Williams Books

A wonderful collection of the historical and the traditional songs. This is one of the best hymnbooks of any kind to be published in recent years. It took me back.

this is a wonderful book. It is full of new and old songs.

GIA, the publisher of this hymnal, is a Catholic publisher. This book is not a Catholic hymnal unlike "Lead Me, Guide Me", GIA's "turnkey solution" to gospel-style music for Catholic services. Also, the lyrics have a lot more "I", "Me", "My" and "Mine" in the lyrics than would be appropriate for Catholic litugies. This is not a quibble; just a bit of information for potential Catholic purchasers. Those matters aside, this is a fine product, packed with impressive new material and old favorites that will add much to spirited worship.

This hymnal has all my favorites in it. Even the responsive readings are biblically solid. I love it. My pastor does too. The pianist at our church loves to play these hymns.

This song book has wonderful spiritual, God-loving songs. It is a great source for getting your congregation in the spirit of 'singing praises to our King'. Introduce it to your choir or congregation and you will be forever greatful for the joy it will bring.

Breath-taking vistas!!! You want to run away and see America. I have never seen the jewels of our country captured with such feeling. This is THE book for every home that wants to "travel" the country. Gorgeous presentation, beautifully put together. Perfect gift item, but get one for yourself too. I can't wait for the other editions covering the rest of the country.

Wayne Williams captures the beauty of the western United States in a way that inspires a respect for nature. Hopefully, everyone will have an opportunity to view this book and remember to treat our environment as the gift it truly is.

I have just spent an enchanted couple of hours visiting 'America's Vanishing Landscapes'. Wayne Williams has produced a visual feast and testament to the beauty of Nature. This book contains so many beautiful images, I felt compelled to write and reccomend it to you.
I am lucky enough to live by one of nature's rain forests in the West Indies. Everyday I am filled with awe and wonder by my surroundings. This book makes me feel the same way. What also impressed me too, was his mastery of the craft and it reminded me of Ansel Adams work. They have combined technological mastery of the photographic techniquies available to them; and have produced a vision that not only speaks to the senses, but also to the heart. This is a rare combination and achievement.

It's impossible to capture the grandeur and magnitude of beauty of nature in a photo but Williams comes as close as you can get in this amazing book. The greatest and worst terrorism is the terrorism against the environment. It dwarfs all the other forms. This book may give people the vision that is an antidote.

What would it feel like to be able to go back a couple of hundred years and experience in real life the magnificent vistas of the American west as they were then? Amazingly enough, this book of contemporary photography will magically let you feel that and then bowl you over with its message. It is simply the most moving collection of landscape images I have ever seen. The stunning beauty of these photographs of some of the American West's most spectacular vistas and the inspiration and purpose reflected in the artist's heartfelt interpretations of each image weave together a haunting sense of loss and, at the same time, a deep understanding of what we have done and must now do. It will be a long time before you make room on your coffee table for another book (probably about as long as it takes Mr. Williams to publish the next volume in the project). It will not take long, however, for you to make room in your life for its purpose. Thank you, Wayne Williams, for helping us see again with this important and beautiful work.

I've been delighted with this book. After leafing through it at a bookstore, I bought it even though it seemed a little pricey, because its recipes seemed so interesting and it was so visually beautiful. With most cookbooks, I've found that the quality of the recipes has varied, but with this book very dish I've tried has been a winner. One of the things I find especially helpful is that the recipes call for ingredients that I can find locally (I live in the rural midwest, which can be very limited in its culinary offerings).

It's hard to find recipe books on Arab cuisine. In quality, I rate this book up there with Claudia Roden's "A New Book of Middle Eastern Cuisine" (although the latter book is far more encyclopedic in coverage). That pretty much says it all.

So many recipes & history. I love this book. Everyone that saw it wanted one too.

The Arab Table by Mary Bsisu is a must have for anyone interested in Middle Eastern cooking.

I have read the other reviews and agree that it is a 5 star book.

One thing of note---one of the other reviewers criticized Bsisu for citing too many contributors to her book. Why? She had her own recipes and if she collected recipes from others that indicates only that she knows a good recipe when she finds it and if she felt that it belonged in her book than good for her for adding it, it can only benefit us the readers.

I used to live in the caribbean and made perfect baklava there many times. When I came back to the States all my batches of baklava were ruined by sugar syrup that had crystallized by the next day. For the life of me I couldn't figure out what was going on and wondered if it had something to do with the humidity?!?! My sister in law cooks her sugar syrup for 10 minutes, my mother in law for an hour, so I knew it had to be something scientific, maybe due to temperature not length of time cooked. Neither my MIL or SIL could explain it.

