P Books

The book with its beautiful illustrations inspires and brings the magic of the childs mind. The multiple topics covered in a few pages demonstrate how a child thinks. The illustrations are beautiful to look at.

This is a wonderful book for reading aloud. Gentle lessons and thought-provoking topics are perfect conversation starters when the last page has been turned. Inquisitive four- and five-year-olds will enjoy debating the same questions Neil and his mother examine in the story and will learn something to boot. You can't ask more from a book. Highly recommended!

My 4 year old got this book last week. He loves it. This book teaches kids the different shapes,colors and even the planets. The illustrations are so beautiful and brightly colored. This book is a must for any kids collection.

A very well written and colorfully illustrated book for small children 2-5 years of age. Our grand kids love the book and want us to read it over and over again!

The author takes her readers seriously while combining joy and learning. The illustrations are superb too. A must-read.

'Balthazar' picks up where Durrell left off in 'Justine' not chronologically, but from a different perspective. The doctor Balthazar has paid a visit to the narrator of Justine, and gives him a text called the Great Intilinear, which details what has already unfolded in the previous novel. The fact that Lawrence Durrell was trying to explore the idea of relativity in the Alexandria Quartet is almost completely inconsequential to what makes it any good. What remains interesting in this text is his rich prose and broad canvas. He his building a world that is situated in both the real and the imaginary. Even as 'Balthazar' devolves into elements of Orientalism, it remains an extremely fine novel.

BALTHAZAR, the second novel in Lawrence Durrell's ALEXANDRIA QUARTET, is a less daunting proposition than its predecessor, JUSTINE. The author points out that the first three novels (these two plus MOUNTOLIVE) all overlap in time, looking at the same events from different perspectives; only the fourth book, CLEA, is a true sequel. Nonetheless, it is essential to read JUSTINE first; the greater clarity and expansiveness of BALTHAZAR is possible only because the reader already knows most of the characters and events; there is not enough explanation for the story to stand on its own.

The set-up is simple. The narrator (who now has a name, Darley) receives a surprise visitor to his Greek island, Balthazar, the doctor who had played a secondary role in the earlier novel. He bears with him the manuscript of JUSTINE, which Darley had sent him for comment, and has just time to return it together with his own interleaved notes and marginalia, before his ship leaves again. So Darley/Durrell is left with this huge volume of new material, which he calls "the great Interlinear" as though it were a sacred text. He realizes that several of his assumptions in the original story were mistaken, and so is forced to tell it again, sometimes quoting Balthazar directly, sometimes reimagining it in his own voice.

The book is clearer than JUSTINE in several respects, as though emerging from smoke into light. Durrell seems to use fewer unexplained foreign words, though he still breaks into French at the drop of a hat. The chapters are shorter and more clearly marked. The narrative dwells longer on a few connected characters, or a linear sequence of events. While the climactic duck shoot was the only action set-piece in the earlier book, there are many here: Nessim's ride into the desert with his brother Narouz, the street festival of Sitna Mariam, the Venetian-style masked carnival, and several others. The effective addition of a second narrator (Balthazar) means that not everything is filtered through Darley's sensibility, so other characters develop greater individuality through the cross-lighting. I am not sure that they all become more likeable -- in particular, there is one scene with Clea near the end which strains my previous view of her as a hovering angel -- but it is easier to understand them. There is also more use of direct speech, so that the two older British characters, the writer Pursewarden and Scobie the old sailor, develop distinct (and rather funny) voices.

Add there is still the rich color and cadence of Durrell's descriptive language, a little overdone perhaps, but full of surprising word-choices and sharp observations, especially when capturing sounds: "From the throat of a narrow alley, spilled like a widening circle of fire upon the darkness, burst a long tilting gallery of human beings headed by the leaping acrobats and dwards of Alexandria, and followed at a dancing measure by the long grotesque cavalcade of gonfalons, rising and falling in a tide of mystical light, treading the peristaltic measure of the wild music -- nibbled out everywhere by the tattling flutes and the pang of drums or the long shivering orgasm of tembourines struck by the dervishes in their habits as they moved towards the site of the festival." No longer does this writing overwhelm the narrative it contains, nor does it merely decorate; rather, it articulates and propels the action, as this four-book sequence comes to seem less an outré experiment and more like a true novel of impressive scope.

"Balthazar" is the second of the sibling tomes of Lawrence Durrell's "Alexandria Quartet". The novel allows the reader to dive again deep into Alexandrian life and see everything what happens already in "Justine" from a different angle.

