J Books

I am very pleased with the quality of this book. I watched the John Adams series on HBO and this makes a nice companion piece to that miniseries.

A beautiful book as I was sure it would be. Now in the possession of another John Adams admirer who happens to be a resident of Cornwall, England.

I must shamefully admit that prior to the renewed interest in John Adams with the recent miniseries, I really had only a general knowledge of his role and importance in the founding of our country. This book gives a private, personal and wonderful view of the strength,deep,abiding love of this first family. I could not put it down & would highly recommend it to anyone.

A collection of authentic letters between a man and his wife documenting the actual events as they occur from their first meeting, the beginning of the revolutionary war, the first meeting of Congress to negotiaing a system of government through freedom of our liberties through the written and signed Declaration of Independence from Great Britain. Although early years were spent much apart, this extraordinary couple persevered a deep love, an emotional partnership and friendship while enduring personal tragedies of early Colonial life in the 1700's. These letters are Historical Documents. This was the life of Abigail and John Adams. A story that aided this reader in understanding a period of History so unassuming, so important in acknowledging the birth of our nation.

If you are a history buff or just a little interested in the history of our nation you will love this book. The letters exchanged between John and Abigail Adams are wonderful. Abigail was definitely John's rock. She kept him focused and steady. John was a very passionate man in his beliefs and at times would become a tyrant trying to convince people that his way of thnking was the only way to think. Thank goodness he had Abigail as he ran everything by her to see how she thought the people would react to his perception. Abigail would let him know when he needed to press an issue or just be quiet and let it happen on its own. Besides being lovers as husband and wife they were truly best friends. An inspirational read.

In a world of relativism and unbridled inclusiveness, we need a clear understanding of God's Word. It is life changing. The Bible does not contain but is the absolute truth of God. As one studies God's Word in the original languages (in this case NT koine Greek), untold treasures are revealed concerning what the Lord has for those who believe. We get a better understanding of the mind of God, the value of life and the salvation that every soul needs through Jesus Christ. I highly recommend it.

Sou estudante de teologia no Brasil e o livro de Perschbacher tem sido fundamental nos trabalhos de exegese bíblica.

In my early years in NT Greek I found this volume quite helpful. Every so often I still refer to it, if my mind seems to be playing tricks on me.

This lexicon lists every single word found in the Greek NT. By this, I do not mean there is just a reference for agapao (love), but every form that agapao appears in the NT. So, for instance, in Ephesians 5:25, is the word agapate. Looking up this specific word, you'll find it is derived from agapao, but that it is the 2nd person, plural, present, active, subjunctive or imperative form of the word. So this book is invaluable to the person learning Greek and for studying and translating the Greek NT.

It is especially helpful as it list words found not only in the Critical Text like many lexicons but also words and word forms found only in the Textus Receptus and the Majority Text. It even indicates when a word in a particular verse is in a different form in each of these Greek texts and when a word form only occurs in one of these Greek texts.

I purchased this lexicon when I was studying Greek at Denver Seminary. And it was invaluable in learning Greek and for studying the Greek NT thereafter. When I felt God was leading me to translation my own version of the NT (Analytical-Literal Translation of the New Testament: Third Edition - ALT), I purchased the BibleWorks 7 software program. And it provides the parsing details for words in its auto-info window.

However, sometimes BibleWorks parsing does not look correct to me. So I keep this book on hand, by my computer monitor. And in such cases, I will double-check BibleWorks parsing by this book. And sometimes I still refer to this book just for the lexical information. So even with computer software, this book is still valuable.

As a student of New Testament Greek, I find this book to be an invaluable addition to my library. Every word in the Greek New Testament is listed alphabetically, with a cross reference to Strong's Exhaustive Concordance, and the Greek word's definition, location, and source. The lexicon also contains charts of the definite article, the declension of nouns and adjectives, and the conjugation of verbs. It includes information on the use of tenses, moods, and cases. Contracted forms of verbs are not listed in the lexicon, but charts of these forms are provided.

This book enables Greek students to find the definitive meaning and usage of each word in the Greek New Testament, and I highly recommend it.

I'm beginning to realize that George Gissing is an author who is relatively unknown by the general public but who is frequently studied/referenced by academics. The main reason why I think this is true (and this relates to the book at hand) is that Gissing himself had more of an academic temperament than a writing temperament. He was very adept at analyzing the world around him and commenting on it to a point of depressing realism, but he wasn't a storyteller. In fact, he struggled with creating enough storylines in order to support himself. Thus, while his books give impressive looks at Victorian life, they don't always leave a reader fully satisfied.

Why do I say this so confidently? Well, as Gissing was particularly self-aware and as he was particularly oppressed when writing "New Grub Street," in this novel he writes about what it's like to be a writer in London in the 1880's and 1890's. He essentially writes about his own life and those he find around him, all of whom are trying to make a living on writing.

Gissings seems to portray himself through the main character, Reardon. When the story opens, Reardon is struggling. His sophisticated wife is getting fed up with their impoverished lifestyle and with her husband's inability to write decent material. Reardon, a sensitive soul, is floundering under mounting pressure and stress. He is torn between his desire to write sophisticated, meaningful material and the public demand for "fluff." The more stressed laid on him, the less he is able to create and stick with any plausible fiction novel. He becomes more and more fererish and unable to work, and he is devastated as he loses his wife's love and respect.

