Western Books

With a severe drought causing grave concerns amongst the property owners and cattle barons of Encanto, Arizona, Cassie Taylor becomes a target because she owns all the water rights and the irrigation company. She's not popular amongst the `decent' folks because of her upbringing and the fact that she's a woman who refuses to conform to society's expectations, but that's never bothered her. What does bother her is the immediate attraction she feels for cattle rancher Barrington's hired gun, Cole.

The lack of rain has put Cassie in the most difficult position of having to start rationing water - a fact that does not sit well with any of the ranchers but one man in particular takes it as a personal affront - Amos Barrington. He owns the most cattle and land in the area therefore believes he should be provided with more water than what's being allotted to the other ranchers.

Barrington's not above strong-arm tactics to try to force Cassie to bow down to his wishes but she refuses to be cowed by or show fear in the face of his bullying. Fortunately when push comes to shove Cassie finds an unlikely ally in Cole who comes to her defense on more than one occasion.

Cole's not your average gun for hire. He has morals and genuinely cares for the people around him. His instincts tell him that Barrington is up to no good but he doesn't realize just how truly despicable the man is until it's almost too late. As things heat up between Cole and Cassie, Barrington plots his vengeance against the two people who dare to defy him. Who will win in this battle of wills and what will happen to anyone else who tries to intervene?

Karyna DaRosa's DRY MOON captures the spirited nature that is so prevalent in cattle raising areas. From the very first page readers will find themselves transfixed by Cassie's gutsy behavior and her bravado in standing up to Barrington and his minions. I wasn't sure what to think of Cole in the beginning since he is a hired gun but he quickly won me over because of his reaction to Barrington's caustic attitude toward his employees and his wife. There are many characters throughout this story whom I found intriguing and couldn't wait to learn more about - especially Barrington's wife, Kathleen. Now there's a woman with some gumption. This is a thrilling story which will have your pulse pounding as you read about Cassie and Cole's unusual relationship and Barrington's determination to destroy them.

Chrissy Dionne (courtesy of Romance Junkies)

Though I usually prefer Regency to Westerns, I was NOT disappointed in this rendition. I think anyone, regardless of their preference, will love this story. It's a thrilling, exciting, nail-biting ride (and the passion is RED HOT!!) that had me turning the pages all through the night. I can't wait to read more from this author.

I am not normally a romance reader. However, this book left me wanting more. This is a must read for anyone looking for some passion. I give it 5 stars.

I have to admit I am rather impressed with this book. Ms. DaRosa is not just an author, she's a storyteller.

The story evolves into an exhilarating tale of suspense, action, and passion. Not only is the author able to effectively allow the reader to close their eyes and envision the surroundings of the character to the smallest detail, the reader is able to feel the emotions right down to the pure hatred of some. The author is excellent at introducing characters and then developing them throughout, bringing the story to life. The main characters are surrounded by an equally developed cast. You admire Cassie's resolve and are frustrated by her stubbornness with Cole. And Cole, well, this character grabs you from the start and just doesn't let go. His mystery and style are captivating. Saying anything more about this story would be unfair to the author since she does it so much better.

In my opinion, this is truly a successful debut for Ms. DaRosa. I am typically not an admirer of westerns, but must say...I reckon I'm now a fan.

I have to say, I'm not big on romance novels per say, but this is one great book! The storyline catches you from the beginning and keeps you going until its end. Ms. DaRosa does an excellent job of keeping the reader interested. She's excellent at depicting her characters and providing a vivid account of the story, so that in your head you create the characters, location, etc. -- Just what a good writer is supposed to do! Cudos to Ms. DaRosa for her this successful debut I look forward to more from Ms. DaRosa.

I so enjoyed the story, the author is an excellent storyteller and a descriptive writer. It is one of those books you just don't want to put down, and are sad when you come to the end. I have read it a number of times and highly recommend it.

This is a very enjoyable novel by a talented new writer. Her style is original, and the plot and characters are interesting. I particularly enjoyed how she handled the fight scenes. I felt they were incredibly well done. I am looking forward to the sequel to this book.

I don't always have alot of patience when reading. If I'm going to stick with a book all the way through it has to grab my attention in the beginning and keep a hold of it. I definitely found this to be the case when I read "Eagle Shadow". Not only is it captivating with action and romance, but the author uses her words so beautifully that you feel you are actually experiencing a part of the old west.It is now one of my most favorite books which I read again, and again. I would highly recommend it and am anxiously awaiting a sequel!

Normally I wouldn't read period fiction, especially a Western, but a friend recommended I read it, and I did. I was hooked and have recommended it to others.

"Eagle Shadow" is a definite page-turner, and I was disappointed when I came to the final page - disappointed because I'd come to the end of the story. I hope the author comes out with a sequel.

This is well-written. Ms. Greenhalgh-Davis is a talented new author and I look forward to reading her other works. Another thing that makes this so special and appealing to me is the fact that she is a female writer of western drama; something you don't often see in this genre. Excellent and recommended.

