Western Books

This book amazed me. It opened my heart to feeling such love and bliss that it seemed I was standing in the Rose Garden of Love Adi Da was depicting. As I read further he revealed that I am fully capable of entering into this sensual, blissful domain of perfect love he offers, that I am already in and only have to become aware that this is so. It blew my mind that I and everyone can feel this love at all times if we follow his instructions about how to relate to him and everything.

Hridaya Rosary is, without question, the greatest poetry ever spoken.

What purpose could art and poetry ever serve, but the awakening of the heart to love beyond darkness, beyond any further clenching need? Hridaya Rosary, or the Four Thorns of Heart-Instruction, pierced me in just that way. There is no preparation I could have had for the sublimity that awaited me. I couldn't spoil the surprise for you even if I tell you the ending.

Many books, perhaps too many, are on today's bookstore shelves trying to explain what God is. But if you want to actually feel the Divine in what you are reading, I recommend the Hridaya Rosary, the Four Thorns of Heart Instruction. There I found crystal clarity side-by-side with the language of ecstatic love. Adi Da writes poetry of deep wisdom and incredible passion. He writes in such a profound way that the Truth slid around my chattering mind and touched my heart and soul. Rarely can written words move me into a state of deeply relaxed being and heightened awareness, but the Four Thorns has this power.

In one essay in this book, Adi Da says, "You cannot merely read my Wisdom-Teaching and 'get it'". He is right. I found that these writings were addressing some part of me far deeper than the thinking mind or even the emotional being. Throughout the book, he describes and recommends a process of "melting down" which I found overewhelmingly attractive at the deepest level. Carrying out the instructions in the book has re-arranged my orientation to life and my place in it. I feel more real, more balanced, more sane than ever before.

The essays and talks in Hridaya Rosary are sophisticated. When I tried to grapple with them mentally I just became frustrated. When I was able to relax the mind, then the words somehow enforced themselves at a primal point in me, at the heart. In these moments the wisdom of the book became intuitively clear and I felt a profound relief. At these times, it was obvious that the way things really are, Reality (with a capital R), is much different from what I ordinarily assume.

I believe this is the most efficacious instruction I have ever read.

The Hridaya Rosary is profoud, sublime and utterly brilliant. No scripture or esoteric spiritual text can equal the magnificence or the overwhelmingly direct transmission of tangibly felt Love-Bliss this book and the essays and talks which accompany it convey. Adi Da Samraj does not spout poetry in the conventional sense. His words inherently go beyond language. I couldn't (and I don't think anyone can) read this book in a conventional way, for it took me on a deep feeling odyssey into the ultimate spiritual process. I found its mysteries are fundamentally unspeakable, but spoken with perfect eloquence and discrimination. Every cell of the body was screaming YES! to this outrageously sensual, delightful infusion of Divine-Bliss. Adi Da Samraj writes, "I Am not elsewhere, and yet I Am Infinitely Beyond... evey thing and every one Is in Me." This book convinces me that this is completely true.

John Earman has written a wonderful book that shows the value of using the precision of probability theory to bring clarity to a murky issue. Long have certain philosophers marvelled at David Hume's essay, "On Miracles," supposing it to be an original and creative refutation of believing in miracles. Earman shows that Hume's arguments are neither original nor sound at establishing his pessimistic outlook on miracles. Moreover, using probability calculus, Earman is able to establish clearly that Hume's argument is a failure. In fact, Earman shows that many of Hume's contemporaries were familiar with probabilistic reasoning and were able to demonstrate Hume was wrong within in his own lifetime. So, not only was Hume wrong, but his failure cannot be attributed to the lack of development of inductive reasoning in his time. Earman works hard trying to understand what exactly Hume meant by examining Hume's personal letters and the developments of Hume's essay as it was published in various editions. After several attempts to read Hume charitably, Earman finds Hume's application of probabilistic reasoning is muddled and confused, at best. Furthermore, Earman shows that if Hume was right, this would spell disaster for inductive reasoning that confirms (or disconfirms) scientific reasoning. Those who endorse Hume's argument against miracles are supporting a line of reasoning that would eqully undermine science.

Earman's book is commendable for a number of reasons. First, it is a first-rate work in philosophy that is written clearly. Earman's rigor coupled with his readable prose make for a rewarding study. Second, this book makes significant contribution to Humean scholarship where Earman convincingly argues for various ways to interpret Hume, which he substantiates with cross-referencing the work of Hume and his interaction with his contemporaries. Third, the book is a powerful lesson in probability theory (especially Bayesianism). Some background in probabilistic reasoning may be needed to understand parts of the book, but even a cursory knowledge of probability theory will be nourished by Earman's work. Fourth, this book puts forward some substantial theories relevant to philosophy of religion, especially the nature of miracles. Fifth, the second half of the book is filled with important sources on the 18th century deist controversy, which are invaluable to studying probability and confirmation of miraculous events by eyewitness testimony. For those who find these issues to be important and wish to get a better handle on how to think clearly through these issues, this book will be a welcome piece of scholarship.

