Peter Books

I've read every biography of Caesar I can find, but Gelzer's is by far the best. Gelzer is careful in his scholarship and restrained in his writing style, but the book is nevertheless an utterly fascinating account of a multi-faceted genius of inexhaustable energy, who was clearly one of the most formidible men of all time.

If Gelzer fails, it is in his unchecked adoration for Caesar - he will bring the issues to light but fail to pass judgment on them. Nevertheless, there is a reason why Gelzer's work has continued to amaze: his analysis, style and brevity make him a true delight for the interested student. The book follows a good outline, spending most of the book concerning his consulship, the proconsulship and the civil war. Gelzer tries to keep things as objective as possible, but cannot help from pronouncing judgments on Caesar's actions, in particular his command decisions and how he plays the senators in Rome. I have always been in awe of Caesar and the book doesn't fail to show his ugly side, following his victories over the rebels and his continual stockpiling of powers and privileges leading up to his death in 44. A well-reasoned, comprehensive and concise book on one of history's great politicians and generals. A must-read.

If you are interested in the final years of the Roman Republic
or Julius Caesar, this book is for you. I first read Anthony
Everitt's Cicero (which I liked) and it's brief discussions of
Caesar were enough to pique my interest in further study of Caesar.
After researching a bit, Gelzer's biography seemed to be the most
lauded- and having read it- rightly so.

The level of detail in this book is incredible. There are
hundreds of footnotes indicating sources and often containing
quotes in their original language which is as often Greek as it
is Latin. Gelzer really shows us the genius and abilities of
this most fascinating man- perhaps the boldest, most brilliant
military commander in history- not to mention an equally talented
politician! Caesar deserves our attention.

If you can handle great detail and really want to know Caesar and his times, you will like this book.

If you're looking for an unbiased, brilliant account of Gaius Julius Caesar's life then look no further; you've found it!

However, I do have a warning. This book is of the "old-school" variety. It is a mass of facts and is pretty dry reading for the most part. Its not like the more recent historybooks I'm used to reading (I'm 21). However, one can't help be sucked in to the saga of Caesar and the fall of the republic.

This is not only a dry book; it is a wise book as well. It is a book that should be read for the sake of the knowledge it contains even if it is not as polished as Rubicon or The Assassination of Julius Caesar.

I read this book for a graduate course in Roman history.

Pompey's apex of power and glory was in 61 BCE, when he returned to Rome to receive his third triumph after his victories in the Middle East, brought new territory and treasure to Rome. With his sterling military reputation and great personal wealth, one would have thought that Pompey could dictate terms to the senate. However, Marcus Porcius Cato 95-46 BCE and his optimate party associates in the Senate, fearful of Pompey's power and ambition and wanting to protect their own political oligarchy, were successful in keeping political power out of his hands. Not only did Cato force Pompey to disband his legions as a condition of his receiving his triumph in Rome, he also embarrassed Pompey by insuring that the Senate did not make any land grants to Pompey's veterans. These actions weakened Pompey's political strength. It kept him from giving out positions of patronage to his supporters and it also lost him favor in the eyes of his veterans. As a result, it also had the effect of making him look like a political weakling when he would later try to stop the ambitious Julius Caesar. Once again, Plutarch observed that although Pompey may have been a great military general, he was no match for others as a political leader. "And well had it been for him had he terminated his life at this date, while he still enjoyed Alexander's fortune, since all his aftertime served only either to bring him prosperity that made him odious, or calamities too great to be retrieved."

While Cato and the Senate were going out of their way to quench Pompey's fiery ambitions, Julius Caesar started to make his grab for power over Rome. Matthias Gelzer's biography of Julius Caesar is an excellent in-depth analysis of Caesar's life. Caesar hailed from one of the minor and less politically active patrician families. Although a senator's son, Caesar's standing in society was first improved by the fact that Marius became his uncle by marriage. Secondly, to further his own political career he married Cornelia, the daughter of the Roman consul Cinna. In 80 BCE Julius Caesar embarked on a military career and made his mark quickly as an able military commander. Gelzer observed that early in Caesar's life he already mastered "how to exploit his talents to the full...he was already a respected orator and, a dashing officer that had shown bravery." Gelzer pointed out that there were two dominant political parties in Rome at the time. The optimates were dominated by the conservatives who worked to protect the prestige of the senate, the rich, and the status quo of Rome. The populares party that Caesar belonged to, played to the lower class multitudes of Rome in deed and word.

By 59 BCE Caesar had made several moves in his life which furthered his political career and gained him his first consulship of Rome. Caesar worked hard at getting the two most powerful men in Rome, Pompey and Marcus Licinius Crassus 115-53 BCE, to reconcile their differences. Crassus was a businessman and the richest man in Rome. Caesar further allied himself politically with Pompey by giving his daughter, Julia, some thirty years Pompey's junior, in marriage to him. All three men banded together in a triumvirate to wrest power from the optimates in the senate. Their vehicle for doing this was to bring about a new agrarian law over the strenuous opposition of the optimate senators. The agrarian law that Caesar introduced as counsel served several purposes. It was helpful in relieving the overcrowded conditions in Rome by allowing landless people the ability to settle on uncultivated land in Italy. In addition, some of this land would also be used to finally reward Pompey's veterans that had been loyal to him. Of course, it would be extremely popular with the multitude of Roman citizens who owned little if any property. In order to insure the passage of the bill, Pompey put the word out to his veterans to come to Rome where they made their presence known by running off the opposition senators out of the forum while Caesar was advocating for the passage of the bill in a speech to the people. Gelzer astutely points out "Caesar's...agrarian laws show him as a politician with an outstanding talent for dealing with social problems." The nasty political fight between Caesar and the optimates earned him some serious political enemies. However, with the help in the Senate from his political allies the populares and from Pompey, Caesar was appointed a proconsul of the province of Cisalpine Gaul. This province was a part of northern Italy, which he was to rule for five years. Soon there after, the governor of Gaul, a territory beyond the Alps, died and this territory was added to Caesar's territory. Though the future looked bright for Rome in 59 BCE, the greed and distrust between the two strongest military leaders of the triumvirate would eventually cause Pompey and Caesar to become enemies and turn on each other in their quest for ultimate power in Rome.

