Books and Authors Books

Senator Eleanor Claxton makes the perfect villan. She is scheming, conniving, and will stoop to anything, including murder, to push her liberal agenda and presidential campaign. JAG Officer Zack Brewer is the perfect storm of a hero, caught in an impossible predicament in a no win situation. He is a heartthrob who is every woman's dream. NCIS Special Agent Shannon McGilverry is the perfect female lead. Strong, sexy, yet confident and feminine. Defiance is a fabulous read!

Don Brown's Defiance introduces Shannon McGilverry, a strong, savvy, and sexy crack NCIS Agent who sets out to investigate whether Diane Colcernian is dead or alive. Meanwhile, JAG officer Zack Brewer, the hero of the first two novels in Brown's NAVY JAG Series, who is mourning the loss of his missing girlfriend Colcernian, is caught up in a court-martial turned political trial against Senator Eleanor Claxton, a liberal democrat running for President of the United States. Loved this novel and couldn't put it down!

In this novel, a power hungry female U.S. Senator running for President and needing to win the California democrat primary, tries to intervene in a U.S. Navy Court martial for sexual assault, using it as a forum to trumpet her call for "hate crimes" legislation in the military. From that, all the elements of classical Greek drama come into play. Conspiracy. Murder. Power struggles. Hi stakes legal maneuvering, and in the end, action by the U.S. Navy to try and rescue one of its own. This novel is powerful in every sense of the word.

This novel made me appreciate the heroic efforts of our military. The ending of this book was glorious, gave me goosebumps, made me want to cry and sing "I'm proud to be an American!"

A fascinating political and military thriller that could be ripped off today's headlines. Murder, suspense, rescue, romance, all these topics are woven throught Defiance. I really love how Don Brown isn't shy abotut tackling poliltically incorrect storylines in his novels.

Defiance deals with the explosive topic of gays in the military and proposed "hate crimes," which a certain presidential candidate, Senator Eleanor Claxton, is trying to force the military to adopt.

I found it interesting how Senator Claxton bears a striking resemblance to a certain real-life U.S. Senator who badly wants to be president, and who might very well adopt some of the positions that Claxton adopts.

Don Brown does a fabulous job of character development of his villans and heros and I was glad to see super-hero JAG Officer Zack Brewer play such a prominent role in the storyline. The close of the book made me want to cry for joy. I finished with a renewed appreciation for our U.S. Navy, and my only complaint is that I didn't want the book to end.

Exactly what, I asked myself, is a Diva?

Well, according to most dictionaries I checked, Diva is a noun, and it describes a "distinguished female operatic singer; a female operatic star." Synonym: prima donna

Hmmm. I've noticed in today's usage, Diva seems to be applied to anyone who is at the pinnacle of their career, or knowledge, or special in some other way. Let's find out if it applies here.

Our Diva in this book is one Aubrey James, the reigning Queen of Country, residing at the top of the charts for over ten years. We meet Aubrey onstage at a CMA special. She's exhausted. Her boyfriend pops out onstage and publicly proposes. The ring is thrust on her finger. He leaves, she steps up into the spotlight - and the Diva takes a dive. Total wipe-out.

As she recuperates, she learns she has been cruelly betrayed by a former band member. Her "story" has been sold to a major tabloid. Up to this point, Aubrey has kept her very public life separate from her private life. Now, she realizes she's going to have to open up and talk about the real Aubrey James.

She chooses the venue for her interview, but they change her scheduled interviewer. A person from her past she'd rather forget. Now she faces her past--her personal life--on more than one front.

Aubrey James refuses to become a victim. She is strong. She faces everything head-on. No hiding, no prevaricating. Brought up by Christian parents, at their death, Aubrey moves away from her faith. Yet, though she doesn't realize it, her 'faith' never left her. When things happen to her, accusations thrown at her, she handles them with grace, though she doesn't realize that. Some of those things made ME angry. I wanted Aubrey to lash out in anger, throw something, do something--anything. But she didn't.

And she remains a Diva.

I loved this book. I highly recommend this title, even if you don't reach much Chick-Lit.I believe this is Rachel's strongest book to date It is not a "girlie" book - it is full of depth and rich with symbolism. Get it!

extremely well written. the characters dont feel like they were pushed and forced into being and the conversations and story feels natural. extremely good book and i would recommend it to everyone. i enjoyed the storyline in that it could be read by anyone, man or woman. its a chick lit thats not too romancey.

Diva NashVegas is the touching story of a country music superstar trying to get back in touch with herself, her faith, and her love for music. In the first few pages of the book, the main character, Aubrey James, bursts forth as a glitzy, glamorous star of the stage who has everything that anyone could ask for - love, money, success. But it doesn't take long for the reader to get to know the inner turmoil of Aubrey's life as she has learned to deal with the loss of her parents, the betrayals by lovers, and the duplicity of former band members, all while under the bright spotlight of the public eye. Now, recognizing that there is nowhere left to run and hide from the mistakes and misfortunes of her past, Aubrey decides to face them head on by doing a one on one interview with Scott Vaughn, one of the co-anchors of Inside NashVegas. Rachel Hauck does an amazing job of bringing to life the complex character of Aubrey James whose larger-than-life, diva persona is balanced perfectly with that girl-next-door, down to earth quality that makes Aubrey irresistibly relatable despite her status as a country singing legend. Aubrey's encounters with Scott span the gamut of emotions from embarrassing and nerve racking, to compassionate and even comedic. The moments where Aubrey dreams of her mother will touch the heartstrings of anyone who has ever felt sad and alone and wanted nothing more than to crawl inside a warm, motherly embrace. Turning the pages on the growth of a woman on the brink of a breakdown as she turns into someone enjoying the process of regaining her faith is a joy to witness!
--Amey Libman, Author of Heart of Blue

I loved this book. I read it during down time at work but had to be very careful... due to the fact that I busted out laughing at the antics between Aubrey and Scott. Singed eye-brows, the driving lesson, teaching Aubrey to cook.

I found Hauck's writing to be down to earth, weaved with love and humor. Aubrey was so well-rounded that I could relate to bits and pieces of her personality. Scott was such an easy character to love. He would be a lot of fun to hang with. When I neared the end of the book, I found myself procratinating to finish it. I didn't want the story to end.

