Publications and Media Books

Although the book was written in a time people would consider completely different compared to now this book still holds strong points that apply to the way things are. I feel like the book reopened my eyes to a lot of the things I already knew and was said in a way that was raw and uncut. We are a very powerful people, and that holds no weight when the power isn't used properly. This is a must read and far from outdated materiel.

This is the first text to my knowledge that covers the process of curriculum development. It focuses on the student, which is crucial in any good curriculum. Of course, its focus is also on the neglect of the Afrikan student born in or studying in America, which is still generally overlooked.
A must read for anyone interested in education.

One of the greatest books that I have ever read. Dr. Woodson hits all points and areas

This is a wonderful book. I read it many years ago as a young person. And after becoming an adult I purchased it and read it again. My son read it when he was younger and he still keeps a copy at his home.
His son is reading it now. This is a book that everyone should read. It's a great read for blacks, because it's about blacks. However, this book is enlightening for anyone who dares to pick it up.
Great read!

This is book a must have for anyone studying African American History. If you are building a library, it cannot be complete without this writing - this is one of the foundational cornerstones.

Very easy to read, useful information. I haven't finished reading the book, but I have already applied a lot of the suggestions to my own painting and improved them tremendously. She even suggests a good way to lay out your pallet that makes it easier to find the color you are searching for. I love how she uses a limited pallet and still gets all of the colors necessary to create beautiful paintings. This should be helpful to any watercolor artist, or even painters in other media.

"Into" watercolor? If so, this is a 'must have' reference that will not stay on a shelf, but be nearby your painting/study area as a useful tool in mixing and painting with watercolors. Not only is it written in clear and precise language and well illustrated with examples from the author as well as other artists, but it also is chock full of practical, valuable information on pigments, color theory, application techniques, and tips and hints for problem solving in case of unexpected consequences. I found this book easily readable and useful to both decorative artists and fine artists, experienced or beginner. It covers both the why, the what with, and the how to of watercolor application and much of the theory is applicable to other media as well. Even the non-painter will look at works of art with new eyes after reading this interesting and informative text.
Making Color Sing
Making Color Sing

This book was suggested by one of my Art Teachers in College. It was in answer to my question in regards to studying more about the use of colour in watercolour painting. It has yielded a wealth of information. I look forward to working my way through the rest of the book and applying the knowledge it contains. Would make a great short course textbook too. Highly recommended for anyone wanting to know more about the use of colours in their painting, regarding of the medium they choose.

i learned of the book making color sing in an art workshop. It is not a new publication, however 'still in print' and it gives many processes for use of color that i feel any artist would profit by having a copy for reference..and achieving special effects. great guide book. one for the 'watercolorist's personal library'

Making Color Sing

I am new to the medium of watercolors and have found this book to be very helpful. The author keeps the selection of colors to a minimum in order to keep your costs down but also helping you to learn the aspects of what each color can do. This is a book that I feel I can really learn and become a better artist.

this book is absolute garbage. the author has no concept of history and completely disregards the archaeological and historical record. If you you want to know more about ancient history, go to the experts. heck, even Livy is better than this guy!

Looking through this book reminded me of the movie "A Beautiful Mind". A brilliant mathematician constructs a fantasy world complete in every detail. The only problem is that it doesn't exist, and that he's as mad as a hatter.

Just two examples of the many "possibilities" suggested by our schizoid author:

(1) The Biblical flood and the Trojan War were the same event because Noah was Aeneas, who fled Troy to found Rome. (Noah and Aeneas had names that sound alike. Thus it is proven.)

(2) Nine kings fled the fall of the Tower of Babel and seven kings founded Rome. Therefore, Rome was founded by the kings who fled the fall of the Tower of Babel. (In the author's words, the Biblical figure of nine is "close enough" to the Roman figure of seven.)

Need I go on?

The professional historians faint as prominent mathematician Doctor Fomenko et al research the known historical data and come to fairly controversial conclusions.

For example, the English historians rage at the suggestion that the history of Ancient England was de facto a Byzantine import transplanted to the English soil by the fugitive Byzantine nobility. As the sign of recognition of the special role of the English historians who consider themselves the true scribes of World History, the cover of the present book portrays Tintoretto's Jesus Christ crucified on the Big Ben.

The Russian historians brand it as pseudoscience because Dr Fomenko asserts that there was no such thing as the Tartar and Mongol invasion followed by over two centuries of slavery, providing a formidable body of documental evidence to prove his assertion. The so-called `Tartars and Mongols' were the actual ancestors of the modern Russians, living in a trilingual state and aspiring Global Empire with Arabic and Turkic spoken as freely as Russian.

