Powell Books

I have already reviewed a book with the same title, but by a different author (Richard Appignanesi), and a commentator on my review drew my attention to this one. Like the Appignanesi, it is a short book and illustrated with somewhat crude cartoons (here by Joe Lee) on every page, but the text is, for the most part, rather clearer, and the historical background that has given birth to postmodernism is well done. There is even the odd (welcome) sardonic remark about the gurus of postmodernism. The last section, attributing a postmodern agenda to various films and novels, is somewhat bewildering to this octogenarian (though he teaches philosophy): I have not seen or read any of them and have no wish to do so. The book explains some of the most irritating features of the modern media. It also attributes disintegrative effects to computers and television. Computers have not struck me as presenting a disintegrating experience; but television is sometimes another matter. Perhaps some of the clever lads and lasses behind some television programmes are consciously being postmodernist. This old curmudgeon finds them simply pretentious (as he finds much of the theory) and switches them off.

I still think Christopher Butler's `Postmodernism - A Very Short Introduction' (Oxford University Press, 2002) is very much more satisfying.

but that's not the books fault. read the long review written by one of the other commentators. postmodernism is hard to define and this comic-book style book helps you wade through the dark waters of the theories and theorists surrounding postmodernism.

This book is a good introduction to the introductions of various postmodern thinkers, and is as good only as far as that can go. My major problem, like the Nietzsche reader below, was a mis/nonrepresentation of the subject brought on by the ultimate brevity of the complete work. Foucault, for instance, is given a paragraph or two of treatment and then is immediately dismissed by a nonsensical (possibly just unexplained) assumption that because power/sexuality are everywhere they are also nowhere, and therefore Foucault's works are essentially meaningless in the postmodern landscape. And yet, that critique ultimately becomes a meaningless one as gender, race, sexual orientation and other cultural constructs could be subjected to the same analysis, but this wouldn't change the fact that these are all very powerful ways to separate and systematically oppress people in our culture.

For instance, Q: the critique holds that since sexuality is everywhere it is nowhere. But what kind of sexuality is everywhere? A: Heterosexual relations holding the constructed feminine gender subordinate to the constructed masculine gender; mostly what we call "white," rarely "interracial"; and mostly in the context of pre-marital (read committed) relationships. This form is everywhere and nowhere--pervasive but invisible. But what does this then do? As Foucault himself might say, this dynamic impresses itself onto the lives of everyone not within this hetero conception--it turns them into society's perverts; it touches their lives and bodies in the most intimate ways.

Of course, my comments here could be seen as a (feminist) critique of postmodernism itself, but my intent is only to show how difficult it is to handle such a large concept or thinker within a few lines. So this is not so much a failing of the book per se, but a failing of any introduction of this length to introduce such a gigantic concept as "Postmodernism." If you are really interested in the subject, I would recommend either reading the original thinkers or reading books (like Foucault's Power/Knowledge) which contain interviews and overviews of the thinker's major works. This gives you a much better feel for the subject than a 100 page cartoon is, simply, able to do.

The back cover of this books say: "If you are like most people, you're not sure what Postmodernism is. And if this were like most books on the subject, it probably wouldn't tell you." I think this is like most books on the subject. You leave this book still unsure of what Postmodernism is. I suppose Postmodernism is too complex a subject to really get a grasp on in such a short format. The book takes a lot of different divergences, and in the end you know little more than what you started with. It is a good book to help you figure out what to read and look into for an explanation of Postmodernism. I'd say it is more of a guide as to where to go to learn about Postmodernism than an explanation of Postmodernism. It does get interesting at the end when it discusses Postmodern Artifacts (including cyberpunk, Madonna, and MTV). I'd say go ahead and pick it up. It won't teach you what Postmodernism is, but it'll give you an idea of where to go.

So many introductions to postmodernism are boring, or even unreadable simply because they are written by people who cannot write. These "writers" simply parrot the same pomobabble that so many postmodern thinkers indulge in--as if they were all members of some wierd cult. Powell--who CAN actually write--frys them for this, but then goes on to present excellent overviews of several important writers. One would not expect to find such depth in a comic book. The summary of Baudrillard's work, for instance, is often more insightful than those found in much weightier and intentionally serious volumes. Powell, explains the evoultion of Baudrillard's thoughts from its Marxist roots. Powell is especially good when it comes to the enigmatic Derrida, and his 'deconstruction.' Although Postmodernism for Beginners does not tackle Derrida's major works--as does Powell's Derrida for Beginners--it does make Derrida less mercurial, so that readers can then go on to read Derrida's works forewarned and forearmed. Powell really brings postmodernism to light, however, in his presentation of postmodern artifacts: Madonna, Bladerunner, cyberpunk, etc. Joe Lee's illustrations often present subtle asides to Powell's Proustian prose. All-in-all, one of the best I've read in the For-Beginners series.

This little story is a gem. It's writing is more in the mode of storytelling than novel-writing--but it is layered with richness of parallels.

I do not know who the author is other than what it says in the book and I cannot find out anything about him. Is he a ghost writer himself?