WHile reading BSISU's cookbook (it makes fine reading even when you don't have anything particular you want to look up), i came across a recipe for Kunafa bi Jibin, or Shredded Pastry with Cheese. In this recipe, she gave instructions on making the sugar syrup, including " Let the syrup boil until it has reached the thread stage (about 225 on a candy thermometer)". HELLO! this was my mistake and this is the ONLY cookbook i have seen this mentioned in out of many, many middle eastern/greek cookbooks. So I applaud her (and THANK her because imagine making a whole pan of baklava only to have it ruined by the next day---heartbreak). BUT, to the subject of the other reviewers comments about her book being a collaboration of recipes from many people, I have to point out that the ONLY place this temperature is mentioned is in the Kunafa with cheese recipe, not the Sugar syrup recipe (which is on the page before), or the baklava recipe, or the regular konafa recipe. I do think that this is an omission because such a simple instruction should have definitely been in the sugar syrup recipe, and the fact that it is not leads me to believe that the recipes came from different people or sources.

Anyhow, the price of the book definitely pays for itself just for saving my baklava.

The explanations of customs and holy days are interesting and entertaining, and nowadays any book that can shed light (in a positive way) on how arab/middle eastern people live can only help to broaden the understanding between people which will benefit us all.

Very comprehensive, representing the best of Arab culinary traditions. Explains ingredients and methods well, makes it easy for people in the U.S. to find ingredients or get the same result using "western" ingredients. Would recommend to friends who have never made Arabic dishes before.

I found this book to be a turn-off mainly because it lacks illustrations. I hope the next edition will take care of this major flaw of otherwise a decent effort.

I just heard this author speak at a teacher's conference. The material presented was excellent, and reflected the fresh and new approach of this book. I am so pleased that finally there is a book that treats the subject of body mechanics in a functional and practical way. This book is exactly what our profession has been waiting for. Buy it and enjoy!

If you are a massage student, therapist, or teacher of massage therapy, you should buy this book. It's the best book written on body mechanics. It provides all the information needed to sustain a healthy massage career. The burn-out rate for massage therapists is too short; this book will help to eliminate it.

I've been teaching massage for over 15 years, and in all that time I've never come across such a wonderful book on body mechanics. This book is a gem. As a teacher I find its content up-to-date and concise. The photos are clear, the exercises are brilliant, and the tips for students are an extra bonus. My students have learned an incredible amount from this book, and I see it in their work with each other. I wouldn't be without this book in the classroom, and my students will be so thankful for it after they graduate.

I was recently at a massage convention. This book was by far the best one there on the subject of body mechanics. Its functional approach, illustrations, layout, and overall format not only make it easy to use, but a pleasure as well. All others fail to brighten up an otherwise historically dry subject. It will relight your fire and renew your, perhaps neglected, promise of self-care!

If you are a therapist, of any kind, you must buy this book. I use mine almost everyday to help keep myself injury free - and so far, so good. I also use the "client education tips" regularly to education my clients. The book also has helpful "practice tips" which help me to remember good body mechanics when at the table. I love this book - so will you!

For readers coming to Faulkner for the first time, or from having read The Sound and the Fury, the expectation is that his large collection of short fiction, some 900 pages in my edition, will be wall-to-wall southern gothic tales, post and ante-bellum stories of the south and its unique American culture. And indeed, in the Collected Stories there are tales of these aplenty. But refreshingly, Faulkner shows his great power as a writer by throwing a knuckle ball every now and again. There are a string of short stories in this collection which take place in the Great War and involve largely British characters (Turnaround). There is a story about aviators in the Great War (All the Dead Pilots). A story about homeless men in New York City (Pennsylvania Station) and even the writer writing of writers story (Artist at Home). Nothing is more refreshing to than to approach a writer the stature and reputation of Faulker, who made his bones in one type of literary fiction and realize that in addition to his well trodden paths he has range and depth of subject matter.

... if you like Faulkner. You'll enjoy the stories here; this is also a great starting point for someone just learning to appreciate the genius of this writer.

This short story is twisted, but that's why it's so great. The story is dark and gloomy, but it is really interesting. A Rose for Emily recounts the story of an eccentric spinster, Emily Grierson. An unnamed narrator details the strange circumstances of Emily's life and her odd relationships with her father, who controlled and manipulated her, and her lover, the Yankee road worker Homer Barron. When Homer Barron threatens to leave her, she is seen buying arsenic, which the townspeople believe she will commit suicide with. Faulkner based the story upon a true incident. The rose indeed was for his friend, Emily Grierson. In the story, the townspeople's points of views on Emily actually reflect the society's value at that moment to some extent. Emily feels that she is released when her father is dead.
However, I do not recommend this book if you might get scared easily. The ending might come as a surprise, but that's suspense. Go read it, if you like it a bit twisted.

