1899 is a seminal work about the ills of colonialism, as well as a postmodern look at the subject of mankind. Conrad's book had a crucial influence on five important works of the twentieth century: J. G. Frazier's book The Golden Bough. Jessie L. Weston's book From Ritual to Romance, T. S. Elliott's poem the Waste Land, Joseph Campbell's Hero with a Thousand Faces, and Francis Ford Coppolla's movie Apocalypse Now, screenplay by John Milius, was based on Conrad's book. Another interesting fact is that this work was read by Orson Welle's Mercury Theater Players on the radio and was to be his first movie. After doing some work on it he abandoned the project to do Citizen Kane! I would have loved to of seen what Welles could have done with this story. Conrad's story is so riveting in part, because he himself served as a riverboat captain. High school teachers and college professors who have discussed this book in thousands of classrooms over the years tend to do so in terms of Freud, Jung, and Nietzsche; of classical myth, Victorian innocence, and original sin; of postmodernism, postcolonialism, and poststructuralism.

Just a taste of the plot reels you in! Marlow, the narrator of Heart of Darkness and Conrad's alter ego, is hired by an ivory-trading company to sail a steamboat up an unnamed river whose shape on the map resembles "an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country and its tail lost in the depths of the land" (8). His destination is a post where the company's brilliant, ambitious star agent, Mr. Kurtz, is stationed. Kurtz has collected legendary quantities of ivory, but, Marlow learns along the way, is also rumored to have sunk into unspecified savagery. Marlow's steamer survives an attack by blacks and picks up a load of ivory and the ill Kurtz; Kurtz, talking of his grandiose plans, dies on board as they travel, downstream.

Sketched with only a few bold strokes, Kurtz's image has nonetheless remained in the memories of millions of readers: the lone white agent far up the great river, with his dreams of grandeur,his great store of precious ivory, and his fiefdom carved out of the African jungle. Perhaps more than anything, we remember Marlow, on the steamboat, looking through binoculars at what he thinks are ornamental knobs atop the fence posts in front of Kurtz's house and then finding that each is "black, dried, sunken, with closed eyelids-a head that seemed to sleep at the top of that pole, and with the shrunken dry lips showing a narrow white line of the teeth" (57).

I especially became interested in Joseph Conrad's Heart of Darkness from the movie Apocalypse Now. There is a scene in the movie that shows Colonel Kurtz's nightstand in his cave. T. S. Elliott's poem the Waste Land is one of three books on the nightstand. The other two are Jessie L. Weston's book From Ritual to Romance, and J. G. Frazier's book The Golden Bough. Anyone wanting to understand the movie Apocalypse Now, especially the character of Colonel Kurtz, and what Milius and Copolla are trying to tell their audience need to read these three books as well as Conrad's Heart of Darkness!

As a graduate student reading in philosophy and history I recommend this book for anyone interested in literature, myth, history, philosophy, religion and fans of Apocalypse Now.

I read this book for a graduate Humanities course. Joseph Conrad's Heart of Darkness, written in 1899 is a seminal work about the ills of colonialism, as well as a postmodern look at the subject of mankind. Conrad's book had a crucial influence on five important works of the twentieth century: J. G. Frazier's book The Golden Bough. Jessie L. Weston's book From Ritual to Romance, T. S. Elliott's poem the Waste Land, Joseph Campbell's Hero with a Thousand Faces, and Francis Ford Coppolla's movie Apocalypse Now, screenplay by John Milius, was based on Conrad's book. Another interesting fact is that this work was read by Orson Welle's Mercury Theater Players on the radio and was to be his first movie. After doing some work on it he abandoned the project to do Citizen Kane! I would have loved to of seen what Welles could have done with this story. Conrad's story is so riveting in part, because he himself served as a riverboat captain. High school teachers and college professors who have discussed this book in thousands of classrooms over the years tend to do so in terms of Freud, Jung, and Nietzsche; of classical myth, Victorian innocence, and original sin; of postmodernism, postcolonialism, and poststructuralism.

Just a taste of the plot reels you in! Marlow, the narrator of Heart of Darkness and Conrad's alter ego, is hired by an ivory-trading company to sail a steamboat up an unnamed river whose shape on the map resembles "an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country and its tail lost in the depths of the land" (8). His destination is a post where the company's brilliant, ambitious star agent, Mr. Kurtz, is stationed. Kurtz has collected legendary quantities of ivory, but, Marlow learns along the way, is also rumored to have sunk into unspecified savagery. Marlow's steamer survives an attack by blacks and picks up a load of ivory and the ill Kurtz; Kurtz, talking of his grandiose plans, dies on board as they travel, downstream.