Around this central character Reardon, Gissing builds a very full and weighty cast of characters. A small sampling of these characters are:
- The embittered, older column writer/reviewer, Yule, whose temperament has made so many enemies during his career that he is still laboring hard to support his small family at the end of his life.
- Yule's daugher, Marion, who is very clever but who is also very vulnerable. Her education has made her too good for many positions and marriages but her lack of money makes her a poor match for the educated class.
- Reardon's friend Milvain, who is an ambitious young man who has no problem writing exactly what the masses want. He knows his talents, he knows the market, and he knows his stuff won't last for posterity. But he is determined to live a comfortable life, make a strategic marriage and become a semi-respected man.
- Biffen, another friend of Reardon's, sympathizes most with Reardon's situation and condition. Two peas in a pod, these men spend long hours discuss meter, prose and ancient poetry.

I found myself continually amazed at Gissing's amazing ability to get into the head of many individuals in his large cast and to see how the world makes sense through each's eyes. Gissing also provides us with a wealth of information about the Victorian publishing scene. It was amazing to read that writers and publishers then were struggling with the same issues writers and publishers are struggling with today.

Additionally, Gissing gives you an unglorified look at poverty and the impoverished educated class of London at that time. While Dickens' works on the poor is idyllic and sentimental, Gissing simply relates the life he has known. There is nothing exceptional or amazing, and Gissing seems to argue that poverty takes character out of a man rather then build up a man's character.

Overall, I found this to be a fascinating piece...though perhaps a slow read. For those interested in publishing, writing, realistic portrayals of Victorian England, or other such topics, this is a fantastic work.

Poor Gissing! I suspect his miserable, self-destructive life fuelled his wonderful novels much as (we now know) Dickens's traumatic "blacking-factory" experience explains so much of the nightmare world of those gargantuan fictions. Gissing greatly admired Dickens, and like Dostoyevsky, seems to have appreciated the grim side of Dickens most. Not much humor in Gissing; but there is the same shabby poetry one used to see in Bloomsbury back in the 1960s. The same wonderful appreciation of futile, obsessive scholarly lives. Gissing is a great poet and sometimes a rather fine moralist. His pictures of London rival those of the Master (Dickens --and Dore). Don't miss him. Start with "Workers in the Dawn" and "The Nether World"--his passion more than compensates for his crudities. Remember: he was also a very accomplished classicist--more of a scholar than any other major Victorian novelist! A not insignificant fact.

George Gissing's 1891 novel, "New Grub Street," is likely one of the most depressing books I've ever read. Certainly, in its descriptions of literary life, be it in publishing, or in my own realm of graduate scholarship, the situations, truths, and lives Gissing portrays are still all too relevant. "New Grub Street" itself points to the timelessness of Gissing's portrayals - as Grub Street was synonymous, even in the eighteenth century with the disrepute of hack writing, and the ignominy of having to make a living by authorship. One of Gissing's primary laments throughout the novel is that the life of the mind is of necessity one which is socially isolating and potentially devastating to any kind of relationships, familial or otherwise. "New Grub Street" gives us a world where friendship is never far from enmity, where love is never far from the most bitter kinds of hatred.

The anti-heroes of "New Grub Street" are presented to us as the novel begins - Jasper Milvain is a young, if somewhat impoverished, but highly ambitious man, eager to be a figure of influence in literary society at whatever cost. His friend, Edwin Reardon, on the other hand, was brought up on the classics, and toils away in obscurity, determined to gain fame and reputation through meaningful, psychological, and strictly literary fiction. Family matters beset the two - Jasper has two younger sisters to look out for, and Edwin has a beautiful and intelligent wife, who has become expectant of Edwin's potential fame. Throw into the mix Miss Marian Yule, daughter of a declining author of criticism, whose own reputation was never fully realized, and who has indentured his daughter to literary servitude, and we have a pretty list of discontented and anxious people struggling in the cut-throat literary marketplace of London.

Money is of supreme importance in "New Grub Street," and it would be pointless to write a review without making note of it. As always, the literary life is one which is not remunerative for the mass of people who engage upon it, and this causes no end of strife in the novel. As Milvain points out, the paradox of making money in the literary world is that one must have a well-known reputation in order to make money from one's labours. At the same time, one must have money in order to move in circles where one's reputation may be made. This is the center of the novel's difficulties - should one or must one sacrifice principles of strictly literary fame and pander to a vulgar audience in order to simply survive? The question is one in which Reardon finds the greatest challenges to his marriage, his self-esteem, and even his very existence. For Jasper Milvain and his sisters, as well as for Alfred and Marian Yule, there is no question that the needs of subsistence outweigh most other considerations.

"New Grub Street" profoundly questions the relevance of classic literature and high culture to the great mass of people, and by proxy, to the nation itself. For England, which propagated its sense of international importance throughout the nineteenth century by encouraging the study of English literature in its colonial holdings, the matter becomes one of great significance. The careers of Miss Dora Milvain and Mr. Whelpdale, easily the novel's two most charming, endearing, and sympathetic characters, attempt to illustrate the ways in which modern literature may be profitable to both the individual who writes it and the audiences towards which they aim. They may be considered the moral centers of the novel, and redeem Gissing's work from being entirely fatalistic.

"New Grub Street" is a novel that will haunt me for quite some time. As a "man of letters" myself, I can only hope that the novel will serve as an object lesson, and one to which I may turn in hope and despair. The novel is well written, its characters and situations drawn in a very realistic and often sympathetic way. Like the ill-fated "ignobly decent" novel of Mr. Biffen's, "Mr. Bailey, Grocer," "New Grub Street" may seem less like a novel, and more like a series of rambling biographical sketches, but they are indelible and lasting sketches of literary lives as they were in the original Grub Street, still yet in Gissing's time, and as they continue to-day. Very highly recommended.

