California Books

This book is very well researched, which pays off in the fun trivia department. The author has done all the hard work here. All you have to do is enjoy the fruits -- and California is full of them! This book takes you on a fantastic journey of a place you only think you know! Great for those who live there or dream of going there. This is one for the ages -- don't miss out!

I am a buff of California facts and trivia, but this book has unusual, fun, and quirky things about the state I never knew. I send it to my friends that are not from Califoria because they love reading about Hollywood and there's lots of great informaiton about movie stars. This book is fun to read, in fact, I leave it out on my coffee table and play trivia games from it with my friends.

Calling California Home is an absolute delight! It's full of fun and interesting facts about the great state, written with a wonderful, quirky sense of humor!

This book is so very cleverly written! It is loaded with tons of fun and informative historical facts about this great state that I am lucky enough to call home. I would love to read books about other states that were this much fun! Well done!

really fun! filled with lots of trivia that was interesting, and neat personal essays.

My husband bought this book a few years back and it has been the best cookbook ever, I use it ALL THE TIME it's inexpensive to make the things in the book, my children love the things I make and I have one son who is a picky eater and he likes most everything I make, I really enjoy the cookbook. Many thanks to you for this GREAT Book

I work full time, have three small children, and a husband that works nights. These recipes are so easy, my children (ages 7, 4, and 2) help me make them--and they will actually eat them!

My teen age boys love to use this book. It is simple, they can fix meals they like, and it is a good way to start them cooking on their own.

Speaking as a non-cook who is forever looking for short cuts, this collection of recipes using Campbell's soups is ideal--and although the idea of using canned soup as a primary ingredient may cause some to roll their eyes in gastronomic superiority, the recipes in this particular collection are both easy and surprisingly successful.

The book breaks down into seven sections: appetizers and snacks, soups and stews, main dishes (with sections for poultry, beef, pork, lamb, veal, fish and seafood, and eggs and cheese) side dishes, and "Campbell's Classics." Recipes range from the extremely simple to the slightly more complicated but still extremely accesible, and few will be intimidated.

While some of the recipes harken back to the sort of thing your mother might have stepped into the kitchen to whip up as a quick meal for the kids, there are also quite a few more sophistocated recipes with international flair designed for modern tastes, including several with an Asian tone. While I doubt these dishes will ever compete with truly made-from-scratch cooking, they are surprisingly successful, quite a bit of fun to make, and offer a result that most will enjoy--particularly when you open the cabinet and are at a bit of a loss as to what to cook for that unexpected guest.

My youngest daughter owns this book and loaned it to me, I'm an experienced 'scratch' cook and this book has amazed me with it's simplicity, the recipes are easy enough for novices and presentable enough to fix for company. I highly recommend it to new brides, college kids, experienced cooks and gourmets - you just can't lose and the presentation is wonderful. Just ordered 4 for gifts. If you have an up coming wedding to buy for, add this inside a lovely covered casserole dish and the bride will thank you forever.

The book is trully great.... very well written and thoroughly analized...My only problem with it was the lack of colour plates (understanding that the study of his technique is concentrated on the orchestration of planes and volumes). I believe the study of this master requires colours... in order to fully appreciate his methods but also becuse of the pleasure of merely being a spectator and enjoying his art for what it really is...a ballet of fantasy and life!
Appart from that I do believe it is a must for any lover of art.

When I first read this book, over twenty-five years ago, I thought it was the most remarkable book ever written on how an artist composes and organizes his or her creative process. Over the years, I've returned to it many times. Having recently re-read the book I find I am still thrilled by Loran's ability to illuminate the special qualities within Cézanne's canvases. As an artist and art educator, Loran was in a unique position to comprehend how this artist balanced the formal, intuitive, and experiential aspects of composition. All of this comes through admirably and clearly. Although I imagine some people might find the graphic diagrams cold and remote from the vitality of Cézanne's painting, I think a close reading of the book demonstrates that an illustrative graphic can help us reach a deeper understanding of the artist at work, in this case Cézanne. If you are a fan of Cézanne, definitely read this book! If you are interested in understanding the artistic mind, definitely read this book.

Many of Cézanne's paintings are essentially composed of flat, homogenous planes. He has no interest in textures and takes great freedom in choosing colours and distributing them patchwise. He also disregards proportions and perspective, making receding objects such as roads, mountains and hills stand up straight, so to speak, to the picture plane. Thus each plane in the painting "remains comparatively flat and parallel to the picture plane", but still the painting has a definite feeling of depth because of "the three-dimensional effect that a sequence of the same planes creates through overlapping" (plate XIII). "Cézanne's genius in organizing three-dimensional space is the basic foundation of his composition" and doing so by the plane colour patch approach agrees with the principle that a painting "must remain faithful to its own structure, to its fundamental two dimensions" (section XV). The organisation of space is achieved by the "tension" or "movement" created where planes overlap, and this is Loran's main framework for analysing Cézanne's paintings. With some imagination and many useful geometrical diagrams we can sum up the effects of the overlaps to a general movement; usually some sort of circular movement, always staying within the picture frame. Loran is very faithful to this point of view, even blaming Cézanne when it doesn't apply. In his analysis of a Sainte Victoire painting (plate X) he finds such a circular movement and concludes: "It is this circular movement that gives the painting it ultimate 'closed' effect. Actually, this canvas has many elements of open form ... personally, I find these latter elements insufficiently resolved and somewhat disturbing." Besides this analytic framework, Loran also makes more traditional analyses in terms of balance, dynamics, etc., and he also spends far too much time nagging about two pet topics: Cézanne's famous colour modulations are in fact of incidental importance and Cézanne anticipated Picasso and Braque.