Darley, the narrator, still living in seclusion on the remote Greek Island, has sent the story (i.e. Justine) to one of the Alexandrian friends, Balthazar, the Jewish, gay doctor interested in philosophy and theology, initiator of the Kabbalah group, suspected of spying activity. Balthazar during his short visit on the island gives Darley the manuscript back together with a substantial amount of notes, which (with Darley's comments) are reconstituted in this volume. Darley was prompted to add a lot of the notes, as, reflecting upon them, he realized that despite his doubts, expressed in "Justine", many things he took for granted are completely different than he thought.

Balthazar sees the events described in "Justine" from his own point of view, and, having often more information or just different sources than Darley, his versions of events add to or change the descriptions from the first volume. New characters are introduced, and those, who were merely mentioned or hinted upon (Pursewarden, Mountolive, Leila, Narouz), become central, and their preoccupations and emotions are at the first plane. These shifts, instead of clarifying things that were blurred and mysterious in "Justine" make the narrative even more slippery and allusive. New avenues open for each event, tales within tales are discovered, which need their own explanation, and the atmosphere is even more dreamy... The motivations of ome characters, especially Nessim, seem to change completely from what Darley perceived, as new events are revealed. The search for the truth obviously cannot end here, so the reader needs to proceed to "Mountolive".

Alexandria becomes even more of a main character in this novel, and definitely the one with the strongest and versatile personality. Most of the other characters, struck by destructive love (again the analysis of love is one of the main themes, although the secret service intrigue gets more momentum), are impressionable, prone to spontaneous, sudden behaviors, and transient. The climactic event, as the hunting party was in Justine, is this time the carnival ball, where the reader roams the streets together with the characters in disguise... and is a witness to another death.

"Balthazar" is even more full of aphorisms than "Justine" - there seems to be a sentence for any occasion, and whereas the generalizations of love may appear trivial, childish even, the truths about literature and theoretical background of Durrell's enterprise to create a novel which would reflect its times, are amazingly formulated and put into the mouth of the surprising number of the writer characters (look especially for what Pursewarden has to say).

In summary, this is another delightful volume, different than "Justine" and only giving the reader the appetite for more of Durrell's Alexandria!

I admit that I have not read "Justine", the first novel of Durrell's famous Alexandria Quartet. Perhaps if I had started at the beginning, I might have had a more favorable impression. Yet I do feel that BALTHAZAR can stand alone as a novel, even if a reader were to be better served by reading all four in order. Durrell's writing is fabulous. Lemon-scented, mauve, pearly Alexandria with the white stalks of its minarets, "the town that breaks open at sunset like a rose"; beggars beside the Rolls Royces, the human flotsam of the Mediterranean, the tawdry revels of the Christian carnival---all appear so pleasingly haunting and decrepit. Durrell's novel is full of "wisdom"--perhaps a lifetime's supply of epigrams on every conceivable subject, saved over the years by the author as he thought of them on sleepless nights, or written down as he heard them at the cafes and salons of the Middle East. To paraphrase the author, "reading joins you to a work, then divides you". I plunged headlong into BALTHAZAR, hoping for a good read, but came out worse off. I felt I had been offered a plate of decadence and cynicism, and not wanting to play the chicken, taken several bites. I didn't like the taste. What I felt, most of all, was that I was an outsider; the observer of a clique or in-group. The author/narrator knew, all the characters knew, but I didn't know. The prose was designed to keep me from knowing. I had to guess or intrigue with myself in order to find out where this novel was going and who all these people were. I did not enjoy the experience very much, though I admit that it might be just the ticket for some. I repeatedly asked myself, "Is it worth finding out ? Do you really care ? Or are these just a bunch of people hopelessly sunk in jealousy, perversion, sex and substance abuse, who prize infidelity above all ? Is this what the author considers usual life ? Why should I try to discover who really loved or cared about whom ?" I concluded that it didn't matter to me very much.

The group broke apart through death, anger, jealousy, and fatigue. BALTHAZAR traces the collapse of this in-grown little society within colonial Alexandria, before the tides of nationalism drowned its international, "Levantine" character forever. If you admire style, eliptical narrative, and skillful description laced with epigrams, this could be a five star novel. Not for me.