I found Jasper Milvain, the "alarmingly modern young man," to be the most interesting character in Gissing's New Grub Street for a number of reasons, the most significant of which is that he evinces what can only be considered a modernist's consciousness in his approach to writing. That is, while it soon becomes clear to the reader that Milvain represents the antithesis of what Edwin Reardon personifies-i.e., the work of literature as an emanation of author's native genius-and thus one of the intercalated plots of the novel involves the incremental success of Milvain as a modern man of letters, and the concomitant gradual abjection of Reardon. In a manner of speaking, then, Milvain and Reardon's fates emerge from a common source, namely some sea change in the reading public's (the consumer's) preferences and tendencies.

Milvain identifies as vulgar the most lucrative market for the product of the man of letter's labor. The vulgarians, or "quarter educated," drive the market (479), and since they have been determined to desire nothing more than chatty ephemera, they have successfully opened an insuperable gulf between material success in writing and artistic success. Reardon's psychologically penetrating novels just aren't in demand. Therefore, there emerges quite an interesting conceptual shift within the nascent hegemony of the quarter-educated as established by their purchasing power: what was once considered healthy artistic integrity has transmuted into a peculiar kind of petit bourgeois hubris, if, in the new paradigm, the writer is more an artisan than an artist. Therefore, Reardon's artistically-compromised and padded three-volume novel, written with no other end in mind than to pander to the vulgar reader, nonetheless achieves only modest success because, the fact that it is indistinguishable from countless other similar works glutting the market aside, his novel is infected from his irrepressible integrity, and thus his novel becomes a strange sort of counterfeit, a psychological narrative masquerading as a popular novel. Reardon thus becomes a sort of Coriolanus among writers.

Milvain, on the other hand, is a sort of Henry Ford among writers; he reveals his particular genius when offering advice to his sister Maud about how to write religious works for juveniles: "I tell you, writing is a business. Get together half-a-dozen fair specimens of the Sunday school prize; study them; discover the essential points of such a composition; hit upon new attractions; then go to work methodically, so many pages a day" (13). In other words, Jasper has managed to streamline and to mechanize the writing process. He studies previous works, abstracts formulae from them, isolates the elements of these formulae, and then deploys and rearranges these elements to give his own writing a patina of originality. By treating writing as an exercise in manipulating formulae, Jasper exchanges "authenticity" (whatever that word means anymore) for the convenience and efficiency of not having to grapple with his own potentially mutable and recalcitrant genius. Jasper did not invent writing, just as Ford did not invent the automobile. But like Ford did with automobile manufacture, Milvain discovers those aspects of writing that lend themselves to mechanical reproduction. Thus he is able to capitalize on his time and effort, and effectively becomes the very machine Reardon believes himself to be but never actually becomes because of his lingering notions of artistic integrity (352).

Also of interest is the fact that Albert Yule is a sort of synthesis of Milvain and Reardon. Like Milvain, Yule attempts to streamline his own literary production by delegating some of the labor to his daughter Marian. However, like Reardon, Yule clings to the superannuated notion of the necessary individuality of writing: "[h]is failings, obvious enough, were the results of a strong and somewhat pedantic individuality ceaselessly at conflict with unpropitious circumstances" (38). In other words, Yule fails to recognize the obsolescence of the lone, learned genius within the realm of literary production. A market of vulgarians who demand occasional literary confections simply does not expect Works of individual genius. Moreover, even if they were in demand, works of individual genius are too ponderously inefficient to keep pace with the rate at which they are consumed. Therefore, Yule straddles the either/or proposition personified by Reardon and Milvain: One may preserve his artistic integrity and write "for the ages"--hence Yule, Biffen, and Reardon's fetishization of Shakespeare, Coleridge and authors of classical antiquity--and starve in the process, or one may write "for the moment" and actually turn a respectable profit.

The shadow of Charles Darwin indeed looms large over the events and characters of New Grub Street. The growth market brought about by the advent of the "quarter-educated" vulgar class, and their discretionary income coupled with their callow aesthetic sensibilities and truncated attention spans, represents a nascent economic, if not ecological niche, for certain social creatures to occupy. However, it's not simply a matter of being able to adapt one's skills to the tastes of these consumers. One must also be a prodigious enough writer to keep pace with an equally prodigious rate of consumption. Individuals like Milvain and Whelpdale are adequately adapted to this niche in that they satisfy the demands of this niche in terms of both content and output. Reardon panders to the vulgar taste only grudgingly and after long resistance and thereby cannot meet the production demands of this niche. Biffen absolutely refuses to pander at all. Alfred Yule does attempt to pander, but his mode of literary production is too inefficient to meet production demands, and he is also largely ignorant of vulgar literary taste. While more in touch with the vulgar reader than her father, Marian Yule is as inefficient in her literary production as her father. Therefore, each of the characters named above are equally maladaptive, albeit for various reasons, and thus their extinction by the novel's end strikes the reader as somehow inevitable. Whereas Milvain and Reardon's widow Amy are left to come together as the triumphant niche occupants and thus reproduce themselves in their offspring, should they decide to produce any.

I recently read New Grub Street, and I must say I was stunned by how much I enjoyed it. Gissing's prose and characterization hold up remarkably well. He's sort of an urban Hardy, though far more accessible to today's reader. I'd recommend this to any serious reader. Oh, and this novel is ripe for adaptation. A BBC miniseries would be great.

