California Books

This story is quite interesting. I found the lyrical underpinnings quite... well, as another reviewer wrote, engrossing. The author is very talented in bringing the complexity of opera to the mind of a simpleton like me. I enjoyed another work by this author even more, though. That book, Frosted Glass, is this story on steroids. As good as this book is, that one is quite a bit better. I recommend both, but especially Frosted Glass.

I know that author neice and she said it was a good book and from the reveiws it looks good.

Let me just start with this statement: I loved this book. I am a budding opera singer, finishing my master's degree in voice performance, and I literally stumbled upon this book. For opera lovers-- and I mean people who love opera for opera's sake, not because it's supposed to be upper class or anything silly like that-- should love this book. Here's a brief glimpse into the book (this is a hard one to describe without giving away subtle plot twists and intricate nuances.) Bill Harness is a 50-something type of vagabond who travels around to various opera companies and distributes money to promising singers and opera houses. In Washington, he stumbles upon a brilliant young opera singer, Gabriella Compton, whose voice not only entrances him, but seems to cry out to his very existence. Gabriella is initially concerned that Bill is just a dirty old man who is trying to seduce her, but they soon become the best of friends. As the book progresses, we catch glimpses of Bill's past and the reasons why Gabriella affects him so much. By the end of the book, I was rooting for Gabriella's career and Bill's catharsis, especially with the surprise ending. Beyond Bill and Gabriella, one encounters a myriad of fantastic characters, including "Jersey" the mezzo-soprano who initially captures Bill's attentions, Joe-- the baritone who reminds me of every baritone that I've ever met, Rodrigo-- the amazing, but nervous toe-tapping tenor, cameo appearances by the diva Licia Albanese, and -- my personal favorite-- the Maestro, Gabriella's teacher and head of the opera company who studied music as a young man with the incomparable Puccini. The thing that is really wonderful about this book is that Vaughn writes like a real person. He views opera as something to be loved and enjoyed, and not necessarily revered or something to cause awe, although he does grant that aspect to his view of Gabriella's performances. I recommend this book whole-heartedly. A basic knowledge of opera and the Italian language may make the read easier, but it is not necessary to enjoy this book. A wonderful read, it is also fast-paced with just enough suspense to keep you guessing. You won't be disappointed. Enjoy!

Did you know Michael J. Vaughn's novel "Gabriella's Voice" is being considered for a 2001 Pulitzer Prize in Letters as "distinguished fiction by an American author." Did you know that it started as an e-book. Did you know that this book has been receiving extremely postive reveiws since it was published. Well enough about history, because I found out that the book was an excellant read. I strayed away from this book because I am a music fan but not an opera fan. I recall being trapped in a station wagon as my father listened to the Saturday afternoon opera on radio each week. Tenors I could deal with, but sopranos? I would picture each one looking like Julia Child with Viking horns. I admit that this is a stereotype, but we all have them. I am a fan of e-books and was happy at this book's nomination for a major award. I then picked up a copy and was blown away. I enjoy stories of travel and could really relate to Bill, traveling around after his Diva. Did you say stalker? NO, not the case. Beauty is in the eyes of the beholder and this is what Bill becomes engulfed in. Mr. Vaughn captures his audience the way a conductor catches ones attention at a symphony and the way a diva draws you in at an opera.