Most historians observed that Caesar's new appointments gave him command of four legions, the ability to win prestige in battle, and to acquire much booty during his conquest of Gaul. Few in Rome, most importantly Pompey, could have imagined that "by the brilliance of his generalship, and the swiftness and totality of his conquests...this loquacious and unprincipled politician could achieve so much." Caesar spent nine years in Gaul, and by 50 BCE, his army grew in number to twelve legions. Caesar's army was made up of many battle hardened professionals. In addition, Caesar's successes made it easy for him to gain new volunteers to swell his ranks. Caesar's soldiers and many of his officers were undoubtedly motivated by money and pride, which kept them loyal to Caesar. These accomplishments served to secure Caesar's unrivaled political standing. It was Caesar's loyalty from the army coupled with the treasure necessary to buy favor of the Roman citizenry that gave him the political power necessary to conquer Rome. One can also see from Caesar's actions that he learned well from his uncle Marius on how to raise an army and keep its loyalty. These lessons were also learned by his successor Octavian. However, Caesar's success in conquering Rome would not happen without fighting a bitter Civil War against the optimates in the Senate who were allied with Pompey.

Gelzer meticulously wrote about the events which led to the ensuing Civil War. In 51 BCE, the optimates now allied with Pompey in the Senate, tried to have Caesar recalled to Rome so that they could put him on trial for misconduct. Caesar knew that he needed to hold onto his position in Gaul and run in abstentia for consul in 49 BCE, so that he could have a political office to protect him from prosecution by his enemies. Though much political bargaining went on between Caesar, Pompey and the Senate, by 49 BCE the Senate voted to deliver Caesar an ultimatum. "Caesar was to dismiss his army by a fixed date on pain of being regarded a public enemy." If Caesar followed the dictates of the Senate, he would have been a private citizen for six months and open to his enemies for reprisal. Thus on January 10, 49 BCE, Caesar and his army crossed the Rubicon River, even though it was against ancient Roman law. This action automatically made Julius Caesar an enemy of the state and precipitated a bloody Civil War that changed the course of Roman history. Upon hearing the news of Caesar's crossing of the Rubicon, Pompey ordered all senators and citizens who considered themselves patriots of Rome to flee the city. Pompey was overconfident that Caesar would not enter Rome and told his followers he would easily raise the legions necessary to stop Caesar. Pompey was wrong on both counts. Caesar felt he had no choice in his actions, and throughout the Civil War he went out of his way to protect both the property and the honor of all the people who he captured. In addition, Caesar pled his case, explaining the untenable circumstances in which Pompey and the Senate placed him, and implored all of his former enemies to join his side in the Civil War. Caesar was quite successful in this endeavor. While Caesar was chasing Pompey to Brundisium, he spent over a week in Rome setting up a government and instituting legislation that restored economic security to the country. In the mean time, Pompey took his army to Brundisium and narrowly escaped Caesar's advancing army by ship to the Greek peninsula. By 48 BCE, the deciding battle was fought in Pharsalus, with Pompey's army outnumbering Caesar's by two to one. However, Pompey's mainly inexperienced soldiers were no match for Caesar's battle tested soldiers. Pompey lost the battle and fled by sea to Egypt where he was later murdered, much to Caesar's chagrin. Caesar went on to conquer Egypt and installed Cleopatra as his regent on the throne, and then returned to Rome in triumph. The Senate showered Caesar with all manner of honors heretofore never bestowed on any other man of Rome. In addition, the Senate made him Dictator for ten years. He accepted the honors and new powers while repeatedly remarking that he would work towards reconciliation with his former enemies and would not become a despot. "He had only fought the Civil War to save himself from dishonour. His victorious army had done battle to protect its rights and Caesar's dignity."

Gelzer wrote admiringly on how quickly Caesar went to work instituting new reforms in order to fix the decades of social and political problems of the Roman Empire that the Republic could not cope with while under the Senate. In addition, Caesar traveled to all of the provinces in the Empire, which showed the people that he cared about their welfare, and made them more loyal to him. Militarily Caesar discharged all of his veteran legions except one, making sure that each of the soldiers received land in Italy and southern France. This insured that they would stay loyal to Caesar personally. From his very able military staff, Caesar picked men to fill ministerial positions throughout the empire, which also strengthened his hand politically. It is a pity that Caesar had only two years to institute a Pax Romana before he was brutally assassinated. However, what social, political, and military reforms Caesar started would come to fruition under Caesar Augustus, his heir and Rome's ruler for forty-five years.

Recommended reading for those interested in Roman history, military history.

My wife is of Calabrian descent -- via both grandparents -- and I bought the book for her. She is delighted with the gift, and reads for a while in bed at night before retiring. She is engrossed in stories of where and how her ancestors managed to stay alive with so little.

Every Italian American should read this book to understand why our forfathers and mothers came here!

This story is more than a tale of a Calabrian family's fortunes and misfortunes, it is an accurate look at a culture during a period of hardship that would eventually lead to great change. The author adds depth to the characters through more than just words, he gives them life through their thoughts and actions. An excellent book for those interested in a true picture of the times and events that shaped the people of southern Italy.

You really feel what it's like to know you will starve once the food you are growing runs out. That overwhelming insecurity was the life of many of our parents and grandparents. The story is fascinating and truly holds your attention. It illuminates our emotional inheritance while it entertains. I want to give this book to all the people who go on about how hard life is these days.

This is a heart-rending story of triumph over tragedy. The characters come alive and invite the reader to see how determination of the human spirit lives on through their valiant lives. Ths story unfolds with a trip through this part of Italy and its history.

All the great things said of C&C is true. If you are sick of comic style d&d and want a literary base instead, C&C is the game for you. The easy to learn rule set takes sum UNlearning of old concepts to really get going though. All in All a great game.