In this magical book, courage comes from inside. There are no battles with phasers or light sabers or even old-fashioned swords. The battles the characters win come from within. Some of the expressions of courage in this book are very surprising - tests of inner will, caring and generosity top the list.

A really nice selection of characters make up the team in this book who are working to recharge the Cave of Courage so that mankind will have enough courage for the next one hundred years. I think anyone reading this book will end up loving trolls. They have wonderful traits and spirits. The leprechaun and dwarf are good characters too. And we finally get to meet Mother Nature in this installment of the series. Well, sort of - she's a rainbow in this book.

In this story the fairies are not facing monsters. The fairies and other magical beings have to face their own faults and personality defects (greed, fear, etc...) and overcome stereotypes and prejudices. I didn't expect a book about fairies to be quite so philosophical and relevant. This is a very clever children's book that adults might do well to read and take notice of.

This book is not so much about battle-bravery courage as it is about stepping out of a comfort zone to work together effectively. If this was an adult-geared book, it would be about surviving and getting along in the workplace. I think my kids really learned--or were at least inspired--from this, as far as getting along, being kind, and accepting others for who they are.

My daughter learned to write haiku poetry from one of the books in this series. Spiderwort and the Princess of Haiku (The Fairy Chronicles)
I am so proud of her.

She wrote this haiku about Periwinkle and the Cave of Courage:
"The fairies found more
than courage when they traveled
through a shrinking door."

She wrote this one too:
"Haiku is easy
when you know the secret of
counting syllables."

This book has a really fun mix of magical characters and the adventure through the cave really held my daughter's interest.

I went to a birthday party last week. We got to ride on a pony and played games. We got a book to take home and this is my book.
It takes courage to go into a cave. There is a treasure in the cave but they don't take it out. Cinnabar rides on a snake to get a key.That takes courage. The brownies help the fairies.
Annie gave her prize to everyone in the end. I like this book.

Excellent, easy to read book, with lots of stories and pictures. One minor thing that peeves me is occasional grammatical errors.

My version is a little older, but remains an excellent resource. There is loads of information about coverage of all kinds of events, from the uncomfortable tragedies to sports to developing story ideas for photo spreads. I don't know how much information the newer books have on digital imaging, but my version has very little. Not a problem, however, as the principals are the same. Like most other books, this alone will not teach you how to take great photographs. You can only learn that from experience. But this will help answer some of your questions if you are looking to develop a photographic style closer to journalism than fine art.

I needed this book for my photojournalism class and it was perfect. Brand new with CD color pictured.

the book came much sooner than the expected date!! and the book was in the condition expected! i recommend this seller. thanks a lot!

Excellent book! I put off buying it for over a year because I thought it was a bit pricey, but less than a month after reading it one of my photos made the front page of our local newspaper.

The book covers everything you need to know to get started, topics include...

- covering news, features, sports, politics & contemporary issues
- narrative picture stories
- finding features & catching candids
- environmental & interpretive portraits
- creative use of the strobe
- digital shooting & darkroom techniques (Photoshop tutorials included)
- concept photography & illustrations
- newsroom politics
- picture editing
- shooting within the bounds of the law
- controversial pictures & ethical discussions
- expanded history of photojournalism
- freelancing & business practices
- internships and after

If bought new the book also comes with a DVD featuring multiple documentary film shorts which to me is worth $20 alone.

A well-written book with all the fascinating ingredients: twists, turns, computers, gadgets and bodies (dead ones and those very much alive!) I shall eagerly await the sequel. Will it be titled "Trading in All the Marbles"?

Wonderful summer and winter read. I loved absorbing into the rich flavors of Houston and Texas. Earl Brewer brings to life the intriquing worlds of high tech, wealth, and ambition, taking us down a fascinating path of mystery, romance, and travel. It makes me want to book a trip to Aruba right now!

This story is unique and different. Not so much because of the story line, which is fresh and interesting, but the author has a fresh style. I enjoyed the suspense and mystery very much. Good quick read.

Completing a Masters Degree is a grand way to begin pleasure in a different area other than what I have studied for the past nine years. Picking up the Marbles has captured my interest by an action, adventure, and love story surrounded by the technology of the computer world. I believe that when one can relate to the towns in which the story is depicted, there becomes an excitement and curiosity creating quick page turning. Five stars for the author and Luck for the reader - for every new experience in literature and in life is a "lucky day" for all of us.

Strap yourself in and take a ride with Earl Brewer and his dynamic sleuths as they tackle a world of international and informational espianage. What you learn only takes you deeper into what you'd do to keep your secret safe - or profit by it. This is a great read. The foundation of the story is based on the genesis of a universal computer language. However, its what people would do with, and for, such a powerful tool that becomes the mystery our sleuths must unravel. This book will spark your imagination and tickle your intrest. I highly recommend it.

Enthralling, entertaining, educational, and thought-provoking, "The Symposium" is one of Plato's classics. A group of men gathered at a dinner party in ancient Greece discuss the topic of love. Each man offers his view or definition of love, and the results are all different, engaging, and full of symbolism. Although it is a short book, one must not read it once and put it away; it ought to be be read again and again just to compare to what is "picked up on" each time. One thing always puzzles me: I will never know why Plato included the doctor (his name escapes me at the moment) have a bout of hiccups during someone's speech. I have never come up with a satisfactory answer - nor has any one I know, either. Nevertheless, this is an excellent read that I highly recommend for anyone - student and nonstudent. Enjoy!