This is a must read for Christmas. It challenges the reader to something that so few books do any more. And that is........
THINK!
At times it is a tear jerker, but happy in the end. Even though the author claims he does not- he DOES do justice to the original.

Great little moral tale about life, death, Christmas, love and war. The author spins a masterful web around history in giving us a warm sequel to Dickens timeless tale. Long overdue. I loved it.

Like Dickens' Christmas Carol, this tale is short, one that could be read on a winter's evening, perhaps right around the Holiday Season.

Perhaps because I read it last night, during the middle of August, I found myself dissapointed. There was no snow on the ground, no tree in my living room. No holiday music in the air.

Then again, I don't think it would have mattered that much.

I had heard about this book some time ago, and over time, have kept promising myself to order it. I finally did - and sadly the anticipaton did not match the delivery.

As the other reviewers have stated, this was written by a Middle School teacher who has an affinity towards Dickens. While I cannot claim to have read everything Dickens wrote, like many people, I have a strong love for "A Christmas Carol." Whether you're Catholic, Jewish, etc -- the Carol is a wonderful story that transcends religious beliefs (depsite its Christian overtones) and tells us to hold love in our hearts -- for ourselves and one another.

And I truly believe that is exactly what the author of this sequel was thinking when he wrote this.

Another reviewer said this book was written with children in mind-- if that's the case then I can understand the writing. But at times, I found some of the dialogue weak, even by young adult standards. Also, I'm not the greatest when it comes to grammar, but I spotted more than a few glaring grammatical errors in the course of the tale.

And yes, (as another reviewer said) the political correctness was a bit over the top, as was the author's continued driving of the point regarding Ebeneze Scrooge's redemption. Perhaps I'm in a minority, but I've never forgotten the fact that Scrooge was redeemed at the end of "Carol." As for the PC-ness of the book -- there was nothing wrong with the message(s) that Dale Powell was trying to convey. It just felt like he was trying way too hard to convey it.

There are several other "Christmas Carol" sequels out there -- none of which I have read, but are available here on Amazon, and appear to have rather good reviews. I'm inclined to check some of them out, including "Jacob Marley's Christmas Carol" and "The Trial of Ebenezer Scrooge"

I guess ultimately, I'm not saying "Do not read this book," but perhaps explore other options before reading it. Don't expect an absolutely amazing story, but do expect to read something that an individual put a great deal of time, effort and heart into. And for that, I applaud Mr. Powell.

The plot, in short: In 1917, Timothy Cratchit (Tiny Tim from Dickens's classic novella) is 81. His son and daughter-in-law have died some time earlier, and his grandson has perished two months earlier in World War I. Having lived an exemplary life, Cratchit is now tired and wishes to die. On Christmas Eve 1917, though, he is visited by the ghost of Ebeneezer Scrooge and three spirits of various Christmases.

This sequel lacks the feel and panache of its predecessor. Indeed, this novella is so poorly edited that errors abound, making it seem like a not-ready-for-publication first draft. The list of errors is too extensive to include here in its entirety, but a sampling is in order. There are extraneous and missing quotation marks; paragraphs are not always indented; and the author repeatedly confuses "effect" and "affect."

I have seen worse, but there is a reason editors exist, and Mr. Powell would have been well advised to seek the services of one. One of the wonderful aspects of the original "A Christmas Carol" is the writing itself, from Dickens's exposition on the simile "dead as a doornail" to Scrooge's pun that "[t]here's more of gravy than of grave about" Marley's ghost. Unfortunately, this homage does not begin to approach the polish of the original.

There is also the problem of the political message. Now, it must be admitted at first that Dickens's "A Christmas Carol" was an extremely political book, but Dickens's message was immediately relevant, and it indeed reechoed after the book's publication. Here, however, the ghosts who visit Cratchit are concerned three things: the condition of Blacks and the Jim Crow South, the treatment of Germans in Cincinnati, and the rise of Adolph Hitler. Unlike Dickens, who, save for a brief scene with the Ghost of Christmas Present ("This boy is Ignorance. This girl is Want."), made his story deeply personal, Powell takes on much broader themes. There is a personal nexus in that Cratchit's link to Germany is through his German doctor and similar connections for Powell's other concerns, but the issues seem far too forced here. Moreover, if this story is, as others have suggested, for children, the inclusion of Hitler in a Christmas story seems a bit much to ask parents to explain to their charges.

Ultimately, "Timothy Cratchit's Christmas Carol, 1917" seems far more reminiscent of "It's a Wonderful Life" than of "A Christmas Carol" but lacks the emotional punch either. That is not to say there is nothing here; there is. The kernel of a good story is here. It just needs a rewrite and editing. Other books based on "A Christmas Carol" include The Last Christmas of Ebenezer Scrooge: The Sequel to A Christmas Carol, Jacob Marley's Christmas Carol, God Bless Us Every One!: Being an Imagined Sequel to a Christmas Carol, and The Trial of Ebenezer Scrooge (among others).

Traveler's Tool Kit, 3rd (Purchased on 08/26/2007)

This is essential for anyone who travels.