Greetings from Singapore, it is where I am right now. I loved it!!! It was very touching and I cried on those "goodbye's scenes" the characters are all so real and I felt that I was part of it too. It was a beautiful ending for Abigail, I loved that woman so much courage and life in her. The reunion of two brothers, Wolf Blood and Jeremy touches my soul. I felt victory for Zeke and Georganne when they discovered the gold pot. Hawk made use of his knownledge and fought it out in the legal way was very satisfying to me. I love the ending saga of "Savage Destiny."

I Don't often cry when I read a book, but from the the first book to the last I cried each time. I have read the series twice now, and getting ready to read it again. So I'd Better get the tissues ready.

Rosanne Bittner is the best author I've ever read, althoughthis book continues the story of Abbie and her heart break over losing Zeke,I feel Rosanne could have shortened the time poor Abbie had to wait to reunite with Zeke. But NO-ONE could do better. Grab your tissues, you"ll need them. All through this book I really missed Zeke. He became like part of my family, they all did. I've collected the entire series. I think you will to.

this was the best set of books i have ever read. when abby lost zeke in death i could almost feel her pain, after i read all seven books i felt like i had known them personaly and i hated to see their story end

This was another of those tear jerkers I have ever read.It really made me cry when Lone Eagle(Zeke)died in this book.I even felt the pain that Abbey felt and cried with her especially when she went to where he was buried.I could hardly stand it with the tears I couldn't see the page.It's another book I won't soon forget.But it also gave Abbey strength to carry on with her family.

Hardly a stone is left unturned in this look into the early development of jazz. It provides a thorough introduction to a wide range of subjects and artists, carefully reviewing each of numerous recordings.

This is not a biographical account of the lives of the early jazz artists, but is an analysis of the styles and development. From the deep south and the roots of the music, into the Midwest and Southwestern styles, the author is thorough and careful in his look.

Much more than an introduction, this certainly would be suitable for a college course in jazz development.

the author gunther does a magnifent job of affording a history of the evolution of jazz, this in a most scholarly fashion. thus making at times somewhat academic effecting a use of words whose understanding may be elusive to the ordinary reader.

I can't believe that no-one has reviewed this wonderful book until now. It is one of the cornerstones of jazz criticism, and the first one not written by one of these annoying pipe-smoking, foot-tapping listeners you always notice sitting at tables beside the bandstand at jazzclubs, but by a very fine musician who has actually been 'one of the cats'. O.K., he is a French horn-player, but jazz buffs who are 'in the know' with the work of Julius Watkins and John Graas won't mind. But seriously: His chapters on Armstrong, Jelly Roll Morton (some thirty years before the Dirty Dozen Brass Band decided to dedicate a whole CD to the music of this first truly 'jazz composer'), but especially Fletcher Henderson and Duke Ellington will enlighten everyone who is looking for a critical assesment of the music and is tired of the endless re-telling of the phoney 'romantic' stories surrounding this music. And for the people who think they know about everything: One chapter is enirely dedicated to what is known as 'territory' bands, the bands that only played their home town and the region around it. Many a gem of inspired music can be unearthed in this chapter. P.S. O.K., I'm biased. Mr. Schuller autographed my hardcover copy of the book when he was conducting the Dutch Radio Symphony Orchestra, and I gatecrashed at a rehearsal.

Jazz criticism tends to run in two groups: one, the biographical/anecdotal (often marvelous to read), and two, word pictures of how the music made the writer feel (often awful to read). Gunther Schuller's "Early Jazz" does what any undergraduate musicology major would do: examine the music note by note, and explain what's going on. While this is not an easy book to read for people like me who have no musical training (or talent, for that matter), it is an absolutely essential book nonetheless. Schuller goes through each major musician and movement of the twenties, and shows exactly what is occurring. What worked best for me was to have the recording he was discussing playing while I read, so I could hear what he was talking about. Anybody in love with the early music of Armstrong or Ellington needs to tackle this book sooner or later.

You can argue with Schuller, and in fact, that's half the fun. He's not always right, but he's always interesting. If you're listening to early jazz and an unfamiliar band comes on, you'll be unable to resist looking them up in this book, so put the book next to the radio.

Many of us burdened with the Western perspective of history look to the Reformation of the Sixteenth Century as the shipwreck of Western Civilization. But, in fact, one could make a good case that the Schism between Eastern and Western Churches that occurred several centuries prior to the Reformation was of even greater importance. And herein, Steven Runciman describes that great event in truly remarkable and eminently readable fashion.

Runciman argues quite cogently that it was not the technical aspects of the procession of the Holy Spirit that led to the Schism, so much as the cultural and linguistic differences between the Greek and Latin survivals of the once unified Church. Most importantly, the Greeks, centered in Constantinople, believed that important matters of dispute ought to be settled in council among equals. Opposed to this view was the Latin perspective that one man, occupying the See of Saint Peter, ought to hold sway. Runciman is scrupulous in terms of not taking sides in this terrible collision of ideas. But, in the end, we must reasonably conclude, from the evidence provided, that the Orthodox is the more reasonable position with regard to this monumental issue.

The writing is great. And the subject matter is really terribly important. We strongly recommend this excellent book to all who would thoroughly understand these great matters.

An interesting history for those who say the reformation was the most divisive split in church history.

A more popular level study of the Great Schism. Easy to read and grasp. Not too weighty.