Pages 17 to 24 are a so called "Illustrated Glossary" and are worth buying the book for. The classic rules of space and depth and planes are explained in most of their complexity. Then he discusses many many examples of Cezanne's work and how they use the principles of space, planes, and depth. A masterpiece and extensive in its scope. If you really want this type of abstract picture understanding you will not be disappointed. Very highly recommended.

This book is a must read not only for students of Cezanne and Cubism, but for anyone who would like to understand how a composition is put together. By comparing photographs of subjects painted by Cezanne, to the paintings created, one can see what interested the master in his own work. Cezanne's classic remark about Monet ("He is only an eye. But what an eye!")is clearly relevant here: Cezanne is not only an eye function, but a meditation on the process of visual construction per se. A stimulating and important book.

I came to this book after reading several books on the Caucusus -- Yo'av Karny's 'Highlanders' (2001) being the best -- and a couple on Chechnya -- Khassan Baiev's memoir 'The Oath' (2004) the most profound of those. Admittedly, I came to Tishkov's work skeptical: he is Russian, after all. For those of us perhaps a little too eager to see local resistances to 'imperial' power and statehood as liberatory struggles, Tishkov engages us in a real marvel of anthropology, teasing apart threads, and questioning assumptions. Like Baiev, albeit in a very different way, Tishkov's professionalism, his belief in the rationalism of the anthropological method, carries this book. It is certainly possible he may have carefully selected and then edited his informants' words, but to what end? Throughout the book I was successively impressed by his unwillingness to engage in "a debate over the truths of who did what during the Chechen war." This is not to say that Tishkov avoids pointed commentaries about either Russian hubris or Chechen entrepreneurial violence, but it is to say that he does a profound job in helping his readers understand the precarious nature of war and peace, especially in a cultural climate where "even the slightest of differences can be used to justify violence."

Tishkov presents a blanced, well researched account of the two Russian-Chechnyan conflicts. Filled with interviews of both Chechnyns and Russians, the book gives a factual account of the war mixed with personal stories of the survivors. Highly reccomended if you want a down the middle view.

This is a very good book about the Chechen War written from the viewpoint of the fighters. Most books on this topic are written by Liberals apologists for terrorism, who sympathise with the rebels and blame Russia for the terrorist acts committed by Chechens. Others are by extreme Conservative Christians who just hate all Muslims. Chechnya went from being a struggle for independence to a Holy Jihad. If you want to hear the real story from the voices of the Chechens, here it is! This book is easier to read then Wolves of Islam, and I reccommend reading both!

