Nicholson Books

The point of view of English photographer, Jon Nicholson, is that the traditional cowboy is being crowded out by the 21st century because urban sprawl, interstates, drought, environmentalists, and intrusive government are making ranching a thing of the past. So it's interesting to see what this Englishman sees in the viewfinder of his camera. In general, the 250+ color and sepia-tinted photographs in this collection don't really bear out his thesis. What we see is hard-working men and women with cattle, horses, and open countryside, much the same as it's all been for decades. This world may be vanishing, but it's hard to tell that from the photographs.

Nicholson visited the Texas Panhandle, New Mexico, Arizona, Oklahoma, and Wyoming, as well as a ranching state we don't normally think of - Hawaii. There are pictures of branding, riding, herding, feeding cattle, rodeoing, playing pool, playing music, boot making, sitting by the campfire, eating chow, and standing around talking or just waiting. Most of the pictures are what you'd expect. But there are exceptions . . .

You pretty rarely see a cowboy's tan lines, but Nicholson has caught them in a shot of a rancher who's cooling off by sitting in a stock tank. In a winter picture, the same man is seen fully dressed, standing in snow and chopping ice from a water trough. A picture taken from behind a herd of cows and calves moving into the distance gives an idea of what it was like on an old-time cattle drive day after dusty, scorching day across the open range.

A few photographs of distance capture the vastness of the Western landscape: heavy clouds hanging over the upright poles at each side of a double wooden gate, a windmill against a far-off ridge, jagged lightning striking from storm clouds along a flat, straight paved road aimed straight at a vanishing point on a flat horizon. Meanwhile, in Amarillo, the stockyards have the same effect, stretching out flat in all directions.

There are a few indications that times are changing. In Arizona, hand-lettered signs advertise a ranch for sale. A Wyoming rancher stands in a feedlot in a black cowboy hat while his 18-year-old son sits on the tailgate of a Dodge 4x4, wearing boots and a Bulls ball cap. A cowboy sits at a table drinking a longneck bottle of light beer. In another shot, a pickup with a stock rack heads off into endless, empty rangeland with the horse in back and the rider driving.

There's a lot to look at and enjoy in these pictures, whether you think the world of cowboys is vanishing or not, and I'm happy to recommend it.

This book goes beyond the surface of the hollywood myth and the media spin in order to profile images of cowboys at work and at play. His images are modern but show the timelessness of the occupation of tending cows. I am espically fond of the final image in the book: two buddist monks in red scarlet robes with saffron sashes eating a hamburger. It is not the best image but it does give hope that the cowboy will remain so long as people consume the object of the cowboy's existence. Beef.

"Dark Quartet" is a well written, insightful, fictional biography of Charlotte, Branwell, Emily and Anne Bronte. The lives of these gifted and creative siblings can easily compete in drama, and intensity, with those of the characters in their gothic novels. Raised on the bleak Pennine moors of West Yorkshire, their home at Haworth Parsonage could be the setting for "Jane Eyre," "Wuthering Heights" or "The Tenant of Wildfell Hall." Indeed, their beloved moors had much to do with the formation of their very characters. In beautiful weather, the dun and purple heathered countryside, with its vast spaces, is beautiful and dramatic. However, this is a place where the sun rarely shines, and there is a dark, brooding, almost sinister quality about the landscape. The almost total silence is occasionally broken by the song of the skylark or the call of the curlew. This solitary, raw, harsher beauty is spectacular in it own way, and has inspired many artists and writers. It is a setting that Emily never wanted to leave. In fact it grieved her so much to be elsewhere, that she was not able to complete her studies away from home. She would walk the countryside in all weather, with her dogs, and seemed to find sustenance there.