Actually I haven't looked at the book. Only the reviews. It sounds fabulous. We are going to Europe(May/2008) with teen. Have been to Europe many times. I would love to purchase this book, but it looks as if the most recent ed is 3rd, which is 2000 copyright. Will there be a newer edition soon?
Thanks,

Larry Cummings

Traveler's Tool Kit is a general all purpose guide to traveling abroad. This book is divided into four parts: Planning your Trip, Getting Ready, On the Road, and The Finish Line. Within these four sections, however, are twenty-four chapters. These chapters include all the usual topics such as How to Choose Where to Go; Money; Lodging; Eating and Drinking; Language; and Transportation. Furthermore, several unique chapters are explored in this book with titles such as Travel Gear; Keeping Healthy; Safety and Security; Etiquette; and How to Stay in Touch with Home Base.

Each of these chapters contains a variety of hints, tips, and entertaining but educational stories pertaining to each particular topic. Though many of the hints and tips are commonly quoted sage advice, many of the ideas provided in this book are novel, obviously hard won information collected through extensive travel abroad by the author. In this way, no matter how little or how much travel experience the reader has, he or she will find ample helpful tips and hints.

Traveler's Tool Kit focuses on international travel rather than domestic travel. Furthermore, the author attempts to illustrate how to be a traveler rather than a tourist. A traveler, as opposed to a tourist, is a person who travels through a country, city, or town trying to soak up the atmosphere and culture of the particular inhabitants. Basically, the traveler attempts to learn from and experience the real life of people from other cultures. A traveler, unlike a tourist, stays away from well-worn tracks, tourist tours, museums, and souvenir shops. Instead, he or she takes the road traveled by the villagers, eats at the restaurants they eat at, and bargains like a professional at the local market. Furthermore, the traveler is ever weary of the pick pocket and the scam artist. Thus, Traveler's Tool Kit contains a plethora of information for the want to be international traveler.

This book does have a lot of helpful information in it. A lot of it is stuff that I already know, having done a lot of traveling, but that's beside the point; almost any traveler would derive lots of great tips from reading this very substantial volume (it's a lot thicker than I expected!)

The problem is, it's now been nearly 8 years since this book was written, and considering that it was published pre-9/11, there is a LOT about travel that has changed since then. A lot of the tips on air travel are now completely irrelevant, especially those on international plane travel. There were quite a few statements that I either knew were incorrect, or had to look up online to verify and found them to be wrong because of the changes since 2001. For example, he encourages people to obtain 48-page passports, but these have not been available in the US for quite some time. He also does not include as many internet resources as he could if he put out a new edition now; the Web has come quite a long way since 2000!

In short, while this book has a lot of information, I do not recommend buying this outdated edition. It's not worth the money given how much of it is no longer valid.

This is a well-written resource for the traveler. Most of the advice and information is interesting and very-useful as well as time-tested. Fro example, the description of shopping tactics and how store keepers will price their goods according to the perceived affluence of the traveler was interesting and practical. Watching a well-known traveler on the Travel Channel interact with a store merchant in a South American country, I was amazed to see such an experienced traveler fall for the merchant tactics described in this book.
But some sections need updating. I would recommend this book for a general back ground of traveling but would also recommend purchasing a newer book for current data.

When I was getting ready to restore the kitchen in my 1922 California Bungalow I had no clue where to start. The previous owners had gutted the original kitchen for commerical property use and had put in Pay N Pak cabinets and almond color formica to sell the house. After 13 years living with the new kitchen I decided to put in a period kitchen. Jane's book gave me the courage, inspiration and most important, the clues on where to begin.

My contractor had met Jane at a workshop and respected her expertise. I was able to contact her through her business website. She was so excited and supportive for my project. She is a wonderful person with a great sense of humor as well as history of how our bungalow homes can help us live more healthy and fulfilling lives. And Linda's photos are marvelous.
One in particular helped me decide to use the six black glass cabinet knobs I found left in the basement. I highly recommend this book for anyone who loves their old bungalow. For those building a new bungalow you will find the bones in this book and you might think twice about corian or granite countertops.

Being on the extremely limited budget, the idea of restoring our 1923 craftsman kitchen to the obsessive original is not even an option. This fabulous book gives you numerous ideas/ paths as to what a $100,000 restoration would encompass, and then provides compromises that the 'normal' home owner can accomplish with great results. It definitely made me re-contemplate several ideas that we had already set in stone, and I think ultimately will save us investment money. My favorite aspect of this book? Unlike several bungalow magazines (which will go unnamed) that feel the need to pretentiously describe the 'color of fumed oak' and ten million other things that the average home owner will never afford or see, Jane Powell is down to earth and able to 'talk' to you like your neighbor next door.

If you want to be historically accurate, this book is for you. The author gives examples of "Obsessive Restoration" and a "Compromise Solution" for each element of restoring a bungalow kitchen. However, even the compromise was too obsessive for me. In addition, the author wasted way too many pages discussing the history of kitchens, which is irrelevant to me. Her companion book, "Bungalow Bathrooms" is much of the same. I just built a new Craftsman home, and my goal was to build a new home with historic influences, so what I was hoping for were suggestions on how to incorporate modern materials and modern conveniences to achieve a bungalow look. Obviously that was not the author's goal -- she's all about keeping the historical accuracy. For me, "The New Bungalow Kitchen" by Peter LaBau was much more useful. It shows how you can bring bungalow style to your home without it looking outdated and old. And the photos are gorgeous.