Following the tide of change that resulted in the breakup of the Soviet Union, the people of Chechnya proclaimed their independence in November 1991. Inevitably, many events took place between the newly formed nation and the Russian Federation, leading to the invasion of Chechnya by Russian troops in early December of 1994. A conflict that Anatol Lieven, the author of Chechnya: Tombstone Of Russian Power, has referred to as "the greatest epics of colonial resistance of the past century". Thus, for the next ten years, one bloody war after another reduced a thriving country to rubble; the Chechens enduring unimaginable suffering with no end in sight. To date, the struggle for self-determination has somehow, develop into an "Islamic" guerrilla war. Chechnya: Life In A War-Torn Society is not an account of the war; rather it is a reflection on a Chechen society forced into a never-ending, cruel and traumatizing war. The author of this scholarly text, Valery Tishkov, is currently the director of the Institute of Ethnography and Anthropology at the Russian Academy of Sciences. Therefore, his views on the conflict can be deemed authoritative and to some extent, biased.
In the first five chapters, the author seeks for the answer by explaining the historical context of events such as Stalin's atrocious deportation of the Chechens to the lifeless steppes of Kazakhstan during World War II, which the Chechens suffered in silence, undoubtedly created bitterness in their memories. Yet he asserts that it is not a reason for the unending conflict. Nor, according to Tishkov, do ethnic, tribal, or religious disparities explain the tragedy of this war. Tishkov however places the core of the problem in the early stage of Boris Yeltsin's presidency when rivalries between factions paralyzed the operations of the government in dealing with the Chechen crisis. He perceives the bloodshed as the result of unresponsiveness and puzzlements on the Russian leaders when the Chechen crisis first emerged and the reluctance to deal with General Dzhokhar Dudayev, whom the author introduces in chapter six, while the situation is still in control. All through the book, Tishkov observes the first war and its aftermath through the eyes of fifty-four Chechens whom he and his associates interviewed at length. These "informers" have infused his account of the war with an exclusive directness and subtlety. Their recollections offer a distinctive ethnographic description and analysis of the war, the outcome, and what precipitated it.
According to the survivors and Tishkov, the Chechens success in the first war can be attributed to the use of "guerrilla warfare", with tactics such as ambushes and attacks on the enemy's lines of communication which the author of Resisting Rebellion, Anthony J. Joes, stated as one of the vital strategy for insurgents to succeed. Tishkov goes on to express his admiration for the Chechen fighters' ability to overcome the psychological fear and intimidation and master the techniques of guerrilla warfare. Nevertheless, in chapter seven, when they staged and recorded their attacks, Tishkov portrays the exhibitionist behavior of the Chechen fighters as acts of terrorism. The author fails to realize that it is one of the ways that terrorists can get their objectives across to a wider audience. In his book Terror In The Mind Of God: The Global Rise Of Religious Violence, Mark Juergensmeyer, the noted sociologist and the Director of Global and International Studies, explains it as a theater that terrorists use to conduct terror for their audiences whom they are trying to terrorize. Yet, Tishkov fails to mention the atrocities that Russian troops committed on the Chechens that provoked the situation in the first place. On the aspect of religious, from chapter eleven to the rest of the book, Tishkov emphasizes the negative influences of Arab outsiders in the conflict, such as the al-Qaeda terrorist's network, whom he feels is using Chechnya as a stage determined to turn it into another Islamic state similar to the Taliban of Afghanistan. Tishkov's Chechnya: Life In A War-Torn Society is a recommended book since it does not try to venerate or condemn either side of the conflict but to expose how the war-monger parties in both Moscow and Grozny have made the erroneous political decisions that brought war to the Chechens and terrors to the citizens of Russia. Last but not least, the reader of this book must approach it with an open mind and not to form their judgments prematurely. Such as, in the view of some Westerners, the conflict is being about a small brave nation fighting against an imperial monster, or, in the view of Russia, an armed coup d'etat in Chechnya led by General Dudayev, resulting in the rise of an aggressive paramilitary regime that challenged both the Russian state and its armed forces. Nevertheless, it is a conflict that for Russia, according to Joes, who ranks it as one of the most disastrous counterinsurgent experiences on record, with the full implications of which have yet to manifest themselves.

Unlike many other books on Chechnya, this one offers a unique ethnographic account and analysis of this war and of what preceded it. Although very academic, it offers 'direct voices' of Chechens (mostly) that either suffered the war or have escaped it and now live elsewhere. The book does not attempt to glorify or condemn either side but, on the contrary, demonstrates how hawkish parties in both Moscow and Grozny have committed acts of political shortsightedness that dragged the country into war.

While this book is not going to satisfy anyone whose opinion has already been formed, especially anyone who views this conflict in terms of a small brave nation fighting against an imperial monster, it is more scientific and balanced than any other book that exists on this subject in English. It also takes a stab at Western preconcieved notions such as a failure to recognize ethnic cleansing of Chechnya in 1991-94 when the city of Grozny has been cleansed of non-Chechens who were forced to leave the republic or killed, their appartnments having been taken by the militants.

In short, this book will please you if you are looking for a balanced account or if you have an open mind and are not already set in condemning the Russians. After all, these are Chechen voices too.

Here we have a wonderful book by one of the most successful law-enforcement officers in the entire world. Chief Gates became known around the world as a founder of a first SWAT team, as someone who initiated an International DARE program, and did so much for his department. His career is a good proof of that almost everything is possible in your life.

Gates gives in his book a realistic account of what it is to be a police officer on the street, what it is to feel the pressure from "upstairs", and he also gives negative feedback so realistically that I felt like I had been standing next to him while he was explaining things.

This book is absolutely wonderful, and as a someone who plans to become a law-enforcement officer -- it is MUST! Gates has written a book of the time. It is very informative and covers all the major turns on his career including WATTS riots, 1982 Olympic Games, and Rodney King case.

Thank You Chief for writing such a nice account on your life!

Don't believe everything that the media tells you about the LAPD. If they worked their beat and walked in their shoes, they might think different.

Chief Gates gives the insight of 42 years with the LAPD, complete with the backstabbing and infighting that has become common with several department in this country (Denver, San Francisco, etc.) When Chief Gates was replaced, the status of the department suffered greatly.

A must read for ALL police officers.

A really good read that gives incite into whta Gates is all about. I also liked "BOOT: An LAPD Officer's Rookie Year" by Dunn. That's a must read for any law enforcement fan!

I lived in L.A. during Gates entire tenure as police chief. All I ever knew of him, I learned from the media. What a complete distortion! I now live in San Diego and have just finished reading his book. All I can say now, is I respect him and I'm ashamed of myself for letting the media shape my former attitudes of him. Daryl, if you ever read this, I want you to know I have now developed a deep respect for the LAPD. I sincerely hope that you write again and keep us abreast of the situation in Los Angeles.