Like "Justine", written in a hauntingly sensual style, but far more readable. Took me a much shorter time to read it. There are so many memorable passages of beauty and wisdom in both, one could fill a small notebook - on love and the human condition, and the beauty of nature. Durrell certainly had an alert and unusually articulate mind, writing both with poetry and precision. Published in 1957, yet timeless, as all classics are. I think it is supposed to take place before World War II. "Balthazar" has far more excitement than "Justine", moves at a quicker pace. Here we see all the same characters, yet all in a new light; we see farther and grasp what we see with new understanding. We get fresh info about Pursewarden, Nissim, Narouz, Justine, Darley (the narrator), Melissa, Clea, Pombal, Amaril, Leila, Mountolive, and the outrageous comic scenes built around Scobie. Throughout the entire four volumes that comprise "The Alexandria Quartet", Durrell is constantly backfilling, a technique I particularly love, until at the last, all is revealed. That same technique was also used by Sir Charles Percy Snow in his 11 volume series "Strangers and "Brothers", but perhaps to a lesser extant. Durrell is the master here in letting us see only so much, no further, until the last volume. A rave review

This book is great for children of all ages and adults. I have been using this book in my adult literacy class. I found if my student could relate to the item or animal the student gained knowledge much quicker

My daughter loves this book. It is always the one she picks. She especially loves the ending and can't wait to see the little girl (my daughter calls the little girl "Mommy") come out to give the cat milk.

This is a counting book (1-10) with rhyming text. Azarian's illustrations are fantastic. Children familiar with a rural setting will quickly identify with this book, and all children will enjoy this beautiful book.

I judge a good children's book, from the number of times my two-and-a-half year old daughter makes me read it to her. From a selection of 5-10 books borrowed from the library each month, the one that gets the most attention, are the ones worth writing a review about, but this one especially was a favorite! I must've read it about 40 times, and it she still asked "Read it again mommy"! The ending is really cute, the Barn Cat is enticed by many things throughout the story - crickets, butterflies, birds, etc.. - but she was not in the slightest bit interested in any of them... until... you'll have to read and see. Its a charming book, with a catchy rhyme and was definitely given the seal of approval.

Barn Cat is a well-illustrated book, which aims at teaching children to count. Throughout the book, Barn Cat is looking for something unknown to the reader. While the readers continue through the book to discover what item the cat is searching for, the cat sees one grasshopper, two crickets, and three butterflies, continuing until he sees ten sparrows. Being completely unaffected by most of the creatures with which he comes into contact, Barn Cat continues to sit at the red barn door until his owner pours his milk. In "On Some Burdens Carried by Pictures," David Topper states that well illustrated books are a source from which an array of information can be obtained in a clear and effective way. For him, a picture in a book is a "tour de force," meaning a strong convergence of emotional response and intellectual process by the reader. The exposure to pictures, which represent an important, specific object, will make the readers "catch," or in other words, learn, the idea. Barn Cat's illustrations employ this learning technique and help to teach the readers to learn to count. The readers of Barn Cat understand the printed word and see the visual images in the book, which aids in their understanding of counting and numbers. One technique used in Barn Cat, which helps readers to learn to count, is number recognition. Number recognition is emphasized with large, bold numerals appearing in black in the right hand corner of the pages. These numbers are not a part of the picture on the page, but instead are set aside, in order to be obvious to the readers. The viewers hear or read the word representing the number "seven," for example, then see the actual number on the same page. This ingrains the number into the readers' minds and associates the word with the visual image of the written number. This association is important for readers who are beginning to learn to the concept of numbers and counting. Topper emphasizes this importance when he says that the illustrations must be similar to the important issues expressed in the story. By this, he means that the illustrations must have an important purpose in the story. In Barn Cat, the purpose of the number illustrations is to help the readers learn to count. Another technique used in Barn Cat, which helps readers to learn to count, is the use of a specific number of objects on each page. The viewers read or hear the word representing the number "three," for example, then count the objects on the page from one to three. All of the objects are beautifully illustrated in colorful drawings, which help to capture in the readers' attention. For example, the readers count three golden butterflies that appear to be fluttering across the page. Now, the readers can associate the word "three" with the actual amount of objects on the page. Topper emphasizes the importance of this technique when he discusses that illustrations make the printed word concrete. This technique is especially useful to readers because they look through the cat's eyes into the cat's world and count the objects that the cat counts, which can draw the readers into the pages of the book. The readers have the feeling of looking through the cat's eyes because of the plot and illustrations of the book. The last technique used in Barn Cat to help readers learn to count is the use of the plot in the book. On each page, the narrator repeatedly asks, "Barn cat, what are you looking for?" The readers of the book make a journey with Barn Cat to discover the answer to this question. Throughout the search for what Barn Cat is looking for, the readers see the world and count the objects with the cat. For example, when the cat sees ten flying sparrows, his eyes are looking into the air. The readers follow the cat's gaze and are looking and counting with Barn Cat all ten sparrows in the air. Another example is when the cat sees "eight barking, leaping pups," he hisses. This makes the reader see the eight pups as frightening, like the cat sees them, rather than playful. The sequential order of numbers is also taught in this book through the plot. The question, "what are you looking for," which the narrator asks the cat, and indirectly the readers, makes the readers excitedly turn the pages to find the answer to the question with the cat. This emphasizes to the readers the sequential order of numbers from one to ten as the cat finds his milk. The viewers either read or hear the order of the numbers as they count the objects and see the numbers, both in word and numeral form, which reinforces the sequential order of the numbers. An example of this reinforcement is seen when the cat sees ten sparrows. The text reads, "A flock of sparrows-8, 9,10?" Each technique used in Barn Cat makes this a wonderful book for teaching the readers how to count. After reading this book, one should have knowledge and understanding about the numerals, amounts, words, and sequences associated with specific numbers, which are all necessary to know how to count.