The ancient proto-Russian state was governed by a double structure of civil and military authorities and the hordes were actually professional armies with a tradition of lifelong conscription (the recruitment being the so-called `blood tax'). Their `invasions' were punitive operations against the regions that attempted tax evasion.

Fomenko proves for a fact that official Russian history is a blatant forgery concocted by a host of German scholars brought to Russia by the usurper dynasty of the Romanovs. Their ascension to the throne was the result of conspiracy, so they charged these German historians-imports with the noble mission of making Romanov's reign look legitimate.

Dr Fomenko et al prove Ivan the Terrible to be a collation of four rulers, no less. These rulers represented the two rival dynasties - the legitimate Godounovs and the ambitious Romanov upstarts.

The European historians fume not only because Fomenko blows consensual Russian history to smithereens, successfully removing a crucial cornerstone from underneath the otherwise impeccable edifice of World History but for asserting that all medieval European Kings and Princes were but breakaway vice-regents and vassals of the Global Empire who badly needed glorious and very `ancient' past in order to legitimize their new independence from the Empire.

Dr Fomenko adds insult to injury, wiping out one by one: the Ancient Rome: the foundation of Rome in Italy is dated to the 14th century A. D., the Ancient Greece and its numerous poleis, which he identifies as the mediaeval crusader settlements on the territory of Greece, the Ancient Egypt: the pyramids of Giza become dated to the 11th to 14th century A. D. and identified as the royal cemetery of the Global Empire, no less.

The civilization of the `ancient'' Egypt is irrefutably dated to the 11th to 15th century A. D. following the breakthrough in decoding of the ancient Egyptian horoscopes cut in stone and painted on the temple walls.

Arabic historians may find some consolation in the crucial historical role of the Ottoman Empire as a part of the Global empire in the 15th - 17th century. The trouble is that this Empire was initially a proto-Christian state, with Hagia Sophia identifiable as Temple of Solomon, but built in 1550-1557 A.D. by Sultan Suleiman according to Fomenko and Islam with all its key figures is datable to 15th 16th century A. D.!

The Chinese historians are also an unhappy lot because Fomenko wipes out the Ancient History of China outright. No such history. Period. The compilation of the so-called Ancient Chinese History is reliably datable to the 17th 18th century only. It is perfectly recognizable as the Ancient European history, reworked and transcribed in hieroglyphs as yet another historical transplantation.

The Divinity excommunicates Dr Fomenko because the history of religions according to Fomenko looks as follows: the pre-Christian period (before the 11th century and Jesus Christ ), Bacchic Christianity (11th to 12th century, before and after Jesus Christ), Jesus Christ Christianity (12th to 14th century) and its subsequent mutations (15th to 17th cy) into Orthodox Christianity, the Catholicism, Protestantism, Islam, Buddhism, and so on..; and The Old Testament written after the New Testament in xiv-xvi cy A.D., if you please! Everybody served? Saint Augustine was quite prescient when he said: "be wary of mathematicians, particularly when they speak the truth."

Watch Video Here: http://www.amazon.com/review/RAZQNMXM4M9CL Has history been tampered with? Yes, it has! Did events and eras such as the crucifixion of Jesus Christ, the Roman Empire , the Dark Ages, and the Renaissance, actually occur within a very different chronology from what we've been told? Yes, they certainly did!

The history of humankind is both drastically shorter and dramatically different than generally presumed.

Why is it so? On one hand, it was usual custom to justify the claims to title and land by age and ancestry, and on the other the court historians knew only too well how to please their masters. The so called universal classic world history is a pack of intricate lies for all events prior to the 16th century. World history as we learn it today was entirely fabricated in the 16th-18th centuries. It's likely that nobody told you before, but

there is not a single piece of firm written evidence or artefact that is reliably and independently dated prior to the 11th century.

Naturally, after what you've learned in school and university, you will not easily believe that the classical history of ancient Rome, Greece, Asia, Egypt, China, Japan, India, etc., is manifestly false.

You will point accusing finger to the pyramids in Egypt, to the Coliseum in Rome and Great Wall of China etc., and claim, aren't they really ancient, thousands of years ancient? Well, there is no valid scientific proof that they are older than 1000 years!

The oldest original written document that can be reliably dated belongs to the 11th century!