Steve Runciman's book on the Eastern Schism has become something of a classic since its first publication nearly 50 years ago. Runciman's telling of this bitter tale - and it is a tale that spans not only the 11th and 12th centuries, but has roots going back far deeper - is both concise and lucid. Runciman clearly details this narrative that has proved debilitating to Christianity ever since - not only between the East and the West, but also between the umpteen gazillion Protestant churches and the Roman Catholic church.

Runciman does a wondeful job summarizing the various events of previous years (especially the Photian Schism, which occured in the 9th century) that helped to lay the "groundwork", so to speak, for the ultimate rending of Christendom. Yet, despite the great attention that is sometimes given to various events (especially to Cardinal Humbert's excommunicating Patriarch Michael Cerularius, who in turn excommunicated Humbert), Runciman's thesis is that the "schism" did not occur at a particular instant, but gradually over time. It was not until the middle of the 13th century that the received opinion of both clergy and layman was that the churches were no longer in communion with one another.

In fact, the mutual excommunications noted above, which occured in 1054, are really little more than a blip on the screen of East-West relations: Humbert did not have the power to excommunicate Cerularius, and Cerularius' excommunicating Humbert should not be understood as Cerularius excommunicating the whole Western church - something that the popular imagination of both Roman Catholicism and Eastern Orthodoxy would do well to remember. So, the received thesis that the split occured in 1054 needs to be abandoned.

Runciman also does a wonderful job of appreciating and detailing the socio-theological and theological-political nature of the Church during the so-called "Middle" Ages. That the Church should have such a public presence, and that this public presence should be so important to both the popular mind and international relations may seem strange. It was, indeed, a different world, complete with its own pitfalls and glories. Yet, it is interesting to note that the most divisive theological issue - papal supremacy - also fueled the Crusades, which were more influential than anything else in breaking Christendom apart.

It is a shame that this book has gone out of print again. Perhaps on its 50th anniversary it will be printed yet again, and people will begin to appreciate the subtle differences that, given the fourth Crusade, were exacerbated into the greatest and most tragic split that the Church has ever known - and most likely will ever know. If you can find a copy of this book, I highly recommend picking it up. Although you will catch bits and pieces of this story in many other books, this volume will illuminate its complexities and clear away the myths surrounding it like other books - especially theological works - won't. It is, sadly, a crucial and divisive narrative.

Famous historian Steven Runciman shows how different cultural backgrounds and linguistic traditions, theological disputes rooted in differing concepts of the Trinity, and Papal insistence on papal authority and supremacy, all combined with several hundred years of strained relations to result in a permanent split in the Universal Church. Runciman's thesis is that the experience of the Crusades (and his three volume work on that topic is one of the current basic accounts) in which Western armies came to help the Christian east and stayed to help themselves (to Eastern property, lands, and church offices) was the real reason for the permanent division between Eastern and Western churches. But for the legacy of Western depradations in the East, especially the Fourth Crusade, the breach could have been healed.

I gave this a four star rating only because it is so good that in twice the length, Runciman could have given us even more background and detail which would have made his erudite narrative even more engaging.

`It is an article of faith that the followers of Christ should form one united body on earth'...`The usual definition of a schism is that it is the emergence of a separate faction within the church, whereas heresy is associated with false doctrine.' So begins this gracious book on the split between Eastern and Western Christendom that formed an accumulative dispute over the nature of the trinity throughout the eleventh and twelfth centuries and led to a contest for ultimate authority between the sees of Rome and Constantinople.

Runciman's erudition where theological matters are concerned gives us a greater perception and understanding into the respective mind sets of Orthodox and Catholic. Opposite views on the trinity...`The Western view is that the unity of God is absolute and the Persons of the Trinity are relative within it, while the Eastern view is that the three Persons have each a distinctive property but are joined in a hypostatic union'...were exacerbated by translation errors between Greek and Latin and the arrogance of some of the higher echelon churchman, until in 1099 a political dimension intervened: `The chief tragedy of the crusades was that they brought the misunderstandings between Eastern and Western Christians down to a popular level.' Western armies, `rapacious' and `unruly,' used Constantinople as a half way house en route to their bloody business in the holy land, while Byzantines `were eager for allies against the Turks...could not interest themselves in wars in Palestine.'

Antagonisms mounted with crusaders plundering Byzantine lands and accusing schismatic Greeks of perfidious dealings. The stage was becoming set for the Fourth Crusade and that most profane act; the sack of Constantinople in 1204 and temporary overthrow of the first Christian Empire by Christian crusaders would set a gruesome precedent that not even the sack of Rome in 1527 by Christian mercenaries could surpass. Although Venice bears the guilt for much of the impetus and logistical execution, infamy clung to Rome, who for one brief moment gleefully enjoyed its dominance until schisms of its own would contribute to the Reformation dawn. After the Fourth Crusade, division remained a bitter reality.

Runciman covers all points of contact in this judicious narrative and leaves us with a greater frame of reference for future developments.