As I am a criminal justice/police science major is college, I suppose I have a slightly biased opinion towards police officers. However, even I was slightly irked towards Chief Gates for the whole "Rodney King" scandal. However, as it was one of the books on the college library's shelf that I hadn't read yet, I figured...why not? As I delved into the text, I was totally enraptured in the tale. This man has seen and done some fairly impressive deeds, and encountered unique situations. I have never met Chief Gates, but after reading his book, I will always respect him. Chief Gates is a remakable man, who was not worried with what was politically correct, but what was right. He stood by his officers in the way that a father stands by his family. He was not pretentious, as he wore the same uniform as street officers, with no additional adornments. The book goes into detail as his roots from a working class family, attending college with the ambitions of becoming a lawyer. Gates took the job as a means to pay rent, and get an edge on his competition. He had no intentions of remaining as a police officer. However, he describes the addictive love/hate relationship of policework, and the unique culture that exists within a police department. Also discussed in depth are never before revealed details into the patrol and investigative efforts of the LAPD. A must read for anyone in the law enforcement field.

The emotion that produces Vishniac's work,in the Eastern Europe Jewish comunnities a few years before the II World War is hard to put in words, because it's really a world that vanished not because of progress but because someone, with hatred, erased it from earth.
I feel grateful to Vishniac cause he allows us not to forget.

This book moved me a great deal. The black and white images convey such innocence in the children. The simplicity of the beautifully produced photographs juxtaposed with children's songs and rhymes (in Hebrew, Yiddish, and English) gives the impression of viewing the images in a gallery. The photographs, the narrative, and the publication itself are of very fine quality. And the message is unforgettable.

This is a powerful book. In its pages we find starkly beautiful black and white photographs of children laughing, crying, playing, studying, working, in the course of their daily life... unaware of the horrific nightmare that will overtake them soon and destroy their world.

The children's eyes look at you with all the innocent curiousity and wonder of eternal, universal childhood. You look again and apprehension grips you: in a few short years after being photographed, the future of many of these children will be brutally terminated in an unmarked mass grave or a crematorium. The poignancy of this harsh reality is driven home when you read editor Mara Vishniac Kohn's dramatic description of her father's desperate, futile efforts to use his photographs as a means of arousing the conscience of the world and inspiring action to save these children and their families. We learn that Roman Vishniac sent these photos to the White House, only to recieve a perfunctory note thanking him for "the excellent pictures you sent the President."

I must express my heartfelt compliments and appreciation to the editors, Mara Vishniac Kohn and Miriam Hartman Flacks, for the way in which they have presented these precious images-- accompanying them with the lyrics of appropriate Yiddish children's songs, in the original Yiddish and English transliteration and translation, rather than the standard dry caption text. I am especially grateful to the editors for including the music and annotation for these wonderful songs.

This book belongs in every home and library.

In a haunting collection of black-and-white photographs, Roman Vishniac records the lives of Jewish children in Eastern Europe in the early part of the century, before the start of the Holocaust. The text is a series of children's songs (in Hebrew with English translation), which are touching and show how much children are alike whether they're from one side of the world or another. But the shadow of the Holocaust, while never shown, shades readers' appreciation of the images. This is a book I will not soon forget.

I am an amateur photographer. 90% of good photography is in finding the right subject. These photos are stirring.

Wow, this is a great book. I find many books on Christmas to be formulaic marketing exploits on the good will and memories most of us have for the holiday season, not the Christmas House. This is a true story of a remarkable man, George Skinner, who in LA during the 1930's transformed Polio and the complex morass we all call our families to bring joy and holiday spirit to literally millions and invent the modern tradition of Christmas decoration for homes with his creation of the first "Christmas House". It even ends with a romance, if it weren't true it might seem too good. The book is beautifully bound like a fine heirloom family photo album and reads like one if only the rest of us could write as well Georja Skinner, the books author and the daughter of George Skinner. This is a wonderful gift for those who love to decorate for the holidays, could use a dose of optimistic courage, or just want to read a delightful story of the capacity of the human spirit improve and inspire. After all, isn't that what Christmas is about?

A charming, heart-warming, inspirational story. The world needs more stories like this - now more than ever. The world also needs more people like George Skinner, the man behind the Christmas House and Georja Skinner, the woman and gifted storyteller behind this book. I wholeheartedly recommend THE CHRISTMAS HOUSE.

As an avid reader, I am always looking for books which are well written and interesting to read.
This book met all of my requirements for a great read.
Ms. Skinner presents a moving family story because she includes 'secrets' which many families try to deny or avoid discussing. Including the 'secrets' makes us see the individuals as human being with flaws who managed to succeed and help start a tradition which we all enjoy in the present day.
The enjoyment which I received from reading this book far exceeded the price of the book.

The Christmas House by Georja Skinner
New World Library

In the literature that celebrates the tradition of Christmas, Clement C. Moore's "A Visit from St. Nicholas" and Charles Dickens' "A Christmas Carol" stand out as enduring classics. Dylan Thomas' A Child's Christmas in Wales, while perhaps not as popular, continues the literary tradition of reflecting on the cultural meaning of Christmas through the eyes of the individuals who celebrate the season.

Georja Skinner's The Christmas House is a worthy successor to these perennial classics, not because it is fictional (it is not), but because it plausibly explains the origin of a very common American tradition - house decoration during the Christmas season. However, this remarkable story is far from a dry exercise in social history, for in its unobtrusive lesson about the meaning of Christmas we find both the recovery of the origin of a tradition and the reconstruction of a family's history through the historical marginalia of a personal archive.