I've been toying for years with plans to fix up the kitchen in our 1923 American Foursquare house, but last year when both my nonagenarian grandmothers moved into Assisted Living Facilities, I found myself clearing out their kitchens. When I brought some of their vintage kitchen equipment into my own kitchen, it suddenly came clear that my own kitchen re-do simply had to honor the history of my house and more importantly, the histories of my grandmothers' kitchens.

I am in no way interested in obsessive restoration, but I really needed to see what kitchens of my grandmothers' childhoods and young married lives would look like. What might my own kitchen have looked like when it was first built? There are charming Craftsman details elsewhere in my home... under the barn-red paint and 1970's "country primitive" wallpaper, what was the feel of this room?

This book is like a stroll through a neighborhood-full of kitchens from this era, wonderfully photographed and clearly explained. While my kitchen renovation will be a relatively simple project, I am thrilled to have such a lovely resource on which to base my search for the kitchen that lies beneath all that paint!

I can't even count the number of times I've reread this book or just leafed through and admired the fabulous pictures. As the owner of a 1920 foursquare, nothing makes me sadder than to see an old house that's been "improved" by someone with no sense of history or vintage style. This book celebrates vintage kitchens in painstaking detail, describing the form and function of every single surface, nook and cranny. If you're using this book as a "how to" guide, the authors are realistic enough to give you several levels of authenticity from which to choose -- for instance, are you going to go all the way and have a vintage icebox? Can you not live without a microwave and dishwasher? What kind of screws should you use on your cabinet hinges if you want to be "period authentic?" The companion bathroom book is great, too, but this book is my very favorite and inspired me to replace my brand new (but characterless) gas stove with a yellow and green 1920's model with shapely long legs!

This book has some great lines about prison. One has stayed in my mind ever since I read the book 25 years ago. Jimmy Smith: "Powell was a punk in the gym in Vacaville. They bent him over a workout bar and browned em."

I read this book many years ago. Last week, while I was browsing through used books in a Goodwill Store, I came across a hardbound copy in pristine condition. It was selling for $2.00. Needless to say, without hesitation, I bought it. I found myself an absolute treasure. Without a doubt in my mind, this is easily the finest non-fiction story of crime and retribution I have ever read, gripping and haunting thoughout. Only one other non-fiction crime story comes close to it, and that is SWORDFISH by David McClintick. If this book can be purchased, do so without hesitation. Jay Wickramasinghe, Citrus Heights, California

This gripping narrative describes the 1963 kidnapping and murder of Los Angeles police officer Ian Campbell (1931-1963) and the crime's lengthy aftermath. Campbell and his partner Karl Hettinger were kidnapped at gunpoint one night by two hoods during a routine traffic stop, and then driven into the country where Campbell was shot dead in an Onion field. Hettinger managed to flee to safety, but was left with psychological trauma and a crushing sense of guilt over his partner's death. The author details the lives of the two killers, their lengthy trials and appeals, and the aftermath for the traumatized Hettinger, who was blamed by many for allowing the tragedy to occur. Readers learn not only about the crime and its lengthy aftermath, but also about the victimization of survivors, and about our imperfect system of justice.

Author Joseph Wambaugh modeled this book after IN COLD BLOOD, Truman Capote's superb look at the 1959 murder of a Kansas farm family. Wambaugh didn't quite match Capote, but THE ONION FIELD makes excellent reading (it also became a pretty good movie). Readers might also like Wambaugh's THE BLOODING (about the first use of DNA testing) and ECHOES IN THE DARKNESS.

It has been some years since this one hit the shelves, but it is non the worse for wear. Actually, I have to agree with another reviewer in that I too, feel this is one of Wambaugh's best. A true sory, brought to light in a very readable story like format. It is rather unforgetable. The author does a very good job of not only telling us a story (Wambaugh is, after all, first and formost a great story teller), but gives us great insight into the thoughts and motivations of the killers. He gives us a wonderful profile of the oung officer who survived this horrible crime. I cannot in all truth say it is as good as "In Cold Blood," but it comes pretty close to the mark. Recommend this one highly.

The two cops didn't expect anything life-altering when they pulled over the car with the busted taillight in Hollywood that Saturday night in 1963. But that was what they got. Before the night was over, one officer was dead and the other would never be the same.

Joseph Wambaugh's 1973 true-crime account of the killing is perhaps his best-known and most celebrated work, made into a memorable movie and a kind of calling card for Wambaugh's critical yet sensitive way of writing about crime and police work. "The Onion Field" may be based on a true story, but it reads like a novel, much like Truman Capote's "In Cold Blood" would have had Capote been as interested in the crime itself as in the problem of capital punishment.