As someone who read Flannery O'Conner before ever getting near Faulkner, I must say that he does hold his own with these stories. For better or worse, Faulkner will always be near the top of great American authors. I say for better or worse, because some people can be greatly turned off by his novels, and the difficulty in reading them. While I've been greatly critical of him in the past, I'm still trying to learn and understand his modus operandi. It's been a rewarding learning experience, but one that hasn't been without some exasperation.....I still like O'Conner better!

After reading "A Mule in the Yard," "That Will Be Fine," and "That Evening Sun" I was reminded of why this guy is one of the greatest storytellers ever. I know, his writing can be dense and even a times nearly unintelligible, but patience and concentration pays off with Faulkner. And his use of point of view is amazing.

In 1944, Polish Jew Raphael Lemkin coined the term genocide, applying it to Jews and Poles alike. In this small but thought-provoking book, Richard L. Rubenstein approaches the German Nazi exterminationist policies in much the same vein, while stressing the role of the modern state bureaucracy to make it possible.

Probably the first step in genocide is the denial of the humanity of the intended victims: "Once the victim is categorized as belonging to a different species, the task of transforming him into a thing is immensely simplified...Before the Nazis assaulted the Jews, the Poles, the Russians, and the Gypsies, they were categorized as members of sub-human races."(p. 54). Terms such as Tiermenschen ("animal people") and Untermenschen ("subhumans") were commonly used. Rubenstein (p. 83) points out that Jews were often referred to as "a surplus population", but not the fact that the Germans also used this term for Poles.

The denationalization of those intended for genocide was also significant: "Unfortunately, the Nazis clearly understood the importance of the question of statelessness. When they began to deport Jews from such occupied nations as France, Bulgaria, and Hungary, they insisted that the deportees be stripped of their citizenship by their respective governments no later than the day of deportation. There was no need to denationalize Polish and Russian Jews because the Nazis had destroyed the state apparatus as soon as they occupied the territory. The absence of a state apparatus in Poland and occupied Russia was an indication of the ultimate fate of the Poles and the Russians had the Germans won."(pp. 32-33).

While the mass shootings and gassings of Jews were already well underway, the Germans set their sights higher. Rubenstein cites an October 13, 1942 letter by Otto Thierack, the German minister of justice: "With a view of freeing the German people of Poles, Russians, Jews, and Gypsies, and with a view to making the eastern territories which have been incorporated into the Reich available for settlement by German nationals, I intend to turn over criminal jurisdiction over Poles, Russians, Jews and Gypsies to the Reichsfuhrer-SS (Himmler). In doing so, I stand on the principle that the administration of justice can make only a small contribution to the extermination of these peoples." (p. 34). Richard L. Rubenstein comments: "Soviet domination of Eastern Europe was closer to that of a classical tyranny than was the German occupation. The German aims were far more radical. They sought to create a society of total domination involving initially the enslavement and extermination of the Jews and eventually similar treatment to other subject peoples. They were determined to clear a Lebensraum, a living space, for German settlement."(p. 76).

Of course, owing at least in part to the much greater numbers of Poles than Jews, and despite the fact that 2-3 million Polish gentiles (including half of all educated Poles) were murdered before the Germans before the latter were finally driven out of Poland, the overall extermination of the Poles was more of a long-term German project. In this regard, practical methods of mass sterilization were actively being developed (p. 49), with the 3 million Russian POWs to be the first large-scale victims (p. 50). The Nazi goal was clear: "As we have noted, had the Germans won the war, mass sterilization would have been an important aspect of their program for the subject peoples. It must be remembered that with both the Nazis and the Bolsheviks, victory inevitably led to an intensification rather than a diminution of terror. Mass sterilizations of Poles, Russians and, in the more distance future, the French and the Italians, would have permitted the Germans to exploit the vanquished at their own convenience in the certain knowledge that the subject peoples' national existence was at an end. Whether extermination or killing was the means of securing absolute dominance or whether a certain number of the vanquished might be permitted to reproduce in exactly calculable quantities would have depended solely on the requirements of the German masters. The victims would have had as little control over their own destiny as cattle in a stockyard. In a society of total domination, helots could be killed, bred, or sterilized at will."(p. 52).

Richard L. Rubenstein also picks up where scholars such as Hannah Arendt and Isaiah Trunk left off in discussing the role of the Judenrate (the Jewish community councils) and its central role in the Nazi extermination of Jews (p. 3). Although the degree of Judenrate-German collaboration differed from place to place, the reader may be stunned by the degree to which the collaborationist actions of some Judenrate eliminated the need for large numbers of Germans and non-Jewish collaborators in the roundup of Jews for extermination: "In almost all of the killing operations, the German personnel were short-handed. It is estimated that only fifty SS personnel and 200 Lett and Ukrainian auxiliaries were assigned to the Warsaw Ghetto which hade a population of five hundred thousand at its peak, almost all of whom perished."(pp. 74-75).