I am going to buy this book for my 12 year old niece. I know she will love it.

Diva NashVegas is a good, fluffy read but it's not quite as good as Lost in NashVegas. As a heroine, I found Robin Rae to be more relatable than Aubrey James. Honestly, in the beginning chapters, I didn't like Aubrey very much at all- she seemed too cocky (I realize that she is supposed to be a `diva'- so this characteristic is fitting but still annoying), pessimistic, and at the same time, weak and spine-less (had a hard time standing up to her schmoe of a boyfriend/fiancé/live-in lover). There were more than a few instances where I tried to yell through the book at her for not making a bigger deal about things that were in fact a big deal. Another point of contention was her living with her boyfriend- granted, her faith wasn't that strong in the beginning but, still, for a Christian fiction book it bothered me how sugar-coated it all seemed- it was written and handled in too blasé a manner, as if it wasn't a big deal that they were living and sleeping together. And there was really no remorse, regret, or anything from Aubrey after the fact, never realizing or admitting that it was a mistake.

Still a good quick read but a disappointment after the fun of Lost in NashVegas and the plucky Robin Rae. Although the plot was predictable, I'm not giving up on Ms. Hauck; I just hope the next story in more in the lines of the first and not this mediocre second installment.

For me this was an amazing discovery. I read a review of it in a literary magazine in the waiting room of my optician and when I got home I immediately ordered it from Amazon.
What caught my eye in the review were the names of the inhabitants of the February House - Auden, Britten,McCullers... in that amazing year. I knew of their work individually but to read of them living under the same roof was a revelation.What a cauldron of creativity! All against the background of the war in Europe and the period leading up to Pearl Harbour.As I read the book I felt as though I were there. I hope that someone will make a documentary about it or better still a dramatised reconstruction. The two Truman Capote films have blazed the trail.

A friend just recommended this book to me and it's fabulous!!! I live in an artist bldg and it's nothing compared to the energy of Middagh Street. The book is a great read and the research is most impressive. I cannot wait to read the one she's writing about the Chelsea Hotel!

Thomas Wolf once famously said "only the dead know Brooklyn." There might be some truth in that, but some of us know Brooklyn, N.Y.,U.S.A., pretty well,and are still very much alive. Quite a few people are aware of Brooklyn's brownstone belt, that swath of historic houses stretching from the East River to Prospect Park and beyond. Many of these people would declare Brooklyn Heights the ultimate Brooklyn brownstone neighborhood. It's beautiful, and gets scenic views of Manhattan. It's got history galore--an important Revolutionary War battle was fought here;and it's been, and still is,home to a lot of well-known important people.

One little-known fact is that a number of celebrated people shared a house on Middagh Street, in 1940-41, right in the middle of the Second World War. That house, which came to be known as February House-- a number of its residents had February birthdays-- has long since been torn down to make room for the Promenade that provides storied views of Manhattan. But among occupants of February House were poet W.H.Auden, writer Carson McCullers, writers Jane and Paul Bowles,composer Benjamin Britten, and stripper Gypsy Rose Lee.

Writer Sherill Tippens has produced an interesting, pleasantly gossipy book about the house's residents and their accomplishments. Jane Bowles began "Two Serious Ladies," her only completed novel here. The young lesbian Carson McCullers had just tasted, at the age of 23, great success with her novel "The Heart is a Lonely Hunter." She began two other great successes, "The Member of the Wedding," and "The Ballad of the Sad Cafe," between drinking bouts, right here on Middagh Street.

Auden and Britten, both homosexual, but not involved with each other, were being raked over the coals at the time by the British press for choosing to sit out World War II in the U.S. But they were working: they collaborated on the opera "Paul Bunyan,"not critically well-received. Auden who continued to live in the Heights, on his own, to pursue his lifelong, unrequited love for the young American Chester Kallman, was working hard in the interstices of his personal soap opera: He produced "The Double Man" in February House. Britten produced "Peter Grimes;"considered one of the great masterpieces of 20th century opera. Meanwhile, he pursued his own personal soap opera: many critics believe this opera echoes developments with his partner, tenor Peter Pears, at the time.

The most unexpected resident of February House would have to be Gypsy Rose Lee, burlesque artiste. She was talked into joining the fun by George Davis, homosexual himself, fiction editor of "Harpers Bazaar" magazine, whose idea February House was, and who worked hard to keep it alive. Davis had published some of his own writing, but he was best known for the talented writers he kept on discovering.

In Gypsy Lee's case, she brought some money, a lot of common sense,and a cook to Middagh Street. The house's residents needed all the above. Her reward for her support: George Davis, great editor, midwifed her book, "The G-String Murders," a publishing sensation for many years.

George Davis continued to live at 7 Middaagh Street after its time as an artistic commune had passed. After Kurt Weill's death, Davis married his widow, Lotte Lenya, and devoted his life to introducing America to Weill's great works,such as "Three Penny Opera,"from which we get "Mack the Knife."

There are some informative photographs, extensive notes and acknowledgements in February House. Tippins evidently did a lot of primary research, but she managed to organize the voluminous results in a very readable style. February House well rewards the reader.

Sherill Tippins has done an amazing job of finding the significant narrative threads in the chaotic convergence of creative lives that occurred in the months before Pearl Harbor when Harper's Bazaar editor George Davis and British expatriate poet W.H. Auden rented a brownstone on 7 Middagh Street in Brooklyn Heights and actively recruited other creative artists to live with them. Among the co-renters were Carson McCullers who had recently published her highly acclaimed first novel, "The Heart Is A Lonely Hunter," soon-to-be famous British composer Benjamin Britten and his parnter, singer Peter Pears, unpublished novelists Paul and Jane Bowles, Broadway set designer Oliver Smith, writer Richard Wright and his wife, and burlesque sensation Gypsy Rose Lee, who it turns out was the most reliable in the rent-paying department and joined the little "creative commune" on the condition that she could bring her own cook and maid. Her fiscal reliability and drive along with Auden's willingness to take on the unpleasant role of house disciplinarian (collecting rent and other "dues" and establishing and enforcing many house rules) are probably sufficient explanation for why this menage managed to last the two or three years it did.