The Christmas House is at once a search for roots, an inducement to preserve history and memory, and the fascinating re-telling of one man's struggle with a devastating disease - poliomyelitis.

The story is a simple one, simply and directly told, and that is its great strength. The author's father, George Skinner, separated from his family in Canada and resettling in California with his father Albert, contracted polio at age 22 in the epidemic that struck Los Angeles in 1934. George was hospitalized, confined at times to an iron lung that enabled him to breathe, and, greatly weakened and disabled, released to re-join his father at their Boyle Heights home in 1936. He had spent over one year recovering in the Los Angeles General Hospital.

Disheartened but yet undaunted by this traumatic experience, he hit on the holiday expedient of decorating the façade and chimney of their home with Christmas decorations in such profusion that the resulting spectacle would serve as a grand "thank you" to their neighbors for their many kindnesses and tokens of support during his convalescence. It was the Great Depression, and neighbors banded together for mutual support.

The young George Skinner had no material riches to give back in return, but the delight he generated with his "Christmas house" idea sparked the imagination of his neighbors and energized the people of Los Angeles as the news media focused on the unusual spectacle of Santa Claus, snowflakes, and icicles at 919 Mathews Street. In 1938, over 100,000 visitors witnessed an even grander display at their home, though a house fire proved to be an unfortunate setback. George Skinner's determination and artistry propelled him into a successful career in broadcasting, and the author traces the Christmas house's subtle influence through her father's subsequent career, marriage, family reconciliations, and many holiday seasons.

The uniqueness of this story turns on George Skinner's experience with polio and his exceptional resolve to overcome its aftereffects. In that, it is reminiscent of the experience of Franklin Roosevelt, whom George and many others with polio upheld as a role model of colossal importance. George's experience nearly killed him, and his convalescence was long and arduous. Not much was known about polio in 1934, and the Los Angeles epidemic was unusual in many ways, primarily for the extraordinary outbreak of what first appeared to be polio among the nurses and attendants at Los Angeles General Hospital, but now believed to have been chronic fatigue syndrome (CFS). Among 2,500 confirmed cases of polio, of which George's was one, nearly 300 nurses were also affected by CFS.

In later years - the 1940s and 1950s - the National Foundation for Infantile Paralysis (now the March of Dimes) dispatched specialized medical teams to communities throughout the nation for epidemic relief and paid for the hospitalization and aftercare treatment of those affected by polio. In 1934, however, George Skinner had only his father Albert, a tool and die maker, to rely on after his hospitalization, and these were very hard times. Albert and George together built and rigged up many devices of their own making - an outdoor gym and stationary bicycle - to provide an opportunity for physical therapy. Before their residence became "the Christmas house," their modest home was in actuality a makeshift polio rehabilitation center. First, the regime of physical therapy; then, the therapeutic and artistic breakthrough of the Christmas house; these were George Skinner's personal triumphs and re-inventions of himself, and what makes this story all the more captivating are the many photographs and documents that illustrate every episode.

One of the prerequisites of writing history is the keeping of archives. Most of us pay scant attention to the repositories of records, i.e., archives, that form a common and critically important part of higher education, government, and community life. At the same time, most of us do keep personal records of many sorts: photographs, scrapbooks, correspondence, and family memorabilia are typical. In The Christmas House, the profusion of illustrations enriches the story tremendously, and this is an integral part of the story itself.

George Skinner's childhood, hospitalization, post-polio experience, and adult life are all captured in photographs; and the inclusion of telegrams, clippings, press releases, Christmas cards, and souvenirs also serves to impart a photo verite quality to this story proving, as author Georja Skinner phrases it, that her father and grandfather were "consummate pack rats." In other words, they were incipient archivists. She describes the experience of discovering a personal scrapbook of clippings and photos that her father had kept as "going through a time warp." This is a common experience. What is uncommon is the author's transformation of family history into a luminous biographical memoir.

The Christmas House is a testament to love of family, personal fortitude against adversity, and recapturing the past. Without an overbearing religious message, it is a book about the Christmas tradition, a perfect antidote to the hyper-commercialization of Christmas that Americans commonly witness.

If anything, its message is "preserve your memories," and it will serve to raise our historical awareness about polio and disability and about a unique moment in American history when a young man in Los Angeles transformed his personal misfortune into a popular holiday tradition.

August 17, 2005 / David Rose / March of Dimes Archives

"My father was passionate about Christmas. He believed Christmas was the perfect time to celebrate all the joy that comes with living, and he did his best to spread good cheer...His zeal came from an unlikely place: the polio epidemic of 1934." - Georja Skinner

On May 22, 1934, a robust twenty-two-year old college named George Skinner was swimming laps at the Los Angeles City College pool. Reading a book at poolside, his girlfriend Allison realized that an unusual quiet had descended. She looked up from her book and was horrified to discover that George was quickly sinking to the bottom of the pool-spread-eagle, motionless, and eyes wide open.