In this essay Richard Rubenstein contends that the Holocaust should be viewed within the context of a tradition of slavery that is deep rooted in western culture. Drawing on Max Weber, Rubenstein argues that the combination of unrestricted capitalism and protestantism helped to create the conditions necessary for the ultimate form of slavery as expressed in the Nazi death camps. Additional factors include a European trend toward viewing certain segments of a given population as expendable.

The analysis is thought provoking and intelligently written. My reservation is that while I agree that viewing the holocaust in this way leads one to the conclusion that under the right circumstances genocide on this scale could happen again , I also believe that there was something uniquely evil in the Nazi leadership that contributed to the Holocaust. Rubenstein's analysis focused on historical/economic/social forces at the expense of the personal responsibilty of Hitler and his inner circle. Despite that this is an important book that should be mandatory reading in any study of the Holocaust.

If you doubt his premise, think about World War I. The leaders of the nations of Europe and the US put their male citizens into soldier's uniforms, lined them up in close proximity to one another to dig trenches, ordered them into the trenches, and then gassed them. It was an extermination experiment. It's time we all woke up to the global death machine and its propaganda. Also read How the World Really Works.

Few incidents have exposed man's inhumanity to man like the Holocaust. Richard Rubenstein in his pamphlet "The Cunning of History," attempts to demystify the Holocaust to show it as not only an event that happened, but also as one capable of happening, again.
Rubenstein establishes a linkage between the Reformation and the concentration camps. He asserts that the contemporary culture of death was the apex of ideas forged way back to Martin Luther's schism from the Catholic church. He establishes that without the active collusion of business interests, a docile citizenry and the military, the extermination of Jews might not have occurred. The complicity of Britain and America is barely treated, but the little touched on is informative.
A Century of Progress, the last chapter in the book, exposes the excesses of power as not inherent in the executive, but rather in the structure of government. To Rubenstein, an American president "can resort, if not to overt terror, at least to extralegal bureaucratic harassment to secure the compliance of the governed."
While a very good book, The Cunning tends to skip over events that could interrupt the narrative, like his definition of bureaucracy. Far from being a mindset unique to Nazi Germany, the rationalization and disenchantment of the natural existed since the Enlightenment. The Nazis set up concentration camps not because of bureaucracy, but because there was economic incentive. Rubenstein also posits that men have no natural rights - A dreadful propostion considering that if rights are granted by the state, those rights can be taken away. (A point he had repeatedly emphasized.)
Notwithstanding these kinks, The Cunning of History is a stimulating book with much to tell us about our past, as well as our future.

Professor Rubenstein was my most fascinating and challenging professor at FSU during the 1970s. His range of intellectual inquiry makes him a "Renaissance" man. He has written numerous provocative and important books.

And I am re-reading the books thirty plus years later.

Hart has crafted a great story here. The plot is tight, and of course the characters are believable. In this book Annie struggles to free her beloved Max as he's being framed for the murder of a beautiful young woman. She is dealing with a truly crafty and cold-blooded murderer, but she does not hesitate to put herself in harm's way if it will get her to the truth. Ms. Hart builds up the suspense throughout the book right up until the end when he is finally caught. It is easy to see why Caroline Hart has won so many awards. She is truly gifted. I really do enjoy this series.

This is Carolyn Hart's 17th mystery in the Death on Demand series alone. She can't turn them out fast enough for me. I loved it, all the way through.

I had only two problems with the book: (1)I really relate to Max Darling -- what loving husband wouldn't? -- and he is incapacitated and powerless virtually the entire book. (2)For more than a hundred pages I believed I knew the identity of the murderer; I was wrong.

What a fine read. And when is No. 18 coming out?

Dead Days of Summer
Carolyn Hart

If you like murder mysteries or the author Sue Grafton, you will love Carolyn Hart's Dead Days of Summer. The book is one is a long series called Death on Demand. I have no idea where this book fits into the whole picture, but I never once felt that I was left out of the loop because I had not read any of the others. The book does not have a strong Christian base, but it does speak of the Lord, church, belief, and faith. There is even a character who quotes scripture. As a Christian you would not feel weird, or wrong reading this book.

The story opens up on the slow side, and introduces you to a lot of characters right off the bat. This is definitely one that you have to pay attention to from page one or you could get lost in the mix of all the mayhem.

Annie Darling is the main character. The story revolves around her and her husband Max. Annie is the owner of a mystery book store called Death on Demand. Max is a private detective, but cannot call himself one because of the laws of the island that they live on. Broward Rock is the name of the island that they live on. It is one of the islands off of South Carolina.