Like "In Cold Blood," you have one killer who is gay and unreasonably violent, another who is a hardened tag-along. Unlike "In Cold Blood," Wambaugh wastes little sympathy for either, especially as they and their attorneys work the system to preserve their lives while the surviving cop is left roasting on a spit, forced to relive the experience that night in the lonely onion field where his partner was killed as the rest of his life spirals out of control.

There are sections where "The Onion Field" is hard to put down and others where it lulls you to sleep. Wambaugh finds everything in this case too fascinating to keep to himself, whether it's a juror with a persecution complex or a defense attorney who objects to everything in hope of getting a mistrial. The first 50 pages may be the dullest in the book, as the "before" lives of several key participants are examined to great mundane length.

But once the two felons, Jimmy Lee Smith and Gregory Powell, find each other, Wambaugh is at his best tracing their brief partnership of crime. Powell styles himself a trenchcoat-wearing mastermind, but his idea of strategy is a getaway car with a burnt clutch so there is no chance of pulling away from a job too quickly. As the pair drive around aimlessly, Powell waving his gun around, Smith wondering when he might ditch his pal and steal the loot for himself, "The Onion Field" is on a par with Wambaugh's best comedy. Then they meet their destiny and the two lawmen, and the bad guys' stupidity is no longer funny.

The other element this book really nails is the story of the surviving detective. Already wrestling with huge survivor's guilt, he is forced to endure much departmental second-guessing about how he allowed the crooks to take him alive. In time, he becomes such a mess he starts to steal, as if willing his own disgrace. Naturally, this gets brought up in court by an opportunistic defense attorney, who labels him a sociopath.

"He doesn't know the meaning of guilt," the lawyer says, ironically enough given by this point of the story guilt's all the guy does know.

I've found other Wambaugh books more compelling, especially "The Blooding," which has many of the same themes (pathology, the strain of police work) but also a better story and sharper focus. "Onion Field" is a memorable book, though, something to shake the most jaded reader into thinking about how many different ways we can find ourselves on the wrong side of the law.

This little story is a gem. It's writing is more in the mode of storytelling than novel-writing--but it is layered with richness of parallels.

I do not know who the author is other than what it says in the book and I cannot find out anything about him. Is he a ghost writer himself?

A delightfully charming story including three NEW ghosts of Christmas. This story is unique and charming.
Dickens purists will not be happy, but remember, Dickens was ridiculed in his life time as being to simple for the aristocracy.

Short book that you can finish off in an evening, but you'll be thinking about it a long time. Excellent.

This is a must read for Christmas. It challenges the reader to something that so few books do any more. And that is........
THINK!
At times it is a tear jerker, but happy in the end. Even though the author claims he does not- he DOES do justice to the original.

A simple story that continues the Dickens classic. I have to disagree with the previous reviewer who stated it was unimaginative- quite the contrary! This is an ingenius plan to take the Christmas Carol lessons and move them forward to now.
Politically correct? Well, if that's what you want to call it. I call it being sensitive.
Dale Powell is not Dickens but he is obviously a great storyteller with a big heart. I saw him perform both his and Dickens story's in Seattle in 2000, and he was wonderful. This book is a classic waiting to be recognized.

It is rare that I will seek out a book that I have owned and read after more than 30 years. I, however, lost my original copy and wanted to keep my "John Powell" collection in tact...that and it is a book that I think should be required reading for all 1st year counseling or social work students. It is truly a gift and a worthwhile read for anyone seeking a more mature & rewarding life.

I first read this book in 1972. It answered so many questions regarding my feelings, interations with others, and my view of life in general. I recently purchased another copy and the message holds true today as it did over 35 years ago. This is a timeless book.

John Powell writes in such a way that he is easy to understand. What he writes makes sense. He uses examples and research to back up his points. I would suggest this to wanting to become more self aware.

A settlement has been reached in connection this Roman Catholic priest accused of sexual abuse. At least six adults claimed father John Powell abused them in the late 60's and 70's. No criminal charges were filed against Powell but the priest has admitted to the abuse.

Father Powell's book has become a classic, and rightly so. It cogently states the reasons for truthtelling, as a means of increasing intimacy, if that is one's desire in a relationship. I read it twice, and gave it to my partner, who read it once, and then asked "Why did you give that book to me? There must be a reason." Of course there was, and it had its desired effect of opening up a discussion of previously avoided topics, which increased my understanding in several ways, and about more than just our relationship, but also my previous unsuccessful relationship.
The principal caveat about this book is its dated nature. Since it was written in 1969, it addresses "talking therapy" and mentions nothing about cognitive behavior therapy, which has proven efficacy, but did not become popularized until well after the book was written. Some things are too painful to talk about, war experiences being one common example, so his approach sometimes fails.
Overall, I would still highly recommend this book, but wish it could be updated.

This kit is great for those who are looking to try self hypnosis for the first time. The only problem is it would be nice if it was updated with a CD rather than the cassette. I find that the book and the tape compliment each other well and have had much success with using this program.

Beware. This item DOES NOT come with the tape described. It is a separate item that costs much more. The book is WORTHLESS without the tape. I feel more than a little ripped off. The reviews all talked in varying terms about the value of the tape, so one might assume that the tape comes with. If you get the book by itself, it has virtually no value--it all seems to be centered on telling you how to USE THE TAPE. Aside from some mildly interesting histories on hypnosis, I have relegated this to my "bad judgement" shelf. By the way, a book by itself is NOT A "KIT".