This is a fascinating and useful new approach to the question of Hume on miracles, including many of the original essays relevant to the debate, plus an extended argument using Baysian probability logic. The result was quite eye-opening, and, although the classic arguments of Hume have an Enlightenment aura, there is a need for a more robust approach to the skeptic stance toward miracles. I doubt if theologians will get any ammunition from this argument. In the period of the New Age movement when a book like Ouspensky's In Search of the Miraculous is used by sufi sharks to lure people into cultic dependencies we need more than Hume's classic but limited consideration. Perhaps a warning about Mephistopheles and Faust might help.
There is something historically apt in the treatment here, since the use of Baysianism is also its history, in simultaneity historically with the life and times of Hume.
Great little book. I found this looking for the author's other book, Bayes or Bust, which I didn't obtain, but which looks interesting as a resource for this one.

Introductory philosophy courses in college or university invariably include Hume's argument against miracles in the philosophy of religion unit to convince students that one cannot use evidence of miracles (such as the resurrection of Christ) to argue for metaphysical truths. Of course, Hume's argument SHOULD be included in the course--but in the LOGIC section as an archetypal piece of bad reasoning. Finally, a professional philosopher--who is by no means a Christian believer--has done a thoroughgoing scholarly critique of Hume's argument, showing beyond all question that the argument is perfectly circular: Hume, with a pre-Einsteinian, 18th century mindset, assumes that "uniform experience" exists against miracles and concludes--surprise, surprise--that no evidence can ever be effectively marshalled to prove that a miracle has really occurred. This book should be read by every naive philosophical rationalist. It will open epistemological doors to a new appreciation of the potential of miracle arguments as a prime support to claims for a genuine, historical incarnation.

In Hume's Abject Failure - The Argument against Miracles, John Earman offers a cogent and comprehensive refutation of Hume's argument against miracles originally published as "On Miracles" in An Enquiry Concerning Human Understanding.

Hume's contention is that given the "unique" nature of miracles no human testimony can suffice to render them credible - i.e. day-to-day experience necessarily trumps claims of the miraculous or novel. This argument has provoked interesting and occasionally heated discussion throughout the years. While containing some apparent truisms - such as the need for good reasons in an evidentiary construct and the gullibility of people- Hume's claims are generally viewed as being overstated. In criticising Hume, Earman is not arguing for the truth of any alleged miracles, rather he is contending that Hume's attempt to dismiss miracles a priori is unwarranted. It is interesting to consider the implications of Hume's assertion if it were true - much modern scientific theory such as quantum mechanics or Darwinism would be decimated. Some commentators have tried to minimize this logical extension by arguing that science deals with a different subject matter and as a consequence is immune from this criticism- this seems contrived and unconvincing.

Though not original in his assessment of Hume's failure, Earman's exposition of the issue is the most comprehensive and well articulated that I have encountered. He highlights two important factors that likely contributed to Hume's failure, an inadequate understanding of inductive argumentation and wishful thinking. With regard to former, Earman highlights many of Hume's shortcomings and in the process does a nice job in explaining Bayesian probability.

While, in regard to wishful thinking, seeing what we believe is not unique to Hume. It seems evident that reason can be skewed by belief and emotion. Arguments concerning ethics or faith issues are particularly notorious in this regard. As Earman notes, faith positions (e.g. naturalism or atheism) often seems to play a role in defences of Hume's argument against miracles. It is interesting that at the outset Earman feels compelled to state his lack of theistic belief - in an apparent effort to diffuse similar criticism.

This small book (approx. 200 pages) is divided into two parts. In the first part, Earman lays out his case, while the second part is comprised of various historic writings that pertain to the issue. These extracts include "On Miracles" and various other historic criticisms of Hume's. I find this structure very helpful - not having to go back and forth to primary sources. Aside from the lucidness of Earman's argument I was especially impressed by the quality of thought exhibited by some of Hume's early critics whom I had not previously encountered, Price is especially impressive.

Overall, this is an outstanding book. I highly recommend it to students of philosophical history and the philosophy of religion.

C. S. Lewis exposed the circular reasoning in Hume in the book by Lewis entitled "Miracles." David Hume is often portrayed as a skeptic. On the contrary, he was a freemason and therefore a gnostic. He was skeptical of nongnostic positions, such as Christianity. He was an apologist for gnosticism. When looked at in that light, Christians are skeptics with respect to freemasonry. The title "skeptic" is a propaganda term much coveted by freemasons and juwes in order to assume the position of intellectual superiority.

Mr. Earman, who is nonChristian, has done a great job here in reviving criticism of Hume. Hume is worse than any god worshipped by any heathen since he demands uncompromising devotion to his position whether or not he is right or wrong.