Sketched with only a few bold strokes, Kurtz's image has nonetheless remained in the memories of millions of readers: the lone white agent far up the great river, with his dreams of grandeur,his great store of precious ivory, and his fiefdom carved out of the African jungle. Perhaps more than anything, we remember Marlow, on the steamboat, looking through binoculars at what he thinks are ornamental knobs atop the fence posts in front of Kurtz's house and then finding that each is "black, dried, sunken, with closed eyelids-a head that seemed to sleep at the top of that pole, and with the shrunken dry lips showing a narrow white line of the teeth" (57).

I especially became interested in Joseph Conrad's Heart of Darkness from the movie Apocalypse Now. There is a scene in the movie that shows Colonel Kurtz's nightstand in his cave. T. S. Elliott's poem the Waste Land is one of three books on the nightstand. The other two are Jessie L. Weston's book From Ritual to Romance, and J. G. Frazier's book The Golden Bough. Anyone wanting to understand the movie Apocalypse Now, especially the character of Colonel Kurtz, and what Milius and Copolla are trying to tell their audience need to read these three books as well as Conrad's Heart of Darkness!

As a graduate student reading in philosophy and history I recommend this book for anyone interested in literature, myth, history, philosophy, religion and fans of Apocalypse Now.

I read this book for a graduate Humanities course. Joseph Conrad's Heart of Darkness, written in 1899 is a seminal work about the ills of colonialism, as well as a postmodern look at the subject of mankind. Conrad's book had a crucial influence on five important works of the twentieth century: J. G. Frazier's book The Golden Bough. Jessie L. Weston's book From Ritual to Romance, T. S. Elliott's poem the Waste Land, Joseph Campbell's Hero with a Thousand Faces, and Francis Ford Coppolla's movie Apocalypse Now, screenplay by John Milius, was based on Conrad's book. Another interesting fact is that this work was read by Orson Welle's Mercury Theater Players on the radio and was to be his first movie. After doing some work on it he abandoned the project to do Citizen Kane! I would have loved to of seen what Welles could have done with this story. Conrad's story is so riveting in part, because he himself served as a riverboat captain. High school teachers and college professors who have discussed this book in thousands of classrooms over the years tend to do so in terms of Freud, Jung, and Nietzsche; of classical myth, Victorian innocence, and original sin; of postmodernism, postcolonialism, and poststructuralism.

Just a taste of the plot reels you in! Marlow, the narrator of Heart of Darkness and Conrad's alter ego, is hired by an ivory-trading company to sail a steamboat up an unnamed river whose shape on the map resembles "an immense snake uncoiled, with its head in the sea, its body at rest curving afar over a vast country and its tail lost in the depths of the land" (8). His destination is a post where the company's brilliant, ambitious star agent, Mr. Kurtz, is stationed. Kurtz has collected legendary quantities of ivory, but, Marlow learns along the way, is also rumored to have sunk into unspecified savagery. Marlow's steamer survives an attack by blacks and picks up a load of ivory and the ill Kurtz; Kurtz, talking of his grandiose plans, dies on board as they travel, downstream.

Sketched with only a few bold strokes, Kurtz's image has nonetheless remained in the memories of millions of readers: the lone white agent far up the great river, with his dreams of grandeur,his great store of precious ivory, and his fiefdom carved out of the African jungle. Perhaps more than anything, we remember Marlow, on the steamboat, looking through binoculars at what he thinks are ornamental knobs atop the fence posts in front of Kurtz's house and then finding that each is "black, dried, sunken, with closed eyelids-a head that seemed to sleep at the top of that pole, and with the shrunken dry lips showing a narrow white line of the teeth" (57).

I especially became interested in Joseph Conrad's Heart of Darkness from the movie Apocalypse Now. There is a scene in the movie that shows Colonel Kurtz's nightstand in his cave. T. S. Elliott's poem the Waste Land is one of three books on the nightstand. The other two are Jessie L. Weston's book From Ritual to Romance, and J. G. Frazier's book The Golden Bough. Anyone wanting to understand the movie Apocalypse Now, especially the character of Colonel Kurtz, and what Milius and Copolla are trying to tell their audience need to read these three books as well as Conrad's Heart of Darkness!

As a graduate student reading in philosophy and history I recommend this book for anyone interested in literature, myth, history, philosophy, religion and fans of Apocalypse Now.