This book's title accurately describes the content and the book does focus on self-hypnosis only. I bought it because it included the tape, but the tape wasn't as much help as I'd expected which is the reason I gave it 4 stars. The tape uses the muscle by muscle strategy for relaxation which just doesn't work well for me. The book is clear, gives good affirmations, and explains things well.

Trying various hypnosis/meditation items, I would say that this product has induced one of the deepest hypnotic state or relaxed sensation I have experienced. However, I personally have a little bit of difficulty with the procedure to bring myself to the state. Having to keep eyes high on a spot for a long time is somewhat more physically enduring than other tactics out there. So, I would say, it works, but a little bit hard physically. I would like to find other methods to induce the deep relaxed state without hardship, and use the suggestive stuff that was mentioned in this book.

As a firm disbeleiver in hypnosis,hypnotherapy and NLP which I formly called "junk science". I have truley been converted. If you are interested in how any of these disiplines listed above can help you then I urge you to start with this kit. Read the book then listen to the tape. After only two sessions, I found myself totally amazed with the effects of hypnosis. My first concern was, since I don't smoke, am not overweight, don't drink to access or have any other overt bad habits, I wondered what could this tape possibly do for me. I was stunned, I turned on the tape, started listening and awoke from the session 20 minutes later totaly refreshed, stress free and totally relaxed ( just like the hypnotist had directed ).Undersatand, I didn't even realize I had been hypnotised!I thought I was sitting on a bench in a beautilful garden relaxing ( also as directed by the hypnotist on the tape). The voice ( a woman with an English acent )on the tape has a wonderful calming effect.
As I said, if you are interested in what hypnosis could do for youd-start here as I did. You will be simply amazed!....and she teaches you how to induce yourself into self-hypnosis too!

I started reading this book while on vacation in Mexico and was enthralled from the moment I picked the book up.

The writing style is a tiny bit hard to digest in the beginning, but clears up and gives you a very thorough, easy to follow narrative of the Colorado.

The drawings in the book give you an insight into what they sw along the way, and made the book a truly great read.

Although this one-armed Major from the Civil War has a tendency to marginalize the dangers, turmoil, and strenuous labor that was required to forge the uncharted waters of the Grand Canyon in 1869, you definitely "get it". His descriptions are more of a nuts and bolts account, never waxing poetic nor adding philosophical banter. Through trial and error, they learned how to read the geology and how they could predict what may lie ahead by the types and angles of the strata that formed the river's edge. However, knowing what was ahead only added to the tension and they still had to make crucial last minute decisions, sometimes too late. I was totally enthralled with this adventure and couldn't put the book down.

After I've been down the Colorado through the Canyon 3 times and after having read Stantons "Colorado River Controversies", I had to read the original Diary of Powell. This guy, though daring, did not stick fully to the truth in his diaries, but the descriptions are overwhelming and I loved every word. After all, he was still a youngster in those days - a daredevil. We seem to forget this, as we only know the picture of him in his old days. But I like his guide Sumner better.

How can you rate such a classic?

I got this book to read while I was rafting the Grand Canyon. It was well worth it. John Wesley Powell's description of his unbelivable expedition helped me put into words the spectacular scenes that makes up the Grand Canyon. I recommend this book to anyone who is considering traveling down the Colorado River.

Anyone who is enthralled by the beauty of the Southwest, or as Powell defines it - the Colorado River watershed, should read this book. It's not the same now as it was in his day. For one thing, Glen Canyon, which he named, is now submerged under Lake Powell (could any name be more ironic?). No one today can feel the same kind of wonder and awe as Powell and his companions did as they pushed their boats into the raging rapids of the muddy Colorado without having any idea of what was ahead. Even the part of the Colorado watershed that has not been developed, and there is a considerable extent of land under protective status, today has nothing like the remoteness that Powell experienced. Everything has been mapped and carefully scutinized.

Yet, anyone who has spent some time sizing up the immense water-carved rock canyons, can still feel something of the sublimity that Powell felt. It requires more imagination; it is true, but anyone who is determined to make more of a commitment than just standing at the rim of the Grand Canyon can still experience the really sublime features of this landscape. How much more difficult will it be in the future? Will these wilderness wonders become more degraded?

The book describes by daily journal entries the historic river run of 1868 starting at the Flaming Gorge in Wyoming and ending at the Virgin River as well as a follow-up expedition the next year. Powell does not overdo the apprehensions and hardships of himself and companions, nor does he make mention that he accomplished the physical exertion of climbing the canyon walls and navigating the boats with one arm: but largely confines himself to descriptions of the events and the incredible landforms. The extent of the journey and all the spectacular features that he finds and names is impressive. That Powell's group experienced hardships there can be no doubt.

One of the more interesting parts of the book to me was the way Powell approached the Indian tribe that killed his three companions, who decided to abandon the expedition and hike out of the Canyon. In those frontier days, it was the accepted norm to meet violence with violence. But Powell, I thought here, really showed himself to be an exceptional human being. He had a inquiring mind and a sincere desire to learn everything he could without inflicting retribution.