Hume's chief argument against miracles is circular reasoning. Hume argues that miracles violate uniform experience. However, if uniform experience is against miracles, then they cannot happen. "Uniform experience" is his presupposition. And he defines "uniform experience" to exclude miracles. In other words, he begs the question. If miracles didn't happen, well, they didn't happen. This is Hume's argument in its circular entirety. This criticism came from Lewis. Although, I have a better argument than Lewis's and Mr. Earman's.

I would simply point out that pure logic cannot dispense with the empirical question of whether miracles happen. Afterall, mathematics is made up of tautologies. As such, pure logic or pure mathematics cannot have physical meaning. Pure logic, as Hume employs, cannot tell us anything about the world. Therein lies the sophistry. It boils down to the distinction between analytic and synthetic statements. Whether or not miracles happen depend not on logic, but on the existence of God who intervenes in human affairs and human life. As the former atheist Antony Flew said, it is impossible to argue against the existence of God in light of the evidence of the obvious intelligent design of the universe.

As soon as Hume "defined" a term "uniform experience," and inserted it in his argument, he entered the world of pure logic. In that world, no matter how far you search and how much you struggle and no matter how much you indulge in rationcination, you will end up where you started: with nothing. Beware of someone who makes definitions in the process of their argument with you.

If anyone went to the moon and found a green house that supplied oxygen, food and other human necessities, they wouldn't hesitate to posit an intelligent creator of that house. So why would anyone question the existence of God in light of this wonderful planet that supports our lives?

Atheism and pantheism are really the same thing. One denies God and the latter calls everything God. "Miracles" only make sense in a universe with a monotheistic God, not in a universe where nature is postulated as a god.

Earman makes reference to modern physics, which is unnecessary. Newton's physics didn't give any credibility to Hume's arguments since his arguments were pure sophistry. Anyway, Newton already embarked on relativity theory in the querys to his Optics. Query number one and number thirty already impinged on general and special relativity respectively. (Einstein, who plagarized Josiah Willard Gibb's book "statistical mechanics" in the Einstein papers on brownian movement also plagarized special relativity theory. Poincare, Fitzgerald, Larmar and Lorentz already conceived of special relativity. And the equations for general relativity divided by zero. David Hilbert noted that Einstein's equations were wrong, and Friedmann, the Russian pointed out that Einstein divided by zero three times.)

Intelligent design is all you need to establish a creator. A creator is all you need to ground miracles. Earman's book should be read. It's a welcome treatise in an age of brainwashed academics. The relation of academics to their students is well summed up in the parable of Jesus: "When one blind man leads another blind man, sooner or later they will both fall into a pit."

Unlike all other religions, Christianity offers the empirically grounded fact of Jesus's resurrection from the dead. Accept Him as your savior or be subject to Him as your judge.

As a collector of cookbooks (more than 600 titles) with an emphasis on the "Junior League" books, this is one of my all-time favorites. I have tried many, many recipes and they are all great. I found lots of "different" recipes that were simple to make and tasted great. Definitely add this one to your collection.

I have to say that I was on the "testing and planning" committee for this cookbook and I can't be happier reading everyone's reviews. Over 600 recipes were triple-tested in order to get the ones for this volume. I have used it over and over for gatherings and meals for my family. I'm always pleased with each recipe. It has something for everyone and the history about Cincinnati is wonderful. It makes a great gift for someone!!

I love this cookbook. It is one of my favorites - I've never been disappointed with any recipe I have tried. The design is aesthetically pleasing, the facts about Cincinnati are interesting (and I lived there for four years), and the Teller's House Salad can't be beat. I've bought this cookbook at least five times for friends and family and will continue to do so. My only complaint ... where is volume 2?? :-)

this cookbook has a wonderful variety of great, elegant, and easy recipes for casual entertaining with friends and families. i happen to love cookbooks, and this is a wonderful addition to my collection.

The cookbook has never failed me. I have given it to several people as a gift and they also raved about it. Has both simple and complex recipes. Also need tidbits about Cincinnati in the margins.

I thoroughly enjoyed this book. It is a realistic look at life on the mission field in Papua New Guinea.

The book focuses on different problems that came up while translating the Bible into the Folopa language; it also shares the interesting ways they were solved. (Ex. Discovering the indigenous words for concepts like love and trust while hiking through the jungle and hunting for bats in a cave.)

"In Search of the Source" is a worthwhile read for anyone interested in missions, Bible translation, Papua New Guinea, or simply learning more about other cultures.

Neil Anderson is a great guy to work with. The Folopa people are great people to be with. The little narrow ridge they live on is hard to get to. The book as well as Carol's book give a good insight into what it is really like in PNG in the Folopa villages. Neil is great to talk to and work with. Him and his wife are great Christian people to be around. It is a great book to read. Enjoy it.

Neil is a powerful speaker with a heart for conveying God's truth. The stories in this book display the power and insights being revealed to people looking for the Truth. Good, easy reading with humor and insight scattered throughout.