New research asserts that Homo sapiens invented writing (including hieroglyphics) only 1000 years ago. Once invented, writing skills were immediately and irreversibly put to the use of ruling powers and science.

The consensual chronology we live with was essentially crafted in the 16th century by the Jesuits.

The world history was compiled from contradictory mix of innumerable copies of ancient Latin and Greek manuscripts and other irrefutable proofs delivered by late mediaeval astronomers that were cemented by the authority of writings of the Church Fathers.

Early in life, we learn about ancient history. Children love the magical lessons of history - they are like fairy tales. Teachers recite breathtaking stories; very soon We learn by heart the names and deeds of brave warriors, wise philosophers, fabulous pharaohs, cunning high priests and greedy scribes.

We learn of gigantic pyramids and sinister castles, kings and queens, dukes and barons, powerful heroes and beautiful ladies, emaciated saints and low-life traitors.

Ancient history is based documents, manuscripts, printed books, paintings, monuments and artefacts - called primary sources.

The problem is that neither these ancient documents, nor events described therein can be irrefutably dated, moreover they contradict each other for the most part.

When a school textbook tells us that Genghis Khan in year X or Alexander in year Y, have each conquered half of the world, it means only that it is so said in some of the written sources.

There are no answers to simple questions:

When were these primary sources written?

Where and by whom were these sources found?

It is wrongly presumed that ancient and medieval chronicles, written by Genghis Khan's or Alexander the Great contemporaries and eyewitnesses, are readily available. Actually, only sources written hundreds or even thousands of years after the events are there, compiled mostly in the 16th 18th centuries, or even later.

As a rule, these sources suffered considerable multiple manipulations, falsifications and distortions by editing. At the same time,

innumerable originals of ancient documents under various pretexts were destroyed in Europe under various pretexts.

The names of persons and geographical sites often changed meaning and location during the course of the centuries.

Geographical locations became clearly defined on maps only with the advent of printing.

This made possible the circulation of identical copies of the same map for purposes of the military, navigation, education and governance tasks.

Historians from Oxford say: "hey, everybody knows that Julius Caesar lived in the first century B.C.

`Julius Caesar' statement is only a point of view as

there is simply no irrefutable documentary proof that Julius Caesar or any other great name of antiquity ever existed.

Better than that - extremely rare sources that can be reliably dated back to the 10th-14th centuries A D, do not show the polished picture of classical history.

They show a picture both contradictory and confusing.

All methods of dating of ancient sources and artefacts are erroneous:

Radio-carbon C14 method produces dating with exactitude of plus minus 1500 years, therefore it is too crude for dating of events in historical timeframe!

The Almagest tractate, which lies as corner stone contemporary chronology, compiled in the 2nd century A D by Ptolemy, the founding father of astronomy, contains astronomical data of 9th to 16th century!

The Bronze Age,that has supposedly began 5000 years ago. Bronze is made of 90% copper and 10% tin, but the technology for tin extraction dates back to 14th century A D!.

All eclipses contained in manuscripts, like Thucydides one, relating 'ancient' events have exclusively medieval dating. All horoscopes cut in stone or painted in Egyptian temples, like Dendera have exclusively early medieval dating solutions.

Not quite what you have learned in school? Open your eyes, and, you will find sufficient proof to reach step by step the inevitable conclusion that the classical chronology is false and therefore, that the history of ancient and medieval world universally accepted today, is also false. Have a fresh outlook on everything said or printed about "ancient" and "enigmatic" Roman, Greek and Egyptian, medieval as well as all other "lost and found" civilizations.

Antiquity and Dark Ages are phantoms invented in the 16th 18th and polished in 19th 20thcenturies. Human civilization is in fact barely 1000 years old!

This book will change your perception of History forever!
What if Ancient Rome, Greece and Egypt were invented during Renaissance?
What if The Old Testament was a rendition of events of the Middle Ages?
What if Jesus Christ was born in 1053 and crucified in 1086 AD?
Sounds Unbelievable?
Not after you've read "History: Fiction or Science?" by Anatoly Fomenko, the genius mathematician.
Armed with astronomy and computers Anatoly Fomenko turns History into a rocket science.