Tippins wisely focuses her attention on the leading figures (without neglecting to name the many others who partied but did not reside at 7 Middagh--Salvador and Gala Dali, Lincoln Kirstein, George Balanchine, Erika Mann and her brothers Klaus and Golo, to name a few). One passer-through, Anais Nin, christened the dwelling "February House" because so many of the residents had February birthdays. Tippins has a good knowledge of the works of these creative people and is able to see how one of the artists intentionally or inadvertantly influenced a subsequent work of one of his or her co-residents. For example, McCullers was struggling with the novel that would later become "The Member of the Wedding" when she was able to appropriate an experience from Chester Kallman's childhood to explain her heroine's profound sense of alienation and abandonment (Kallman was Auden's lover).

Tippins other great achievement here was her ability to slice through history and palpably recreate the political atmosphere in pre-war New York and to do so in a way that reflects on both British and US perspectives. She takes a good hard look at the criticism expatriates like Auden, Christopher Isherwood, Britten, and Pears faced from the British press and fellow artists who chose to remain in Great Britian during the war. She is similarly insightful in her analysis of the role the Mann family had in trying to get an apathetic America to respond to the European crisis. A lesser writer might not have bothered with these issues and chosen to report only the salacious and saleable anecdotes about the goings-on of the February House residents.

I highly recommend this book to anyone even passingly interested in one of the artists who lived at 7 Middagh Street (you're sure to learn something new), to anyone who ever wondered how great works of art come about, or to anyone interested in knowing how history and art intersect. I'm sure I'm going to use Tippins's Selecte Bibliography as a basis for future Amazon.com purchases.

Sherill Tippins' volume fills a tantalizing gap that fans of Auden, McCullers, Britten, and Gypsy Rose Lee have long wished could be filled. Most overdue is Tippins' portrait of George Davis: failed literary wunderkind; editor extraordinaire (who "discovered" McCullers and got much-needed writing jobs for her and W. H. Auden in the lean months before Pearl Harbor); husband to Lotte Lenya and the catalyst that re-invented her for American audiences in Marc Blitzstein's staging of Weill's "Threepenny Opera"--the list goes on and on. Davis and Auden are central to Tippins' account and to the amazing colony of artists who called 7 Middagh Street in Brooklyn Heights their home in 1940-41. But Tippins gives everyone in that circle his/her due. Her depictions of Auden's rocky romance with Chester Kallman, of Benjamin Britten's coming to terms with his artistic destiny in England, not America, and Gypsy Rose Lee's ability to charm and disarm everyone she met are more than engaging--they are extremely moving.

Tippins' research is exhaustive and impeccable, and she lets her characters speak naturally and eloquently. I could not put this book down and practically read it at one sitting. I was hungry for the kind of information Tippins delivered, and I finished the book with the deepest satisfaction. Gracefully written, carefully organized and researched, and extremely relevant: this book wins on all counts.

The title says it all: "Trombones" represents the preservation of the history of the community backbone of prayer, persistence, and strength. The poetry gives some insight to the suffering of the elders, and speaks to the continuing fight for the full parity of the AfricanAmerican community in a country that was literally built upon the bleeding, sweaty backs of my ancestors.

Amazon is to be commended for participating in this historical preservation of a works that I would recommend as mandatory reading for generations to come - regardless of religion, gender, or color.

My soul is galvanized everytime I hear or read James Weldon Johnson's God's Trombones. I have directed student perfomances of this deeply moving African American text. "The Crucifixion," for example, tells the story of how Jesus Christ, my Lord, my Savior,my Friend, suffered death on an old cross so that I might have an opportunity to be more sensitive to the hurting. The "Prodigal Son" urges me to experience and, thus understand, that I must live with a redemptive consiousness. And, of course, I am compelled to understand, through the poem "Go Down Death" this reality: God does call His children home. Those who have suffered "long in the vineyard" are deserving of rest. For sure, God's Trombones is a poetic tribute to an experience that is Christian and African American. I thank James Welson Johnson for creating this poetic masterpiece. Let's continue to read it; let's perform it. Let's live within the context of the spirituality of the voice. Amen!

God's Trombones is a beautiful expression of the themes of the Southern black experience and God's constant, personal presence in their lives. The themes he chose were expressed in sermons and in Gospel music. For the black person, God was aware of their struggles, would bring them out of "Egypt" (slavery) and would eventually take them to their home "over Jordan". Death would be a gentle freedom for those who were weary (as in "Go down Death").

Johnson's introduction explains that he was trying to express the fervant Southern black preacher with his pauses and emphases. He has done both well.

This is a book to be read for its beauty and inspiration, but more important, it shows (theological inaccuracies aside) how an oppressed people trusted in God's gentle hand, and God's constant love for even the "least" of his Creation.

I recommend this for historians, teachers, lovers of poetry, and for its spiritual content, anyone seeking inspiration.

My dad teaches Sunday School and was looking for this book to incorporate into his lesson plans. I found it here at Amazon and fell in love with this book. Absolutely wonderful to read and very profound. Exceptional!

While James Weldon Johnson's theology is not always orthodox ("God thought and thought" - who could put a new thought in God's mind? unless it was God and, then, God would not be God - this insight compliments of E.V. Hill in his sermon "When Was God At His Best?"), JWJ's poetry and, especially, his Preface displays the harmonious beauty of a long tradition of African American preaching not generally known or appreciated outside of African American circles. If one really wants to become familiar with and, indeed, edified by the godly reaching of E.V. Hill (now deceased), Fred Luter, Tony Evans, Robert Smith and a host of unknowns who preach with substance and, sometimes, in the "whoop"ing style, then, Weldon's book is a must read. May Christianity never lose what God has brought forth in a substantial style which stirs heart, mind and soul.