Neil's book gave me a look into the life of another culture, as well as to the misunderstandings that come about through cross-cultural ministry. See also his wife's side of the story: "Do You Know What You Are Doing, Lord?" by Carol Lee Anderson.

Not very many modern day people spend over two decades living with the most primitive people on earth in the highland jungles of Papua New Guinea. Neil Anderson tastes unusual "treats," hunts for bats with bow and arrow, deals with medical realities, and translates the Bible into a formely unwritten language. Observing life from this perspective while endeavoring to communicate universal truths in the process, Anderson draws images that stay imprinted on your mind and become a part of your heart!

Like thousands of Americans, I have heard Anderson in person; he is a masterfull storyteller. I've read "In Search of the Source" at least three times since it was first published, and learn new insights each time through. The most amazing thing to me about the main theme, the "bete" of life as found in the unforgiving tropics, is how applicable the same truths are to my own experiences found amongst the stone and glass urban jungle where I live!

Set in the Colorado territory in the 1870's, Robert Cooperman's collection, IN THE COLORADO GOLD FEVER MOUNTAINS, provides a real sense of the life, the values and the ambitions of the people who joined the gold rush, the fever they burned with, their actions and behavior. In doing this, the book is valuable as an historical document as well as a literary one as it provides an authentic imaginative glimpse at the people of that time and place. And as a literary work, IN THE COLORADO GOLD FEVER MOUNTAINS brims with the pathos, lust, and tragedy of humanity and sings in the lyric voice of its dramatic monologues.

IN THE COLORADO GOLD FEVER MOUNTAINS consists of three separate sequences of poems, all involving the ficitonal town of Gold Creek. The first, IN THE GOLD FEVER MOUNTAINS, provides a picture of the small gold mining town in the voices of its inhabitants. It could be a refugee camp; its existence is so tenuous and ephemeral, based on the neediness of haphazard human beings. Perhaps the most dramatic of the three sequences is the second, A COFFIN AND A CARVED STONE, in which the trial and hanging of a woman for the murder of her abusive husband are witnessed and described in the unique voices of several dozen characters. THE BADMAN AND THE LADY, the final of the three sequences, describes, in the voices of yet other western characters, the brief romantic encounter between a proper English woman, Sophia Starling, and an untamed wild west outlaw, John Sprockett, and the lifelong effects the encounter has on both.

All in all, IN THE COLORADO GOLD FEVER MOUNTAINS relates the drama of civilized people in the primitive conditions to which their fate has driven them, whether by choice or by circumstance, in the rich, vivid language of a gifted and skilled poet.

Cooperman once again leaves us in awe. He is a great poet, and a wonderful storyteller. He captures the spirit of the times, and lets you be part of the Gold rush. Only this time you are sure to come out a winner. Excellent work.

Robert Cooperman's In the Colorado Gold Fever Mountains captures in its own mountain of vivid, readable poetic monologues the Gold Rush experience from top to bottom. In the three books of poetry that comprise this handsome volume, Cooperman introduces us to characters of all kinds, many of whom we get to know well. At times, the book seems uncanny in how it reveals character. In one poem, a character speaks of another--a woman's anger and bitterness toward a faithless man. In the next, that same ne'er-do-well is seen in a wholly different light by a gold-panner, or the town's doctor, or a saloon-keeper. A living picture of sin and life's small salvations emerges from this choir of well-differentiated voices. Of course, some poems in this measurable collection are stronger than others, but the beauty here is the immense power of the whole package. I felt grateful to be in Cooperman's presence for the nights in which I read the book. I enjoyed my continuous sense of amazement that such a good poet could imagine that garish and golden and gritty world with such intensity--and such generosity of spirit. Hardly anyone's writing like this now. So reading Cooperman's latest work is truly a special delight. His other full-length book, In the Household of Percy Bysshe Shelley, is still available from the University of Central Florida Press. I recommend that highly, too. Cooperman's fearlessness, which keeps him writing the kind of books virtually nobody else in American is writing now, makes him a treasure for all readers.