Will people ever read before spamming? Yes, Jesuits could not rewrite world history alone, they had help. Anyway, Dr Prof Acad A.Fomenko does not point to jesuits as the driving force of world wide history manipulation in published volumes 1,2,3;, actually he barely mentions the poor devils. Check it with 'Search inside' feature, please. China is rarely mentioned either, in fact, Dr Fomenko is completely eurocentric. Right, his theory contradicts all mainstream schools of history, because in their actual state they are all built on blatantly erroneus chronology. You don't need a mysterious cabal (conspiracy) to falsify history, the falsification is its modus operandi. It is inherent to history(ians) to falsify (distort) events, as it is inherent to humans to boast as it is inherent to power (authority) to legimize itself by referrring to glorious past made to its own order. Dr Prof Fomenko and team have identified scores of instances of such manipulation in Russian, European, etc.. history, and delivered valid statistical proof thereof. His own 'reconstruction' is completely another story. Forget c14 as a valid method of dating. W.Libby has initially discovered a brilliant method of INDEPENDENT dating. Too bad, c14 method has become a joke after a forced marrige with dendrochronology with consensual chronological scale inbuilt. Radiocarbon method can't stand blind tests, but is so very productive as a rubberstamp.

This is an excellent book for aspiring writers who want to publish a children's book, rich with advice and seasoned with experience.
I found it to be thorough, honest, and enormously helpful. Not only does it contain all the information I was looking for, but it also contains answers to questions I hadn't thought of... plus lots of helpful hints.
My copy of it is already "marked up" (the highest sign of appreciation for any book of mine) with notes and high-lightings. I've already read it twice and I know I'll be reading it again.
-Hannah K. Knott

All the other books like this are 1000 pages of self-indulgence by their authors. Aaron Shepard keeps it short and to the point.

I confess I have three of Mr. Shepard's books. Why? Because, they are all straight to the point. The advice is not padded with trite page fill, such as, "Paint you home office mauve so you'll feel relaxed while writing." You can pay for a thicker book, but you won't get more information. The Business of Writing for Children gives you the facts you need to set off on the pathway to success. What else do you need?

just wrote my first children's book did not know what to do with it after I was done. Great links and hints on how to get your book published through a publisher or to do self-publishing.

"The Business of Writing for Children" is an exceptional guide for all writers. There are loads of books on the market that deal with writing, but Aaron Shepard's work is a diamond amongst lead pellets. He shares his real life experiences that have led him to become a world renowned author. Reading the book was like being able to sit down face to face with a children's lit superstar to teach me all about the business.
There are several features that make Shepard's book superior to others in the field.

First, the book is a step-by-step guide. Shepard presents a logical sequence of events to follow to accomplish your writing goals. Second, Shepard shares the lessons that he learned as a new author struggling to get his work published to the accomplished writer he is today. Third, he lays out how to format your work in the manner that editors look for. Fourth, he provides unique strategies to make your manuscripts stand out on editors' desks. Fifth, Shepard explains how to get your work to editors who do not take unsolicited work. Sixth, the book gives an array of ideas to market your work and yourself. These are only a few of the things that I found to be extremely useful in this book.

Additionally, the book is not filled with fluff. It is only about 100 pages long. Some of the other books on this subject are hundreds of pages long. I found that all of the larger books available are filled with a lot of useless information; whereas, Shepard only supplies useful and relevant information. I appreciated his approach because I felt that I needed a straight forward approach to help me on my writing journey.

I am open minded and found some material interesting. For the most part this book focuses on the absolute extreme forms of body art. The material has a tendency to turn toward the dark side with pain as expression and to be honest, some interviews were just disturbing.

This book is how most people I've run into became aquainted with the modern primitive and body modification culture. Re/Search has done an excellent job of putting this work together and suprisingly enough in the days of the internet providing instant access to most aspects of subculture, it has stood up to the test of time. This isn't a photobook, rather its an illustrated series of interviews and some critical essays regarding the modern primitive movement. If you're expecting hot chicks with pierced nipples, you'll be sorely dissapointed but if you're actually interested in seeing what drove people to engage in these body practices, you'll find it a favorite item in your library.

The book is great. It should be required reading for any anthropology class.

A brilliant introduction to the evolution of western piercing and tatoo culture and its inspiration. Very much of it's day: mid 1980s to early 1990s, but a very interesting read never the less.

This is the book that really began my journey into an alternative lifestyle and body modification. I have bought many copies over the years to pass on to other people as a reference tool to answer questions about themselves and me.

My sister, ever since I lent her "Geek Love," is really into books set in carnivals, circuses, or with sideshow characters. This book, my first foray into nonfiction, was definitely something different.