I hadn't played an RPG in 10 years, and now I'm running one. With C&C, I can prepare for a night's play in about an hour. Teaching a new player the basics and letting them create a character is also about an hour. If you've played D&D you know this game. None of my players had ever played, and they picked it up immediately.

The book has all the rules for the game in one place. At 128 pages, this hardback is *thin*, and easy to carry around. Why doesn't it have an index? It doesn't need one. Half the book is spells, and there are spell lists by class and level. Almost everything else can be easily remembered or found on the GM's screen. In fact, you can get by with having only one copy for the whole group (depending on how many spellcasters you have).

The forums at troll lord games have helpful links and resources, where you can find several free adventures to run (provided you trust your players not to peek). I've had a blast--fun to play, easy to put down and pick back up at a moment's notice.

I too started out during the original D&D red/blue box days and this is the best "version" of D&D since the Rules Cyclopedia. I've DM'ed OD&D and 1st ed AD&D and played in AD&D 1e & 2e. While I own D&D 3e, I've never played or DM'ed it. It just seems to be too complex and too much trouble. The older I've gotten, the more I've come to appreciate rules lite games that don't force me to memorize an encyclopedia's worth of information or constantly reference a large collection of books during play. Also, if I want detailed tactical combat, I'll just play a miniatures game. C&C has rekindled my interest in running a D&D-style fantasy game for the first time in over 10 years.

The game takes the classes/races of 1st ed AD&D and marries it to a unified task resolution mechanic based on a d20 role. Most situations are resolved by adding modifiers to a d20 role and comparing to a target number. DMs or Castle Keepers (CKs) as C&C calls them, will greatly appreciate the streamlined rules since prep time is greatly reduced. Combats are fast and fun rather than bogging down the game. Although Troll Lord Games will be supporting the game with new material (a Monsters & Treasures book is due out soon and will be followed by a Castle Keepers Guide and a fantasy setting book along with several adventures), you can easily convert any OD&D or AD&D module you already own (or can find used on Amazon or eBay), so you don't have to feel compelled to buy every new book that comes out and can buy only those additional books you want to. For those than don't have a shelf of old D&D modules, a selection of monsters, a character sheet, and an introductory adventure module are available for download at the Troll Lords website.

Although C&C appeals to me as an old-timer, it is equally suitable for new players/CK's as well. In fact, I would say that players new to roleplaying would be better off picking up C&C rather than D&D since it's much easier to learn and play.

In my opinion this is a wonderful example of what a rpg Player's Handbook should be - all of the pertinent rules on building characters and performing the basic tasks of the game - without a lot of filler, fluff, or excuses for not having an imagination.

The game itself is terrific, as a return to a simpler time in rpg's when the game wasn't overly burdened with many, many different mechanics that slow down game play, but don't significantly contribute to story telling or experiencing the imaginary adventure.

In substance, the Siege engine (the authors' name for the near-d&d like structure that the game is based on) is a wonderful mix of First Edition AD&D (the first hardcover books - the first edition of the game to feature the word Advanced in the title), with some modernized D20 mechanics. In a nice mix of new and old, your abilities are all derived from your race and class, but the chance to perform those abilities is derived from your statistics - here is where the Siege engine adds, in my opinion. Each character can choose (based on race and class choice) up to 3 statistics (of the classic six - Strength, Wisdom, Intelligence, Dexterity, Constitution, and Charisma) to serve as Primary statistics. All abilities that are based on Primary statistics have an additional 30% (+6 on a d20) chance of success over other practitioners of the ability. A player creating a Ranger character might pick Strength and Intelligence as his primary abilities. Another might choose Strength and Dexterity - the two characters will have very different areas of expertise and concentrated focus, even though both are Rangers.

Combat is quick, and straight forward. A quick roll of initiative (on a D10), players and non-players then act in order. Ties are broken by Dexterity bonus. Roll to hit, roll for damage. Spells may involve a resistance roll, or a saving roll. Abilities require a single dice roll. All in all, the combat runs great, and quick. Players are more interested in where their companions are, what the tactical situation of the fight is, and how to gain the upper hand through maneuver and magic, rather than picking just the right feat for the situation.

Having run some sessions (and having a very long history with rpg's in general, and all the versions of D&D in particular), I have to admit that I miss having some sort of skill system. The Non Weapon Proficiency system from First or Second edition AD&D would do nicely, as would the Skills system from Third edition. Feats are (thankfully) absent, as they are the one thing about Third edition that keeps me from liking it (and it's worst aspect, from the point of view of a DM preparing adventures).

Combat in Castles and Crusades runs very smoothly and cleanly, and is over quick, while still having all the round-to-round decision making and tactical choices of a good rpg. Magic is done very well, with a very nice spell list for the different classes, good rules on acquiring spells.

This with the companion volume - Monsters and Treasures Castles And Crusades Monsters & Treasures- makes a great rpg. I have to say, that I am anxiously awaiting the Castle Keepers Guide (now, if I am correct, due out in Autumn 2007). It is supposed to add a lot, and will be twice the size of the Players Handbook. If it adds a skill system, and (apostasy) somewhat more detailed initiative rules, then I will be in seventh heaven. If not, one of the greatest things about Castles and Crusades is that it can very very easily be added to, and I could easily plug in my favorite skill system and initiative rules.

I started with OD&D and have been away from roleplaying games for many years. And 25 years later, I wanted to teach my daughter and nephew about the world of Dungeons & Dragons and roleplaying games and so then discovered Castles & Crusades! It has all the great elements of OD&D and the benefit and experience of these last 25 years in gaming improvements. It's fast, easy to learn and a great way to get kids or newcomers introduced to roleplaying. Highly recommended!!!

this book is very good, for anyone doing musculoskeletal health, or related. covers everythin under the sun, well recommended

Anyone working in sports medicine should have this reference guide in their library. It's an outstanding resource that will help in diagnosing an injury.

Awesome book !!! I'm a P.T. and Athletic Trainer getting
back into sports medicine and this book is a "must" for
your library. It's well organized and covers such a variety
of subject matter regarding injuries,rehabilitation, specific
medical injuries, and even aspects on the use of supplements
by athletes. It also contains functional anatomical references
that aid in the evaluation and differential diagnosis of
the injury. Great Book !!!