As an aspiring WW2 B-24 and 392nd BG researcher, I regard Wright as a real teacher in his use of archival and original sources. A review of the bibliography, notes and appendix is a quick education in how to use available research tools. Going thru the boxes of unit histories, Missing Air Crew Reports and German KU files on downed allied aircraft at the National Archives in Washington, DC, is something I also would like to do. His efforts in tracking people down by any means, including letters to very old addresses, is a new option for me. In addition Wright is a fine story teller and interesting to read.The Corky crew flew during the first half of 1944, some of the toughest, highest attrition missions as the 8th AF broke the Luftwaffe prior to D-Day. The detail of each crewman's life during the war and after is such a huge task, requiring years and years, very hard to put this down. Our father was a Lead Pilot in the 392nd BG, a few miles from Old Buckenham, and flew on these same missions, so this is indeed a special book for us.

One of the problems for those interested in books about air warfare in World War Two is that you've read it all before. At least it seems that way. There are books so imitative of other books that the reader may question whether he read it all before.
You won't get that feeling when you read "An Emotional Gauntlet". No, Sir. This is as fresh as the smell of 100 octane on a crisp morning. Author Stuart J. Wright brings freshness to his topic that we thought had been burned away in the 50's and 60's.

You are not confined to barracks when you read "Gauntlet." The author takes you to British hamlets and cities where the Luftwaffe can be expected when least expected. B17s and 24s machine guns hammer.

This is good stuff! You are not going to fall asleep reading it. Stuart was too young for WW2 but he researched his book for more than ten years! He interviewed a great many survivors of Europe's air war some of whom you may recognize if you flew out of Blighty when the going was rough or at any other time.

This is not pulp fiction. Veterans of the Eighth may well recognize planes and people from their own wartime experiences Former bombardier Alan Eagleson, a character in the book has turned up at air shows in the Greater Boston area and your Reviewer, a 10th AF vet, has enjoyed talking to him.

"An Emotional Gauntlet" is filled with photographs. What fun on a snowy evening to scan the photos with the aid of a magnifying glass and perhaps identifying a long lost pal in a long ago scene. READ IT AND ENJOY!
John Brennan

This is a must read for anyone interested in the daily life of a real B-24 combat crew. Stuart has done an excellent job of presenting the difficulties and challenges of an American air crew in England, as he takes you from the early days of crew training to each of the (very)tough missions flown. One feels as if you are actually part of this team. I came away with a sense of awe and admiration for these men "just doing their job" amid the daily horrors of combat over Germany, and the very real risk that they would not be coming back every time they flew.

A long look at one airplane, one crew involved in the air war against Germany during World War II. The airplane is the Corky, a B-24 Liberator. The story starts with the people the made up the crew before they entered the military service. Finally on Tuesday 7 September 1943 the crew met together as Crew 25, 734th Squadron, 453 Bomb Group. Five months later on the 5th of February the first of a couple of milk runs over France, within a week they were over Germany. By the 25th of June the crew, not without loss, had completed their combat tours. Their war was over.

Stuart Wright is from the small village in England where the 453rd was stationed. He grew up on stories about the Yanks in and around the village. A chance meeting when he was fourteen began a friendship and collaboration with Bill Eagleson, the pilot of Crew 25. Years of research later, this book is the result. As Mr. Wright says: "This is not so much a book about airplanes or war; but a book about people." One crew of people that made a difference.

Stuart Wright owes m several hours of sleep that I missed because I had a very hard time putting the book down. The style is fascinating and compelling. Even though I was a B-17 driver, even though I went to the Eighth on a replacement crew (not original cadre), even though I never had the pain of losing a crewmember, teh book riveted my attention because of the resonance it established between me and the characters of the book's crews. This book is a towering addition to the literature of the Eighth Air Force. Thank you.
Craig Harris B-17 pilot 457th BG, Station 130 Glatton.
e: charris4@nc.rr.com

Besides the book being interesting, it was in great shape and delivered rapidly. Thanks very much!

This book is necessary. This is for everyone from the musician to the music lover. It's for the anthropologist and the student. It's for the one who knows music is just in its accessibility to the masses and the one who insists it is popular culture and not fair game for academia. Professor Fonarow's brilliantly conceived piece of work will change your experience of any gig. You will be looking for "the zones" in every venue, redefine your conception of the "groupie," and see a sacred drama on the stage and in the audience. Fonarow allows us to understand the place indie music occupies in one's life and how aesthetics and metaphysics coexist to invite the idea of your music as your community and your culture as art. After reading this book, music will be participatory for you, whether or not you empathize with the indie ethos. The beautiful afterward (one I've read numerous times) is one of the most poetic endings of any ethnography I've ever read.

Wendy is the Jane Goodall of the indie rock show. I really enjoyed this anthropological treatment of independent music culture. She definitively describes the impossibly malleable subject of what is Indie. She identifies the zones of audience participation: from the sweaty body on body of the front, to the contemplative middle, to the indifferent bar area, and out to the home parlor of the retired fan.
A guilty pleasure for anyone who knows the scene.

College-level students of British music won't want to miss EMPIRE OF DIRT: THE AESTHETICS AND RITUALS OF BRITISH INDIE MUSIC. Its analysis blends ethnographic and socio-historic literature on local music communities and genres, comes from a doctor who has worked in the music industry for several major record labels, and offers results from her thirteen-year study of indie rock. From gigs and performances to behavior, norms, and music perceptions from both audience and performer perspective, EMPIRE OF DIRT helps define both the genre and experience of British indie music.