I was surprised to see upon shipping that it is actually more like a textbook than a paperback novel. It is larger in order to show more details in the photos, and like other reviewers mentioned, some of the photos are extremely graphic. This book is not appropriate for children. Also, the narrative is somewhat lacking. The writing is fine, especially because it humanizes sideshow folk, but the photos often don't match up to what is being said on that page, and sometimes photos don't have back story within the text.

That said, my sister loved it. She liked getting the real story about these real people, and how they interacted with others and amongst themselves. It was a great birthday present, and I'm glad I chose it for her!

this book is an ok read. not enough pictures of the characters he refers to. pictures are of random freaks. x-rated if you are thinking of this for a child. makes you wonder if you dare to have children!

The pictures are extremely graphic. Very interesting book though, but felt guilt for getting entertainment from their oddities.

Originally released in 1976, 'Freaks: We Who Are Not As Others' is a bit dated in that many of the people mentioned have since passed on. When first released, the book was quickly pulled for reasons I can only guess at, foremost it probably being too graphic for the times. Its large size and many pictures more than make up for its slimness (only 120 pages).

Author Daniel Mannix gives us and inside and personal look at the old-fashioned "Ten-In-One" show: the Freak Show. Mannix worked in the carnival business and personally knew many of the people he speaks about, such as Pricilla The Monkey Girl and Emmett The Alligator Man (who were happily married). Before "political correctness" and phrases like "Differently Abled" came along, the Ten-In-One was often a haven and a home for those born with birth defects.

Midgets, dwarves, giants, obese folk, "the human skeleton", bearded women, co-joined twins, those born without arms or legs, pinheads, hermaphrodites, skin conditions, the double-jointed, and deformities - all were welcomed at the Ten-In-One and many made a great deal of money at it. This isn't a book making fun of these oddities, its book that celebrates their differences, their lives, and their ability to love.

Mannix's prose is informative and conversational, the stories are true (though he admits a few have questionable roots), and the many pictures are captivating, graphic, and ... well, freakish. I found the book so absorbing that I read it through in one sitting. There's a lot of history addressed, from the court jesters of historic kings to an intimate look at the most famous Siamese twins Chang and Eng, to the reasons why its an insult to call a dwarf a midget or a midget a dwarf. Mannix keeps the book thoughtful and respectful while giving insight into the origin and history of the Freak Show.

Whether curious or simply researching, this is one of the best books ever written about the old-fashioned sideshows. If your interested in the subject, then don't miss out on this informative and graphic story of a group of amazing people living in the amazing world of the carnival. Enjoy!

This book is the end all best collection of sideshow anomalies that includes both people with congenital deformities and just those with special talents. The book provides graphic pictures, detailed explanation of defects (and talents) and personal stories about famed "freaks" that are blessed (or suffer) from their uniqueness. There are more pictures then anything else and it can be quite vivid for certain ages. The book includes midgets, giants, conjoined twins, parasitic twins, bearded women, dog faced boys, rare skin condition, lobster limbs, missing limbs, fossilized bodies, those with half bodies, hermaphrodites, and many other curiosities.
The book is very easy to follow, the infomation is thorough, and it contains rare photography that I have not seen in any other book or website (such as freque.com). I am not going to be crude, but I respect people's differences and like to see what the lure was of these people in their heyday, so this book was incredibly engrossing. This definately may not be for everyone, but it is a great book on a unique subject.

For once, a story that doesn't bash the SCA, AND is entertaining to boot. Highly recommended.

I was delighted by this book and I'm crushed that earlier works by "Monica Mary Pulver" aren't available at my library nor through Amazon. The name is in quotes because I found out after the fact that MMP is another name for the writer I know and enjoy as "Margaret Frazer," who writes the Dame Frevisse & Joliffe mystery series, which I love with a passion.

"Murder at the War" is set at an SCA convention. If you like that kind of setting, I recommend "We'll Always Have Parrots" by Donna Andrews, which is set at a fantasy convention (a cross between Conan and Star Trek, more or less). Andrews also has a Civil War reenactment, "Revenge of the Wrought-Iron Flamingos." "Bimbos of the Death Sun" and "Zombies of the Gene Pool" are hysterical sendups of SF conventions by Sharyn McCrumb.

Back to "Murder at the War" -- its sympathy for the SCA makes it remarkable, and I thought the writing was high quality and the dialog believable. It had humor and suspense, and I recommend it. I'm at a loss as to why the last two reviewers were so savage. I enjoyed it so much, I went looking for more -- and succeeded. I found out that MMP also writes as "Monica Ferris," and I'm eager to start reading the mystery series written under that name, since I can't readily lay hands on any of the other MMP titles. Under any name, this author's books are a treat.