Whether you are a beginner photograher or you having been taking photographs for years...there is a lot in this book that im sure you never thought of when you snapped your picture. It has a lot of great information in it.

I started photography in 1987 & this book (the older version of course) is what I started with. I quite recommend it & I think its a very useful book to add to your library.
Another real useful book I came across (& treasure) is the Photo know how.
This book was published by Sinar (www.sinar.ch) & most unfortunatly they do not have it in english any longer but I think they might still have the french & german language editions. If you ever find it, do't miss it.

Mr. Langford certainly deserves praise for his continued excellence in photographic writing. 'Basic Photography' is THE manual for photographers. It is clear, concise and entertaining to read. This book should be in every photographers library.

When I bought this book I was fully aware that the latest edition (8th) was available to ship immediately while this previous 7th edition will still be ordered. Yet, I stuck to this older 7th edition as I wanted a book that was written solely by Michael Langford before he died. The 8th edition is a collaborative work based on his previous editions and written by several authors.

What I like most about this book is the more dogmatic approach to the basics of photography. That's the way I wanted it. No funny anecdotes, no jumping and bypassing guidelines. Just straighforward discussion of the fundamentals with awareness of what is possible when you intentionally disregard the rules.

For example, Langford explicitly states that the best place to learn lighting is in a studio. I can imagine some people would argue with it, but I take it at face value. This is what I mean with "dogmatic" teaching. I shall let experience teach me otherwise when I have shot thousands of pictures already. For the moment, I want to learn the rules and internalize them. This is not to say the author advocates strict complaince alone. Not at all. He emphasizes the basics. Creative licence is up to you.

Again, veterans may say, there are no "rules" in photography; only good pictures. It's easy to say that IF you knew those "rules" by heart to begin with and can make contrary decisions for your own creative purposes. But as an amateur or a novice, my belief is following guidelines is still best. Following, even copying what the teacher does is still valid. Individual creative decision will come on its own time.

This book is about basic photography yet it is generously illustrated and very revealing. The principles (equipment, techniques, lighting, etc...) were illustrated using mainly film, understandably. But the author also discussed digital cameras and digital manipulation which are outdated now owing to the technology available when the book was written. But his teaching is right on the money, including the ones on digital ethics. The author shows you the basics, shows you where you stand in relation to the big picture out there, and gives his opinion on where photography is going and where you might be depending on your options.

No doubt as you gain more experience you will drift towards more specialized photography books. But if you are totally clueless about photography and want to learn, if you want to know its very basic principles, then I highly recommend Michael Langford's 7th Edition Basic Photography as a very useful reference. All the accolades he got for this book were well deserved! I have several other photography references like John Shaw's Nature Photography and Lee Frost's A-Z of Creative Photography, for example. But I put them all aside for the time being and concentrate instead on Langford's Basic Photography.

This is a very decent, well-written book for those willing to spend the time to educate themselves on the basics of photography- whether you shoot film or digital.

Basic Photography is a book explaining the basics of photography, technically as well as creatively, in a clear and easy to understand way. If you want to know how a camera (35mm SLR, medium-format, large-format, digital) or f-stops work, this is the book for you. It is a good book for beginners just starting out in photography as well as advanced photographers who just want to fill in the gaps of technical understanding.

Although this book does contain some mathematical equations, you do not need to know mathematics or physics to understand the concepts explained in the book. Here's an excerpt from the book's introduction: "It is intended for students of all ages and, beginning at square one, assumes that you have no theoretical knowledge of photography, nor any scientific background."