After arriving at the Los Angeles County General Hospital, the doctor immediately recognized George's symptoms: poliomyelitis. In the early 30's many were stricken with polio and, at the time, there was no known cure or prevention for the virus. The only treatment was isolation, rest, time spent in the iron lung, and morphine to relieve the pain.

As he lay in the polio ward, George received a dire prognosis. The disease had spread through 80 percent of his body and there was a strong possibility that he would never walk again. Unable to speak, George blinked his eyes in acknowledgement as the doctor relayed the shocking news. Albert, George's talkative happy-go-lucky Dad, was stunned into silence. Because the ward was under quarantine, the hospital staff asked Albert to leave-leaving George alone.

Although George was inducted President of the Optimist Society in 1932, he still struggled with the question "Why me?" After all, he thought, I believe in God. I go to church. One minute I'm playing varsity sports, in love with my college sweetheart, and the next I'm paralyzed, on the verge of death.

Other troubling thoughts plagued George in the polio ward-ones involving the family he and his father left behind in Canada 14 years ago. He had fond memories of his Mother and his brothers, especially during Christmastime. His Mother had loved Christmas and so had George. Yet, what was supposed to be a "few weeks vacation" turned into a new life in California--*without* his other family members.

Why did his Dad avoid questions about the family they left behind? Where were they? Why didn't they write or visit when he needed them the most?

Fueled by his fond memories of Christmases past, his fiery optimism, and his desire to repay the many kindnesses and overwhelming support shown by church members, friends, and neighbors, George vowed that he would one day walk again-and that he'd create a spectacular Christmas wonderland for all to enjoy.

The Christmas House, written by George's daughter Georja Skinner, chronicles the heart-warming-and sometimes heart-wrenching-account of George's rigorous exercise regimen and arduous recovery, which included enlisting the aid of Eleanor Roosevelt and FDR's private nurse for hydrotherapy. Ms. Skinner lovingly relays George's tireless planning for the Christmas House, the elaborate steps that George and Albert took to bring the vision to life and the outpouring of support from merchants, friends, and the community. In addition, The Christmas House is a poignant story of enormous dedication, creativity, resilience, forgiveness, love, and community spirit. Also tucked within the pages of this touching book is a sweet love story about Georja's parents.

Bound with leather and filled with over 100 photographs, various newspaper clippings and journal entries from George's scrapbook, The Christmas House: How One Man's Dream Changed the Way We Celebrate Christmas is a beautiful homage to a man many have credited with launching the holiday decorating tradition still in practice today.

An indoor holiday forest, hand-painted scenery, snow shipped in from Utah, floodlights, a magical wishing well, home-made baked goods, and an elaborate sound system-all designed by George-were but a few of the wondrous experiences enjoyed by visitors to the Christmas House.

It's fascinating to read how the Skinners transformed a bungalow into the magical Christmas House-and how its presence touched thousands of lives. Volunteers worked tirelessly to bring George's displays into reality. For example, one of George's ideas was to bury tree trunks upside down in holes dug in the backyard. He figured that the twisted roots would resemble leafless branches in the dead of winter. After he was satisfied with his makeshift forest, he painted the exposed roots with white paint and sprinkled metal shavings on the wet paint. You see, in the days of the Great Depression, they didn't have extra money for modern decorative conveniences like glitter.

The Christmas House by Georja Skinner is a stirring tribute to her father and his legacy. I cried, I rejoiced, and I marveled as I read about this remarkable man and his father and the community they rallied together at a time when despair and poverty covered America.

"Cinema By The Bay" by San Francisco-based film and culture writer Sheerly Avni is a profusely illustrated survey of influential, full-length, post-1960s feature films produced by five movie studios located in the San Francisco Bay Area (American Zoetrope, The Saul Zaentz Company, Lucasfilm Ltd., Pixar Animation Studies, and Pacific Data images), or which were directed by independent filmmakers living and working in Northern California (many of whom were recent graduates of the California Institute of the Arts and Stanford - where they had studied experimental animation). Enhanced with the inclusion of an informed and informative introduction by film critic Michael Sragow, filmographies, an index, credits and acknowledgments, "Cinema By The Bay"is a welcome and strongly recommended addition to personal, academic, and community library Cinema History reference collections and supplemental reading lists.

The pervasive influence of the San Francisco Bay Area on the American film industry certainly makes for a rich pictorial of quite a tapestry of movies. At first, it seems like the commonality of location would make for a contrived listing, but this book is not just about filming locations. What local arts writer Sheerly Avni does is a solid if rather lightweight job of capturing the frenzied spirit that has marked Northern California's moviemaking scene since the early 1970's. Unsurprisingly, she tends to get effusive about her publisher, George Lucas, and his limited output as a director, but it is a forgivable breech when one considers the breadth of films, both renowned and almost forgotten, that she writes about here.