This is one of the first books that I kept running to do research. If you want to know about these wars then grab a copy and read. Much research was completed before Ms Pulver wrote this book Be prepared to keep reading until completed. Definately one that you don't want to put down until then end.

I know many of the people in this book. I grew up with them in the SCA, have laughed and cried with them, given them a guest home (at times 20 or so at a time), made garb, cooked, served and honored them as friends, my "children," and, unfortunately, sometimes my enemies. Now, naturally, I don't mean that I personally know these folks (although I do know a great number of the people who served as models, as well as those who agreed to be portrayed as real people in this novel), but I know the archtypes. Besides, I'm proud to say, I was able to be a tiny, tiny bit of help to her.

Now, what do I think of this book?

This is the author's first novel. She slaved over it for a long time. However, I can't say that the writing is really good (sorry, Mary) -- in this case it is the storytelling that stands out. What she did do, however, is create a crime mystery (her favorite story style), and set it into a situation that she knows and loves.

Given that she has written a number of books since Murder at the War came out (each of them better than the last), consider this a good start to her career, forget about the writing errors and read it as a ripping story told around a campfire.

Hmmm. Just before I saw the book's web page, I was thinking it might be time to find my copy to read again.

Mary Monica Pulver is one of my favorite authors, and I loved all of the 'Peter Brichter Mystery' series, of which this is one. While those interested in the SCA may disagree, to me this is perhaps the least of those books, my favorite being 'The Unforgiving Minutes'. Regardless, these books are the sort that one can keep and reread many, many times.

She most certainly can write (contrary to the opinion expressed in another review here), and has a deft, gentle, and subtle way of character development. Her touch is light, and you truly can feel her main characters. In addition, she writes with an occasional sense of humor that is notable for the fact that she doesn't force it forward; rather it flashes by in the sweep of the story. One example is the first mention of the SCA'a Pennsic War in 'The Unforgiving Minutes': "It's a friendly little war; loser keeps Pittsburgh."

Note: this book was originally entitled "Knight Fall".

Also note: I believe this author now publishes as Monica Ferris. Her 'Crewel World' books are good, but strike me as somewhat pale and bland in comparision to these superb 'Peter Brichter Mysteries' outings. Perhaps it's just that I better identify with the strengths and fears of the 'Brichter' characters...

I have to admit being somewhat disappointed by "Al Qaeda's Great Escape." The fundamentals of the book are sound, as Philip Smucker and his translator Lutfullah Mashal trail Afghan tribal leaders and American soldiers through the mountains of Afghanistan, roundly condemning the American aversion to committing ground troops to the conflict and giving a jaundiced view of the members of the media covering the events, including himself.

Unfortunately, the book suffers from numerous obvious mistakes, which have persisted into the paperback edition. Some of these are gramatical or spelling mistakes (one does not "caste" suspicion or blame, as the book does on two separate occasions) and some may simply be typos (the NBC correspondent Mike Taibbi is referred to as "Mike Tiabbi" and there is no F-17 aircraft in the U.S. Air Force arsenal). However, there is at least one factual error as Smucker gets Air Force Pararescue Jumper (PJ) Jason Cunningham's name wrong, referring to him as "P.J. Cunningham" instead. The fact that SrA Cunningham was killed in action during Operation Anaconda makes this error even more upsetting. I can understand how the mistake was made, but that doesn't make it any less sloppy.

By themselves, none of these errors are serious, but there are quite a few of them, and all of them are the sort that should have been caught by a fact check or a decent editor. That so many foolish mistakes made their way into the final draft of the text forces one to wonder what other, less obvious errors slipped through. To me, these errors nearly call the credibility of the entire book into question, even if I happen to agree with many of Smucker's conclusions.

However, the book is quite a page turner and seems to get things right at least on the broad-strokes level. It's not a bad book, but I would be very wary of using it as a single source of information.

Philip Smucker's account of the Battle at Tora Bora is the culmination of much journalistic and personal bravery. Surprisingly, what happened at the battle itself (when Osama Bin Laden is said to have escaped, navigating through the mountains) is not the most intriguing part of Smucker's story. Rather, it is Smucker's commitment to seeking out the heart of the story, and delivering it in a thought-provoking, purposeful manner. All around, a very good read.