This is an astounding book. When was the last time you saw a 900+ page hard cover book packed with useful photographs and excellent line drawings...The practical advice in this book is unparalleled. No wonder it is an international best-seller. It arrived quickly and well packed from Amazon. Keep up the good work and thanks!

The second edition (2001) of this work is indeed an outstanding resource. My daily work includes imaging of sports and musculoskeletal injuries. I find this book frequently useful to supplement deficiencies in my knowledge and experience, and a most useful companion to the second edition (2001) of "Musculoskeletal Ultrasound" by Marnix van Holsbeeck and Joseph Introcaso.

Highly recommended as a workbench resource to those interested in imaging of sports injuries.

The Complete Angler - Izaak Walton and Chalres Cotton

This book deserves a place in a collection of great angling books, such as those of John Geirach, Henry Middleton and Scott Waldie. It is really two books and an odd sort of middle section on property rights and fishing (funny how some issues have not changed much since the late 17th century). It has some wonderful discourses on not just fishing but the lifestyle and philosophy of fishing. There are some sections and descriptions that can be tedious but they minor compared to the overall wonderful dialogue of the majority of the book.

The first section is written by Izaak Walton and, to me, was Canterbury Tales-esque, is it's older English language (which is entertainingly preserved) and its format. Three travelers - a fisherman (angler), hunter and falconer meet. In the course of discussing the merits of their activities the angler convinces the hunter to come along fishing with him (after seeing a hunt with hounds). Over the course of a few days on the rivers of England, the angler turns the hunter to the quiet joys of angling. He goes through the fish in England and all the baits and methods of fishing for them as well as how to prepare each of them. I had never through of carp of chubs and fish to eat, but after some of the descriptions in this book, I may have to give the a second look someday. The first book is as much of a celebration of the social and contemplative nature of angling as it is descriptions and methods of fishing. Interspersed are encounters with the local farmers, milker and inn-keepers as well as the talking over of the days activities among friends. But the highlight of this first section, and in my opinion the entire book, is the parting words of the angler to the hunter of how angling is a life philosophy that departs sharply from the hustle and bustle of the capitalist life. The first book is replete with references to early Christianity and its admonitions against looking to wealth for happiness.

There is an odd middle section about property rights and fishing which serves as a rather odd bridge to Charles Cotton's section. This book focuses on fishing for trout and graylings in a small section of England. If found the wordy descriptions of the flies by month to be tedious and the lack of philosophical discussion of fishing to be a little disappointing of an end.

Five days of fishing along the river Lea which joins the Thames near London is the background on which the cheerful narrative of The Compleat Angler is laid. The splendid civil conversation of Latin named Piscator, Venator, Auceps, Viator, and Piscator Junior is a joy to hear. Shakespeare was just publishing his first work when Izaak Walton was born in 1593 in Stafford. Walton retired in his early fifties and traveled about rural England visiting friends, fishing, and writing in his easy-going fashion. After publication of The Compleat Angler in 1653 he continued to add to it in his leisurely way for the next quarter century. Samuel Johnson praised the book in the eighteenth century and later Charles Lamb recommended The Compleat Angler to Samuel Taylor Coleridge. 'It breathes the very spirit of innocence, purity, and simplicity of heart,' he noted. 'It would sweeten a man's temper at any time to read it; it would Christianise every angry, discordant passion; pray make yourself acquainted with it.'
The Compleat Angler is a true classic of English literature that owes it's esteem not to advice about fishing but to Izaak Walton's pre-occupations and exquisite manner. Subtitled The Contemplative Man's Recreation the pages glow with delight in the hills and dales, woods and streams of the beloved countryside. Walton conveys a message of meek thankful fellowship and peace to all "honest, civil, quiet men". 'The Compleat Angler is not about how to fish but about how to be,' said novelist Thomas McGuane. 'Walton spoke of an amiable mortality and rightness on the earth that has been envied by his readers for three hundred years.'

This is surely one of the earliest books available to the modern angler. But it's worth distinguishing 'anglers' from 'fishermen'. I take 'anglers' to be people who go after fish for fun or sport or pleasure and 'fishermen' to be people who go after fish for work.

The first thing to be said about Izaak Walton's book, is that it is a play followed by a text book. The second thing, is that it's in a foreign language even to the English, because it was first published in 1653 when the author was 60. A ripe old age in England in those days.

Walton was essentially a biographer. He got paid for it - often commissioned as a good artist might. He wrote 'The Life of Donne' - a poet who even I've heard of. He's alleged to have been a prosperous merchant, but it doesn't really matter. Great angling writers like Richard Walker were engineers. Old school writers like George Skues, were public school educated solicitors in London practices who took the train to the chalk streams of Winchester in Hampshire at weekends, tying flies as they went.

The play concerns three people who meet by chance and get into conversation about their interests. They're travelling at a walk, and so they lighten their journey with convoluted conversation. Before long, it develops into a bit of a competition. Walton is the angler (Piscator). Another gentleman is keen on falconry (Venator) and yet another is keen on hunting (Auceps).

If you tire of 17th century banter, skip forward to the chapters on each particular species of fish, which will ring true immediately. To me it's a revelation that these friendly old fish will still fall for the same tricks as Walton was playing on their ancestors over 350 years ago.