The Symposium of Plato is a profoundly thought-provoking, entertaining and inspiring piece of philosophical writing. It is very short, yet infinitely more substantial than many longer works.

We are in Athens, 416 B.C.E. The scene is a banquet at the house of Agathon, who had the day before celebrated the victory of his tragedy. By the end of the party, seven men - and one absent but central woman - will have presented their views on the nature and meaning of Eros, or love.

There is no difficulty in keeping the characters distinct in our minds. Plato has great fun contrasting the opinions - and verbal styles - of tragic poet, comic poet, politician, physician and the rest, allowing absurdities and profundities to mingle freely. Socrates is very appealing, saint-like, yet utterly down-to-earth, playing his usual role of a 'philosopher' - one who 'knows only that he does not know' - always in passionate search of the truth, but catching only revelatory glimpses of its perfection.

Phaedrus gives the first speech, praising lovers' (especially homosexual) passion and loyalty, which makes them perform mighty and heroic deeds. Pausanias differentiates between virtuous, or spiritual love, and common, or bodily love. Virtuous love between men should not be primarily about sex, but about improvement and education of the soul. Eryximachus, the doctor, makes a mostly irrelevant (and boring) speech, claiming nature's contrasting elements illustrate the need to balance the healthy and unhealthy aspects of love. Aristophanes then delivers a brilliantly memorable speech, hilarious and poignant by turns, telling of how humans were once two-in-one, back to back, with two heads, four arms and four legs, with three combinations of sexes, male/male, male/female, and female/female. Their strength and speed made them threaten the gods, so Zeus cut them in half, leaving them to search forever for their other halves, and through love attempt to regain their original oneness. Agathon then gives an over-the-top, ecstatic speech, praising love as the youngest, most graceful of the gods, saying he brought order to heaven itself, 'empties men of disaffection and fills them with affection', etc, climaxing with the suggestion we all follow in love's footsteps, 'sweetly singing in his honour'.

It is then Socrates' turn. He performs for all conversations that took place between himself when much younger and Diotima, a 'wise' woman from Mantineia, to whom he had gone for instruction in the highest truths of love. In sum, the lesson is that love is the desire for the everlasting possession of the good and beautiful, which brings happiness. We crave immortality, in order to be happy eternally. We love our offspring, artistic works, laws and institutions, because they are all attempts to achieve an immortal name. These, Diotima claims, are the 'lesser' mysteries of love.

The 'greater' proceed from the 'lesser' in ascending steps. From one beautiful body the lover creates 'fair notions', then he sees all bodies are similar and equally worthy of love. From bodies he proceeds to the beauty of the virtuous mind, then the beauties of institutions and laws, climbing from there to the beauty of the sciences, until, after much growth in wisdom, he reaches the vision of all creation as beautiful. The final step is to rise to the contemplation of unchanging, eternal, absolute beauty itself. To spend your life in union with perfect beauty allows you to bring forth 'real' things, not 'images' and 'be immortal, if mortal man may'.

A drunken Alcibiades bursts in at this point, and gives a rambling, often funny, speech about his love for Socrates and how he - a very beautiful man - was spurned sexually by him. He describes Socrates' near-supernatural control of himself, totally above the effects of pain and pleasure. The book ends with a description of Socrates' companions all falling asleep as dawn breaks (after all-night drinking) and his going about his usual day.

Throughout the Symposium, Plato makes it clear that sexual relations are not the best thing at all for 'lovers'; they who wish for the highest happiness must seek to grow in virtue and wisdom and become increasingly detached from earthly pleasures. This is the origin of the phrase 'Platonic love'. Women were not considered their intellectual and spiritual equals in Athens at the time, so men of sophistication had to look to each other for emotional sustenance.

What then, we may ask, can the Symposium offer human beings today who are not interested in purely mystical/intellectual living and prefer the sexual and emotional satisfactions found in personal relationships?

A great deal, I believe. In his introduction Benjamin Jowett states that Plato 'is conscious that the highest and noblest things in the world are not easily severed from the sensual desires, or may even be regarded as a spiritual form of them'. In other words, earthly pleasures and transcendent ones are inextricable. Plato used words such as 'good' and 'virtue' to describe freeing oneself from the world of the senses, by using our reason to choose correctly who - or what - to attach to as we move through life. If we choose correctly, be it friends, sexual or lifetime partners, we strengthen our sense of inner freedom, until finally we experience it at the deepest, mystical level - the profound shift in consciousness that Plato was pointing to as the highest good - which in and of itself is morally and values-neutral.

The genius of Plato is that he communicates the total commitment required to attain perfect freedom, and the moral obligation of all human beings to strive for the happiness it alone can deliver.

Plato's "Symposium" will always be read because there will always be people who question the nature of Love. Agathon's dinner party is the scene of a conversation between a small group of men, who go around the table offering their views on Love. What does Love mean to us to-day? Reading over the responses of the dinner-guests and their host, we find the same range of answers in Ancient Greece that we are likely to find now.

Phaedrus and Pausanias are utilitarians and materialists. Phaedrus looks at love between people and a proto-Burkean love for government and state. Pausanias complicates the argument, saying that there are two different kinds of love, one which is common and one which is heavenly - yet still oriented towards the real and the tangible. Eryximachus is a proto-Swedenborg, trying to reconcile or harmonize the two kinds of love.