Wow, this must have been quite a few hours of work for Joshi! The fonts are below even standard book-fonts, AND I hear it's an abridged version but still the book is almost 700 pages. But don't get me wrong, in many ways I wish it was longer. The book is a fine introduction to Lovecraft's life, and to most Lovecraft-readers, probably quite enough in itself. It chronicles on an annual basis, highlighting and describing any interesting incidents or activities revolving around Lovecraft and his circle of friends and family that happened over the years. There's not much to say about this, its very good and solid biographical work by a fine devotee of Lovecraft; S.T Joshi. Its not often reading a biography makes me sad, but reading the final chapter on Lovecraft himself "The end of one's life" made a certain Norwegian man quite sad. Apart from some points I'm about to take up, I have no doubt that this is a biography that Lovecraft himself would have approved of. It could have been more detailed in its description of how the various fiction came to be, and more analysis of this area, but it IS after all a biography, so that was of course Joshi's prerogative.

Now to the bad; as a little background to the author of the book, he is in fact an immigrant; an Indian living with a miscegenating Euro-American female. This explains why he constantly abuses Lovecraft for his conservative and racialist views. He conjures up non-sense frequently when talking about this subject; somehow concluding that theories about race and miscegenation etc were definitively debunked by the "scientific work" of Franz Boas. This is of course complete nonsense, like Kevin MacDonald has shown in his excellent work "The Culture of Critique". Franz Boas had specific racial reasons himself for carrying out his campaign against the use of "race" in academia, and the reasons for this were far from what the Western standard of science represents.

So even though I highly recommend the book, I wish Joshi could have been so intellectually honest that he admitted in the book that his status as a non-European immigrant himself has biased him, and made him write the book with an extreme liberal and secular slant. So if you manage to ignore this part of Joshi's book; you'll have on your hands an excellent and well-written account of Howard Phillips Lovecraft and a good introduction to his writing.

Joshi is the foremost student of Lovecraft, and in this volume he has written the unsurpassable biography of the man whom Stephen King himself called "the twentieth century's greatest practitioner of the classic horror tale."

For myself, I can only say it's been a long wait. I first discovered Lovecraft at my local library in eleventh grade. I picked a book decorated with some macabre illustration off a twirling bookstand, checked it out, and rode my bike home with the volume tucked under my arm. That evening I sat with it in the big white reading chair in our home's living room. The first story I read was "The Picture In the House."

I was hooked.

Within the year I'd read every story Lovecraft wrote excepting one--"Herbert West: Reanimator". (I finally got to that earlier this year.) I became, in a way, obsessed with Lovecraft. I wanted to know who he was, so I read Frank Belknap Long's Howard Phillips Lovecraft: Dreamer on the Nightside. The stories and poetry I was writing at the time became increasingly colored by (or downright imitative of) my hero. Somehow, the man infected my consciousness in a way no other writer--before or since--ever has. I guess it's because in so many ways my inner life has been--with some important exceptions--a parallel to Lovecraft's. I see him as a kindred spirit.

That being the case, it's hardly surprising I relished--nay, wallowed in--this biography. It is detailed beyond imagining. Here we follow Lovecraft on his walking tours, street by street. We see his grocery lists and menu items. We read his letters and amateur publications. By the end of this text you will feel you have lived and breathed right alongside the old fellow and slung arm-in-arm with him through his nightmare worlds. No one could have done it better than Joshi, and it is doubtful anyone ever will. If you are a fan, this is a must read. If just curious, the lengthy detail might be off-putting, but you may find yourself a convert by the end.

Unlike De Camp in his earlier biography, Joshi doesn't consider HPL to be a failed version of what he might have been had he at various key points in his life been just that little bit more commerce-minded: instead he accepts Lovecraft as he was and goes on from there. I think Joshi brings out what it is about Lovecraft & his work that continues to fascinate today: the curious fact that an erudite, scholarly autodidact should, from an early age, have been so caught up in a melodramatic 'pulp' aesthetic that for the rest of his life he focussed the entirety of his self-expression - emotional, intellectual and philosophical - through that aesthetic. Hence Lovecraft's stories have, even at their most garish & mechanical, an (admittedly sometimes near-subliminal) intellectually rich underpinning, and it is this bleed-through of a higher aesthetic that lifts them above the acres of hackwork that surrounded them when first published in Weird Tales, (try reading even a 'best of' by those other writers today!), gives them a psychological curiosity, and has given them their unexpected longevity.

Joshi's analysis of the 'Cthulhu Mythos' is, I think, exactly right: he defines the Mythos (not HPL's coinage, of course), as 'a fictional technique' for presenting Lovecraft's philosophy - which Joshi defines astutely as 'an anti-theology' which makes manifest (as we see with the cultists in Call of Cthulhu) the delusive nature of all religious belief, and asserts the meaningless of human existence in a vast, uncaring, mechanistic universe.

This analysis justifies what would otherwise be an excessively lengthy exploration of Lovecraft's political and philosophical beliefs, given that he published no significant writing on those subjects, and was only considered a great thinker by his friends and epistolary correspondents. It also highlights the unalloyed perversity of August Derleth in imposing a Catholic-inflected cosmology onto Lovecraft's atheistic vision. How strange that he was so fascinated by HPL & his work, but couldn't accept what Joshi rightly points out is its absolute core!

Joshi manages to address various differing opinions in the world of Lovecraft Studies without becoming pedantic or petty, and takes trouble to credit other researchers and academics for their insights.

As a biography this book is full of interest, and Joshi's pursuit of detail is relentless - occasionally to the point of obsessiveness, it has to be said, but some of the details he uncovers are highly revealing. His account of Lovecraft's death I found surprisingly moving, but I did not, as I did on finishing the De Camp biography, regret his life - except in the single matter of his clinging on to racist beliefs and self-diminishing prejudices.

I have very few criticisms. There are no photographs, and I think the cover is horrid - & certainly is not a good likeness of HPL. Occasionally Joshi is so aesthetically aligned with his subject he indulges him (as he does with certain of his amateur endeavors); occasionally Joshi is over-definitive in his judgment of the merits of various yarns. I think he slightly misses the mark at various points when he comments of (eg the denoument of Herbert West) that HPL must have been sending up his own style to *intentionally* comic effect. This, I think, is not quite right: rather, it seems to me, he allowed his discipline to slip, and reverted to the garish style of the Argosy yarns that he had read as a child, the style of which had so fundamentally informed his entire notion of the form of aesthetic and psychological self-expression that he could never quite discard it. Lovecraft knew it was a failing on his part, but sometimes let it off the leash regardless. I'm sure he never thought of his verbal pyrotechnics as anything other than, on sober reflection, accidentally funny.