Three hundred fifty years ago Izaak Walton wrote of the curious blend of inner peace and giddy excitement which the amateur naturalist finds at streamside. He invites us to stroll with him through the countryside, discussing the mythology, superstition, and the science of England's aquatic fauna. It is an unrushed journey, though we often arise at sunrise, and the author introduces us to many of the local inhabitants. Indeed, if our fishing is successful, we might exchange our catch for the song of a pretty milkmaid. The Compleat Angler is a brief book, and Walton's intent is to hook the reader, and encourage him to try fishing for himself: "I do not undertake to say all that is known...but I undertake to acquaint the Reader with many things that are not usually known to every Angler; and I shall leave gleanings and observations enough to be made out of the experience that all that love and practise this recreation, to which I shall encourage them." Interestingly, Walton starts off on the defensive, since the fisherman's passion was even then caricatured. By the end the reader has joined the "Brotherhood of the Angle," making artificial flies and enjoying the poetry of fishing: "The jealous Trout, that low did lie, Rose at a well-dissembled fly." To the modern ear Walton's literal belief in naturalists' old wives tales may seem humorously anachronistic, and it comprises a remarkably large part of his affection for his subject. We are also frequently reminded of the book's timeline with comments such as "...the Royal Society have found and published lately that there be thirty and three kinds of Spiders," while we now know that there are thirty thousand species of Arachnids. And the Brotherhood of the Angle is a genuine fraternity to Walton, "...I love all Anglers, they be such honest, civil, quiet men." The prospective reader must also be disabused of the misconception that Walton was a purist for artificial lures; he strongly recommends worms, minnows, and live flies. In Walton's watery world there is no dry humor, only fresh. Following his description of the twelve most effective artificial flies he says, "Thus you have a jury of flies likely to betray and condem all the Trouts in the river." And here he compares the beautiful coloration of a living trout to...well, you'll see: "Their bodies [are] adorned with such red spots, and...with black or blackish spots, as give them such an addition of natural beauty as, I think, was never given to any woman by the artificial paint or patches in which they so much pride themselves in this age." At the risk of taking some of the surprise out of the book, I here present a sample of Walton's fishing secrets: "Take the stinking oil drawn out of Polypody of the oak by a retort, mixed with turpentine and hive-honey, and anoint your bait therewith, and it will doubtless draw the fish to it." I would guess that Walton wasn't much of a cook, however, and I do not recommend his recipe for eel (partially skinning it, packing the viceral cavity with nutmeg and anchovy, cutting off the head, slipping the skin back over the body, and sewing it together where the head formerly was, then barbecuing it on skewers). Walton's affection for fish and fishing extends beyond the aquatic nobility of trout and salmon, to the often ignored commoners: gudgeons, sprats, bleaks, herns, tench, roach, umber, loach, and sticklebag. And as for the importance of fishing in Walton's world: "I envy not him that eats better meat than I do, nor him that is richer, or that wears better clothes than I do; I envy nobody but him, and him only, that catches more fish than I do."

Walton uses the perspective of an enthusiastic angler to promote a lifestyle of reflectiveness, gentle humor, and appreciation for nature. The book is easy to read, despite being first published in the 1600s.
The Coachwhip Publications reprint edition (ISBN 1930585209) is inexpensive and contains Cotton's "Part 2," written at Walton's request for the fifth published edition of "The Compleat Angler."

100 stories to read time and again.

The Decameron contains many references to the church and its influence. The first story of Ser Cepparello pokes fun at the church, but the storyteller, Panfilo, precedes his tale with a pious preamble: "It is fitting that everything done by man should begin with the marvelous and holy name of Him...I intend to start with one of His marvelous deeds, so that when we have heard about it, out faith in Him will remain as firm as ever" (25). Panfilo goes on to tell the story of the worst sinner in Europe who becomes a saint merely by duping his confessor. At the end of the tale, Christians worship the false saint, and Panfilo concludes with another tribute to God. The effect is hilarious. The tale makes religion a farce, but the opening and closing take religion very seriously. This disguises the biting satire of the story. By framing stories with prayers, the contents within the frame seem less irreverent. The second story fits in the same framework, as Neifile tells a story to promote "His infallible truth so that with firmer conviction we may practice what we believe" (38). She goes on to tell the story of a Jew named Abraham, who converts to Christianity after he observes the wickedness of the clergy in Rome. Abraham finds Rome to be "a forge for the Devil's work" and is amazed that "in spite of all this...your religion grows and becomes brighter and more illustrious" (42). The incredible corruption of the church, coupled with its success, baffles Abraham enough that he has to conclude that God must favor the Christians if they are allowed to be so evil. Like Panfilo, Neifile concludes her tale by praising God.

The third story also focuses on religion, but this time the main characters are a Saracen and a Jew. The Jewish lender, Melchisedech, posits Saladin with the question of which of the three religions is the one true religion. Saladin is portrayed as wise. The story shows tolerance to the Saracens through the characterization.

The fourth story returns to the Christian world, as a monk and an abbott succumb to "the warm desires of the flesh" (48). The two holy men sleep with a girl and invite her back for sex time and again.

Boccaccio avoids attacking the doctrine of the church, but he exposes certain realities of human nature. Those employed by the church cannot escape themselves, despite their appearances. They are as fallible as the peasants. In "The Author's Conclusion," Boccaccio defends his stories against protest by saying, "A corrupt mind never understands a word in a healthy way" (804). The addendum to The Decameron acts as a line of defense for the author from overzealous Christians who he predicts will take offense at the stories and accuse him of "taking too much license in writing these tales" (802). He points out that "my stories run after no one asking to be read," and implies that the sensitive reader should avoid the book altogether. The conclusion has comical elements as well. He gets a final poke at friars, saying, "they all smell a little like goats" (806). Boccaccio manages to make his point while keeping the tone light.

This was required reading for a graduate course in medieval history.
The "Decameron" is a collection of 100 novellas by Italian author Giovanni Boccaccio, probably begun in 1350 and finished in 1353. It is a medieval allegorical work best known for its bawdy tales of love, appearing in all its possibilities from the erotic to the tragic. Other topics such as wit and witticism, practical jokes and worldly initiation also form part of the mosaic. Beyond its entertainment and literary popularity, it remains an important historical document of life in the fourteenth century.