Diane C. Donovan
California Bookwatch

A brilliant read. It puts the development of modern individuals, from adolescence to adulthood, into a new meaningful perspective, as well as indie music within the greater context of human activity. I especially enjoyed the examples and anecdotes. The chapter on groupies depicts modern gender roles and attitudes that are too often overlooked in mainstream stereotypes. Her examination of musicians is hilarious as well as therapeutic and identifiable for anyone dissatisfied with the status quo. Her writing articulates the subconsciously absorbed culture and rituals with eloquence, humor, and insight. Her observations and discernment enhance the understanding and experience of music and culture. Thank you, Professor Wendy.

As is typical for the Loeb classical library books, the volumes are physically small, and the original text (Greek, for Plotinus) is given on the left hand page, with the English translation on the right.

The Preface describes the historical context within which Plotinus wrote, offers a summary of this thought, and a survey of Plotinus translations, commentaries, and studies. This material is supplemented by short introductions and synopses at the start of each chapter, and by abundant and detailed footnotes. The footnotes explain translation difficulties (not uncommon with Plotinus), and also identify the sources of Plotinus' references to other writers. These materials are excellent.

The only thing that this edition lacks is an index. The editors plead the difficulty of indexing Plotinus, and recommend "Lexicon Plotinianum" by J. H. Sleeman and Gilbert Pollet as an alternative. This work is, however, out of print (is it even in English? I am not sure) so it is not a very helpful suggestion. As it is, given Plotinus' rather scattered way of writing, an index is missed.

The Enneads are a collection of Plotinus' writings from fairly late in his life. Porphyry, his student, encouraged him in writing down his teachings, and acted as his posthumous editor (he also wrote a short biography of Plotinus which is included in the first volume). The works as they exist today are as they were received from Porphyry. As editor, Porphyry created his own organization for the works based on subject matter. This order is completely different from the order in which Plotinus wrote them. Porphyry, however, did document the original ordering.

From my own experience, however, I would recommend strongly reading Plotinus' writings in the order Plotinus wrote them rather than the order in which Porphyry arranged them. The major advantage I found was that it was much easier to follow the reasons why Plotinus believed what he did, even if the subject matter does jump around a bit. I tried Porphyry's order first, and almost gave up in despair before trying again in Plotinus' order. I have come to the conclusion that much of Plotinus' reputation as a bad writer is due to unfortunate but well-intended editorial decisions by Porphyry. Given that the Loeb edition presents Plotinus' writings in Porphyry's order, and that the Loeb edition is in multiple volumes, reading Plotinus this way does have a certain entertaining quality as well (first get volume IV, read a treatise, then get volume VI, read another, then get volume I, read another, and so on).

An important recommendation I would make for the reader is that he be properly prepared in his background reading. All of Aristotle and all of Plato would be ideal (as well as a worthwhile activity in its own right), but if the would-be reader of Plotinus finds that a little daunting and wants to get started sooner, there are still a few works that he should make a particular effort to read: Plato's "Phaedo", "Republic" (Books VI, VII), "Parmenides", and "Timaeus"; Aristotle's "Physics", "On the Heavens", "On the Soul", and "Metaphysics". Plato, as the earlier writer, should be read first (by the way - don't be discouraged when you find you don't understand the second half of "Parmenides", Plotinus is going to tell you what he thinks it means in due course, so all you need to do is understand the references). If you don't have Plato or Aristotle, for Plato, Cooper's "Plato: Complete Works" (in one volume), and for Aristotle, Barnes' "Complete Works of Aristotle" (in two volumes), are excellent.

This Loeb Classical Library edition of the works of Plotinus is in seven volumes. The titles are as follows:

Plotinus I: Porphyry on Plotinus, Ennead I (Loeb Classical Library, 440)

Plotinus II: Ennead II (Loeb Classical Library, 441)

Plotinus III: Ennead III (Loeb Classical Library, 442)

Plotinus IV: Ennead IV (Loeb Classical Library, 443)

Plotinus V: Ennead V (Loeb Classical Library, 444)

Plotinus VI: Ennead VI, Books 1-5 (Loeb Classical Library, 445)

Plotinus VII: Ennead VI, Books 6-9 (Loeb Classical Library, 468)

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Below is the combined table of contents for those volumes:

TABLE OF CONTENTS FOR VOLUME I:

Preface (editors)

Sigla (editors)

On the Life of Plotinus and the Order of his Books (Porphyry)

Ennead I:

1. What is the Living Being, and What is Man? (53)

2. On Virtues (19)

3. On Dialectic (20)

4. On Well-being (46)

5. On Whether Well-being Increases with Time (36)

6. On Beauty (1)

7. On the Primal Good and the Other Goods (54)

8. On What Are and Whence Come Evils (51)

9. On Going Out of the Body (16)

TABLE OF CONTENTS FOR VOLUME II:

Sigla (editors)

Ennead II:

1. On Heaven (40)

2. On the Movement of Heaven (14)

3. On Whether the Stars are Causes (52)

4. On Matter (12)

5. On What Exists Actually and What Potentially (25)

6. On Substance, or On Quality (17)

7. On Complete Transfusion (37)

8. On Sight, or How Distant Objects Appear Small (35)

9. Against the Gnostics (33)

TABLE OF CONTENTS FOR VOLUME III:

Sigla (editors)

Ennead III:

1. On Destiny (3)

2. On Providence I (47)

3. On Providence II (48)

4. On Our Allotted Guardian Spirit (15)

5. On Love (50)

6. On the Impassibility of Things without Body (26)

7. On Eternity and Time (45)

8. On Nature and Contemplation and the One (30)

9. Various Considerations (13)

TABLE OF CONTENTS FOR VOLUME IV:

Preface to the Loeb Plotinus IV-V (A. H. Armstrong)

Sigla (editors)

Ennead IV:

1. [2] On the Essence of the Soul I (4)

2. [1] On the Essence of the Soul II (21)

3. On Difficulties About of the Soul I (27)

4. On Difficulties About of the Soul I (28)

5. On Difficulties About of the Soul III, Or On Sight (29)

6. On Sense Perception and Memory (41)

7. On the Immortality of the Soul (2)

8. On the Descent of the Soul into Bodies (6)

9. If All Souls are One (8)

TABLE OF CONTENTS FOR VOLUME V:

Preface to the Loeb Plotinus IV-V (A. H. Armstrong)

Sigla (editors)

Ennead V:

1. On the Three Primary Hypostases (10)

2. On the Origin and Order of the Beings Which Come After the First (11)

3. On the Knowing Hypostases and That Which is Beyond (49)

4. How That Which is After the First Comes From the First, And on the One (7)

5. That the Intelligibles are not Outside the Intellect, and on the Good (32)

6. On the Fact that that Which is Beyond Being does not Think, and on What is the Primary and What the Secondary Thinking Principle (24)

7. On the Question Whether there are Ideas of Particular Things (18)

8. On the Intelligible Beauty (31)

9. On Intellect, the Forms, and Being (5)

TABLE OF CONTENTS FOR VOLUME VI:

Preface to the Loeb Plotinus VI, VII (A. H. Armstrong)

Sigla (editors)

Ennead VI (continued in volume VII):

1. On the Kinds of Being I (42)

2. On the Kinds of Being II (43)

3. On the Kinds of Being III (44)

4. On the Presence of Being, One and the Same, Everywhere as a Whole I (22)

5. On the Presence of Being, One and the Same, Everywhere as a Whole II (23)

TABLE OF CONTENTS FOR VOLUME VII:

Preface to the Loeb Plotinus VI, VII (A. H. Armstrong)

Sigla (editors)

Ennead VI (continued from volume VI):

6. On Numbers (34)

7. How the Multitude of Forms Came into Being, and on the Good (38)

8. On Free Will and the Will of the One (39)

9. On the Good or the One (9)

The numbers in parentheses indicate Plotinus' order of composition, which differs from the order given them by Porphyry and which this edition follows.

The bracketed numbers for the first two chapters of Ennead IV are an alternate ordering for them.

One scholar once called Plotinus 'The most brilliant and original Philosopher after Plato.' While one could also perhaps give that same title to Aristotle or another Philosopher (i.e. Epicurus reached similar speculative heights but in materialism rather than the spiritual side of philosophy), it must be acknowledged that Plotinus is one of the world's most brilliant spiritual teachers, mystics and philosophers, all in one man.

Plotinus was taught by a fellow called Ammonius Saccas, the same man who taught the outstanding Christian Philosopher Origen. Plotinus found Saccas at the age of 26 (so his biographer Porphyry tells us) and proclaimed 'this is the man I have been looking for!' Plotinus is also said to have remarked about not wanting to have his portrait painted because he was in a material body, and telling his students 'to unite the divine in you with the Divine in the universe.'

By the accounts we have Plotinus was a very gentle, intelligent and humble man, probably from the Aristocratic class. While highly virtuous and shunning material wealth, he had many aristocratic friends and also looked after the raising of children and orphans.

Plotinus was a Platonist through and through, regarding all of Plato's works essentially as divinely inspired truth about both the visible and invisible realms of reality. However, Plotinus was also very much in his own right, an original speculative philosopher and mystic of immense creative power. Plotinus was also deeply rational, and was averse to any kind of fanatical adherence to religious beliefs or claims salvation was found by irrational means, such as by magic, divination or worshipping a saviour figure. Plotinus looked sympathetically upon such practices for those who needed the emotional in religion, but for Plotinus, the main goal was to find and unite with the Absolute in so far as it was possible in this mortal body.

Plotinus's cooly rational system is extremely abstract and difficult to fathom. A.H. Armstrong's translation is the best I've seen in English, but even so Plotinus does not write well stylistically and often repeats himself or goes on long digressions over the same point when he doesn't need to. But even so, Plotinus has immense and profound insight into both himself and the Absolute, rarely matched anywhere in the world's mystical or religious literature.