Aside from those very modest quibbles, I found Joshi's judgments & assessments at all times perceptive and thought-provoking, and his 'Life' a highly-readable achievement in biography.

The good: Until S.T. Joshi's book, the only serious, widely-available biographical information on HPL apart from his letters was 'H.P. Lovecraft; A Biography' (1975) by L. Sprague de Camp, which left many gaps and open questions. Joshi's book fills in the gaps and then some. It is the closest thing we have to a definitive Lovecraft bio, and if you're a Lovecraft scholar of any seriousness, you'll eventually need to read it.

The not-so-good: While Joshi's book reads like a rigorously well-researched first draft, I wish he'd consulted a manuscript editor before publication. This massive, expensive and ponderous 708-page book could perhaps be edited into a more readable and reasonably-priced 300-page book, with another 100 pages of small print endnotes, merely by removing Joshi and his scholarship from the foreground and replacing them with Lovecraft. For example:

- Joshi includes himself in the story, using the first person pronoun on nearly every page. "I..." this and "I..." that. While Joshi is likely the world's foremost Lovecraft scholar, and I appreciate his excellent and exhaustive efforts as a researcher, I did not plunk down such a hefty cover price to read about his adventures in scholarship. Easily 200 pages of this 708 page book are about the adventures of Joshi, Lovecraft scholar. That information belongs either in a short appendix or separate article. He'll print a quotation and then add, "To this analysis there is really very little to add...," or "I don't think I can add much to this," or "That last remark may be a little sanguine, but let it pass," seemingly for no other purpose than to firmly return the spotlight, which had momentarily alighted on Lovecraft, to himself. On nearly every page I felt that trapped "captive audience" feeling you get with professors who use class time to speak at length about their personal lives. Surely by now it has become standard practice for biographers to not include the personal "I" in their biographies, at least when they've never met the subject.

- While most biographies focus on the subject and relegate sources and disputes to footnotes and endnotes, Joshi foregrounds the sources and points of contention, which has the odd effect of almost burying the subject. You'll often read four paragraphs of sources and conjecture containing a single sentence of actual biographical information. If Lovecraft did X, but there's some dispute, I'd prefer the main body to say "Lovecraft probably did X," with a small-print footnote citing sources and contentions. I paid to read about Lovecraft, not Lovecraft scholarship. I often feel like I'm being punished, forced to read 708 pages to get 300 pages of information.

- As another reviewer pointed out, Joshi frequently expresses his personal opinions in a tone suggesting that he believes them to be indisputable fact. Especially disconcerting is Joshi's careful habit of never missing an opportunity to denigrate Lovecraft himself. A tiny sampling of Joshi's descriptions of Lovecraft and his work includes: clownish error, clumsily, embarrassing, paranoia, pompous, pseudo-philosophical, trying to do too much, moping, overly given to histrionics, painfully inept, pitiable wish-fulfilment [sic], a pretty sorry excuse for a story, offensive, dubious and pathetic. It's almost as though, while Joshi must have some respect for Lovecraft, he is careful to constantly place himself "above" Lovecraft emotionally. I can sympathize with Joshi, who as a serious scholar must sometimes find himself exasperated by uninformed intellectuals who still underrate Lovecraft's genuine contribution. However, I feel that the body of a biography is not the best place for Joshi to distance himself from Lovecraft's sillier decisions. If Joshi dislikes something, surely he need not bolster his personal opinion by inflating it into a grandiose pretend-fact by pompously lecturing the reader as to what we ought to despise or where to place our "well-deserved contempt."

Why are Joshi's opinions in the book at all? Doesn't he trust his readers to form our own opinions? Almost once per page I felt some resentment at being forced to play captive audience to Joshi's unwelcome editorial opinions and emotional self-positioning in order to gain access to his excellent scholarship. Toward the end Joshi finally provides his editorial rationalization, introducing the topic by slamming previous Lovecraft biographer de Camp with: "[de Camp]'s schoolmasterly chiding of Lovecraft [is] ...galling." Talk about the pot calling the kettle black! Joshi goes on to claim that "passing value judgments... is the proper function of any biographer." Excuse me? As with all of Joshi's most dubious assumptions, he provides not a single citation or justification for this opinion, but merely states it as fact. Many (perhaps most) professional biographers would strongly disagree. I couldn't help bursting into incredulous laughter when Joshi finally declares, "...on occasion one feels as if Lovecraft is having some difficulty shutting up."

In closing, I hope this book is re-released soon with S.T. Joshi's presence as a character, editorial opinions, emotional self-positioning and research experiences either cut entirely or summarized in an appendix or endnotes. Then it wouldn't hurt to have a professional book doctor rewrite with an eye to smoother prose and readability. THAT edition will be the definitive Lovecraft biography.

Clocking in at 654 pages, this sprawling biography will teach you everything you ever wanted to know about the horror scribe -- along with some things you'll wish you hadn't discovered, like how Lovecraft was a more zealous racist than was the norm in his day. Joshi is long-winded, for sure, like the grandfather who, when you ask him how the light switch turns the lamp on, proceeds to tell you the history of electricity, starting with two sticks being rubbed together. You'll be hard-pressed to remember all the details afterward, but the story of Lovecraft's life is smartly woven, divulging the world as viewed through the writer's eyes and those around him. Like a criminologist apt at identifying with a killer, Joshi truly seems to understand his subject down to the crumbs on his coat.

Good things come in small packages! This volume may be slender, but it packs a helluva wallop. This book is pure "rock & roll" hororr!

This horror anthology consists of twelve short stories and an extract from a novel. The collection runs a wide range of the genre with lead characters including the undead, a serial killer, and a dying cowboy's final lament, etc. The book contains well written tales that grip the audience as Staci Layne Wilson provides surprising emotion (that is for the short story format) in several of the stories. The supernatural runs free throughout the tome, but mostly provides atmosphere or the impetus to move the plot forward. Though the title implies a god-fearing or anti-religious fervor, HORRORS OF THE HOLY is more of a secular generalist series of tales that grips the audience with suspense and a wonder what can happen next. Ms. Wilson is a talent worth following (SEE THE LIFE AND TIMES OF RAPUNZEL).