The jewels of Plato's "Symposium" are Aristophanes and Socrates. Aristophanes gives us the profoundly moving depiction of Love as a fundamental human need, a desire for completion. For a writer of comedy, whose aim as an art form is forgiveness and acceptance, Aristophanes's explanation is no surprise, though its depth is amazing. While women are generally discounted throughout the "Symposium," not only does Socrates, as we might expect, completely astound his audience (both inside the book and out) with his progressively logical and ascendant view of Love, but he also does it through the voice of a woman, Diotima. When we realize that Socrates is a character in this fiction, and that his words originate in a woman, the egalitarianism and wisdom of Plato the author truly shines forth, like the absolute beauty he claims as the ultimate goal of Love.

Was Plato a feminist? I don't know. I do know that the "Symposium" is a tremendous book. I picked it up and did not stop reading it until I was finished. The style of the Penguin translation is smooth, with a lighthearted tone that can make you forget that you are reading philosophy. Plato's comedic masterpiece in the "Symposium" is the character of Alcibiades, who provides the work a fitting end. Get the "Symposium" and read it now. You cannot help but Love it...in a Platonic sort of way.

Perhaps the most "literary" of all Plato's works, "Symposium" is the story of a dinner party gathering of great (and a few not so great) minds, whom engage in a discussion in praise of eros, or passionate love. It is considered literary because it is highly metaphorical, it's characters are drawn well and in some cases unforgettably, and it succeeds on many levels. It is not uncommon for Socrates to elevate the subject of discussion in any given dialogue to that of our earthly existence, and how we should go about it. Perhaps shocking to readers unfamiliar with the Greeks is the prevalence of homosexual love, particularly with young boys. But, if nothing else, this is an insight into ancient culture. And the absolutely magnificent speeches given by Aristophanes and Socrates remain profound and beautiful to modern readers, regardless of whether or not the other speeches are unpalatable to some. Also, Alcibiades, drunken, hilarious rant is not to be missed. Read in a single sitting, this work is almost sublime.

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Plato's "Symposium" is the story of Agathon's dinner party where conversation takes place with a small group of men, who recline, eat and drink around a table offering their views on Love. This story is an amazing account of how intelligent and yet so different a culture the men from ancient Greece were compared to our society today. Each speaker has this most amazing ability to tell two stories at the very same time, an creative artistic movement of what love 'is' in each and every story. applying and , metaphorically. intertwining a cultural, mythological story of the gods, giving far deeper meaning. In addition to this, the love relationships and sexual nature of these men also permeate an entire cultural feel to the story, enveloping a radical differentiation from our de-mystified and de-enchanted world back into a once existing world of substantial meaning and profundity.

Phaedrus, speaks first and relates how love is the greatest good, the beautiful, is shameful of ugly things and how only lovers are willing to die for one another.

The second speaker, Pausanias, applies two types of love, one Aphrodite, a common base love working at random with men's feelings, for money, for loving physical bodies, boys, men and women. The other type of love, from a much younger goddess, being a higher type, the heavenly, who only loves other men and boy love, but this is not physical body love but from affection of the mind of virtue and wisdom..

Aristophanes has the hiccups, so it is Eryximachus, a doctor, who speaks third, applying the idea of love as a double love; "for bodily health and disease are by common consent different things and unlike, and what is unlike desires and loves things unlike." p.82 The god of art was said to implant love as a healing art, all such love guided by this god. "It is quite illogical to say that a harmony is at variance with itself or is made up of notes still at variance." "So love as a whole has great and mighty power, or in a word, omnipotence ."

Aristophanes, the comic writer, gives a moving account of Love as a absolute human need, a desire for completion to the point of each person once shaped differently being cut in half, taking our current shape, in need of the other to complete the whole of what we once were. "For first there were three sexes, not two as at present, male and female, but also a third having both together," and they were violent, strong and forceful and would even attack the gods. So Zeus and the other gods held a meeting and decided to cut them in halves and make them weaker. From then on, they were sexually drawn to one another, both heterosexual and homosexual, reasons all due to the way of the cutting of the halves.Lesbianism and boy to man love is freely spoken of and justified according to this story of the gods. His moving speech on the beauty and virtue of love however, is according to Socrates, true only in the sense of romanticism and fictional idolatrous admiration of what love should be. For Socrates found such a romantic explanation of love as untrue to what love really is and what love contains, as it does not contain all the beauty and good.

The fourth speaker, Agathon gives a moving speech on the beauty and virtue of love however, it is according to Socrates, true only in the sense of romanticism and fictional idolatrous admiration of what love should be. "For all the gods are happy . . and love is the happiest of them all being the most beautiful and best . . the youngest of gods." In his speech, love is every good, virtuosos and beautiful thing.

The last speaker, Socrates, found such a romantic explanation of love to be untrue, for what desires good, virtue and wisdom is only something that does not contain such, something lacking, and therefore lacking it desires such things. Love only desires what it lacks. Love is neither beautiful nor ugly. "To have right opinion without being able to give reason is neither to understand nor is it ignorance. Right opinion is no doubt something between knowledge and ignorance."

It is so interesting how common and free sexuality and homosexuality were, how each man present commented on the beauty of the young men in their glory of youth. Alcibiades, jealous of Agathon, also a young beautiful male, makes a moving speech how Socrates refused his love and how other like young men, also were moved with his amazing wisdom and prose.

While women are generally discounted, and the bonding of affection in male love was considered a higher love by Pausanias, Socrates explanation of love, by far the most profound, was one he received from a woman named Diotima. Here, as another reviewer has stated, shows Plato's the egalitarianism and wisdom, like that of the beauty and ultimate goal of Love.