In his new biography Joseph Jefferson: Dean of American Theatre Arthur Bloom captures the life of one of the most compelling figures in the history of American Entertainment. As a comic actor and producer, Joseph Jefferson stood alone at the head of his art. In terms of financial and critical success, Jefferson had no rival. He built this success, for the most part, by perfecting a stage version of Washington Irving's "Rip Van Winkle". A role which Bloom shows Jefferson lived off-stage as well. Like Will Rogers and comics who followed, Jefferson traded on a home-spun simple image. For years and years audiences packed houses to see the simple character Rip experience the extraordinary. However, behind this mask was a man who lived a luxuriant life, and cultivated fame at the cost of artistic growth. In his life, Jefferson was filled with contradictions. He was the common man in public, and a pampered man in private.

It is the contradictions in Jefferson's life that Bloom reveals for the first time in this biography, and captures with great detail. Before he died, Jefferson had published and enormous autobiography which is charming and seemingly the last word on the subject of Jefferson's life. Fortunately, Bloom penetrates the amiable facade of Jefferson without viciousness. Indeed, the contradictions which Jefferson would have hid from the public, make him all the more appealing as subject for biography. Jefferson's response to the civil war, his relationship with his wives, his temperament as a manager, his impoverished childhood--all of these subjects keep this book from falling into the realm of the dry theatre biography.

Born into a theatrical family in 1829, he made his debut as an infant in crowd scene. His work as an actor would end only with his death in 1905. In his lifetime, Jefferson was praised as an actor of comedy touched with pathos. Like Robin Williams of today, this sentimental side was embraced by some and rejected by others. In this biography, the praise and criticism co-exist with dynamic results.

Wisely, Bloom has found a way to balance the details of Jefferson's 76 years of life at a swift pace. His method is to present the narrative followed by a large appendix. The core of the book is 300 pages, but what follows is another 200 pages of footnotes and performance information. While the appendix is not needed to appreciate the book, it holds additional colorful stories and odd bits of information. Bloom's style is straight-forward, clear, and he supports his work with details. At times, the biography is even quite fresh and witty. In discussing Jefferson's All-Star production of "The Rivals" , Bloom quotes a letter from Jefferson: "We all lived in four cars which were provided for us and during the whole four weeks of the trip, I never heard a cross word". Bloom responds: "If Jefferson never heard a cross word among ten star actors living together for four weeks in a railway train, it is probably because he was going deaf'. Bloom then provides evidence that there was much unhappiness on that tour.

Another strength of the book is the description of Jefferson's acting style. As an artist, Jefferson was consistently praised for his natural style. He achieved humor without artifice. His work as a comic actor seems to shatter many stero-types about 19th century theatre. He was an innovator. There is no question of Jefferson's artistic ability, but even here Bloom does not take anything for granted. Using criticism, promptbooks, and recordings, he is able to communicate Jefferson's unique artistic accomplishment in a clear way, without becoming clinical. In his autobiography, Joseph Jefferson wrote with great eloquence about the craft of acting...communicating with great clarity and passion. Arthur Bloom proves to be Jefferson's equal in this area.

While the first quarter of the book moves slowly, the momentum picks up and the picture of Jefferson emerges with contradictions, frailties, strengths and more. His life spanned from the days when actors were denied burial in a church (Jefferson's view of religion is colored by this, another delightful contradiction), to the days when, at the end of his life, successful actors had risen to be honored men in society. By focusing closely on the life of Jefferson, Bloom indirectly captures the evolution of theatre in America.

Although one wishes for more information on the relationship between Edwin Booth and Jefferson, and for more details about Jefferson's relationship with his children, it is difficult to fault the author. Jefferson's life was so long, and there is so much to cover that one is grateful for the amount of compelling detail Bloom is able to present. This biography will stand as a cornerstone for future works on Joseph Jefferson and the American Theatre. "Joseph Jefferson: The Dean of the American Theatre" is as innovative and compelling as its subject. Who could have imagined that the real life of Joseph Jefferson was more engaging than the story told in his autobiography?

While shopping for my grandchildren I found this title. It is one which I have purchased hrough the years, and in fact owned it as a child. Dean Pollock so accurately tells the story of the last stand of the Nez Perce. The battle of Clear Creek, one which is tudied at the War College to this day is well decribed for the young reader.The illustrations are excellent and the story so poignant. I am so thrilled that the book is still in print and that my grandchildren can enjoy it Julie, Oregon