Their's is a tragic story, so many lives and so much talent snuffed out so soon. Branwell, aged 31, Emily, 30, and Anne, 29. died within a year of each other. One can only imagine Charlotte's grief at being the last living child of Patrick and Maria Branwell Bronte. They were all frail, fey children, who tended to be extremely introverted, although vivacious and exuberant amongst themselves. The four spent much of their childhood and adolescence creating plays, writing epic poems and stories about fantasy worlds which seemed more real to them, at times, than everyday life.

Their mother died when Anne was just a baby and her sister, a harsh disciplinarian, came North to live and raise the six children. I can see something of this woman's character in Aunt Reed of "Jane Eyre." Maria, and Elizabeth, the oldest daughters, were sent away to school at the Clergy Daughters' School at Cowan Bridge. A poor parson, Mr. Bronte thought the inexpensive school for girls was a Godsend. In fact, it was a miserable institute where the girls endured unbelievable privations. Maria died of tuberculosis as a result of her stay there, as did Elizabeth, a short time later.

Author Lynne Reid Banks, ("The L-Shaped Room"), paints an intimate and fascinating portrait of the remaining siblings, "The Dark Quartet." Much of their dialogue is taken from letters, which adds to the novel's richness and realism. The three young women were all published writers, and supported their family as such, using the noms de plume Currer, Ellis and Acton Bell. They wrote prolifically throughout their lifetimes. Their heroines were uniquely strong-willed and independent, unusual in an age when the law and society defined a married woman as a husband's property. Women were totally dependant upon their mates, or fathers, during this period, and could actually be locked away in asylums at a man's whim and convenience. Their heroes were inclined to be intense, brooding, often cruel - perhaps modeled after Branwell. The Bronte sisters were not afraid to write about violence, nor coarse, unacceptable behavior. Again, this candid, direct approach to literature was unusual, especially from female authors. Unfortunately, Branwell did not fare as well as his sisters. Indulged as a boy because of seizures and/or tantrums, he did show great promise as a writer and painter. However, his unfortunate life was cut short by dissipation due to drinking, drugs and severe depression.

I became interested in the biography of the Bronte's after reading Anne's "The Tenant of Wildfell Hall." Although I have long been a fan of Charlotte's and Emily's, I had no idea that there was a third such talent in the family. It amazes me that these three very young women, homebodies all, were able to probe the human drama so deeply, and with such sympathy.
JANA

Even if you had little interest in the Brontes, Lynn Reid Bank's story of their lives and relationships is compelling reading of a family and their sorrows and joys, successes and failures. By creating dialogue from letters they had written, the book makes them come to life. She gets into the heart of soul characters and protrays their differing personalities, ambitions and struggles. I heartily recommend this book, especially to fans of any of the Brontes.

At some point in his career, almost every artist must come face to face with the decion to either create his own website or to have someone else do it for him.

Okay, but when the website is fianlly finished and published to the world wide web...THEN WHAT?! An artist can have the best looking and well-designed site, but the question is: HOW will people find it amongst the millions and millions of other websites that are out there?

Well, this book answers that question and then zeros in on what steps the artist must take to insure that his site WILL be found in cyberspace. Some of the ideas are just plain commonsense, while others are the kind that make you ask yourself: "Now why didn't I think of that?"

The fact is, there's already a mind-boggling amount of competition out there on the web, and every artist who is serious about "getting noticed" needs to be able make his website stand out from the rest--and this is a book that will help the artist to do just that.

For years I have been searching for step by step instructions on how to becoming a successful promoter of my own work, and now I am glad to say I have finally found it!

So for the artist who wants to get his website get noticed and stand out from all the competition out there, this very reasonably priced book is certainly worth every cent you invest in it!

I am a part time artist and my 'day job' is running a women's clothing boutique. I was given a copy of this book and I was really happy to find that there's a lot of information I can use for BOTH my businesses. It's gotten me really motivated to put more energy into promoting my website(s) for both my art and my clothing business, and *maybe* take the big leap and start selling my artwork on the web. I learned a LOT from reading this book.