It won't teach you how to shoot beautiful pictures, but rather tell and show you what it takes in terms of photo equipment, working with photo equipment, light, and technique to produce photographs from exposure to final print. This book is not specific to any type of photography, but deals with photography in general and is basically a 'how photography works' kind of book. "In short, Basic Photography is planned as a primer for professionals which will interest and inform amateur photographers too."

Basic Photography is the kind of book I should have read when I was first starting out in landscape photography; it would have definitely made my life and learning easier.

Mr. Ram Varma's BE STILL AND KNOW as a sequel to THIS SPLENDID WORLD OF YOURS is quite an enlightening work of literature and a practical guide for those who seek inner peace through meditation, reflection and the seeking of self. The most distinct feature of this sequel from the author of THIS SPLENDID WORLD OF YOURS is its step by step approach to relaxation, pondering on the issues of life and death and all that falls in between.

The very fact that we have been associated with Mr. Varma's meditation groups for more than five years and have stayed connected with him and the group is in it is a testimony to the value of his contribution in our lives. This connection has brought about quite a revolution in the way we look upon our inter-personal relationship between the two of us and with others. The most important practical lessons that we have absorbed are "Let go" and "stay connected" at all times. Mr. Varma's techniques made us feel connected to the infinite powers of the universe. We are more conscious of the infinite knowledge and the resources of the universe that we can always tap into in our moment of need.

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Although I practice medicine and pain management is my specialty, I completely appreciate the benefits of inner meditation in daily life. In fact, relaxation and inner stability helps for the medicine to work effectively. Various meditation techniques and understandings given in Ram Varma's books "This Splendid World of Yours" and "Be Still and Know..." are a tremendous help to realize peace and know real answers from within. They are great interactive guides to take charge of own life and move towards self-sufficiency. Highly recommended books...Dr. N.S.

Persuaded by my friend Lew almost two years ago to join this newly formed group at the Pine Tree Senior Center, I have come to realize that it has been a major influence on the direction of and the perseverance in my personal growth, emotionally and spiritually. Meeting and being led and taught by Ram Varma, who from the first meeting on emitted an air of such convincing certainty and conviction while at the same time radiating comforting warmth and compassion, was a stroke of fate for me for which I am genuinely grateful.
I had been in doubt of conventional doctrine and in search of "the Light" for a long time, and my past was not unlike Ram's in many ways. But it was his introduction to meditation and self-empowerment in the group setting and the continual exposure to new insights and Ram's infectious positive attitude that opened the door to the world of "inner seeing", an awareness of the self in a completely different way. There isn't a doubt in my mind that this ongoing journey of self-discovery will continue to improve my attitude, awareness, emotional stability, and thus greatly benefit me personally as well as those around me. Ram's two great books "This Splendid World of Yours" and "Be Still and Know..." are of tremendous help in this direction.

During the last three years of my regularly attending Ram's meditation and self-empowerment courses, I feel I have regained my confidence. I truly feel I am in-charge of my life now. I feel healthier and free from unnecessary toxic stuff. Ram's books "This Splendid World of Yours" and "Be Still and Know........." are an ongoing inspiration and self-help to come out of the worldly restlessness and restore peace, love and joy. Thank you Ram for your great guidance and support through your books and live sessions.

Both of Ram Varma's books are my best friends. All my students of meditation self-empowerment classes are going to read them and use them as an interactive guide on an on-going basis. My heart and soul says all five billion people on earth should have these books. Ram's latest book "Be Still and Know..." provides impetus for drawing all the answers from within and become self-sufficient. Thank you Ram for writing such beautiful books to help us regain our original consciousness of truth/freedom, awareness and joyfulness. The guidance given in your books is super and all my students love it.

I purchased this not too long ago. I have the movie and adore it, so when I saw this book I was extremely excited. I was not let down. For all Filmmakers, for all aspiring Filmmakers, I recommend this book. It is Jean Cocteau's diary, or shall I say Director's Commentary, of the making of this film. If filmmakers think they have it hard making a good movie today because of the price, please read this book. It is about true dedication, true passion and true love for making movies, telling stories and bringing fairytales to life. After all, isn't bringing a movie to life every filmmakers fairytale? This book can teach you more than any film class can ever. Get this book and recommend it to everyone. Give it as a present to the aspiring filmmaker in your life. And after you're done reading it, let it soak in and never forget it (I won't). It is that GREAT!!!