To summarise, the aim and goal of man on Earth is to unite with the highest reality which exists, which Plotinus calls 'The One.' The One is the source of all being, life, and existence, and the creator of the universe, however at the same time it is so transcendant we can't say what it is, only what it isn't. Plotinus identifies the One with the Good and the Beautiful as it occurs in Plato's works, and also says it is unlimited, infinite, and beyond being.

From the One comes the Soul, and from Soul comes Nous or Intellect. From this triad everything in existence rests, comes into being, and returns in a grand procession which never ends.

Despite the fact the One is essentially incomprehensible and ineffable and there is really no way we can rationally understand it as it is, Plotinus believed union with the Absolute was possible by looking within the Self. For Plotinus, this marvelous 'vision', which is the highest happiness to be held in this life, happened four times in his life and references to this estatic mystical experience occur throughout the Enneads. The ascent to the highest reality occurs by looking in oneself once the philosopher has 'purified' himself through the practice of virtue, or by contemplation of the Forms. All help in the ascent to the highest, the One itself.

Plotinus's brilliant mystical philosophy is not only a work of genius in itself, but also had an immense impact on Christianity, Judaism and Islam. St Augustine and many other Church fathers were very deeply influenced by his mysticism, and adopted many elements of Plotinus in their own theological and mystical systems. Plotinus also influenced Islam through the so called 'Book of Causes', attributed to Aristotle, but which in fact was a mixture of the Enneads and Proclus (another Neo-Platonist) in Arabic, especially in Sufi mystical thought.

Today in our age, when the spiritual seems to have less relevance because so much can be explained by material causes, laws and forces through the application of Science, Plotinus can at times seem to be an archaic remnant of an age where irrational belief in magic and the unseen held a superstitious hold over the mind of humans. But, if one tries to read Plotinus not as a master of science but of the spirit, then his striking genius radiates from every page.

Any seeker should try to read and understand Plotinus and listen to what this calm and sagely philosopher has to say.

Plotinus' logic is second to none. I personally found more from reading Plotinus than from 6 years in college. the Emanationism as illuminated by Plotinus is the only philosophically logical description of the cosmos, opposite to both creationism and Nihilism/athiesm, as well as opposed to Pantheism and Gnosticism, the philosophy of Plotinus is pithy, intense and has NO EQUAL in intelligence and breadth, period.

Having myself many 1000s of books on philosophy and as an translator of ancient pali philosophical texts, I must say i find that most of which I have read in life to be utter trash, or worthless at best, save for Plotinus.

I personally find the Enneads of Plotinus to be my "Bible", his concise and laser-like accuracy to logic and emphasis of "Union with the One" to be the Paramount of metaphysical writtings.

Its unfortunate that so many Christians seek 'God-talk' in the works of Plotinus, when in fact there are none, for Plotinus, an Emanationist who speaks of the insentient Absolute, the Divine, is utterly opposed to a sentient self-aware Creationistic GOD who holds the fate of mankind in his hand.

Its absolutely unreal that Plotinus' works are so unknown, by and large, having read from all the Presocratics, and other Neoplatonists, and Plato and the rest, none approach the intelligent and insight that Plotinus reaches in the Enneads.

A.H. Armstrongs translation is the best available, the work by Mr. Steven MacKenna is poor at best, and that of T. Taylor is incomplete and far too lose.

I cherish this 7 Vol. translation with the Greek more than any other set of works, the metaphysical emphasis of wisdom and Union (EPISTROPHE) with the One in this collection is the best of its kind which exists. Buy this collection and youll never regret it.

While Plotinus has always had his devotees -(Neo-)Platonism has received a heavy bashing in our times, chiefly a legacy of Nietzsche's and Heidegger's strictures. According to them, it was all something of a mistake.

However, the fact remains that 'Platonism' of a certain sort has to be thanked for some of the most inspired - and inspiring elements of Western culture. Meister Eckhart - for instance, who has certainly been back on the map - is an heir to the Platonist tradition. Nietzsche's view of the Renaissance as a kind of 'inversion' of Platonist thought was entirely mistaken. People like Ficino and members of the Florentine Academy were ardent students of Platonism - especially as re-stated by Plotinus.

Walk round any classic Italian city - and the beauty you see is very much a legacy of Neo-Platonism. It isn't - and wasn't, the 'dead' claptrap Nietzsche and Heidegger spoke of. One upshot of the contemporary disdain for 'traditional' Western philosophy is to look at 'Oriental' teachings. That is a fine and meaningful enterprise. Yet Meister Eckhart - highly infuenced by Platonism, is frequently cited as a Western 'thinker' who is in tune with 'Oriental' thought.

Read Plotinus carefully, and you'll be in for some pleasant surprises. He hints about a process called 'henosis' - becoming 'one'd' with the action of the divine energeia. For him, this was not just something inside the cranium, but an actual experience - like a Zen 'satori.' We are no longer accustomed to the kind of terms and language employed by Plotinus, but the effort to recapture his terms of thinking
brings all sorts of precious intuitions. The most dualistic elements of the Western tradition are relatively recent - a legacy of Cartesian philosophy, modern rationalism and the Industrial Revolution.