If you were to take a violist and a soprano to the top of a high cliff and pushed them off, which would hit the ground first? Who cares! Actually, the violist will land first. The soprano would stop halfway and ask for direction. Didn't need an appreciation for music or singing to find the humor in that, did ya? Well, you won't need either to appreciate Michael J. Vaughn's "Gabriella's Voice." "Gabriella's Voice" chronicles about a year in the strange but plausible relationship between 50ish Bill Harness and 29 year-old soprano-cum-diva Gabriella Compton. He's got a dubious past whose recent pastime is visiting opera companies and leaving huge anonymous donations, which ultimately leads him to Seattle. She's one of the last of the classically trained "bel canto" singers who dreams of the big time without selling out by resorting to contemporary singing styles. Eventually the pair begins a friendship built more on affection than on romance. Bill's family has apparently been pitched three tragic knuckle balls, the last of which prompted Bill to 'retire early' and go about his philanthropic pilgrimage. Vaughn's vehicle of an operatic novel succeeds in taking this seemingly haughty theatre form away from the high-culture fast lane and swerving it into the carpool lane. Graciously, he keeps the pace at a nice cruising speed to take us on a scenic route of opera company history and hijinks without slowing so as to demystify opera's grace and elegance. It, is, however, just a tour. "GV" will no doubt appeal to the already opera savvy, but probably won't succeed in indoctrinating the uninitiated. Actually, sometimes you may get the feeling that Vaughn is so caught up in peppering his prose with Italian opera lingo or other high-brow theatre-speak that he comes close to betraying an agenda of using his novel as a manifesto about opera-company politics. And just as a baton-waiving, scraggly-haired conductor sometimes places unrealistic demands on the orchestra or the choir, Vaughn's novel occasionally asks the more pragmatic reader to accept Bill's strange requirements in order to tell his tragic stories to a doubtfully eager-to-please Gabriella. The first story is kind of a flick to the nose. The second is like a punch in the gut, and the third like a sledgehammer to the back of the neck. Definitely 20th century family tragedies--no argument there--but they make it difficult to label this a "comic novel." "Gabriella's Voice" is an ambitious story that could have been just as impressive if not for Vaughn's request that we suspend believability a little more than usual for Bill to have his breakdowns and then expect us to believe that the educated, sophisticated Gabriella would actually accommodate him and stroke his oh-so-tragic soul. Eventually, Bill reluctantly begins to trust Gabriella with these three tragedies, but only when she arranges for the time and setting to be just right. The place, the lighting, the ambiance... oh, puh-lease. But that's a minor complaint compared to how Vaughn brilliantly introduces keen insight using poetic descriptive devices rather than stock prose devices to build some memorable and exciting characters and situations. Find a good, Bohemian cafe, one that knows how to prepare a con panna--the right way--and go read this in the large out-of-place chair next to the dusty bookshelf and the old piano nobody ever plays. Just make sure the lighting is just right.

A must read for anyone interested in the social and cultural evolution of the southwest in the 1930's. A fresh writing style from this first time author. Five star kudos and a big thumbs up.

Excellent read! Combines a fascinating event (riot, murder, union vs. management, communism, immigration) with a fresh and very readable style. The characters, some real and some fictitious, are brought to life very well (the best being Bobcat)and the turmoil of the times comes across quite strongly. Is justice served in the end? That will be up to the individual reader to decide, and that decision will wait until the novel is finished. If you are into the culture and history of the southwest, you won't want to miss this one.

This is a well-written, fascinating novel, with an amazing control of the complex facts surrounding the events in Gallup, New Mexico in the 1930s. I enjoyed the use of actual courtroom testimony, real names and places, but with the added excitement of a fictional young lawyer and his girlfriend to discuss the case and make it entertaining. The lawyers' opening and closing statements are so real, and powerful, that they seem part of the courtroom history, till one realizes that they are part of the fictional side of the book, penned by the author to capture the true intensity of the court case. This book was enjoyable, thought-provoking, and definitely worth recommending.

Having lived in Gallup for 20 years, and working with Gary through the State Bar of Arizona where he is a frequent speaker and writer, this book held a dual interest for me. What a page turner! The courtroom scenes are especially well told. He captures the historical incident with amazing detail and clarity, and feeling that only someone close to the legal profession and Gallup, New Mexico could obtain.

The Gallup 14 is a gripping page turner set in a small town in New Mexico during the 1930's. The charachters are compelling and colorful beginning with Bobcat.

The reader finds himself questioning how such an event could occur in a small town where everyone knows everyone. The reader then discovers that a small town is the best place to keep secrets.

The author does a wonderful job of detailing the court room saga. The reader waits anxiously for justice to prevail. Are we disappointed or rewarded? This book has made me a fan of historical fiction. The details of real life interwoven with fiction make for more than an enjoyable read.

I loved this book. So wonderfully written. Albeit the author took some liberties with the stories, I think the idea of the book is very well executed. I loved reading about Shiva and Ganesha and Vishnu and Parvati as if they were people who lived just down the street. So much of Hindu lore is very difficult to digest, but the author does a great job of delivering the myths and the moral point of each story very very well. Well done.

Fairy tales from the East lent us insight into a new range of contemporary issues and new responces to these temptations, character flaws and daily errs. Through these mythological stories and the choices these characters make, we are invited to be in both the situation and each character in tne story. Their choices then become our story. It is a unique tool for checking in with our values and coming to greater clarity about "what if" I were placed in such a situation myself. Good reading for all ages and an ideal gift for conscience raising without being rude.

Beautifully written! The timeless quality of these ancient myths shines brightly through Ms. Kapur's lucid prose.

Ganesha Goes to Lunch is a grand mix-up of Gods and mortals... all doing the best they can considering the limitations (and non-limitations) of their realities. The treat is that we are afforded a front row seat and, while enjoying ourselves all the while, suddenly discover that teachings of profound wisdom have somehow been assimilated.