Harriet Klausner

This is a funny book, but it doesn't detract from the horror at all - it's plenty scary! I really enjoyed it, and I'm hoping she comes out with a horror novel soon. Even though there are 13 stories, they were too short. I wasn't ready for them to end!

An anthology of 13 stimulatingly scary short stories. Each story a different look into the darkness, zombies, vampires, monsters and more. Wilson has created a collection of very different intersting, spine-tingling stories. The stories are creative and not really predictable. She uses different perspectives and creative these highly-entertaining plots. Delightfully enough, she sprinkles humor powder into irony, artfully. Her au fait writing style makes this a page turner. Take a journey through the supernatural world. Quick.

The sacred and the profane are only separated by a thin veil, and when HORRORS OF THE HOLY peels back the veil, be prepared for the fearful and unexpected. Beneath the most respected and holy lies the macabre and the profane, often more closely linked than you've ever expected.

Ranging from vampires and the supernatural to priests and evangelists, and even the common such as jewelry and teeth, HORRORS OF THE HOLY will have you checking the mirrors and the bathroom repeatedly. Two of my favorites, "Always Amber" demonstrates that possession may come from the simplest of things, while " Anti-Christ Superstar" will have you thinking twice before checking out that cool new web site.

Perhaps some of the fun with HORRORS OF THE HOLY also comes from the play on literary tradition. "Always Amber" was on my mother's book shelf for years; all children of the sixties and seventies loved "Jesus Christ Superstar" and of course the allusion to the bible in "The Tooth Shall Set You Free." Wilson's clever alliteration of the title, of course, also delights this English major: HORRORS OF THE HOLY: 13 SINFUL, SACRILEGIOUS, SUPERNATURAL STORIES.

While some stories are vaguely familiar as ghost stories or urban legend, this fresh voice brings new meaning and vitality to the story telling. Each story is riveting, written with an intensity that will hook the reader right through the end. Each story lives with vibrancy that is very difficult to match with such a diverse short story collection. If you love horror stories, the HORRORS OF THE HOLY is a must read.

Great job Victor! I had a hard time putting the book down once I started reading it. (I read it twice) you almost felt like you were living it. Victor did a nice job of making you visualize each character. I think Mr. Johnthan Holloway was my favorite. He's every girls hero. His family, his friends, and his community were his life. So much that he was willing to die for them. I can't wait for your 2nd novel hit. good luck Victor.

gwen

Yes, our book club "Mixed Company" discussed every aspect and enjoyed it. We look forward to meeting the Author VERY soon!

In Spite Of spins a tangled web of comedy, chaos, espionage, and intrigue; bascially things that occur in the Black community on a daily basis.

In addition to all the drama that takes place from the neighborhood beautyshop to the corporate boardroom, this novel's true gift to its readers is the passionate "Black on Black" love-thang. I'm sure you'll agree that is the "real deal" personified. The story gives each reader hope and reaffirms that love don't mean a thing, unless you have some for yourself.

The burning question that's sure to come to mind after completing the story of two life-times will be: "Who's going to star in the movie?"

I guess I'll be the dissenting voice here. I could not wait to put this book down. It was just plain bad.

The characters came off as one-dimensional stereotypes with no real depth who could be easily summed up in five words or less. John Holloway was "strong black man", the villain was "evil racist white man", Nation of Islam- "strong black men with suits", John's best friend-"Player" etc... While it's admirable to have a book featuring a "strong black man" to the extent that character is "Mr. Perfect/Dudley Do-right" he's not all that interesting.

Moreover, I lost count of how many times the author used John's thoughts as a vehicle to preach his views of what's wrong with Black America and how it can be fixed. While I understand the desire convey some sense of morality in a character, it just felt a little heavy-handed to have some moral lesson being conveyed to the reader on every other page. I couldn't help but wonder if this book was targeted towards teenagers because of the constant and obvious soap-box preaching going on.

As for the plot, why the author felt the need to make this an action novel I'm not sure. I felt like I was watching bad made for TV movie which from start to finish was obviously going to have a happy ending.

Finally, setting this story in Dallas was interesting, however the details were somewhat superfluous. As a reader I don't need to know every single street name the characters travel on to really "feel" like this story is in Dallas. A little too obvious an attempt to "Dallasize" the story on the author's part in my opinion. One more thing, way too many typos and misspelled words for a real book.

Twice John Holloway Sr., is placed in the wrong place at the wrong time and end up paying dearly for it. It took John Jr., to outwit the deception that was thrown upon him, to settle the score for him and his dad.

I really enjoyed the drama and would really like to see this novel made into a movie.

Author, and Jane Austen scholar Maggie Lane's lushly illustrated and thoroughly delightful volume on Jane Austen's life, times and works is one of my Austen favorites in my library.

I gravitate to this lovely volume on my shelf when I need a quick Austen escape. Its large coffee table format allows for lush color photographs and period illustrations on each page, and author Maggie Lane was cleverly arranged the keynotes into five chapters, representing important aspects of Austen's world; Who was Jane Austen? Daily Life in Jane Austen's England, Society and the Spirit of the Age, The Visual World, and The Immortal Jane Austen. This volume also includes a well written introduction, chronology, helpful index and author's acknowledgments. Here is an example of the first topic in chapter one...

Chapter One: Who is Jane Austen?

The Woman: We learn about Jane Austen's birth, family and home environment that nurtured her genius. Her physical appearance, character and personality are described and exemplified by Lane's thorough research, aptly including insightful quotes from her letters and family reflections.

"Her unusually quick sense of the ridiculous inclined her to play with the trifling commonplaces of everyday life, whether as regarded people or things; but she never played with its serious duties or responsibilities - when she was grave, she was very grave." Anna Austen Lefroy

Inevitably, comparisons of Austen's personality lead to the paring of her attitudes and personality with the characteristics of her own heroines. Even though each of her heroines is highly individual, Lane hints at similarities in the characters of Elizabeth Bennet, Emma Woodhouse and Anne Elliot, and though I agree for the most part, I was amused to see how one can find what they need to suit, by reason and ingenuity.