Decameron is structured in a frame narrative, or frame tale. Boccaccio begins with a description of the Black Death and leads into an introduction of a group of seven young women and three young men who flee from plague-ridden Florence to a villa in the (then) countryside of Fiesole for two weeks. To pass the time, each member of the party tells one story for each one of the nights spent at the villa. Although fourteen days pass, two days each week are set aside: one day for chores and one holy day during which no work is done. In this manner, 100 stories are told by the end of the ten days. Each of the ten characters is charged as King or Queen of the company for one of the ten days in turn. This charge extends to choosing the theme of the stories for that day, and all but two days have topics assigned: examples of the power of fortune; examples of the power of human will; love tales that end tragically; love tales that end happily; clever replies that save the speaker; tricks that women play on men; tricks that people play on each other in general; examples of virtue. Only Dioneo, who usually tells the tenth tale each day, has the right to tell a tale on any topic he wishes, due to his wit. Each day also includes a short introduction and conclusion to continue the frame of the tales by describing other daily activities besides story telling. These frame tale interludes frequently include transcriptions of Italian folk songs. The interactions among tales in a day, or across days, as Boccaccio spins variations and reversals of previous material, forms a whole and not just a collection of stories. The basic plots of the stories including mocking the lust and greed of the clergy; tensions in Italian society between the new wealthy commercial class and noble families; the perils and adventures of traveling merchants. The title is a portmanteau, or combination of two Greek words meaning "ten" and "day". Boccacio made similar Greek etymological plays of words in his other works. The subtitle is Prencipe Galeotto, which derives from the opening material in which Boccaccio dedicates the work to ladies of the day who did not have the diversions of men (hunting, fishing, riding, falconry) who were forced to conceal their amorous passions and stay idle and concealed in their rooms. Thus, the book is subtitled Prencipe Galeotto, that is Galehaut, the go-between of Lancelot and Guinevere, a nod to Dante's allusion to Galeotto in "Inferno V", who was blamed for the arousal of lust in the episode of Paolo and Francesca.

Throughout Decameron, the mercantile ethic prevails and predominates. The commercial and urban values of quick wit, sophistication, and intelligence are treasured, while the vices of stupidity and dullness are cured, or punished. While these traits and values will seem obvious to the modern reader, they were an emerging feature in Europe with the rise of urban centers and a monetized economic system beyond the traditional rural feudal and monastery systems, which placed greater value on piety and loyalty. Beyond the unity provided by the frame narrative, Decameron provides a unity in philosophical outlook. Throughout runs the common medieval theme of Lady Fortune, and how quickly one can rise and fall through the external influences of the "Wheel of Fortune". Boccaccio had been educated in the tradition of Dante's Divine Comedy, which used various levels of allegory to show the connections between the literal events of the story and the hidden Christian message. However, Decameron uses Dante's model not to educate the reader, but to satirize this method of learning. The Roman Catholic Church, priests, and religious belief become the satirical source of comedy throughout. This was part of a wider historical trend in the aftermath of the Black Death, which saw widespread discontent with the church. Many details of the Decameron are infused with a medieval sense of numerological and mystical significance. For example, it is widely believed that the seven young women are meant to represent the Four Cardinal Virtues (Prudence, Justice, Temperance, and Fortitude) and the Three Theological Virtues (Faith, Hope, and Charity). It is further supposed that the three men represent the classical Greek tripartite division of the soul (Reason, Spirit, and Lust, see Book IV of Republic). Boccaccio himself notes that the names he gives for these ten characters are in fact pseudonyms chosen as "appropriate to the qualities of each". The Italian names of the seven women, in the same (most likely significant) order as given in the text, are: Pampinea, Fiammetta, Filomena, Emilia, Lauretta, Neifile, and Elissa. The men, in order, are: Panfilo, Filostrato, and Dioneo.

Recommended reading for anyone interested in literature and medieval history.

The translation that you choose will have an impact upon your enjoyment of any work written in a foreign language. In the case of The Decameron, the translations recommended by "The Oxford Guide to Literature in English Translation" are those by (1) G.H. McWilliams and (2) Bondanella and Musa.

I purchased the McWilliams translation and found it to be enjoyable, although slightly wooden. There were also several howlers (e.g., addressing the women in the group as "Delectable Ladies.")

There's a 100+ page introduction, which I found to be overly academic and tedious. This is, as far as most readers are concerned, a fun book to read; the introduction should not detract from that experience.

This volume has extensive endnotes at the end of the book. Most of them are of little interest to the general reader and add nothing to one's enjoyment of the stories. Since they are short, and given modern editing technology, they could just as easily been included as footnotes at the bottom of the page on which they appear, which would have been more convenient. (Inexplicably, the notes to the Introduction are footnotes.)

The book is bawdy, but not obscene. McWilliams, justifiably I think, is of the opinion that certain passages are misogynistic and homophobic, which seemed to me to be correct. The latter is odd, because Florence during the Renaissance was notorious throughout Europe for its large homosexual population (most of its great artists reputedly were gay). Forewarned is forearmed.

I have not read the Bondanella and Musa translation, but McWilliams (who appears to be remarkably fair) speaks well of it in his Second Preface. Based upon the foregoing, I would choose it instead.

Funny, extremely entertaining, which is kind of shocking for medieval literature. I read the whole book in just 12 hours while sitting in the airport. It was the fattest book in the shop - great value for money.

I've tried to read these stories several times before but this is by far the best translation I've found yet. Very adult reading but passes for educational and is a great summer read!

Anyone who thinks life was better in times past should read this book. It is about the Donner party, a group of midwesterners who hoped on the frontier trail to California, only to face misery, hardship and death in numerous forms. In one case, a young boy breaks his leg, and dies in agony following a makeshift operation. In another a sick man is left to die on the trail, unable to keep up. And the party had to deal with hostile Indians and unsavory characters as well. It was a time when travel to the West coast from New York could be done faster by sea than overland.

I am a bit new to the Donner story so I can't compare Limburg's telling to other books on the adventure. But it certainly kept me reading. One could almost feel the optimism present in April when the group set out, and then the agravation and, ultimately, fear and despair. The reader will ask himself what he would have done in the situation, glad all the while for the comforts of modern life.

I, like everyone else, thinks of one thing when thinking about the Donner Party--canabalism. There were many wagon trains headed west in the years just before the Civil War that never made it, or suffered terrible hardship, but it is the Donner group that we all remember. Author Peter Limburg has done a marvelous job separating the sensationalism from the facts, and writes a poignant tale of people, just like us, looking for a better life in a new place. I always appreciate a book that solidly puts me in a different time and place--this book didn't disappoint.