WoW! you can almost taste the delectible chocolate creations Delia has whipped up. The flourless cake is to die for if you are a chocoholic or even have a passing passion for chocolate. The illustrations are inspirational.

If you are a dessert cook, love chocolate and want to impress without having to work too hard, this is the book for you. Delia is one of my favourite cookery authors. Her recipes are always easy, clear to understand and without errors or omissions (unlike some recipes I've tried to follow). And these desserts have NEVER failed to impress. My favourites are: the Squidgy Chocolate Cake that literally everyone raved about, and her delectable Chocolate Mousse.

Captain William Lewis Herndon gives a very well written narrative of what it was like to explore South America in 1851-1852. He took the first United States' expedition from the west side of the Peruvian Andes,then over and through the Brazilian Amazon to the Atlantic Ocean. His desriptions of the local people and their cultures, along with how they survived, their agricultural methods and practices are fascinating. He also includes geological, botanical and zoological observations all along the way. He describes how difficult it was to cross the Andes at elevations above 17,000 feet, the mining industries in the mountains, what kinds of plants grow here and there, the animals they encounter. A few unbelievable (but verifiable?) accounts were of the tailed people who lived up the Jurua tributary, the three and a half foot people, blue mud, etc. These were all enjoyable to read. The only drawback was the overall purpose of the expedition. It was a way to exploit the Andes Mountains and Amazon of their natural resources, from the gold, silver, etc in the mountains to harvesting the forests for commercial use. Just like Gary Kinder said in his foreword to the book, if Herndon was alive today, he may have a different opinion. A very good read though if you enjoy exploration.

... but told in a much more stylish and readable manner. I bought this book on the strength of reading about Capt. Herndon's sacrifice in Gary Kinder's "Ship of Gold...". He seemed to epitomise the old-style captain, caring about his passengers, crew and above all his ship, and I was interested to read more about the man.

I was not disappointed; what could have been a dusty tome full of only facts and figures, emerges as a rivetting account of the trials endured during the trip, and vivid descriptions of a land that was as yet virtually unknown to the 'civilised' world, told as a very readable narrative. This easy style is what captured the hearts and minds of the Anmerican (and European) public in a book which went into several reprints of 10,000s (as opposed to the usual Congress print run of 100+!).

It also captured the imagination of a certain Samuel Clemens, who, after reading the book, immediately took steamer from St.Louis to New Orleans to get a boat to the Amazon. Imagine his disappointment when he found no passage ... sitting, bemoaning his ill luck, he hears the cries of the steamers "Mark twain!" - the rest is history.

I have one reservation (hence only ****); during his editing & research for the book, Mr.Kinder deletes a lot of sections that I personally would have found very interesting, such as crops grown, goods & minerals available and costs of trade items. If these had been included as an appendix, I think it would have added to the charm of the book.

Nevertheless, one of the best pieces of historical travel writing I have ever read.

A painstakingly researched, thorough and detailed account covering both sides, the most professional I have seen. Unbiased style. Fundamental to any research in the field.

This 480 page tome is a thoroughly researched document of the military conflict in 1982 between Great Britain and Argentina. Especially useful to an historian or enthusiast, it has detail of the history of every individual aircraft involved, on both sides of the war. Comprehensive accounts of the sorties are included. The naval and ground conflict is only covered tangentially. This book nearly rates five stars, but due to the lack of an index, extracting information from the detail is cumbersome.

I really enjoyed reading my roomate's copy of this book. All the essays revolve around the concept of as living world. The essays come at the topic from a variety of angles: spiritual, scientific, esoteric...

This is one of my new favorite books, that really helps explain the living world concept.

A good range of essays from the poetic to the scientific - but all written with feeling. The topic of Gaia brings forth very powerful life changing thoughts about the word we live in. However, the last essays really go beyond the boundaries of the strict sientific mind. A highly recommended book.