Welcome to Gold Creek, the fictional Colorado boom town in the 1860s that is the central character in Robert Cooperman's collection of extraordinary dramatic monologues, In the Colorado Gold Fever Mountains. These poems tell of the most lowdown of high times, for Gold Creek is a town that, in Mr. Cooperman's words, "is emblematic of that most American of activities: working like a dog to strike it rich quick." In this book, the inner lives of the townspeople rise from the dead and, like ghosts compelled to confess, at last speak true. From Mayor Cavendish to Mary Benedict, the Golden Slipper's charwoman, dozens of characters reconstruct the loves and lusts of a town that rose from, only to return to, dust, even though some of that dust was gold. And yet, despite its portrayal of the ultimate squalor of Gold Creek's riches, Mr. Cooperman's collection is great fun to read. One can't help being captivated by the Shakespeare-loving badman John Sprockett, his face hideously mauled by a bear. Sprockett is guide to one Sophia Starling, a daring English beauty, on her one-woman tour of the Rockies. This Victorian vestal virgin for high adventure sports a truncheon, no less, obtained from a New York City policeman. The sexual frisson between Sprockett and Starling is exquisitely funny and touching, as the snowed-in pair learn that two people could not be more perfectly mated--or ill-suited for one another. Equally fascinating is the tale of Etta Lockhart, the prostitute hanged (or "jerked to Jesus," in the talk of Gold Creek) for killing her abusive pimp. Her hanging is the book's central event, reacting to which the townspeople show their true colors (which are more than a little muddy). Mr. Cooperman's poetry perfectly adopts the vernacular of the Colorado mines. The characters speak in that plain American that even cats and dogs can read. Their confessions are often punctuated by the surprise of a simile as they reach for words to make clear their most turbid feelings. "She slapped my face/her palm a hive of hornets," Linnett Sparks says--a poor miner's widow, recalling how, in her girlhood, her mother had reacted to Linnett's mentioning her lost sister's name. Later, on catching a glimpse of outlaw John Sprockett all sorghum-sweet in the presence of Miss Starling, Linnett--now a cook at the Blue Lady Mine--admits, " If he looked at me that way/my skillet might've melted." In the Colorado Gold Fever Mountains proves Mr. Cooperman to be a great storyteller, an accomplished poet and a robust lover of life.

So, you say you like reading about the history of Colorado's early gold mining camps but usually don't like poetry? Well, you are in luck. Robert Cooperman, one of Colorado's premier poets, has written a book of narrative poems that is unlike anything you have read in a long time. In The Colorado Gold Fever Mountains is a trilogy of poems that are a pure delight to read. These poems paint pictures of the people and events in 19th century mountain towns that are so vivid you will take a place among the participants. Cooperman does this by giving realistic, believable voices to the people living in the Mountain West we know as Colorado. Book One takes the reader into the thoughts, activities and every day life of residents and visitors alike to a fictional Colorado gold camp. Don't miss "Francis DeLacey, Publisher of the Gold Creek Optimist" or the thoughts of "I.O. Emerson, Freighter, Salida, CO." This is definitely not your every day poetry. Book Two is my favorite. It is titled A Coffin and a Carved Stone and relates the towns feelings prior to, during, and after the death of a prostitute who was hanged. The thoughts attributed to "Simon Black, Hangman" and "Thomas Burden, Preacher" will stay with you long after you lay the book aside. Book Three describes the journey of a proper English lady and her hired outlaw escort on a tour of Colorado in the 1870s. It is a touching, gentle, harsh narrative with a surprising ending. Cooperman has a talent to write nattative poetry in a manner that draws the reader in, sits them down, and virtually involves them in the discussion or event. He is that good. If you are looking for a book that portrays the entire spectrum of humanity as it may have been during the gold fever period of 19th century Colorado, get this book. You will never view poetry in the same way again.

Wow, I couldn't put this book down! Packed full of great characters. I can't wait for Michael Senuta's next western. Don't miss this one!

Extremely well written, with interesting characters and vivid descriptions of the old west, this novel is thoroughly enjoyable.

A story of courage, strength, dedication, ability to overcome obstacles, friendship, forgiveness, and love, Incident at Copper Creek, portrays the American characteristics that the west was built upon and that we still admire and value today.

I read the first half on a plane. I couldn't put it down. I kept reading in the taxi and finished it that night.

I hope that there will be a sequel. I would love to know what is in store next for Marshall Trace Hawthorne and Lane Carter.

But, whether a sequel to Incident at Copper Creek, another western, or something of a completely different genre, I won't miss Michael Senuta's next novel!

Michael Senuta was my 8th grade English teacher. Once, he read us "A Tale of Two Cities." He likes to eat at the Amber Pub, I've heard. He's a terrific man!

I read this in one sitting. This left me wanting more.An adventure with twists. Great for anyone in the family.

Incident at Copper Creek is written very much in the classic style of Westerns of years ago. Too many Westerns today are not traditional American stories with values we can relate to. Instead, they are thinly disguised bodice rippers more suitable for an adult bookstore. Not so with Incident at Copper Creek. It is a real page turner with believeable characters. It is good clean fun the way a good Western should be. I look forward to more Westerns from Michael Senuta. Sooner the better.