Absolutely fasinating. So many of my French teacher colleagues show this movie. They would find this "making of" so interesting. It is not a record of how he created the special effects, though he does discuss a few (the dvd shows many more), but rather all the trials the entire crew endured to create this seemingly effortless masterpiece.

The book provides insights into the making of Cocteau's classic film. The incredible film obviously stands alone, but knowledge of the period and the various aspects and difficulties in making it adds to one's appreciation.

Some have found Cocteau's litany of illnesses that he and others suffered while filming "Beauty and the Beast" tedious and skipped over them as seemingly irrelevant. Unfortunately, those who do so may miss the entire point of Cocteau's masochistic esthetic, namely, the necessity for the artist to suffer and triumph over all adversity for the sake of his art. That suffering is part and parcel of his art, suffering is art, just as "Beauty and the Beast" suffered during the filming and triumphed as a lasting work of art. Cocteau's suffering at the time mirrored the enormous technical difficulties encountered while making the film. The entire surreal struggle of Cocteau and of others involved in the film is wonderfully captured in his journal and any serious student of either Cocteau or the film will profit by reading it.

I highly recommend this book to anyone who has seen Jean Cocteau's fil version of "Beauty and the Beast" The book is the diary of the film. There are some great photos in it as well.

Sassy and witty is the plot formula for this totally enjoyable "who-done-it". Intrigue, deception, betrayal, lust, passion, sex are coupled with sarcasim, cynicism, and biting commentary to produce a novel worth of an award itself. The story line is written with such clarity that the book is a very easy read, and THEREIN, lies the trap for the reader. READ CAREFULLY, and you just might be able to figure out who the "bad" guy/gal is. The clues are there, but they are so nicely hidden that a casual reader (which most of us are) will skim past the clues that would, if one was more judicious in one's reading, bite them in the proverbial butt. Have fun with this one.

For the seventh year, Hollywood gossip columnist Rick Domino hosts a live pre-show broadcast of the Academy Awards. Rick has mixed feelings about this year's show because his lover actor Shane Kirk is up for a Best Actor award. He is proud that Shane received the nomination, but disappointed that his beloved refuses to come out of the closet and acknowledge that he is gay let alone in a relationship with Rick. Adding to that insult is the fact that Shane is keeping a straight image by escorting best actress nominee Tara Perez to the ceremony.

Though Rick has to share the spotlight with predator Mitzie McGuire, their show goes over relatively smoothly though Rick does less clothing dissing of the attendees than usual as he mopes over Shane. Afterward Rick looks for Shane only to find his beloved near the corpse of Tara. The police arrive as Shane shouts his innocence and Rick is nearer to the corpse and holding the murder weapon that he picked off the ground. Though the police arrest Rick, homicide detective Terry Zane thinks things are too pat. He and Rick investigate the Hollywood scene as only a veteran police officer and a catty gossip columnist could do.

The who-done-it is fun to follow as the obviously gay Rick and his new partner the straight Terry make a humorous team who uncover a lot of Hollywood secrets during their investigation. However what makes THE BEST MURDER OF THE YEAR so enjoyable is not the homicide or the inquiries, but the satirical look at Hollywood at its most pompous and even more subtly strips the invincibility of the mystery genre fictional superstars. The movies that the nominees star in are hilarious and worth the read by themselves. Fans of a tongue in cheek (not saying which one) will want to read the adventures of Rick Domino in the world of make believe.

Harriet Klausner

This surprising "inside" Hollywood mystery is a delightful romp through the seedy world of Hollywood. It is delightfully satirical of Hollywood and its ways and waywardness. Though very funny, it is also suspenseful and engaging. Perhaps the most delightful gay comedy/mystery since the wonderful Aldyne series and the Grant Michaels masterpieces.

Pushes close to the edge of heavyhandedness, but does not cross it. A good, fast read! Recommended!

This surprising "inside" Hollywood mystery is a delightful romp through the seedy world of Hollywood. It is delightfully satirical of Hollywood and its ways and waywardness. Though very funny, it is also suspenseful and engaging. Perhaps the most delightful gay comedy/mystery since the wonderful Aldyne series and the Grant Michaels masterpieces.

Pushes close to the edge of heavyhandedness, but does not cross it. A good, fast read! Recommended!

When the beautiful winner of the best actress Oscar is murdered outside the theater, all the evidence points to Rick Domino, gay movie gossip columnist. After all, Tara Perez just stole Rick's boyfriend, his fingerprints are on the gun whose bullets are inside Tara, and he was found standing over the body. The only problem is, Rick knows he didn't do it. Now he has one week to find out who did--and find a way to keep himself alive while he does it. Fortunately, one of the arresting cops decides to take some time off to help Rick look--or is he simply trying to get more evidence for the State? Rick sets off to investigate Hollywood and finds that there were plenty of other people with motive and opportunity to kill Tara. She cheated, lied, and slept her way to the top, and Hollywood doesn't forget. But motive isn't enough when the prosecution has all the physical evidence it needs to convict Rick.