Heartfelt and sincere, Dance of the Infidels is Francis Paudras' affectionate tribute to Bud Powell, the modern jazz icon who spent much of his final years in Paris. Paudras traces his relationship with Powell, which began with his adolescent infatuation and idolization of Powell and his genius. Most of the book deals with Powell's time in Paris during which Paudras befriended Powell and actually took him into his home and provided a family for his idol.

Dance is most compelling when Paudras recounts anecdotes from their time together. He dwells at length on Powell's childlike qualities, his need for constant care. Though he takes considerable pains to diagnose Powell and to correct what he sees as misunderstandings of Powell's mental condition, Paudras is mostly content to let Powell's actions speak for themselves. The book is indeed a testament to the power of one person to nurture another through an untiring devotion to not only a fellow human being but also to music and the passions it awakens.

Unfortunately, what makes the book such a rewarding read also highlights some of its weaknesses. Paudras practically deifies Powell. Paudras is quick to soften the harshness of Powell's detractors by portraying them as insensitive to his genius--especially when they are part of the American critical establishment. Paudras feels that only he and "the devoted little band of French fans" are truly able to appreciate Powell's gifts. As a result, Paudras seems content to describe Powell's playing with superlatives and hyperbole rather than apply the critical skills and vocabulary of even the amateur musician that Paudras claims to be.

Nonetheless, this book remains necessary reading for all jazz fans, or even music lovers in general who have sensed the sublime powers of music. Balanced with a more straightforward bio, Dance is a necessary part in building an understanding of the complex figure of Bud Powell.

Obviously any serious Bud fan will have to read this, being one of only a handful of books devoted to the genius. That being said I ended getting much more out of the read besides examining a period in a musician's life. Even if this book were not about one of my favorite musicians I still would recommend it highly and would call it one of the more interesting reads I have had. (I read it about 6 months ago.)
This book also becomes, inadvertently I believe, a study into human personality. Bud had numerous mental problems, many of which were pigeonholed as manic-depressive or schizophrenic. But the author's fly on the wall psychology savant observations (many obviously from journal entries) show that these diagnoses are simple and barely scratch the surface of the behavior of Bud Powell.
I think about this book often particularly when I am considering what makes a person a person. Before I read this book I thought I had an idea, but after reading it I am not so sure. It also led me to read more direct analyses of personality by Lucan and Piaget.
Bud begins the book in horrible shape, mental & physical, completely reliant on someone who cares nothing for his well being. He is unkempt and rarely speaks. You wonder how he could have reached the age he has with so few of the skills which are required for human survival.
When the author begins to interact with Bud it is almost always wordless, with the author describing Bud's input with non-verbal actions. How "looking into his eyes I could tell how Bud felt."
I was very skeptical believing perhaps the author's worship of Bud were clouding his judgment about Bud. Maybe the author wanted to communicate with Bud so bad he was sub-consciencely creating Bud's side of the conversation.
This hero worship by the author made certain that there was a bias to anything in the book, but a careful reader can still infer what actually took place.(It is nowhere near as revisionist as Miles Davis' autobiography.) And after reading the book I honestly believe that Mr. Paudras would never intentionally lie about anything to do with Bud Powell
As the action of the book proceeds you realize there must be something happening to Bud because of the healthy changes occurring and the gains Bud makes. Bud begins to perform again, gets healthier, and begins to take more control of his life. But major barriers still remain. Often he will only communicate with Francis. It went as far as when someone would ask Bud a question he would ignore it until Francis repeated the question to Bud and then Bud would only answer Francis. Also, Bud was greatly affected by even the smallest portion of alcohol, which would haunt him for the remainder of his life.
By the end of the book I was engrossed. There is even a heart-wrenching climax that was more affecting than most novels I have read. The denouement is too powerful to describe. (I am choosing my words carefully as not to give away anything)
There is a measurable action by Bud which makes me doubt the assessments that he was merely a child with a prodigal gift allowing him to never mature. Apparently, Bud would write poems to go along with most of his songs. Most have been lost. The poem by Bud included in the book is so lucent and shows a startling awareness that I was left contemplating why Bud behaved the way he did. Francis spent so much time with him it could not have been and act. Also, Bud hurt himself by acting this way that you have to believe he would have stopped if he could.
This book has helped make Bud's amazing art even more poignant for me. I believe every person has trouble relating to the world around him or her. To me, Bud music is about expressing these difficulties. Somehow trying to reconcile the sublime beauty of the world with the horrible darkness it also contains.
Although, my belief in heaven is dubious at best, if I could pick two people who deserve to be there it is Bud Powell & Francis Paudras.
My final comments are about the fate of the author who recently committed suicide. After getting to know a side of him through his book. (And I do believe the seeds of his demise are hinted at in the reading particularly in the last scenes.) It also opens up a whole slew of questions about when is life worth living, and is there any reward for those who love and bring goodness to the world when all they seem to receive is senseless pain.
As you can tell I have thought about this book considerably so if you have any insights you'd like to share please drop me a line at derek_weisel@hotmail.com. Thanks. DW.