Annie and Max had lunch together and are walking back to their offices, Annie insists that Max go to the office today and maybe someone will come in. Annie goes to her bookstore and immediately picks up where she left off on planning Max's surprise birthday party. Her mother-in-law Laurel is helping with the planning. It is almost close of business time when Max calls and says that he has a client and will be home later and call if it is going to be real late.

The client that hires Max is a beautiful woman who says that she is looking for her brother who disappeared the previous year. She shows Max pictures of him, and a note that states that he is seen most nights at a place called Dooley's Mine, which is a sleazy bar, that not many people would be caught dead at. They plan to meet there later that evening to scope the place out and see if he is there.

Max never calls and Annie freaks out. She goes to Max's place of business and finds and intruder. She then calls the police. Nothing is making sense, and just as a precaution a missing persons is released, just on a hunch because there is not enough evidence to go on. Annie calls all of their friends and they all start looking for Max. The friends that she calls are a mystery writer, and ex-military woman, an ex-editor, an ex-reporter, an actress, a newspaper man, and others.

The next morning they find a woman who has been murdered, and Max's car just outside the cabin that she has been murdered in. They don't find Max though. Annie knows from gut instinct that this is the person who hired Max. When they don't find Max, the search is on even harder. One of the friends Emma, who is the author, hires a great attorney for them, since it now looks like Max is wanted for murder.

Later on the same day that they find the dead woman, they find Max. He wakes up, confused, sick, and covered in blood. When the police find him they take him into custody for the murder of Vanessa Taylor, who is the woman that they found dead in the cabin. Max has never heard of Vanessa Taylor, and cannot remember anything that has happened. The police chief ends up having to put Max under arrest for the murder of the woman. While he is in the cell, Annie enters the jail and they talk. She vows to find who set him up, and get to the bottom of all of this mess.

Annie, her mother-in-law and her friends do just that. The majority of the book is them sleuthing around and getting information. They follow leads and end up unraveling the whole set up. Max is freed and life goes on as usual.

The book on the whole is good. It takes a long time for the story to develop and get into the action. If you are into meat and grit from page one this one will leave you wanting. If you have patience and don't mind a long build up and climax, then this is the book for you. Ms. Hart has wonderful characters and many of them. She also finds a way to keep them all tied to the story, even if it is just a sentence in the middle of the book. That is a definite gift, and I am glad that she does not leave the reader wondering what happened to so and so even if they were a minor character. Not a bad read at all, life as usual...until the next Death on Demand book.

I feel this may be the death knell of my love for the Death on Demand series. The previous book was disappointing as well. The "Max-in-peril" plot has been used twice before. And in those cases, Annie did not react like she did in this one. She was too serious, intense, morose. Not that I can't sympathize, but I guess my point is, the whole book was too serious, dark, etc. I like the lighter, funnier books Carolyn Hart used to do. I want Laurel being zany; Emma being intimidating; Henny channeling fictional detectives. And where's Miss Dora? I love her! Hasn't been in a book in ages. Plus, there weren't enough suspects in this one. It was pretty easy to narrow down 'who-dun-it'. I still give 3 stars cause Carolyn Hart is great, but I hope she returns to form in the next books.

Max Darling, a murderer? Annie Darling knows there isn't a chance Max is a murderer, but all of the evidence is stacked against him. After all, his car is found with the murder weapon inside and Max himself was covered in blood with no memory as to what had happened. Annie is willing to do whatever it takes to clear Max's name, even if it means putting herself in harm's way. Will Annie and her friends clear Max's name or will Max forever be branded as an adulterous murderer?

DEAD DAYS OF SUMMER is Carolyn Hart's 17th book in the series, but it is my first foray into her world. Needless to say, it will not be the last Carolyn Hart book I read! Ms. Hart draws even a new reader to the series into her vastly entertaining world, populated by the most colorful characters. Annie and Max have a variety of quirky friends and Ms. Hart makes the most of each individual's unique skills in this clever mystery. In fact, the characters are the true heart of this tale as the mystery itself is fairly easy to figure out. It is the characters who keep the reader turning the pages. After all, who knows what crazy plan this group will come up with next in their quest to clear Max's name?

Carolyn Hart does a beautiful job at establishing the community on Broward's Rock, South Carolina. Not only are the inhabitants vividly portrayed, but one gets a real sense of the layout of the island. Generally, the further a series progresses, the harder it is for new readers to jump in the midst of the storyline as the characters and settings are fairly well established. Instead, Carolyn Hart easily welcomes new readers into her Death on Demand series with DEAD DAYS OF SUMMER. Count me in as a new fan!