Andrew Jackson, the President of the United States in 1844,
tells Martin Van Buren, his vice president and successor, that "joint control is no control" because under the terms of the Treaty of Ghent, the United States and Britain have joint
control of the Oregon Territory. The book's set in 1837, which historically, isn't when the Oregon-bound settlers
set out. Chalk it up to dramatic license. You have your
cast of characters: Whip Holt, the assistant wagonmaster,
he takes over after Sam Brentwood leads the wagon train as far as Independence, Missouri. Sam marries Cathy van
Ayl's widowed sister, Claudia, and they stay on there to outfit
future wagon trains. You have Henry St. Claire, a British
spy, whose mission for Her Majesty's Government, is to
sabotage it. You also have a beautiful Russian, I forget her name, but she's blackmailed by the Czar's government into
sabotaging it too. Then there's Hosea, a runaway slave,
you also have the Taylor family, Danny, an escaped endentured servant, and Stalking Horse, a Cherokee Indian.
You also have a man dying of consumption, a father with a
daughter, and his illegitimate granddaughter. There's also
a bankrupt planter and his daughter, also named Claudia.
I highly recommend it.

The greatest series of historical fiction starts with a bang. Hey, someone contradicts Andrew Jackson in the FIRST sentence.

With an interesting cast of characters, as well as action and intrigue, this book has it all as the wagon train starts its journey to Oregon by covering the eastern half of the US. Historically, settlers Oregon-bound did not start until around 1844, but we can let that slide. What is strange is that THE principle cast in this book take a diminished role in future titles, save for Cathy Van Ayl. (I'm not counting Whip, who was more prominent later on in Nebraska and aafterward). A MUST READ.

This is the first book in the Wagon's West series.

The president of the USA is calling in favors. He wants to make sure that the west is American territory and not British or Russian. To do this he calls on his old friend Sam Brentwood and asks him to start a wagon train to Oregon. Sam agrees and will guide the train to Independence, MO where he will stay and make a way station for the future trains to come.

This is where you first meet all the main characters and learn the interaction between them and the types of things that they must face if they are going to try and forge a new life in the west for themselves.

This is the story of their struggles against the British & Russian forces trying to keep them for making the trip.

This book is one of the 7th printing from back in the early 80's. If you are interested in the settlement of the American West this is one series that you need to revisit.

The year is 1837. United States' President Andrew Jackson, his Vice-president, Martin Van Buren, and financier and fur trader, John Jacob Astor, are in a race with the British and the Russians to settle and claim the Oregon Territory. Jackson calls upon his close friend, mountain man and rugged veteran Sam Brentwood, to put together a wagon train with the purpose of traveling overland to Oregon and settling the territory. The train of prairie schooners eventually includes over 500 people - folks who were willing to risk their lives to make the first overland trip across America in an entourage of this kind. They were motivated by the gift of 600 acres of free land to homestead in Oregon, and the opportunity to start new lives. The financial situation in the US was terrible during this period. Due to a major depression many of the potential Oregonians had lost their jobs, life savings and/or property.

Brentwood, the wagonmaster, and his assistant Whip Holt, begin the journey in Long Island along with a beautiful, feisty widow, her younger sister, and the sister's elderly husband. The small group pick up more people and covered wagons as they slowly move cross-country to Independence, Missouri. Missouri is the frontier town where Sam Brentwood will set-up a trading depot and leave the wagon train in charge of Whip Holt. Missouri will be the pioneers' last look at civilization until the Pacific Northwest is reached.

This is Book 1 of 24 in Dana Fuller Ross's fabulous "Wagons West" series. This fictional account of the first wagon train to cross the US is extraordinary. The characters are complex and very well developed. They obviously grow and change throughout the journey of almost three years. The author vividly brings history to life here. And the politics behind the settling of the West are fascinating, as are the descriptions of the land and the Native Americans the group encounters along the way. As one would expect, the novel is filled with tales of adventure, hardship, courage, love, loss, tragedy and triumph. Many details have been taken from actual diaries and journals of early settlers. Reader BEWARE! Once you start this book you won't be able to stop until you have read all 24 novels. The next one is "Nebraska," and deals with the second leg of the trip from Independence to the foothills of the rocky Mountains. Very highly recommended!
JANA

Dana Fuller Ross captured my interest in the first paragraph of Independence, Vol. I of Wagons West Series. He kept my interest through 22 more volumes of Wagons West plus the sequel of The Holts, An American Dynasty and a The Frontier Trilogy of Wagons West. In the story of the first wagon train from the east coast to Independence, Ross introduces the Holts, the Brentwoods, the Blakes, the Indian White Elk and many other characters that will dominate the pages of this imaginative story for the next 100 years. This becomes my own community as we struggle across the great rivers, plains, deserts and mountains to California, Oregon, Washington and Hiwaii. American History comes alive when this community becomes a part of the Discovery of Gold in the West, the development of Oregon and California, the Revolutions in Hawaii, Cuba and the Phillipines, and the World Wars I & II. I have never been so captivated by one writer as I have been with Dana Fuller Ross. I warn you if you read Independence you are in for many exciting hours of entertainment for some time to come. I read them all between February 1997 and February 1998 and was I sorry when I finished the last one.