The chapters are broken down further by topics and continue in chapter one as follows; The Writer, Beliefs and Values, The Letters, The Portraits, Family Background, Home at Steventon, The six brothers, Some female relations, Love and friendship, Family visits, Bath and the West Country, and Return to Hampshire.

Even though Maggie Lane is qualified to write a scholarly treatise, she knows her audience, and her light style is approachable and engaging. She includes enough biographical and historical detail to introduce us to the subject, and not weigh it down with heavy language and minutia. The photographs and illustration have been thoughtfully selected, significant to the topic, and important historically. Her scholarship is exemplary.

This is my favorite Austen book to give as a gift as an introduction to Jane Austen, and as eye candy to the indoctrinated. It has never failed to please, and I hope that we shall see many additional editions for future readers.

Posted by Laurel Ann, Austenprose

This is an enjoyable flip-through for Jane Austen and Regency lovers, but because the format limits the length of any entry, it is a rather abbreviated overview without a lot of depth. Many of the entries had me yearning for more information, especially those items about social mores, society, relationships within the family, etc.

This is a really great book. I'm a fan of Jane Austen and have read all her novels but there were many things in them that I didn't understand because I didn't know the culture, customs and history of that time. Just one small example--Mr. Darcy hands his letter to Elizabeth Bennett instead of mailing it. Apparently unmarried men and women did not correspond with each other unless they were relatives or engaged to be married. Another example--balls and dances were a primary way for unmarried people to meet and socialize and one of the few ways they could talk alone to each other (while on the dance floor). So the balls/dances in Jane Austen's books are much more significant than I realized.

I would highly recommend this book for anyone who wants to understand Jane Austen's novels better.

These days many books come along that discuss specific influences on Jane's writing such as poets, other authors, politics and social customs. This book allows a return to the overview of her story. The hard cover book is 8 x 11 in. which makes it easy to be a coffee table presentation or to read in a comfortable upright chair or even in bed (Yes, I do it!) Six well written chapters choronical her life, who she was, what it was like to live in Regency England, the society and spirit of her times, what her country was like, and her influence through the ages especially via her six novels and in the recent movies and television productions. For the old timers who have followed Jane Austen for some time or for the new comers wanting to know more, this is the book for you.

This books is so informative! Easy to read, lots of information about the Georgian and Regency Eras, very informative. It goes into depth about Jane Austen's time and her life. It talks about everything from the Army, to everyday life, to the madness of King George, fashion, etc.. So much info! If you're into history or Jane Austen, you'll like this book.

Great book - see his site at http://wwww.brianpowerwaters.com.

I thoroughly enjoyed Margin for Error: None, and I thank you for every chapter. There are a lot of men and women controllers out there that feel the same way I do about people like you. Thanks again. Gary Lashbrock, Miami Tower.

Margin for Error: None outlines his views on the nation's air traffic control system. Included were such chapters as "Danger, FAA at Work" and "Controllers Mate It Work." Baltimore Sun

Captain Power-Waters "tells it like it is" through the use of many examples. Unfortunately, those who should read this book-FAA officials-probably won't. C.W. Glines (author of numerous books on aviation) in Airline Pilot Magazine.

This book was published in 1980, and then again in 2001 but not updated. All material is at least 23 years old.

Anyone who likes Larry Niven's work at all should be happy with this book.

From Tom Clancy's introduction, along with others by co-authors and editors, through all the stories - and this basically includes his best work of all (Inconstant Moon and All the Myriad Ways), along with some other good stories. In fact, even with the excerpt scores averaging almost 3.50.

Even the excerpts are well done, the fun scene from Ringworld a good choice, for example.

Throughout, Niven offers commentary, and non-fiction pieces include an extensive look at how they put together the setting for The Mote In God's Eye, and also a piece outlining plans to write something that would satirise Known Space as all a hoax.

Then at the end a few thoughts and an advice paper apparently that he and some other writers, including Pournell did for some political body or other.

I'd probably call this a 4.25 I think.

N-Space : excerpt from World of Ptavvs - Larry Niven
N-Space : Bordered in Black - Larry Niven
N-Space : Convergent Series [short story] - Larry Niven
N-Space : All the Myriad Ways [short story] - Larry Niven
N-Space : excerpt from A Gift from Earth - Larry Niven
N-Space : For a Foggy Night - Larry Niven
N-Space : The Meddler - Larry Niven
N-Space : Passerby - Larry Niven
N-Space : excerpt from Ringworld - Larry Niven
N-Space : The Fourth Profession - Larry Niven
N-Space : Inconstant Moon [short story] - Larry Niven
N-Space : What Can You Say about Chocolate Covered Manhole Covers? - Larry Niven
N-Space : Cloak of Anarchy - Larry Niven
N-Space : excerpt from Protector - Larry Niven
N-Space : The Hole Man [short story] - Larry Niven
N-Space : Night on Mispec Moor - Larry Niven
N-Space : Flare Time - Larry Niven
N-Space : The Locusts - Larry Niven and Steven Barnes
N-Space : excerpt from The Mote in God's Eye - Larry Niven and Jerry Pournelle
N-Space : Mote Lite - Larry Niven and Jerry Pournelle
N-Space : Brenda - Larry Niven
N-Space : The Return of William Proxmire - Larry Niven
N-Space : The Tale of the Jinni and the Sisters - Larry Niven
N-Space : Madness Has Its Place - Larry Niven
N-Space : The Kiteman - Larry Niven


She puffs on Pluto.

3 out of 5


Overcee project farm people find.

3 out of 5


Demon summoming time limit Atom solution.

3.5 out of 5


Murder maybe multiverse.

4.5 out of 5


Slowboat reservation.

3 out of 5


Vaguely lost.

3 out of 5


PI no Martian Manhunter.

3.5 out of 5


A specially adapted ramscoop ship pilot gets in trouble in space, when he sees a large golden alien humanoid. He finds himself rescued and transported 12 light years instantaneously back to Earth.

3.5 out of 5


Various biffo, with or without laser beams.

3.5 out of 5


Alien alcohol test case quad pill investigation.