Later a group of men crash the party and the drinking really gets started. Some leave, while Socrates stays all night, never loosing integrity from his drinking and leaves with all his integrity.

I have given two sets of these books away as gifts. I just hope the recipients appreciate them and take good care of them.

Milne's classic children's books are perfectly illustrated by Shepard's clever line drawings. The originals are so superior to the Disney version that they are in a different league altogether. All children should hear the Pooh stories read by a loving adult. And the adult can enjoy Milne's sly humor on a separate plane from the child's appreciation.

The Winnie the Pooh stories are some of the best writing you will ever read. AA Milne has quite possibly the best writing style ever. Unfortunately, the last two books aren't Winnie the Pooh books. They are books of poems (and I really dislike poetry). Some will love that, but I was hoping for more Pooh.

I bought this for my niece, who will be three in January. Still a little old for her, but my sister and brother-in-law are very excited about reading aloud to her!

These books were purchased for grandchildren. I grew up having these read to me, read them all over & over to my own five, and now to the grandchildren.

A. A. Milne uses wonderful language, humor, suspense, making these books and their wisdom last into adulthood - we all have favorite quotes often used to fit specific situations. To this family, they represent the very best childhood literature.

Leaving off from The Strange Power (Dark Visions, Book 1) Kait & Co. must escape from the Psychic Enemies Network. The posse must literally follow their dreams to a mysterious house.
Problems are:
Rob and Gabriel still hate each other
Gabriel and Kait realize their feelings for each other
Thanks to Mr. Zetes, they are now fugitives...
Then there's the whole "psychic vampire" thing.
I love this book.
Kait is a strong capable heroine who inspires loyalty and trust.
Gabriel becomes a more sympathetic character and Mr. Zetes true insidiousness is revealed
Followed by:
The PASSION (DARK VISIONS 3): THE PASSION

Living in england I have been trying to but this series, when I eventually bought this book I wasn't disappionted what a brillient series shame though that L.J. Smith hasn't continued writing romance horror and supernatual. I enjoyed reading the book and have read them several times.

i thought his was the best of the dark visions trilogy by far.. which really is saying a lot because it is a great series. i love the friendship and attraction between kaitlyn and gabriel that develops in this book.. their chemistry kept me interested and in suspense to see who she picked.

She's done vampires, witches and shadow-creatures, and in this trilogy L. J. Smith tackles psychics, namely five psychics in particular - Kaitlyn Fairchild, Rob Kessler, Gabriel Wolfe, Anna Whiteraven and Lewis Chao (where does she get these names?)
In the first book 'The Strange Power' the five teenagers were united by Emmanuel Zetes and his lackey Joyce Piper under the pretence of helping them control and understand their individual psychic abilities whilst also educating them and supplying them with scholarships for university. However, the teens found out eventually that this was not the case - what Mr Zetes was really up to was to change them into a 'psychic swat-team' and sell their psychic services off to the highest bidder. Horrified, the teens flee the house, which is where 'The Possession' picks up, but with a few differences: all five of them are telepathically linked with each other, and one of their members - Gabriel - is now forced to feed off other people's energy in order to survive.

So where 'The Strange Power' was an introduction to the teens and their powers (which include healing abilities, animal communication, telepathy, future divination and telekinesis) and 'The Passion' is Kaitlyn's infilteration back into the Zetes Institute, 'The Possession' is the journey of the five runaways to find the mysterious house that they have all dreamt of - a white house over a strech of water where voices call out to them.

On their road-trip however, they have to deal with the continuous presence of each other in their minds, the police, their parents, the mysterious location of their white house, Gabriel's need for human substanence, a new arrival, and an onslaught of attacks from Mr Zetes and his 'dark psychics' - those students who had come before them under Mr Zetes's tutorledge. However they are not without their own resources - their own powers guide and substain them, and they find allies in Anna's parents, Tony - the brother of Marisol (who had been a helper at the Zetes Institute and purposely put in a coma by Mr Zetes), an intriguing newcomer by the name of Lydia, and of course the mysterious beings of the white house - a climax that does not disappoint.

L. J. Smith again creates good, solid, interesting characters - especially those of the psychics and their individual talents - and she is a master of creating the 'bad boy', in this case Gabriel Wolfe. You only need to have a look at some of the other reviews to see how he effects pre-teens. Likewise Kaitlyn is a strong heroine, though L. J. spends a bit too much time describing her appearance and how beautiful she is (just once I'd like to see an unattractive L. J. Smith heroine!) and backup characters are likewise interesting and realistic. I especially appreciated the 'shades of grey' L. J. places within the books - there are not simply black and white/good and evil characters but rather those that hover on the boundries such as Lydia, Gabriel, and even to some extent Kaitlyn herself. Gabriel's revelation at the climax of the books when he is faced with pure (though ridgid) goodness and realises he can never become part of it is especially thought-provoking.

There are a few faults however - all her descriptions of psychic phenomena (such the feelings the psychics experience, the power of the crystal, the psychic attacks, the 'third eye' business and the transfering of people's energy into Gabriel) are rather difficult to grasp. Gabriel's description as a 'psychic vampire' I felt was a bit much, especially since L. J. Smith conveniantly makes the neck the best transfer place for energy and it was only young women that Gabriel 'feasted' on - it got a little too vampiric for me, and I thought these books were to be about *psychics*, not drawing out ideas from her previous books.
Likewise, the teenagers never seem to actually *use* their psychic abilities - Kaitlyn draws pictures, but essentially her premonitions are useless as she can never stop what they show her is to pass. On the other hand Lewis and Anna seem to have extrodinarily useful powers, but they use them only once each on the entire journey.