COURTESY OF CK2S KWIPS AND KRITIQUES

This book gives you all the lyrics to his songs and there are pictures and paragraphs about them.

"The Doors: The Illustrated History" is the best photographic, visual book record of the band. Compiled by Doors manager Danny Sugerman, it is a fascinating, visually rich and enjoyable display of a band that changed rock music and the amount of praise (and criticsm) they inspired. The pictures are great, they are clear, close and informative and clearly show how Jim Morrison created the theatrical aspects we so see so often in today's rock music. We also get different shots of the man, as the wild, leather-clad Lizard King and as a lonely, quiet poet. The articles and reviews are fascinating because they take us back to a time and place, but they are also surprising to read when compared to what is written today about certain rock artists. In one article dealing with the New Haven arrest where Morrison became the first rock performer to be arrested at a concert, the writer calls the music of The Doors "satanic, sensual and demented." A sign of what was to come with artists like Iggy Pop, Marilyn Manson, Alice Cooper and many others. Some of the reviews are especially well-written, like one where the writer says the Doors music evokes images like the eye-ball slashing in Luis Bunuel's "Un Chien Andalou." Like the music, the images are timeless, and evoke a poetic, deep persona who's presence is ever so strong in rock. Like The Beatles, The Doors are an unforgettable force, you hear them once and never forget. The foreward by Jerry Hopkins, who wrote "No One Here Gets Out Alive," is also informative and has interesting things to say about the resurgence of Doors music. This is a must for any Doors fanatic and anyone who has ever been touched by the music and words.

I'm somewhat of a new Doors fan, particularly of Jim Morrison. The hair and the pout drew me in first, then the music followed. When I found this book, I knew I had to own it. I was not at all disappointed. Sugerman has done a fantastic job of compiling the hundereds of pictures and newspaper/magazine articles from over the years into this informative collection. The progression over the years of Morrison's rise to fame and eventual downfall into drugs and self-desctruction is adeptly demonstrated. A must-have for any Doors fan.

Danny Sugerman is someone in the Doors "family" that alot of people don't think very highly of. He has made a pretty good living out of Jim Morrison's death and continues to this day to fuel the many myths he helped create with his contribution to "No One Here Gets Out Alive". But if it weren't for Danny.....The Doors would not be selling so many records or books or anything on Morrison. Danny has helped keep "The Myth" alive. This is why The Doors are so popular today. Having said that, no single person worked harder to keep the Doors name alive in the 80's than he did- for that I respect Danny.

This amazing compilation of cuttings, reviews, photographs and articles was collected by a young Danny during the height of The Doors success whilst working as Jim's assistant-answering Jim's fan mail.

Beginning with the bands first forays onto the LA gig circuit the fledgling Doors took the rock press by storm with their doom laden sound and extremely smart lyrical imagery. From the Whisky to Miami via the Singer Bowl and New Haven we travel along on the dark journey to oblivion that was the Doors turbulent and sadly short career as seen through the eyes of the press and a young teenage kid. As it happened live and uncut.

I absolutely love this book. The introduction and the photographs are worth the price alone. This book has the lyrics to all your favorite Doors songs plus poetry (lyrics) from Jim Morrisons' spoken word album "An American Prayer." It has also got interviews and a behind the scenes look at what went on during some of the recording sessions as well as definitions as to just what Jim meant in some of their songs. The discussion about the meaning of The End is great. This book is a must for Doors fans from the most ardent to the just curious. The book is not one that will be looked at once or twice and put on a shelf. It is a facinating read no matter how many times you read it. The Doors: The Complete Lyrics increased my respect and admiration for the band, and Jim in particular, 1000 fold.

This is a terrific book of cartoons by the Pulitzer Prize winner Michael Ramirez. His cartoons certainly reflect the times in which we are living. Some of them make you laugh and some make you sad, but they all make you think.
Ramirez is the best cartoonist living today in my opinion and he should be in every paper in this country.

This book is great! I bought it for my husband is who VERY conservative as a gift. I was thrilled to see that Ramirez had published an entire book of his work. We have always gotten a big chuckle out of them before and now we can enjoy all of them! He is very talented and very insightful! This book is a must have!

This guy is great! Great draughtmanship, great humor, and always the right point of view (pun intended)! The One True Heir to the great late Jeff McNelly, and the best political cartoonist today!

Wow! One of the funniest and most thought provoking books I've ever read. The images that Michael Ramirez can create with his pen and the powerful editorials that come with it are in a league of its own. The blatant, "in your face" honesty of his cartoons will make you think and laugh and the laughter is guaranteed to be heard by everyone around you!!!

Ramriez's book is a refreshing look at politics in a time when most Americans have never felt so angry or betrayed. Somehow he's able to pull a smile--or at least a smirk--out of you even when he's poking at the most heated issues. Ramirez proves that laughter really is the best medicine.