I enjoyed this book, I've had it (and earlier print) for over 10 years now and I continually take a look for reference or just to enjoy browsing the photos! The histories accompanying the photos are comprehensive but concise, and very well written.

The inclusion of floor plans would have gotten the fifth star - I think floor plans tell a lot about a building, especially one that's grown over centuries as these buildings invariably have.

[...]

Irelands landscapce of beautiful rolling hills and flowing rivers plays in perfectly with the unimaginable Manor houses that it hosts. The 308 pictures in this book show many of the most historic and beautiful homes in Ireland. If the history of architecture intrests you, this is a must buy book.

Martin Heidegger, infamous for his Nazism and his subsequent lifelong silence on the subject, remains a pivotal figure in twentieth century Continental philosophy. In 1927, before Hitler seized power in Germany, the "Jahrbuch für Phänomenologie und phänomenologische Forschung" published a philosophical masterwork. Now known in English as "Being and Time," this 400 some page essay established Heidegger as one of Europe's most bold and original thinkers. With abstruse and obscure language, it claimed to put philosophy back on the track that the classical tradition had derailed it from following the Ancient Greeks. This track was "the question of the meaning of being." Heidegger found this question ignored and neglected and from this stance sprouted a branch of thought that would later inspire "existentialism" and subsequent phenomenology. Inspired by the work of his mentor Husserl (who Heidegger later betrayed to the authorities), "Being and Time" attempts to place philosophy in the framework of everyday life or "everydayness." Unfortunately, the text itself presents almost insurmountable challenges to the uninitiated. Many wisely read about "Being and Time" before diving into its turgid turbulent pages. This small book represents a great start along the path of understanding; a kind of dainty big toe tipping in the pool. Nonetheless, its 56 pages alone will not prepare newcomers for Heidegger's text, which presents a quagmire of prickly wordplay even for translators.

This small book by Jonathan Rée, who once gave up his teaching post so he could "have more time to think," provides a 100,000 foot view of "the first half" of "Being and Time." Of course Heidegger never completed the other half after securing a coveted chair at Freiburg (which is why he ultimately sat down to write it in the first place). This tiny summary begins by discussing the historical prejudices that led to the neglect of "the question of the meaning of being," an analysis of the question itself and the questioner, and an explication of the ubiquitous "Dasein." In other words, what is the question and Who asks it? The question is "being" and the asker is "Dasein" or "a being with an ontological attitude," or "entities that are nothing but understandings and misunderstandings of the world." Through further analysis, or hermeneutics, we discover that "our existence has no basis but itself." But Daseins also have a place in history, or "historicality," that defines them. As Daseins we are always "already in a world," which teems with "ready-to-hand" equipment. We take some equipment, such as our hands, the sun, the phone, etc., for granted until it stops functioning, as such they have "presence-at-hand." The ready-to-hand equipment only exists socially, or "Dasein-with." Similarly, "Being" is "being-with." We don't exist as isolated pre-defined egos. Sometimes Daseins confuse themselves with ready-to-hand equipment and our authentic "being-with-others" degenerates into inauthentic "being-among-one-another." This introduces Heidegger's famous concept of "the They." Sometimes we forget our Dasein-ness and compare ourselves to "the great mass." Though this sounds like a normative gesture, Heidegger claims that inauthenticity, or muddling in "the They," remains a necessary part of existence. How do we become authentic? Through "anxiety" (angst) when we see "the inherent instability of our existence." Our lives have a sense of permanence to them but they will nonetheless come to an end. This comes about via a false analogy of time as a "flowing stream." As such, once time goes, it's gone for good. But Heidegger points out the silver lining in this scenario: time also gives. After all, it takes time to build up to our most cherished experiences. Thus the passing of time brings both pleasure and pain. Time neutralizes. In the end, Heidegger conceives of Daseins as beings who live in the light of their temporal existence, understand and misunderstand the world, and open up history to the future. We do this through asking "the question of the meaning of being." By these means we also ride a straight path through Absolutism and Relativism. Ultimately, we are our own ontologists.