Like too many others, my journey to becoming a Barzun addict was a slow, steady build. Yes, it was through first reading 'From Dawn to Decadence' that I came to admire his electrifying prose and sparkling wit. And his books on culture and education...my gosh, man!

So there I was in the neighborhood bookstore and I see a brand spankin' new Barzun reader. Since I read in tangents, the format seemed a bit scattered but I bought it, knowing that I would always, no matter what tangent I was on, find something of interest in this volume.

I couldn't have been more right!! I've had the book for, maybe, nine months now and I'm STILL finding, savoring and rereading these excerpts. So many topics covered- from baseball to Berlioz, crime-fiction to higher education, race to romanticism. These days, whenever someone writes about so many subjects, there's always a suspicion that we, the readers, will find ourselves slighted- how can one person actually EXCEL in so many areas and still retain quality and grace. Barzun is a stunning example of someone who can and if you're anything like me (not reading all the way through, but reading each exerpt as it strikes your fancy), this book will rank on your 'most rewarding purchases' list

The breadth of subject matter, and the consistent intelligence with which it's handled, is just dizzying. You might not agree with a given position that Barzun stakes out in his galaxies of subjects, but he's always interesting, humane, thoughtful, and informed. Plus he's a lucid, vigorous, coherent writer of English prose -- you could use this book just as a style manual in learning to be a better writer!

Ideal for young people and students, who will find here a vast treasure-trove of necessary cultural reference. (So now you know who Berlioz was!) A place to begin building your humanities education, and your intellectual character, as it seems many of our colleges are no longer up to the task. It's one of those books that'll make you a better person. No fooling.

This book may serve as an ancilla to Barzun's masterpiece From Dawn to Decadence, as a calmative for those upset by what they take to be Barzun's adverse criticism of subjects dear to them, and as a portable treasury of Barzun's writings - some of them never before published or hard to obtain. The first and third of these uses will be apparent to anyone who glances at the table of contents or samples some of the essays. The second use might be hinted at by quoting Barzun's comments on Complaint and Criticism from the selection "Science and Scientism," which Michael Murray's helpful bibliography tells us is taken from Barzun's 1964 book Science: The Glorious Entertainment:

"Criticism as I understand it differs entirely from attack or complaint. Its difference from complaint is especially important here, for I am persuaded that complaints against the machinations of culture today have become as poisonous as the things complained of. This is not surprising. Resentment and indignation are feelings dangerous to the possessor and to be sparingly used. They give comfort too cheaply; they rot judgment, and by encouraging passivity they come to require that evil continue for the sake of the grievance to be enjoyed.

"Criticism, on the contrary, aims at action. True, not all objects can be acted on at once, and many will not be reshaped according to desire; but thought is plastic and within our control, and thought is a form of action. To come to see, in the light of criticism, a situation as different from what it seemed to be, is to have accomplished an important act."

A Jacques Barzun Reader is a book for readers of Barzun, would-be readers of Barzun, and readers who have never liked Barzun. A treat for all these three kinds of readers are the few pages of verse at the end of the book. Readers ignorant of Barzun should start with a book of his on a subject they are interested in.

Since Mr. Murray, who is writing a biography of Barzun, no doubt worked with Barzun on the book, both his Introduction and the selections must have a certain authority for anyone interested in the inimitable JB.

Michael Murray, editor of "A Jacques Barzun Reader," has compiled a beautifully varied collection of the great cultural historian's essays -- many of which even we hardcore Barzun admirers have never read & never thought we'd have the chance to read. For example, Barzun's provocative distinction between the "craft" of criticism & art in literature is a seldom-seen essay, & shed light on an aspect of Barzun's thinking that was unknown to me.

Is the book too small? I don't know -- perhaps any such compilation of Barzun's extraordinary & humane writing would be too small, too exclusive. These essays are (presumably) Murray's choices, & I have no quarrel with them per se. But where are other long-treasured & fascinating Barzun essays, such as "James the Melodramatist" or a thoughtful (& negative) critique he wrote decades ago on Eric Partridge's "Usage & Abusage"?

I begin to see that, in fact, a complete collection of Barzun's written work -- all seven or eight decades of it -- is called for. It would, of course, require numerous volumes. "A Jacques Barzun Reader" is an excellent start. I am happy to learn from the dust jacket that Michael Murray is writing a biography on Barzun.

A minor cavil with Murray's method: He chose not to footnote or otherwise indicate his alterations to Barzun's original text for a fairly sensible reason. However, I found myself wondering just which passages or what information was omitted from the reprint of various essays in the book.

Barzun is one of the best thinkers of our time. It is great to have his thoughts on so many subjects assembled in this collection.