Author Jon P. Bloch writes convincingly of a Hollywood where sexual roles are blurred by secrets and fear of being 'outed' can cause almost any crime. Rick manages to meet the standard stereotypes but in a believable and sympathetic way.

Although Rick's investigations are entertaining and believable, the wrapup to BEST MURDER OF THE YEAR was not. Frequent mystery readers might guess the killer's identity, but Bloch didn't really deliver the clues to give us a sense of satisfaction in figuring it out. The resolution of the sexual tension between the gay Rick and his straight cop-sidekick also seemed a little forced--less clever than the rest of the novel led me to hope for.

Overall, BEST MURDER OF THE YEAR is enjoyable reading--but maybe not the best mystery of the year.

This journey is a exeptional story of courage and sincerity with oneself. It is rare to see this nowadays. The book is an excelent guide for any Adult Educator interested in Transformative Adult Education. Vikrant showed me what it is to be sincerely intrested in your own development.

I really enjoyed this book. It made me ask so many questions about me, life, relationships. I do not know if everything is true. But if it is, wow! that's life. It has to be read.

I am not a good reader.But this book I read in one night. I live in a small town next to sheffield. This book got to my hands through a Sannyas friend and I understood what is to seek happyness with all your heart. Very inspiring and thought provoking.

This is a book about truth, honesty and self desclosure. Nowadays we need this type of literature, where the author is not pretending to tell the world what is right. Alejandro..or Vikrant just exposes himself in all his glory and misery. Phenomenology from the heart.

I found this book searching for transpersonal psychology. I was hoping to get knowledge about its commom ground with the field of aduly Ed. What a surprise¡ I found a personal acount of a mystical trip. I really liked it. I could not put the book down.

I love this book. It is very uplifting and gives me hope. Julia Cameron has such a way of putting words together. She paints pictures with words. Beautiful.

The picture on the cover is awsome. Someday I would like to see the painting. It is himmel and erde (heaven and earth).

Great Book for any artist, author etc. Julia Cameron is in my opinion one of the best encourager for all people in the arts of any field... would highly recommend any of her books...

I truly consider myself blessed . . . so when I saw a friend had a book called BLESSINGS: PRAYERS AND DECLARATIONS FOR A
HEARTFUL LIFE (see also Section 11) by Julia Cameron, I aturally
asked to borrow it . . . and I'm glad that I did.

This is a short book of prayers and declarations that can be read in one sitting or spread over time . . . it reminded me of how good it is to be alive and, also, made me more fully appreciate the beauty that surrounds me.

Each blessing is preceded by an introductory quote . . . two
that I particularly liked:

It is not because things are difficult that we do not dare; it is
because we do not dare that they are difficult.--Seneca

In the middle of difficulty lies opportunity--Albert Einstein

Virtually every blessing touched me . . . however, to give you
a feel for the material, here's one I thought you might enjoy reading:

I love others for their true self

I bless and salute the divine goodness available for all human beings and in all human beings. I allow people to be uniquely themselves, bringing their true natures and true gifts to our relationships. I do not demand that those who love me change their essential nature for my comfort. I express them my nature. I tell them my truth. I do not hide or pretend I am different form what I am. I trust that each of us is a perfect part of the divine whole. I trust that each of us is as lovable as we are. I allow originality, inventiveness, and variability in my loving relationships. I invite the unique souls in my life to love me as
their true selves allow.

A wonderful book with many wonderful "blessings" selections to read aloud and share. A friend uses this regularly before guided meditations. Selections are short and sweet.

This is JC at her best. This little book is not preachy but fresh in its approach on all angles of life, with easy reading in a pleasant format. I bought it for myself when I was going thru some tough emotional times several years ago, and still keep it around to read a page from here and there, just for perspective. More recently, I bought it for someone dear to me who has just gone thru a divorce. It's uplifting and genuine in its gentle message.

This is the finest commentary on Genesis in my library. It is a 2 volume set.