This is a journalist account of the eastern quadrant of Afghanistan during the intial operations of the invasion. Included are detailed discussions of Tora Bora and Shah-i-knot (AKA Anaconda). A couple things emerge from this account:

1) Pakistan did nothing to help the US anti-insurgent operations, and it was probably stupid to rely on them to seal their border. This permitted insurgents easy escape routes (an underground railroad) whenever operations soured, and created conditions for a revival of the insurgency (which we're facing now).

2) The chief of special forces and the top military officer on the ground in Afghanistan did not consider capturing OBL to be a top priority. His orders were to overthrow the Taliban and weaken support elements like Al Queda. Getting OBL was a secondary consideration.

3) Tactical operations had small troop formations. Anaconda was the biggest operation and used about 500 American troops, plus 700 Afghans who disappeared after being strafed in a friendly fire incident. Al Queda had about 1,000 men on the mountain. That our forces were not decimated is a testament to their skill and courage.

4) Al Queda was pervasive around Jalalabad, the author never seems to have trouble finding AQ members or sympathizers with whom to start trouble. AQ seemed to move in small units- 2 - 5 men, and could have been controlled by a strong military presence. It's hardly suprising that guerillas move in small units, but why was there no strategy for containment? The US had no option because of their small force (they had maybe two dozen men on the ground at Tora Bora, our best shot at getting OBL). The fact that the US had no such presence backs up Scheuer and his contentions about the overall competence of command.

5) The CIA seems a bit goofy. In an anecdote Smucker talks about how his guide was courted by the CIA to work undercover. The CIA backed off when they realized he worked with a journalist- a fact no one seemed to try to conceal. So the CIA basically made him an offer without doing even a preliminary check on what he was currently doing. The journalists were a huge boon to the economy of that region so basically everyone there was working for the media, a warlord, Al Queda, or some combination of the three. You'd think the CIA might want to know whose side their informer was on?

6) The Tora Bora operations were wasted from the beginning because Tommy Franks and Dick Cheney announced the operations in advance on public TV. Kind of hard to surprise anyone doing that...

Quick read to get nitty gritty on operations most people have already forgotten, but which were in retrospect our best chance to capture Bin Laden.

This book conjures up a litany of incompetencies. In the immediate aftermath of the attacks on the WTC and the Pentagon, our commander-in-chief vowed to take down the chief perpetrator "dead or alive." Despite the mild rebuke he received at the time from his wife, the President stuck with his determined sounding language. The fiasco that unfolds for us to see in "Al Qaeda's Great Escape," exposes both hubris and hypocrisy. After vowing to get bin Laden, the White House did not bother to coordinate a military plan that would have concentrated our forces -- conventional and special forces -- on the senior AQ leadership that masterminded 9/11. Mr. Smucker provides convincing evidence that AQ was goading for a major ground confrontation with US troops in Afghanistan. When, instead, we unleashed a massive aeriel campaign, the AQ leadership decided to pack it in, slip over the border into Pakistan and hope to fight another day. Ironically, the expanded Islamist insurgency -- with bin Laden still at the helm -- has found what it was after in the Iraqi theater. The argument put forth by Pentagon officials -- Rumsfeld in particular -- that a major infusion of US forces into Afghanistan risked alienating the Afghan population no longer washes. Afterall, we've now become bogged down in a country that had no dog in that attack. And since several thousand US infantry made it to the 2-mile high battle of Anaconda a few months after Tora Bora, the Pentagon/White House warning of a "logistical nightmare" that would ensue if we sent in thousands to surround the old Soviet redoubt doesn't fly either. The American public is still paying for strategic mistakes at Tora Bora to this day. Beyond that, the Admin's contention that bin Laden might not have ever been there is rendered moot with the testimony of the Green Beret commander, Col.Mulholland, within the text of this book, not to mention the massive amount of circumstantial evidence provided by eyewitness testimony of AQ and Afghans. I noticed that the other day, Pentagon lawyers actually used as "summary evidence" to hold one Gitmo prisoner his complicity in helping bin Laden escape Tora Bora. So apparently the Pentagon is now convinced enough that he was there -- despite vehemently denying it for over 3 years -- to use it as proof to detain the enemy. Given all we've learned -- and with the help of this fascinating and gritty account -- one wonders how the incompetents managed to escape a broader rebuke from the US public for their gross errors of judgement. No wonder that when pressed to express his regrets of his first term, Mr. Bush now lists the statement "dead or alive" as something he might not have said given a second chance.

A wonderful rendition of the battle at Tora Bora and our mistakes that allowed Osama bin Laden to escape, from someone who was actually there. A great story teller who weaves the personalities of the terrorists, warlords, correspondents and goverment officials into a book that is almost impossible to put down. A great read!