It is nothing more than a shallow generalisation to 'lump' all the bad elements of Western philosophy together - as a legacy of Platonism. There is much sublimity and beauty in it, and you will find both in good measure - if you digest the writings of Plotinus.

The author does a great job of putting the technical and artistic components of Klezmer music into an historical and cultural context and following its evolution within that context, as well as independent of it. He does it in a way that is both entertaining and scholarly without being ponderous. The discography is an invaluable resource.

Having helped kick-start the klezmer revival, I'm delighted to see for the first time a book that gets the story right. Seth Rogovoy's readable account brings to life the personalities, bands, and stylistic experiments that shaped -- and continue to shape -- this hip, passionate, influential genre. Rich in detail yet down to earth, "The Essential Klezmer" will appeal, I think, to both the novice and the aficionado. The discography alone makes this slim volume indispensible; it should be required reading in any college course about klezmer music. (Disclosure: I was interviewed for the book, but didn't see the manuscript until publication.)

Seth Rogovoy has written a rich history of Klezmer music that should prove to be an important contribution to the field of Jewish music. He has captured the spirit and meaning of this most wonderful and expressive musical traditon that is currently in the midst of a significant rebirth. This is an intelligent and loving tribute both to the musical tradition, and to the men and women who have performed Klezmer from generation to generation.

If you are new to klezmer music like myself this book is very interesting and helpful. A friend took me to a Klezmatics concert and I loved the soulfulness and the jazz-like energy of the music. But I'm not Jewish and needed to know more about what I was hearing. The Essential Klezmer is so clearly written and well organized that you can start anywhere in the book and find out whatever you want to know, whether it's about particular musicians, the history of the music, klezmer in movies and on the internet, or avant-garde groups. The 80 plus page discography is especially helpful.

I'm not entirely unbiased -- Seth has generously praised my most recent book -- but as someone who writes on Jewish music regularly for several papers, I can honestly say that this is the book on klezmer to start with. Seth's ecumenical, eclectic taste and balanced view of the current scene make him a superb tour guide for either a first-time visitor or an old klezmer hand. As a working music journalist, he has interviewed all the key figures in this music -- even the notoriously reclusive John Zorn -- and clearly he has asked the right questions, because his chapters on recent music are insightful and zesty. And the book's lengthy critical discography makes it an indispensable guide for the listener and record buyer.

Titus Burckhardt, whether fixing his attention on the proper philosophy, or the proper architecture, or the proper occultism, brings a liberal yet formiddable intelligence to whichever of these works he sets his hand to.
Burckhardt, when laying out a sacred temple, would have it oriented north-south with one door leading in and one door leading out, ensuring it's earthly and squarely relationship to it's heavenly and circular origin. The language and ideas both sound archaic due to a radical loss of traditional forms and even degenerate customs to the point that what is old now sounds new. Burckhardt, I'm sure, would delight in such a circular manifestation of tradition. In a society where number has lost it's gender, where sacred art has lost it's object, and philosophy it's inner meaning, Burckhardt's plaintive sentences recall all of this and brings the perennial philosophy to bear in many of it's traditional manifestations. This philosophy, this perennialism is shown by virtue of man's loss of meaning when he attempts to abandon it, quite simply will not go away. Or will it?

Titus Burckhardt's brilliant works brings the reader virtually into the domain in which he is writing about. An anthology of the world's great religions and cultures. I read his book Fez City of Islam and was also very impressed. But this is vintage Burckhardt. This is top notch. Burckhardt's works contain a treasure chest full of info. on Morocco & the Moors. He was a Sufi so that explains his writting style, I might also purchase his book "Introduction to the Sufi Doctrine"

Wisdom and tradition were the most important aspects of the writings of the distinguished Swiss art historian Titus Burckhardt.

THIS BOOK PUTS AT THE DISPOSAL OF A WIDER PUBLIC SOME OF THE BEST OF BURCKHARDT'S ORIGINAL CONTRIBUTIONS TO THE PHILOSOPHY OF ART AND RELIGION.

This wide ranging book offers to the reader much relevant work. It will delight both the student and the general reader.

_Titus Burckhardt was one of the great expositors of the perennial philosophy, along with the Traditionalists Rene Guenon, Ananda Coomaraswamy, and Frithjof Schuon. It is obvious to me that he truly experienced what he wrote upon. To him Intellection was not an abstract metaphysical principle. This is the miracle of true contemplative thought in the modern age.

_His emphasis tended more to the nature of what constitutes sacred art. That is why this volume is so well illustrated with both color plates, as well as, black and white images. His central message is that Tradition possesses a secret power that is communicated to an entire civilization; even in those arts and crafts whose objects include nothing particularly sacred. In a theocratic society, the humblest activity participates in heavenly benediction. In contrast, "sacred art" in the West since the Renaissance is essentially profane art with only a superficial religious theme.

_There are some thick, but important, volumes that you find yourself despairing that you will ever get to the end of. However, this thick volume of the essential Burckhardt (like its sister volume on the essential Schuon) is such a joy to read that you never want it to come to an end. Unlike drier works, every page restores your soul instead of draining it.

"Burckhardt's thought (as expressed in The Essential Titus Burckhardt) is clear and soberingly articulated, his argumentation intuitive and profound"