But anyway, if you are an L. J. Smith fan, then these books shouldn't disappoint. As usual, you have to get all three of them and read them in order to get the full benefit of them, but once again L. J. delievers what she promises with her token mystery, suspence, love triangle, teenage protaginists, 'bad boy' and touches of the supernatural.

The Kaitlyn and company are on the run from Mr. Zetes. They go in search of the house in Kait's dreams. But they aren't alone. Zetes sends these ghostly figures after them. In the end we find out who the figures are and trust me, it's a surprise. While this is going on Gabriel was turned into a psychic vampire by the crystal. But Kait finds out and she decides to help him out by giving him her energy. But one time during the process Kait goes deep into Gabriel's mind and finds out that he loves her. What will happen to all of them?

GABRIEL IS HOTT! KAIT IS LUCKY! L.J. writes another hit!

As described on the cover page, this book is cookbook style so I went through the programs on the CD before reading the chapters. I like this book for two reasons.

First, the book is easy to read. A bunch of equations may not always be helpful to understand a problem. What confuses readers most is how an implementation/program corresponds to those equation(s). This book explains the image processing techniques in a plain language and gives you an hand-on experience with those techniques.

Second, to practice image processing, clicking a button on windows or just calling a built-in function, e.g. process(image), will not be enough. When you go to the directory of programs on the CD, you may find out every details. Each program is relatively independent to each other. You will not be stuck by a function call, which you never know or find. Each program is well commented and can be easily modified and incorporated into your program.

This book is good for those who are new to image processing, because it helps you understand what image processing does. It is also good for an experience practicer, because you can find well-organized stuff to build your own applications. It is a must-have book for your shelf of image processing.

Searching for an easy plug & play solution for simple imaging tasks?
No time for programming & debugging things yourself?
No interest in crawling through literature to figure what & how you should program "the methods that solves all your problems"?

Here's a book that deals with most of the elementary - and most used - approaches in image enhancement and analysis. The CD offers a collection of ready-to-play-with programs, both in C source as in executables.

I appreciated the book set-up: each section describes one single task, describes the problem, gives an example, discusses a solution given in literature, and presents the input / output / options for the C code.
- If you want to know more: get the recommended references.
- If you want to modify the program: why not? (well, perhaps because the code is good enough!)
- If you don't care about the scientific background and/or programming: just plug & play!

I have found this book to be extremely useful as a reference for my class on document image analysis. The book discusses (with software which is a bonus!) a whole bunch of image processing techniques that are very useful.

Students can now find in one place- a reference for techniques such as gabor wavelet analysis, convex hulls, moments, fourier descriptors, thinning, hough transform, and chain coding. This allows me as an instructor of an advanced document recognition course to let the students self-study these image processing techniques while I can focus on the recognition topics.

The authors have done a great job of picking examples from a wide range of applications such as outdoor scenes, fingerprints, and documents. The book is "easy to read" and requires just basics of linear algebra to follow.

I already knew image processing when I bought this book, so I am not sure how it would appear to the novice seeking a textbook on the subject of image processing and analysis, but I imagine it could be somewhat confusing. I always recommend Gonzales and Wood's "Digital Image Processing" for those seeking a clear read on image processing and analysis from the ground up. Where Seul's book comes in is with clear descriptions and working code for many basic - and some not so basic - image processing and image analysis algorithms. The book is also very good at explaining the applications of the various transforms. One of the little things that the author of this book does that authors of other books similar to it don't bother to do is to realize that when you are working in image processing you likely have an image as an input and you want an image as an output. Thus the author has built his code libraries so that they work that way. You are not left with arrays of pixels that you have to figure out how to store and manage. In the end you have a nice functional toolbox of working image processing and analysis subroutines that you can chain together and make just about any type of image transform tool you could think of. I'm mainly interested in image effects, and I know this book has been useful to me. The accompanying CD-ROM contains all of the C source code for the algorithms so that you can port them to another language or tinker with them if you so desire. Highly recommended.

The title of this book corresponds to its content, the tutorial gives an excellent overview of basic key points to those readers who are unfamiliar with the subject (as I was). The book can not be used for rigorous study of even simple things but rather kicks you with essentials that are easy to understand with high-school background. This book, written for non-specialists in "image field", gives them techniques for their practical needs and concentrates exactly on image analysis, not on image processing. If you have no time to go through more complex (and deeper) books, take this one to discover basic principles in short form with no attempt to explain the fundamentals. The authors just put you into the facts, so that is why I would characterize the "Practical Algorithms" book as being "handbook". The good point is that the areas of applicability of these facts are explained, the drawback: you have to go to other books to get more details on image processing roots, e. g., to R. Gonzalez and R. Woods' "Digital Image Processing". I bought both, and use them as good annex to each other. The "Practical Algorithms" has lack of some significant areas, like snake algorithm and image binarization (thresholding) techniques but e.g., the cellular processing is quite well highlighted.
Surprisingly, the CD that comes along with this book gave me almost 80% examples that I was able to recompile instantly, and only several examples have failed, mainly due to image file format issues. The source code is not both elegant and bugless, but it is very transparent and portable and can easily fit, e.g., a 16-bit microcontroller.
Overall, this is good book for fast start. You can get real output and pick up ideas on practical side of image analysis. Just remember, the most book examples came from the medicine world, so they are quite specific and may not be implemented directly in your particular application.