Stephen Quiller is a master when it comes to teaching color theory. This is a must-have watercolor reference book.

This is an excellent book on color, very indepth and very clear. I've learned things from this book that I didn't know. I recommend it to anyone who loves color and uses it in their work or art.

Stephen Quiller's books,(I have his book on using Acrylics as well) are definitly the most helpful to me as I am attempting to take up painting again after a long hiatus. His color wheel is fabulous as are his suggestions on mixing results for different pigments, suggestions on setting up one's pallette, what colors are available in various named brands, etc. on and on. All of this information is for water based media, so if that is what you need, it is all here! One may or may not like his style of painting---it is semi-abstract with elements of realism that makes it appear more commercially appealing I suspect, but his color info is dead on! One definitely does not wind up with mud when following his suggestions.

Stephen Quiller is a real master of color harmony. I warmly recommend his book. He teaches not only the color theory, but also demonstrates how it works in practice with his own work. Quiller shows how to mix colors in real life and how to find out the complementaries. His color wheel adds the commercial names of hues that one finds in shops, which is quite handy.

Quiller will teach you not to use the "real" surface color of the objects, but to search for feelings and the atmosphere of the ambient. The leaves may be, say, violet and the sky yellow, if that is how you see them.

One thing Quiller misses to point out is additive color mixing like it was used by pointillists. When colors mix in the eye the rules of harmony are somewhat different.

If you are sceptical about brave color mixtures I recommend you to first have a look at Quiller's art at his internet pages.

Great book presenting a complex theory in understandable fashion! Quiller is an expert in the theory of color.

This book covers costume by detailing each decade of the nineteenth century. You'll see examples of dresses, hats, fichus, mantles (jackets), trimmings, and undergarments. If you need very specific detailing of undergarments or sewing techniques, this book is general in nature and doesn't always give examples of every part of a woman's attire for each decade. Some decades emphasize particular parts of a woman's dress. But, in each decade, you'll see examples of the silhouette and popular dress styles. You can also find the contemporary price of yardage or accessories like stockings or gloves.

In short, this is a handy reference, particularly when you have a quick question or if you want to see the difference in style from the 1840's versus the 1860's. It's great for me as a historical romance writer because I can quickly get a sense of the costume and layers of the garments. My only issue is that there is not enough detail about the intricacies of women's undergarments in the nineteenth century. There are illustrations of bustles and crinolines and corsets, but during the Victorian period, there were so many layers to women's underclothes that it can be confusing as a writer to remember all of the details.

So, I would say that this book is a terrific place to start historical research because it explains each type of garment rather than just shows pictures or illustrations as some historical costume books do. But, if you need to research a particular undergarment or accessory, you may wish to supplement this book with other resources to get the finer details.

This is an excellent book to give an accurate picture of clothing worn in the 19th century for a variety of occasions. Also very useful is the information on fabrics used, hat styles, hairstyles, etc. Easy to find the information for different decades. This is an excellent book for individuals trying to create authentic reproduction Victorian fashions.

While this book was originally published in the 1930's, it has stood the test of time to become a definitive reference on the subject of 19th-century women's fashion, from the beginning of the Napoleonic/Regency era right into the early years of the Edwardian period. The text is exhaustive, delving into the smallest details (which can sometimes be the most important) of every feature of feminine costume from year to year, and features extensive sidebars on such things as underclothes and headgear. Since I run a website devoted to glove fashion and history, I particularly appreciated the attention given to gloves (which were so much a key - indeed, mandatory - accessory of women's clothing throughout the century that women would often even go to bed wearing gloves!). The hundreds of illustrations are a mix of first-class original work and authentic period illustrations. Since this is a reprint, there are no color illustrations (which are mentioned in the text), but this is a minor flaw. Anyone who has any interest at all in 19th-century women's clothing needs to make this book a basic part of their reference library.

I bought this book a few years ago and I found it very helpful. The information is presented in an interesting way.

The photographs are period black and white photographs. Color photography did not exist at the time the photos were taken.

The black and white drawings are detailed and beautiful.

I am not a costumer. I am simply a person who is interested in 19th century British history. This book is a fabulous reference and definitely worth the $20 I paid for it.

I was disappointed at the lack of color. The photographs (recent ones only, of course) and fashion plates were in black and white.

I would definitely recommend this to anyone interested in women's 19th century British fashion.