I think people are a bit confused here. The story of the Donner Party is gripping, intense, chilling, gruesome etc etc. It is an incredible story that has survived for a reason. We can applaud Limburg for not ruining that for us - the book is a page turner that I finished in a sitting, however, Limburg's writing was not the reason. Frankly, "Deceived" is a poorly written account that merely spews the research of others into an easy to read format. The book contains far more flat, unnamed characters than can be digested and lets many plot lines drop away without a thought.

You'll note that most books about the Donner party are given rave reviews (probably for the reason I just suggested). I recommend that you look for another book on the subject as there must be better.

From Marisa D'Vari, author of "Script Magic" Sure, travel is difficult ... but count your lucky stars you're not traveling over a hundred years ago, when the travelers were not at the mercy of surly airline attendants but nature's elements. I became fascinated with the Donner party in a fourth grade history class in California, and am not surprised that Limburg's story continues to grip me. An excellent read!

I was fascinated by the detailed unfolding story of the famous Donner Party and how they got to the state that has made their name legend in the field of horror and disaster. With more than 45 photos and illustrations this book was I'm sure the most thourough treatment of this story.

This is a wonderful photo representation of the desecration and destruction of a beautiful train station. It provided me with images and emotions I have not otherwise experienced in reviews of the original Penn Station. I highly recommend this to anyone interested in the subject and photography!

This is an extraordinary, heartbreaking, must have book for anyone who loves New York and/or McKim, Mead & White's work.

Photographer Peter Moore and his wife Barbara moved into the Penn Station neighborhood in the early sixties. They used the building every day, whether they were passing through to the subway or catching a bite in the cavernous coffee shop.

With the railroad's permission, they documented its slow dismantling over the four years from 1963-1967. This book is the first appearance of that work. The black and white pictures are arranged chronologically, showing the faded but still magnificent station from its last days of active use through to its ghostly presence as a metal shell. The photography is beautiful and lyrical and sad beyond words, like a mournful love song to a love lost. The picures of the rubble-filled waiting room, its shape still intact but its side walls gone, are especially hard to take.

One note: this is not an exhaustive review of the building and its various spaces. It is a chrono picture of the concourse and waiting room through through their destruction. For more pics of the station in use, try "The Late, Great, Pennsylvania Station."

I remember as a kid in the mid-70s taking the train to NYC and having to endure the commuter's nightmare known as "modern" Penn Station.

In the late 80s, I learned what once was on the site of the current MSG/Penn Station monstrosity and became appalled that people could let a beautiful work of art be dismantled and replaced with a horrible building. In the early 1990s, I learned about the 1950s and 1960s and how Americans were obsessed with all things modern and new, rejecting anything with a hint of age or ornament.

Moore & Moore take a pictorial look on how the McKim, Mead and White's neoclassical masterpiece was dismantled over a multi-year period in the mid-1960s. While they really don't go into detail on why the old Penn Station was demolished, the spooky, B & W photos tell more than how an architectural gem was demolished. On a deeper level, the photos tell the tale of how an entire city was becoming irrelevant to suburban America and was sinking into massive decline (the years of municipal bankrupcy and burning neighborhoods in the South Bronx are only a few years away).

It was a very sad book that gets more depressing with each turn of the page, as more and more of the beauty of the old Penn Station gets stripped away. I guess that was the power of the photographs working on me.

Pair this book up with Robert Caro's _The Power Broker_ to get a good picture of New York in the early Baby Boom era.

This book just takes your breathe away, the images are so vivid and shocking. How on earth could anyone sign off on destroying this colossel beauty, it's something I just can't get my mind around. I am so grateful that this was documented, as hard as it is too look at, people need witness these pictures to make sure it does not happen again. Many people credit the outrage over the razing of this McKim, Mead, and White masterpiece with helping save Carnige Hall and Grand Central, which though appreciated, does not lessen the sadness over the loss of this New York City treasure, it really is such a tragic loss. I highly recommend this book for its text, great visuals, and the power is thought it provoks: great book.

I am one of the generation of New Yorkers that have grown up with the ghost of the old Penn station - and its unfortunate replacement. We have been forever robbed of this stately thing, which was so much more than a building. Watching it's slow death in these haunting pictures makes me hope this is the last time we have used our imagination to destroy rather than build. (This is an especially painful irony in light of our recent tragedy.) Get this book, and look at it with your children. And may we never treat the human-made beauty around us with such contempt again.

This book is nicely written and gives a good introduction to topics of risk management. The exercices at the end of each chapter are such that you actually understand the subtility behind some of the concepts introduced.

This is *the* book on financial risk management that puts it all together. In a volume that is less than half the size of comparable titles in an overcrowded field, Christoffersen packs the most amount of insight and practical knowledge possible. The best part of the book is how he quickly and directly dives into the empirical part of risk measurement - after all, a spreadsheet with real-world data is worth a thousand formulas, and any risk manager typically deals with the real world. To me the fact that the book is not hung up on a single risk metric (VaR for example) is doubly commendable. The book is superb in its coherence and flow, and choice of topics, not to mention the lucidity of presentation. Work through each chapter and the empirical exercises, and you will probably know far more about the nature of financial risk than most practitioners. Five unreserved stars.

Well structured and well thought out, this book is loaded with material yet presented in a light manner. Highly recommended.

I actually learnt elements of risk management and derivatives in a graduate program using this book.
Though I was a perfect amateur in this area, I could understand the essence without taking so much time. That was because this book is short and to the point. Additionally, it is a fair bit practical by adding Excel work files full of models and functions often used in Financial industry. I think the book is also well designed for independent study. All answer files of exercises are contained in an attached CD-ROM.
The best book without question.

I'm very satisfied with this book. It covers many aspects of finance that should be applied in order to be fully understood.