I can't imagine a better guide to Shakespeare than this. It's like a "for dummies" book, but better. The author covers just about everything, but she never bores you. In fact, I could hardly put this book down.

After a very lively introduction (about Shakespeare's life and the Globe theater), the author lists the plays in the order in which they were written. She divides them into four groups: the romantic comedies, the historical plays, the tragedies, and the romances. Then she tackles each of the four groups, writing about some of the plays. She tells you why the play is famous, she covers key characters (like Falstaff), and she explains the controversies that surround some of them. (For example, the charge of anti-Semitism about Merchant of Venice.) She makes a point of not covering every play --- if she covered them all, the reader would eventually lose interest.

Instead of getting bored, you are starved for more. The book is packed with trivia and intelligent observations. The author isn't shy about the sex and violence in the plays, either, which keeps things interesting. I highly recommend this book to anyone who wants an overview of Shakespeare's work. If you don't know about his plays, you probably want to, but you need a guide that was written specifically for you. This is the book.

+++++

This book's preface instructs, "Don't feel compelled to read this book from cover to cover" since it's meant for reading at a relaxed pace. Guess what? I DID read it from cover to cover!!

Why did I do this? Here are my reasons:

(1) THE AUTHOR'S WRITING STYLE. The author, Norrie Epstein, writes in a relaxed and leisurely but enthusiastic way making a somewhat difficult subject easy and enjoyable to read. She writes for the intelligent, common reader who's tired of technical, academic (and patronizing!!) jargon.

(2) THE BOOK'S ORGANIZATION. The book progresses logically with general comments on the works of William Shakespeare (1564-1616) to discussing the man himself to looking at the Elizabethan stage and then lastly discussing the plays. There is also a discussion of the Shakespearean sonnets. Finally, there is a fascinating end-discussion on the spin-offs that have resulted from Shakespeare's works (for example, music and films).

(3) DISCUSSION OF PLAYS. Not only are the popular ones discussed but the more obscure plays are also given attention. The plays discussed are as follows: eight romantic comedies, eight histories, one "problem" play, seven tragedies, and one tragicomic romance. All discussions are EASY to follow. And don't worry. There are NO boring plot summaries of the plays to read.

For many of the plays, there is a "What to Look For In" section. These informative sections highlight what is particularly significant in a play. As well, a major Shakespearean character of a particular play may be highlighted and given more detailed attention. For example, there are good, solid discussions of Shylock and Falstaff.

(4) ILLUSTRATIONS AND PHOTOGRAPHS. These are peppered throughout the book. I especially liked the black-and-white photo of Patrick Stewart ("Captain Jean-Luc Picard of the starship Enterprise") dressed up as Shylock.

(5) SIDEBARS. These also occur throughout the book. They highlight interesting bits of information that the author wants to bring to the reader's attention. One of my favorite sidebars is an open letter a critic of the 1600s wrote to Shakespeare entitled "As I Don't Like It." He commented on why he didn't like the play "As You Like It" (one of the Bard's best plays).

(6) INTERVIEWS. These are scattered throughout the book. The author interviews people (such as actors) who have a passion for Shakespeare. Notable interviews are with Kenneth Branagh and Ted Lange (of "Love Boat" fame).

(7) TRIVIA. And lots of it!! This Shakespearean trivia occurs throughout the book. For example, what does Shakespeare's epitaph say? Or, what Shakespearean character was Orson Welles' life ambition to play?

Finally, the big question: who is this book written for? Answer: for both novices and Shakespearean scholars--in short, everybody who is interested in the Bard.

I must confess that I thought I knew a lot about Shakespeare and his works. Was I wrong!! This book opened my eyes to how much I did not know.

In conclusion, after you read this book, you'll probably be like me and say, "What a piece of work was this man William Shakespeare!"

+++++

I mean it. It really is.

Norrie Epstein, who also brings you _The Friendly Dickens_, has produced an absolutely unbelievable wealth of information involving Shakespeare's life, work, and times, all in an extremely readable, interesting, and -funny- way. If you ever thought Shakespeare was unapproachable, you thought wrong. _The Friendly Shakespeare_ takes everything your high school English teacher said about Shakespeare's elegant and classy prose and throws it out the window, showing Shakespeare's work for what it really was: sex and violence - extremely graphic sex and violence, filled with the ultimate bawdy talk and most injuring insults ever to be seen in English. It takes the sentimentality out of Shakespeare, making it as unclean as it always was, explaining out-of-date references and slang that would otherwise mean nothing to the modern ear but made a great deal of sense for the Elizabethans.