The book is divided neatly into two sections, the first devoted to the five studios based in the Bay Area (Francis Ford Coppola's American Zoetrope, Lucasfilm and the Saul Zaentz Company, as well as the CGI powerhouses of Pixar and PDI) and the second to the filmmakers who are either from here or have chosen toe base themselves here. They include not only Coppola and Lucas but also Carroll Ballard, Clint Eastwood, Phil Kaufman, Michael Ritchie, Chris Columbus and Wayne Wang among others. A complete filmography is included for each studio and director, and Avni provides plenty of interesting information about the productions. The best part of the book is really the treasure trove of production photos provided for each major film presented, many rarely seen before. I also like how certain overlooked films of quality, such as "Tucker: A Man and His Dream", receive renewed attention here, as well as vastly talented filmmakers like Ballard, who do not usually receive much media attention.

Michael Sragow, film critic for the Baltimore Sun, provides the book's invaluable introduction, which summarizes the long history that Northern California has had on cinema starting with Charlie Chaplin's use of Niles in the East Bay as a shooting location for many of his early silents. Alfred Hitchcock is another filmmaker known for his love of Bay Area locations as seen in "Vertigo", "Shadow of the Doubt" and "The Birds", a topic covered thoroughly in Jeff Kraft and Aaron Leventhal's entertaining "Footsteps in the Fog: Alfred Hitchcock's San Francisco". In the meantime, this is a worthy coffee table book providing ample evidence of how San Francisco has been an enduring creative touch point for much of the best of American cinema.

This book sums up the last four decades of filmmaking that has come out of the Bay Area. When you see all these films collected between the covers of this book, one realizes just how much Coppola, Lucas, Eastwood, Kaufman, Saul Zaentz, and Pixar have contributed to our collective movie consciousness. The writing is crisp and lucid, but the images [many never seen previously] and page layouts are astounding. This would make a wonderful gift for *any* movie lover, but even those with a casual interest in film will find it captivating. I am pretty sure this is the first book from Lucas Books, and I applaud it.

From the founding of Francis Ford Coppola's American Zoetrope to Pixar's struggles to stay fresh, I learned so much about the Bay Area's contribution to American film reading this book. (And who knew film producer Saul Zaentz discovered Creedence Clearwater Revival in a prior life as a record producer?) I always thought of "The Godfather" as the region's major movie claim to fame, but this book covers five studios, and 12 independent directors, most of whose names even the most casual filmgoer will recognize. Of course, "Star Wars" and "Amadeus" are covered, but so are less likely suspects such as "Rumble Fish" and "A Perfect World."

The photographs and images are amazing, but Avni's spunky text really makes it. I will be giving this book to my dad, who has lived in the Bay Area for more than 30 years, for Christmas.

From the very first spread, I knew CINEMA BY THE BAY was going to be a very special book. The helicopters flying over the beach in APOCALYPSE NOW is one of the most referred to scenes in modern film history, for all of the elements of war and tragedy that it evokes, but also because it is a scene that demands watching on the big screen. Not only the big screen of a movie theater, also evocatively referred to by the layout of the first page, but the big screen of the imagination, which all good movies reside on.

With that one choice Sherrly Avni brings home not only what is special about the filmmakers covered in her well-researched and totally accessible book, but what was important about the studios founded and fueled by the creative and business efforts of those men and women: that the works created by those artists and companies were defiant, revolutionary, often strokes of genius that come on like an invading army going to war full of dreams to change the landscape while at the same time shackled by the politics of an industry rooted so deeply in its old ways that breaking free was sometimes an impossible task. That all these studios were born in the same area of California amongst a group of creative people who alternated between being mentors and students of each other's work was hardly an accident, and as I made my way across the pages of the book, first learning more about the films of American Zoetrope, The Saul Zaentz Company, Lucasfilm, Pixar, and Pacific Data Images than I'd ever learned in a thousand books and magazine articles, then delving into the meatier director biographies, it was clear to me why these filmmakers have been the people who have shaped the way we all look at movies for most of the last century.

The book's layout is great, the writing crisp and direct, and filled with first hand observations from the people who lived the challenges of making the movies what they are today. I can't recommend the book more highly. If you're a fan of movies or just a fan of people and companies that defy the odds, you have to get this book!

Please see my review of the paperback edition. Although no single book is the final word on jazz, this comes close with a comprehensive description of most of the pioneers of the trad.jazz revival on the west coast. Kid Ory is given his due; and emphasis is given to some of the often unsung heroes, such as Pete Daily, whose early records with Jump, Jazzmen, and Capitol paved the way for Bob Scobey,Turk Murphy,and other groups. Particularly, his coverage of Eddie Miller, Pud Brown, Muggsy Spanier, Wild Bill Davison,Rosy NcHargue, and Yank Lawson-Bobby Haggart's World Greatest Jazz Band is appreciated. This is a must for the library of any Traditional or Classic Jazz buff!

This book stands out as a historical summary of trad jazz! No book is absolutely complete history, but Levin does a superb job of highlighting the trad jazz revival. His accounts of Eddie Miller, Rosy McHargue, Pete Daily, Bob Scobey, Turk Murphy, Muggsy Spanier, and others are flavored with personal reflections and accurate facts., He gives Kid Ory his rightful due, and, although too brief on Bix Beiderbecke, Red Nichols, the Original Dixieland Jazz Band and nothing on George Brunis, he treats the west coast revival of dixieland with much needed love and respect. I thoroughly recommend the book and believe it to be the best on trad jazz in this country.