3.5 out of 5


Really lunary weather we're having.

4.5 out of 5


Strange party alien trip.

3 out of 5


Free Park experiment not bright.

4 out of 5


Three stage dude adjustment.

3 out of 5


Quantum black hole is ridiculous overkill.

3.5 out of 5


Offworld mercenary Cabell nightwalker Spectrum Cure.

4 out of 5


Fuxed up entertainment production mission.

3.5 out of 5


Monkey kid form peak.

4 out of 5


Abandon ship, the little bastiches have weapons.

3.5 out of 5


Hey! That looks different.

3.5 out of 5


Sauron attacks Dagon City. Who'd like to see that?

3.5 out of 5


Heinlein time alteration.

3.5 out of 5


Harem sneaky story.

3 out of 5


ARM to schizo arm.

3.5 out of 5


Flying lessons.

3 out of 5

This book is at the top of my "If I were stranded on a desert island..." list. I don't love everything Niven's ever written, but this sampler has something for everyone. This isn't just the best of Niven, it's some of the best SF written in the last 40 years. What's also nice is the inclusion of hard-to-find stories like "For A Foggy Night" and the non-fiction slice of life stuff. NSpace, Playgrounds of the Mind, and the later Scatterbrain provide an unparalleled look at the career of one of SFs greats. If you read no other science fiction this decade, read these books.

I purchased "N-Space" and its sequel "Playgrounds Of The Mind" in summer of 1992, totally unaware of who Larry Niven was, or that he already had such a lengthy history in the science fiction community. At that point (my first year in college) I had not read a lot of SF beyond the confines of Star Trek novels; save the space opera of W. Michael Gear and the military SF of Chris Bunch & Allan Cole. I didn't even really know what 'hard' science fiction was, and picked up "N-Space" and "Playgrounds Of The Mind" because I was pining for something different--perhaps more challenging?

Oh boy, did I ever get my wish! I soon discovered that "N-Space" is not a straightforward science fiction novel, but rather a mega-compilation of short stories, novellas, and outtakes from novels, spanning Niven's (apparently) decades-spanning SF career. I spent the fall and winter of 1992 totally falling in love with Niven's various universes, and the characters that inhabit them. Moreover, I fell in love with the 'hard' aspect of Niven's work, which compared to the space opera I had been previously reading, was rigorously rooted in the realities of physics and science. I was enchanted by the idea that you could stick to real science (mostly) and still tell amazing and adventurous science fiction stories. In fact, much of Niven's hard SF ranks superior to a great deal of softer material precisely because of its 'realistic' flavor. The generic, and often rubbery gadgets and technology of softer fare is religiously replaced in Niven's work by concrete extrapolations, based on what we understand about the universe in the present time.

Now, with that in mind, I would caution younger or less experienced readers, where "N-Space" is concerned. Especially since the book is not a novel unto itself, it's easy to get lost or distracted in this book. So many different ideas, concepts, times, places, and characters, are all hurled at you at once. If you're not ready to hang on for the ride, you're liable to get thrown off! Thus, if you're brand new to science fiction, or if you were like I was, and only familiar with media SF or military/opera, you need to understand that "N-Space" is a very different kind of book that gives a very different kind of read.

Still, Niven has enormous talent, not just for telling hard SF stories, but for telling them with wit, insight into character, and not just a little humour. His imagination when it comes to world-creation is dazzling, and his alien races and places are some of the most memorable I have ever read. Like a smorgasbord, "N-Space" gives us a healthy portion from virtually all of Larry's playgrounds, both well known and obscure. By the time I was done with "N-Space" I launched voraciously into "Playgrounds Of The Mind", which is essentially the second half of "N-Space"; the two books serving as the first and second parts of one, giant collection.

I've since gone on to explore the majority of the works that "N-Space" touches upon, and after a decade of consuming Niven I consider him to be, perhaps, my all-time favorite SF writer. "N-Space" is not his best single work, it is the best from his best, and as such, makes an outstanding primer for anyone who has never read Niven, but wants to becoming broadly and deliciously acquainted with his work.

I am a lapsed Niven fan having discovered him in the late '70s as a kid. Something spurred me to buy N-Space as a way to rediscover what I cherished about his unique mix of hard sci-fi and realistic human emotion.
Thank goodness! When I was done I had to immediately start picking up where I left off with "The Mote in God's Eye" and I look forward to re-reading treasures like "Footfall." Perhaps I'll just start at the beginning and work my way up? :)

At one time the term "science fiction" caused eyebrows to raise. "Isn't that reading for losers who can't relate to others well?" Larry Niven is one of the authors who forever changed the way SF is perceived, one whose fiction emphasizes science without cutting short on any of the tools of your typical brilliant writer of fiction. This gives us well-sculpted characters, even in the shortest of stories, with eye-opening and theoretically sound scientific concepts, plot twists, and remarkable endings. Satisfying story after satisfying story.

What's unique about this collection isn't that it includes a foreward with comments by other authors and fans, or that the author comments on each piece within the collection. Those are commonplace. But in Niven's world, he likes to let you into his world in a special way, perhaps by dishing some dirt on an SF mag who rejected a story that turned out to win a Hugo, etc. He openly questions his finished product, saying that "Today I'd write this story differently," etc. As if we could lift the lid on his cranium and step inside for a moment, seeing how the stories are crafted. Very interesting.

Not as interesting as the work, however, another unique thing about this collection: Not only short stories are collected here, many of which only appeared in one issue of some now-defunct SF mag or other, dating back to the mid 1960s upward to 1990 when this book was first published. He also includes essays, such as an unforgettable commentary on the problems Superman would have if he tried to mate with Lois Lane, as well as excerpts from his published novels at the time. A terrific sampler of a terrific author, whose early-70s work "Ringworld" stands as one of the most brilliant works of speculative fiction of all time. Intelligentsia still debates the validity of its scientific assumptions, and while even Niven admits that most of these have been disproven, how many SF works do you know that sparked so much debate while still being so widely admired?

Niven is far, far beyond any alien shoot-em-up author. This ain't "Star Trek." This is real scientific fiction told by a natural storyteller who loves what he does. We readers love him for it.