Epstein explores almost every possible aspect of the Shakespearean world: examining each play and its virtues and downfalls, delving into the twisted world of Elizabethan culture, discovering Shakespeare's life (and the mystery as to whether Shakespeare was who we think he was, or a pseudonym for any number of other writers, or if Shakespeare stole credit), interviewing actors and directors, the zany adaptations and unusual performances by unlikely actors, and reviewing the many film versions available on video. Nearly every page has a marginal tidbit with a quote or statistic or other little-known fact about Shakespeare's world or productions of his plays. Just from flipping randomly through the book, you could learn more about Shakespeare than you thought you ever wanted to know.

Being a student, I can say that _The Friendly Shakespeare_ is the finest reference for students - whether or not they have an interest in Shakespeare. Everything is presented in a fresh, exciting manner, and for those "experienced" students who have a passion for Shakespeare, it isn't "dumbed down." This isn't _The Idiot's Guide to Shakespeare_. It provides both the basics to get those non-enthusiasts going, and some extremely thought-proviking information for the veterans. Never once is Epstein's text dry or boring or overly wordy, like people expect most Shakespeare studies to be. Nor is it childish or pathetically simple.

What I love most about this book is how it really breaks through the stereotypes and barriers that most teachers have set up, making students HATE Shakespeare - they oversanitize it, making it pretty and beautiful, they oversentimentalize it, making it weak. Shakespeare's plays would not have lasted so long if they were just attractive poems about love. Certainly not. _The Friendly Shakespeare_ takes us back to the true Shakespeare, the Shakespeare that the original audiences must have seen - the gritty, dirty, audience-pleasing text, from the sexuality of _Othello_ to the extraneous gore of _Titus Andronicus_, to the often hushed-up fact that the sonnets were written to another man and not a woman.

Yet Epstein never makes it just about the sex and the violence - she does not deny Shakespeare was a genius of words, as he truly was. She just makes us more -aware- of his genius, for no true genius was ever all fluff and flowers. She tells us -why- he was brilliant, not merely saying he was because popular opinion states it. And after reading this book, you'll understand why, too. And you'll think Epstein is a genius as well for bringing us such a fantastic reference.

I recommend _The Friendly Shakespeare_ to everyone - students, adults, actors, directors, teachers, the veterans, the novices - it will inspire, it will enamour, it will delight, it will shock, and most importantly . . . it will make you love Mr William Shakespeare the way he -should- be loved.

I bought this book based on the reviews at Amazon, and am very pleased with my purchase. I have "The Complete Works" of William Shakespeare, but it wasn't really complete until I bought this book.

Although this is billed as a book about Shakespeare and his work for people who don't like it (of which I am definately not numbered), I learned a lot about the plays and the periods in which they've been performed since to make this book worthwhile. For example, I hadn't known that the sonnet sequence for the most part is from an older man to a fair young boy. This isn't the idea of some fringe group either, but accepted by most Shakespearean scholars. Knowing this fact can certainly add a different level of meaning to many of the sonnets ("Shall I compare thee to a summer's day?").

Aside from the increased knowledge I gained of the texts, this book really helped me place the work against the time period that it was written for, and how people have viewed it since. Ms. Epstein's best analogy for aiding modern readers in grasping how Shakespeare was viewed in his day is comparing him with a writer for TV (strangely enough, a Twilight Zone episode did this as well). People who went to the Globe in 1600 went to see a "All in the Family Royal" or a "Three, Well That's Company" starring their favorite actor, Richard Burbage. The writer? Do you know who the writer of your favorite TV show is? Will "Cheers" be the "Much Ado About Nothing" of the 24th century? Or, even worse, will "Married . . . with Children"? (By the way, if you have any interest in Shakespeare, I strongly recommend Kenneth Branaugh's new version of "Much Ado." While Keanu Reeves is stilted, and Michael Keaton possesses Dogberry with the spirit of Beetlejuice, for the most part the film is a joy, especially any time that Branaugh or Emma Thompson is on the screen.)

Rather than summarize the plays (which only details the plots, which quite often weren't of Shakespeare's invention), Epstein attempts to comment on the play, quoting critical and personal reactions. She also presents some small interviews with some of the most famous Shakespearean's living, about parts and plays most commonly associated with them. I was disappointed because the book was incomplete. Although I agree with her dismissal of "Julius Caesar," she only goes into detail on "The Tempest" alone among the romantic plays, and misses quite a few of my favorite comedies as well. The books is quite a brick as it is, but this is due more to the large print and often wasted space between sections rather than the amount of words contained.

I read The Friendly Shakespeare from cover to cover, but it is well suited to be picked up and read from anywhere within its pages, most sections being only two pages long. For the bardolator and bard-avoider alike, Epstein's book is a lot like her subject--entertaining and fun, with enough serious matter for later contemplation.