It is especially valuable since some of Barzun's most famous commentaries (for example, on baseball) are now out of print and hard to find. Buy this book, you will profit from having it on your bookshelf!

love it! very informative and has the best of the best artworks. but could use a modern edition strictly of the 20th century

This is one of the standard history of art textbooks. Of course it includes color prints of all the most famous art of the Western tradition, as well as numerous photographs and floorplans of famous architecture. It has a little coverage of Islamic art, but that is a topic that deserves better than it can be given in a textbook on the Western tradition. Painting, architecture and sculpture are clearly the focus, but photography and decor each get a nod. Other forms of art--from gardening to appliance design--although interesting, evidently cannot fit in this space.

The text is adequate: a little better than standard textbook composition, less dull, perhaps a touch less condescending, and of course perfectly informative.

Issues in technique, interpretation and so on are well-introduced.

If you, like me, are not a student but an adult just curious about art, this is a fine choice. I've also enjoyed work by Robert Hughes ("The Shock of the New," which I strongly recommend, and "American Visions"), Andre Malraux ("The Voices of Silence") and David Morgan ("The Sacred Gaze").

(I'm not widely read in this field by any means: those are the only books I've read about Western art history! So there could be various better books out there. But still, this textbook has been very useful to me, helping me fill out my knowledge in many areas.)

I used the original Janson when I took art history in college. I bought this for my son and started reading it on my own. What a wonderful rework of this classic. It provides very accessible descriptions of historical context as well as clear presentations of the impact of "technology" (i.e. development of various media) on the ability of the artists of various periods to express themselves. Love this book.

This book is incredibly comprehensive and covers all aspects of art in different cultures, including painting, sculpture, architecture, and burial sites. It is remarkably detailed (almost too much so), and has many great pictures.

The most distinctive aspect of this book is the primary sources it includes that explain the historical context of artworks. For example, there are numerous letters (translated, of course) from Italian artists in the Renaissance to their clients. Another text includes excerpts from the law code of Hammurabi, to accompany the sculptural piece on which it was originally engraved.

An excellent base for an art student to build upon; clear, informative, visual, and historical. Supplements and sources such as Wikipedia and encyclopedias and history texts will show how intertwined art is with politics and religions in depth where the book skims over.
A wonderful book, and covers some Eastern Art despite the focus title on the West. Chapters are organized and they get the point across; lovely descriptions of photographs that are present in the book, so you really get to study the subject and with the assistance of the text, see the inner beauty in the architecture.
What I found lacking was the mention of the Golden Ratio, and in fact, any mathematics whatsoever. As mathematics is very important to ancient-modern art, I found it rather confusing. However, as said before, an excellent base.
Very intriguing and not in the least boring or dry, Janson's History of Art is a prime choice coupled with supplementary books. If you're interested in overall art history, this is the one to go with...
Have fun!!!

Exquisite book, most comprehensive I have seen on this subject. Worth ten times over the Amazon price!

This beautiful book really opened my mind to the influence that Japanese art had on the Impressionist movement. Some very interesting comparisons of woodblocks and the work of Van Gogh.....Wow...It had never occurred to me before & to see the works side by side is fascinating. I first found this book in the school library & kept borrowing it; such wonderful images.I decided I had to own a copy & made my first Amazon.com purchase. Great service, Amazon, thank you....so quick & efficient. This book is great value and very well illustrated. The text is extremely interesting and thought provoking.

This is probably the best and most beautiful art-book I have ever read. I traces the roots of different western artforms like impressionism and abstract expressionism from the japanese traditions of brushpainting an calligraphy.. -I want it!

For anyone interested in both Japanese Art and European Art at the turn of the last century, this book will become the most satisfying reference book in your collection.

"Japonisme" is the term used to describe the Victorian fascination with all things Japanese. Wichmann's book successfully demonstrates the influence of this fascination on the fine art of the era. Lavishly illustrated with over a thousand images, Wichmann's essays are informed both historically and artistically on the detailed ins and outs of the sharing of the two cultures of East and West. Topics include the Asian influence in composition, pictoral space, design, choice of material, and subject matter in the visual art and architechture of turn of the century fin de siecle Europe and America. Visual examples are given from a wealth of artists including Van Gogh, Manet, Cassatt, Whistler, Degas, Mucha, Klimt, the architechs Frank Lloyd Wright and Richard Neutra, and Japanese artists such as Hiroshige and Hokusai, just to name a few.

Being a visual artist from the west trained in the Western tradition and yet fascinated with Japanese fine art and in particular the tradition of ukiyo-e, discovering this book for me was like finding the holy grail, a book filled to the brim with stunning visual compromises between the traditions of East and West from which to take my own influences. Fantastic.

the title says it all - "The Japanese influence on Western art since 1858" --- details print making, textiles, jewelry design, ceramics and glass, home and garden, objects d'art and of course painting. Amazing, for example how much Van Gogh was influenced by Japanese art especially wood block prints and you will see examples of his art and Japanese art which he had access to "Theo and I have hundreds of Japanese prints in our collection..." --- I truly wish I could see an exhibition as put together as this book --- it is absolutely indepth, articulate, clear and consise and immense in scope. Weighs a ton and worth its weight in gold.