Clute and Nicholls have produced a masterful piece of work here, the breadth and detail is immense, and even includes errata and other information at the end. An amazing treasure trove of information and is something I have found myself using many, many times this year, having gone through it from cover to cover. If you see one lying around at what looks like a decent price, get it without hesitation!

You could also use it to bludgeon camels.

Along with its companion volume, "The Encyclopedia of Fantasy," the editors offer the most comprehensive references currently available on speculative fiction, covering authors both minor and major, discussion of the impact of writers and their works upon the genre, influences both obvious and obscure, as well as erudite observations upon the history and development of imaginative fiction. And this is but a fraction of all this marvelous reference has to offer! Indispensable to either the devotee of the genre or the casual reader, this text, along with its companion, should grace the shelves of anyone seriously interested in science fiction or literature. As with most references of this scope, already it is beginning to become out of date, lacking entries for newer and already significant authors, such as China Mieville, but one can hope a new edition will soon be in the offing. I know I will rush out to buy it, and in the meantime there is more than enough information here to occupy and entrance me for many months to come. If you read science fiction regularly, shame on you if you don't own this book.

This is a massive reference work and an obvious labor of love. It covers almost every conceivable aspect of science fiction, from movies to history to criticism. This is the second edition of this work, with large updates to bring the work up to the time of publication (1992), especially new authors and newer works by old hands, and there has also been a good deal of new material added to the thematic sections.

For anyone wanting to develop a good course on science fiction , or anyone interested in how SF came to be what it is today, a perusal of these thematic entries on everything from ANTIGRAVITY to MUTANTS to UTOPIAS will yield a wealth of material concisely presented, profusely cross-referenced, and source material properly indicated. Often within these sections even an experienced long-time fan of the field will find works referenced that he hasn't heard of before but deserve a look.

Within the author entries you will find one of the works most useful features: a listing of all of that author's works that belong within a given series or author created world/universe, often with a good description of the salient features of these author worlds. Also very useful is a listing of all known pseudonyms for each author. Still another useful feature is the indication of every variant title a work has appeared under, which can end up saving the reader money by knowing that he already really has that title under a different name. But these entries are also the most problematic of the information presented in this volume, as the opinion of the writer of the piece (almost all of the author entries were done by John Clute) about the quality of each of the author's works clearly shows. While it is probably impossible to avoid having this type of opinion appear, what I found disappointing was the lack of indication that there are other opinions about some well known works (in some cases these other opinions run to millions of words and many a flame war on the internet), such as Heinlein's Starship Troopers. At the same time, these entries provide a wealth of biographical information and very complete bibliographies for every major and almost every minor writer who has ever written within the field, and this information seems to have been very solidly researched (at least I haven't been able to find any obvious errors, and I've been reading in the field for 40 years).

This is an expensive volume, but it is probably worth every penny of its price when you consider that it collects in one volume such a wealth of diverse information that prior to this work was scattered across hundreds of articles, essays, books, and research papers or had never been written about in any cohesive manner. Highly recommended for any serious student/fan of the field, and highly entertaining and informative reading for just about anyone.

This is a book beyond all expectations. It is thoughtful, detailed, deep, and enlightening. It is truly encyclopedic. SF as a genre had no right to expect such an asset to materialize. But it did, and we all gained something from it, if we loved SF and read any part of this spectacular work.

But...

It came out in 1993. SF is a young field. Where's the 2005 edition? Where are the continuing updates that should be available by subscription? Where's the sense of _community_ that is the distinguishing element of SF from all other genres?

It's a five-star work, no question. But, as a reference text, it is already obsolete, and will grow ever more so as the future unfolds. Will C&N write another? Can anyone else? I hope so, to either or both of those questions.

Sometimes they do a book and just get everything right. Many reference works on Sci-fi are distressing by how much truly essential material is left out or ignored. Not this one. For instance, years ago I read an extremely early and very odd book by Philip K. Dick called THE COSMIC PUPPETS. Most Sci-fi reading guides or dictionaries or surveys omit this title, but not this one. I have a friend who is an exceptionally good mainstream novelist, Jack Butler, who usually publishes his highly praised and critically acclaimed works on publishers like Knopf or Penguin. But he also published on Atlantic Monthly Press what he intended as a straightforward Sci-fi novel in the grand tradition. Because Jack's reputation is as a mainstream writer and because it was published on a prestigious literary press, the novel was almost universally ignored by the Sci-fi community and Sci-fi reviewers (even when Gregory Benford wrote a review lavishing it with praise, it was published not in a Sci-fi mag but in the New York Times). But when you look Jack up here they not only have a listing, they recognize the book as the superb work it is and evince an understanding that its failure in the Sci-fi community stems from marketing errors.

What I like most about the book is its combination of balanced, critical judgment on the one hand with a careful thorough-goingness on the other. The work is too short to be completely exhaustive, but it is about a complete as a single-volume work of just under 1,400 pages can be. It is hard to imagine how they could have done a more thorough job than they did. The book is currently out of print, but anyone interested in Sci-fi should search out a copy. I might go so far as to say that if you can own only one Sci-fi reference book, this is the one you should own.

I have one tiny bone to pick with the volume and one big hope for the future. The hope first. It is now over a decade since the book was published and we have continued to be deluged with Sci-fi novels and movies and especially television shows. With some justification, the entries on pre-1995 television shows are either dismissive or belligerent. Most of the good Sci-fi ever done on television has been done since 1995. Book-wise, Sci-fi is as big business and mainstream as it has ever been. There is simply a big need for a completely up-to-date work. We can hope for an updated edition. Whether it is financially feasible is another matter, but I do hope that the step is taken at some point. And mind you, I want an updating of THIS work, not a new work by other editors. They did it right; we just need it updated.

The tiny bone is that I wish the volume had done a bit more in guiding readers to new authors. Some of the articles do a better job of summing up the career of a writer without letting the reader known precisely which books would be the most important to read. Perhaps they could have put an asterisk beside the most important titles. Some of the entries are phenomenal at letting readers know how to proceed, but it isn't carried consistently through the whole work. But this is a minor point. All in all this is an admirably compiled work. As I said, if you love Sci-fi, you need this book.