As convoluted and incomplete as the above probably sounds to a newcomer, it has provided vast impetus for twentieth century work in Continental Philosophy. Heidegger philosophized about "life," a concept that many analytic philosophers find difficult to work with. Heidegger thus remains more or less a stranger to that tradition. Of course Nazism also hangs above his oeuvre, especially following closer scrutiny of his life and his insidious involvement with the Third Reich through his academic post. In light of this, some even question his work's validity. Regardless how that debate concludes, Heidegger's influence remains unquestionable and likely indelible. But this book does not delve into biography. Other books do that. Instead, this book tries to delineate the main points of Heidegger's masterpiece "Being and Time." In this it excels, but, given its size and limitations, it should be considered only as an appetite whetter, not as adequate preparation for soaking oneself in Heidegger's writings. And though it has its difficult parts it nonetheless presents a great starting point for the curious to peek into the chamber of curiosities - not to mention horrors - of Heidegger's thought.

Jonathan Rée. Heidegger. Editorial Norma, Bogotá, 2000. Traducción de Magdalena Holguín. 81 páginas.

Inserto en una colección sobre `Los grandes filósofos', este libro presenta a Heidegger a través del tema "verdad e historia en Ser y Tiempo" (la traductora recurre a la versión castellana de esta obra elaborada por Jorge Eduardo Rivera y publicada por la Editorial Universitaria de Santaigo de Chile). Rée incursiona en Ser y Tiempo de una manera notable. En pocas páginas toca sus grandes temas, escoge textos esclarecedores, interpreta con una mezcla de audacia y moderación para, finalmente, ofrecer al lector una excelente introducción a este libro fundamental de la filosofía (no sólo de la del siglo XX). Contrapone la concepción cartesiana a la de Heidegger. Para Descartes el hombre es res cogitans. Para Heidegger, el hombre es, ante todo, Dasein, alguien inserto en un mundo, proyectándose desde su facticidad, tratando con útiles y obras (prágmata) , conviviendo esencialmente con los demás desde una disposición afectiva, temple o talante. También contrapone sus distintas interpretaciones del espacio. Frente a la res extensa, está la espacialidad del Dasein, "situación humana finita que comprende espacios cualitativamente diferenciados, en lugar de un espacio geométrico homogéneo que llenaría un cosmos infinito" (p. 31).
Rée insiste en que la disyunción entre verdad e historia aparece en Heidegger como una conjunción. Para la tradición filosófica, lo verdadero no es histórico y lo histórico es la sucesión de los errores. La verdad -la ciencia, por tanto-, era antitética con el tiempo del hombre. De ahí el choque entre el racionalismo -que buscaba salvar la verdad (presuntamente absoluta) a costa de la existencia humana efectiva-, y el relativismo -que renunciaba a la verdad (absoluta) para rescatar la vida del hombre de carne y hueso-. Como Ortega en El tema de nuestro tiempo, Heidegger pensaría que "nuestras peculiaridades individuales no son una crisálida que debemos dejar atrás para elevarnos al exaltado ámbito de la verdad, sino el origen y el ancla de todo nuestro conocimiento" (pp. 10 s.). Esto no significa que coincida ni con el con el historicismo de Ranke ni con el de Hegel, quien interpretó la historia como obra de `lo negativo', que requiere que avancemos fatigosamente de error en error, hasta llegar eventualmente a la única gran verdad. Para Heidegger, el motor de la historia no es el `tremendo poder de lo negativo', sino la callada fuerza de lo posible (pp. 77 s.).

Jorge Acevedo
Director
Departamento de Filosofía
Universidad de Chile

I used this book and another to write a high school research paper. It was easy and informative. I got a 98%. AWsome book for anyone studying or just curious about Helen Keller.

The pictures of Helen Keller and other celebrities helped my children understand just how famous she was. Had the best list of her awards.