Floyd Levin has always been a stalwart jazz enthusiast. Living in the Los Angeles area, he has had opportunity to know many of the jazz musicians personally and to share their stories with the readers. As the title implies, this is a personal recollection for Levin.

Floyd's book fleshes out some of the jazz history and clarifies some points. One is the story about the plaque in Touro Infirmary in New Orleans. Trumpeter Muggsy Spanier had a perforated ulcer which was operated by the famous Dr. Alton Ochsner, Tulane Professor and founder of famed Ochsner Clinic. During convalescence, Spanier composed and later recorded a tune called "Relaxin' at the Touro." Previous jazz writings had told about a plaque in Touro commemorating this event. Floyd tracked down the plaque which administration couldn't exactly locate. Because there had been renovation, the plaque was in a somewhat obscure location. Levin interviewed Muggsy about the event and they became fast friends. ( This is frequently a jazz quiz question: In the famous Muggsy Spanier tune, "Relaxin' at the Touro," what is the Touro? Now you know the answer.)

Levin writes about musicians he has known including Benny Carter, who wrote the foreword, James P. Johnson, Milt Hinton, Wild Bill Davison, Artie Shaw, Barney Bigard and many others. He also includes many West Coast musicians with whom he came in contact. There is a chapter on musicians, lesser known, who deserved greater recognition. Two of those included reedmen Pud Brown and Rick Fay.

Levin's concluding chapter covers the struggle to get an appropriate memorial for Louis Armstrong. Funds were being raised by various jazz societies and individuals for a statue of Armstrong to be erected in Armstrong's native New Orleans. He recounts how Bing Crosby donated the proceeds of a concert in San Francisco which put the fund over the top. That twice-lifesize statue of Armstrong stands in Armstrong Park in New Orleans and was unveiled on the nation's bicentennial in Jackson Square in New Orleans. Levin made the presentation, on behalf of the Louis Armstrong Statue Fund, to the city of New Orleans. Four years later, the statue was permanently erected and dedicated in Armstrong Park.

This book is not a definitive jazz history but an interesting view into the lives and careers of musicians who have been influential in shaping jazz--America's Music.

My review of this book is not without personal bias. I have known and worked with Levin on the Board of American Federation of Jazz Societies and have visited with him at various jazz festivals and in his home. Two of my photographs have been included in the book. I am pleased to have known him and congratulate him on completion of this book, his labor of love.

If you love New Orleans traditional jazz, you gotta read this book. Mr. Levin writes about many of the legends of jazz and recounts personal experiences with many of the the jazz musicians. I liked the depth of treatment by the author. He tells you a lot of interesting things about the musicians and their careers, but doesn't go overboard in telling you more than you really want to know. His telling of the story of how the statute of Louis Armstrong made it to Louis Armstrong Park in New Orleans is especially informative. I recommend it to most anyone who has an interest in traditional jazz, but especially to those who want ot knwo just a little bit more about the major players.

Maybe I shouldn't call the book a popouri of Jazz musicians because Levin's stories of the many personalities and events are well organized. However, a mine of classic jazzmen, famous and/or forgotten, are included with stuning, compeling and personal detail. Many talents I followed years ago who'd dropped off the radar, and about whom I've never been able to glean prior information, are included along with their more famous brothers and sisters.

What makes the book a real five star celebration are the first hand naratives along with page turning drama and pictures that carries along any New Orleans, Chicago, San Francisco, et. al. jazz lover. The book is in lyric style just like the music it presents with great pictures as well.

Persosnally I savored the mid-century west coast scenes, documenting what has not prevously been so well described, about Ory and the host of his compatriots including my favorite, Buster Wilson (whom I had never found in any other publications).

For me this is the best jazz book ever -- just what I wanted.

As a winewriter interested in all aspects of fine wines and communication dealing with wines, this is a Bible of a book. The book provides insight into not only the famous and well known winemakers and wineries, but also the least known, small production wineries. It is in this area, I believe, that the future of the real 'terroir' of the region will be discovered and maintained. The book also explores the development of the region as a vinicultural tour de force. The section on grape varieties is especially informative. The book indicates and follows the progression and sorting out of grape varieties in this region, and provides an educational backdrop to the crossover from 'Old World' to 'New World's wine production.'

There is no better guide for knowing the ins and outs of wineries throughout California. Large and small wineries they are all there. Forget some of the reviews. The background of each winery is great reading...

A vast array of information not easily available. Reliable reviews of the wines of virtually every known winery, and reliable comments about the future development and direction of wineries.

Actually it's more than that. It's like an encyclopedia, dictionary, atlas and buying guide all in one. I'm so happy to see a new addition of this book. There are so many new wines and wineries to know about that it makes my head spin. This book sorts it all out in a very concise and comprehensive format. Bravo!

I received this 11/98 version as a gift. I use it extensively as a reference for learning about different local varietals, and use it when purchasing, and then consuming, certain vintages. My one personal gripe is that I just cannot afford to try all the wines in recommendation. (Maybe that's a good thing!)