The relationship between jazz piano genius Bud Powell and maybe
anybody's best friend-of all time-is really only marginally portrayed in the 1986 Oscar-nominated movie,'Round Midnight'-one of my handful of all-time favorites.The film was dedicated to
Lester Young and Bud Powell-and the great saxophonist Dexter Gordon portrayed the burnt out musician Dale Turner.The film is
based on 'Dance of the Infidels' by Francis Paudras about his incredible relationship with Powell-one of the handful of defining jazz pianists,ever-and even among jazz musicians,nobody
ever had a more troubled life;Powell died at 42 in 1966 and there is no question that he'd have died sooner if not for Paudras's efforts.At 62,Paudras committed suicide in France in 1997.It's not easy to find a sadder book-and in terms of race relations-nobody tops Francis Paudras.R.I.P.

Francis Paudras was an aspiring jazz pianist who idolized and steeped himself in the music of Bud Powell. Rather suddenly he found himself in the position of caretaker and personal friend of his musical idol. Powell's circumstances were tragically sad. Barely competent to care for himself at this point in his life he was being verbally and certainly financially abused by a horror of a woman named Buttercup. Largely abandoned by his American friends Powell was living in deplorable conditions when Paudras and he became acquainted. Paudras' devotion to his new friend is a remarkable example of human compassion and love toward another human being. Through his efforts Bud Powell was able to experience some joy in his final years although the shadow of his tragic past was always close at hand. Powell's musical accomplishments are legendary and Paudras' writes with passion and understanding of the depth of Powell's talents and of his incredibly far-reaching influence on so many jazz musicians.
This book combines a warm human interest story, albeit with tragic elements, with an examination fo Powell's musical career that results in one of the finest jazz profiles ever published. Highly recommended to anyone remotely interested in jazz. For fans of Powell it is indispensible reading.

"Dance of the Infidels" is an account of jazz pianist Bud Powell ( 1924-66 ) written by his friend and onetime caretaker Francis Paudras. There are a number of reasons why it makes fascinating reading ( virtually mandatory for hardcore jazz fans ); prospective readers should, however, be aware the book focuses more on Powell's personality than it spends time detailing his groundbreaking role as bebop pioneer. Then again, given the notorious and shadowy caricature with which Powell *the legend* has been saddled ( helping to perpetuate his stigmatization, even posthumously ), the focus on Powell *the person* can only be counted a blessing. Above all, this reviewer was struck by their extraordinary friendship, all the more impressive considering the trying circumstances in which they often found themselves.

Paudras makes no attempt to render events in a self-consciously hip tone nor does he attempt to analyze Powell's music in theoretical terms. If occasionally he waxes effusive, he is far from slavishly uncritical or wedded to one particular party line concerning Powell's problems. For instance, while it is well known that the pianist suffered from a brutal beating he received ( from a policeman ) in 1945, which led to physical and mental breakdowns, Paudras also relates the strained relationship Powell had with an emotionally distant father, his marital/relationship strife, the barbaric treatment at the hands of doctors and various medical "professionals" ( administering shock treatments and dangerous drugs ) and from the very beginning of his career, the whole unsavory underworld ( gangsters, club owners and mercenary agents ) atmosphere in which he plied his trade. Trials and tribulations of this nature challenged the hardiest of men; for Bud Powell, unusually sensitive, they turned out to be nothing less than catastrophic. Powell, apart from playing music ( or getting drunk ), seemed to live most fully in the retreat of his mind, a remote and often haunted place. It was therefore no small measure of mercy that Paudras entered his life, first as a fan and later as friend ( "brother", as Powell himself referred to him towards the end ), allowing the older man to reveal himself ( in tones of poignant solemnity or raucous humor ) as he had to few others.

Another virtue: the author, no neophyte, is a diehard jazz fan who knows the music and its history quite well. His inside perspective, after years of living with Powell ( 1959-64), gives evidence of a certain smiling ( but never smug ) awareness of various myths and peculiarities propagated in the jazz subculture. From a purely musical point of view, he is quite convincing in defending Bud Powell from the received wisdom many critics regurgitate to this day; lionizing his output from 1947-53 while denigrating his later work. While the recordings from 47-53 do indeed remain the gold standard, listeners should, in evaluating his later output, rely on the only evidence that really counts, *recordings*; and in using them as criteria, Powell is often found in great form ( e.g., "Live at Lausanne", "Bouncin' with Bud', etc ). Furthermore, in asking for "consistency", critics overlook the fact that Powell, as much as any musician in jazz history, took risks. In the circumstances he found himself, Powell's digital equipment may have been less than reliable but the integrity of his expression ( ultimately what matters most in music ) never dimmed. Indeed, *no* musician played with more intensity than Bud Powell.

In the future, writers will focus more extensively on Bud Powell's music; fittingly so, for such a pioneering musician. But as far as Bud Powell *the person* is concerned, it is unlikely we will ever find an account more sympathetic or revealing than that rendered by his ( now deceased ) "brother", Francis Paudras.