Hamilton deals with a wide array of issues. His work reflects later scholarship than Wenham's Word Biblical Commentary, and his conclusions are more convincing than Wenham's when they differ (in my opinion). For example, Genesis contains the Hebrew 'TOLeDOT' in 10 locations. Hamilton reviews Wenham's (and others) idea that 'TOLeDOT' in Genesis 2 is a conclusion for the first chapter. He then goes on to reject that idea because the 9 others are clearly introductions to the following material. He then goes on to explain how it should be seen as the introduction to Genesis 2:4 ff. He goes further than commentators like Waltke on this, by offering a significant grammatical point on this as well. Wenham does not talk about it at all. Wenham bases his argument on context only with a leaning towards the meaning of the words themselves. This affects how one sees the entire book of Genesis. Wenham does not see the ten divisions of Genesis. Hamilton includes the ten divisions as part but not all of his reasoning. Waltke concurs with Hamilton, and I have to say that Hamilton's argument is far superior in my view.

It's not just another point in the exegesis of the book. This particular point is crucial to how you see Genesis as a whole, and its parts. It even can affect how you view the authorship of Genesis (hodgepodge or a whole composition).

Unfortunately, Hamilton does not contain information that deals with chiastic and alternating structures. He should.

I've found his commentary is usually full and helpful as well as readable. Every part of every verse provides reflection on the hard issues and the easy ones.

I have had the feeling that I am not just reading about the bible, but am feeding on the spiritual treasures of Genesis presented by someone who loves the Word. I really appreciate the tone of this commentary.
Often Hamilton gives a section called New Testament Appropriation where he cites a passage in Genesis and related passages in the NT. These are packed with comments on each relevant passage and loaded with footnotes for further study. This is extremely convenient for the preacher or Bible teacher who is dealing with these issues in the text.

He does not give what is now expected in the finer full commentaries...one excursus after another. This is a disappointment. He also does not give the wealth of Chiastic and Alternating structures that Waltke gives. He does not provide any special systematic treatment of Christological passages, even though more than one book has been written on preaching about Christ from Genesis.

He does give a lot of integrated and expertly cited information from Jewish literature and Ancient Near Eastern Studies. These citations seem to flow from the pen of someone who is very familiar with Ancient Near Eastern cultures and religions. I love the way he ties this research in, and even though I have personally read some of the very things he cites, I still didn't see the link the way he brings it in until I read his perspective on it and went back to review. He's very good for this sort of thing.

This excellent work treads the line carefully, taking into account Textual Criticism, Ancient Near East backgrounds and parallels, New Testament Appropriation of texts and critical scholarship in a way that leaves the reader well informed on issues. Sometimes comes to "interesting" conclusions, but if not near a reference library, this is the commentary on the book to have (over Wenham, Spieser, or Westermann). Especially helpful to have 1 more if possible (I'd take the JPS Torah series to get a solid Jewish and historical approach) to compare against, but Hamilton is solid and orthodox in his conclusions, avoiding straying too far from either extreme, though leaving ultra-conservative evangelicals out in the cold with some of his statements. (see esp. Gen 1-3; Oi)

* Many authors suppose to write for scholars, pastors and laymen, yet few accomplish their goal. Hamilton succeeds. This commentary is of sufficient depth and technicality for scholars and students. The introduction in particular does a wonderful job of addressing theological themes within the book. One very useful feature, not usually found in scholarly OT commentaries, is a section on 'New Testament Appropriation" at the conclusion of every few chapters. Hamilton also includes useful applicatory points and easy-to-read and understand chapter and section summaries. IMHO this is the best commentary on Genesis.

Hamilton's outline and word study allows the reader to determine for themselves the best interpretation of verses under challenge. While focusing on the Biblical evidence, Hamilton shows varying opinions on specifics and then challenges each with other areas of Scripture. The format, and easy-to-read structure make it a must for any Old Testament library.

No doubt Wenham and Hamilton have written the best conservative's commentary on Genesis. Longman said that "between Wenham and Hamilton, Genesis is well covered."

But to have both means you must buy 4 volumes because both Wenham and Hamilton separated their commentaries on Genesis into two volumes (Wenham: Genesis 1-15 & 16-50; Hamilton: Genesis 1-17 & 18-50).

I have read all of the four volumes and found that for the first part of Genesis, Hamilton tend to be more conservative than Wenham (e.g. compared their interpretations on the "spirit" in Gen. 1:2), but for the second part Wenham has given me more insight (He always can find fresh meanings and applications from the famous Christian stories that I have been reading since I was in the sunday school!).

My suggestion is if you have enough money buy all, but if you don't buy the first book of Hamilton and the second book of Wenham.buy all, but if you don't buy the first book of Hamilton and the second book of Wenham.