A wonderful and imaginative journey with the power to inform, inspire and - ultimately transform the reader. Thank you, Kamla Kapur for the (wild elephant) ride!

Ganesha Goes to Lunch by Kamla K. Kapur is a collection of twenty four stories drawn from the oral tradition of mythical tales in India. The stories are retold in contemporary language, and maintain the essential structure and characteristics of the folklores. Kamla's choice of stories ranges from tales about why Ganesha has elephant's trunk, to the marriage of Shiv-Parvati to the creation of Brahma and universe. The story of the friendship of Sudama and Krishna is retold as is the tale of Vishwamitra-Vashisht rivalry.

The Bharatiya (Indian) tradition thrives on stories passed on from generation to generation. Each generation adds its own experience to knowledge and reinterprets the understanding passed to them. The Hindu myths by their very nature don't have absolutes. They represent Gods or men trapped in their vices, roused or limited by their virtues, acting in response to the demands that existence as humans on earth demands from us. The attempt is to create examples as prototypes to deal with contradictions and complexities that daily strife, be it in war, peace, family matters, need, greed, valor, and amorous desires lead us to. This had lead to several epics about avataars or incarnations, and as humans Gods lead exemplary lives, faulting at times, and suffering for them. In Kamla's collection, the gems from the boundless sea of folklore are picked, polished and repackaged to lure Western audiences as well as those Indian readers who have learned most from English education and English Literature.

The book has a number of pictures and illustrations, which allow a non-Indian reader to visualize the God or character in question. We Indians grow up with these tales, and somehow we imbibe their lessons into our being without realizing when or how. The modern age has brought a slew of stories and media into our household, and in these times, it is easy to be overwhelmed by the shallow characterizations and sensationalist serials. The demands of materialistic modern life, makes it even more important for us to connect to the spiritual wisdom of centuries, the philosophy both rich and humbling is present in highly entertaining form in these stories. Kamla Kapur's effort is commendable in both the spirit and the style of execution.

While most of these stories can be read out to children, a few characterizations are little more sensual than I would have hoped for. The discussion about Shiva and Shakti, the male and female powers, is done quite boldly, whereas my encounters with these stories as a child were in an understatement, and in euphemisms. Perhaps the retelling must respond to the contemporary world, where the Victorian writing, the euphemisms are considered trite and cliched. The tale from Ramayana, incorrectly mentions that Hanuman brought Sanjivini (or the hill with that herb on it) for reviving Ram (I am certain that it was needed for Laxman). Aside from these quips, most of the stories are brief and well written, and will form a good reading for people of all ages.

Myths by their very nature appeal to the heroic, and the virtuous elements of our being. Kamla's rendition ensures that the heroic and mystic elements are distilled into a reader's consciousness. The simplicity of language, the delightful imagery, the translation as if of whole oral tradition of myths into this eclectic collection speaks volumes about Kamla's craftsmanship and reverence for these tales. While the tales are derived from Hindu myths, the structure, the impact, the ideals, the virtues they inspire transcend time, space and religion. I enjoyed these, and so I hope you will too.

Wonderful gripping book! I couldn't put it down! So much history and so much strength in the Masin brothers and their group! I am proud to be a Masin (no close relation known). great job on the book!
DeAnn Masin

Despite her personal connection to the protagonists of the history, the author provides what seems to be a fairly unbiased accounting of events. Her closing notes regarding the impact in the politics and society of today's Czech Republic I found especially interesting. The book should be of interest to anyone looking at the particular events themselves or even more generally in the impact of the communist period on today's Republic.

Gauntlet brings to life a moment in history that seems to be forgotten, or never known, among today's youth. So few high school students know that Germany at one time was divided into East and West, that Czeckoslovakia was a unified country, and that the Cold War was an all too intrusive part of many people's lives. This book rectifies that. It is also a thriller impossible to put down.

Gauntlet is the true story of five dedicated anti-Communist young men whose epic journey and struggle in the 1950's could have altered the course of the Cold War in Europe. Though grounded heavily in historical testimony and evidence, Gauntlet reads like a novel, as it follows the group's fugitive attempt to deliver a message from a Czechoslovak general to U.S. authorities. An inspirational tale of courage, daring, and absolute commitment to ideals of freedom.

I could hardly put this book down. A loyal Czech father with a secret message throws down the gauntlet to his sons and they react with breathtaking action. This is a true story of incredibly daring young men who wre chased by the Communist Russian and East German Armies across East Germany. This book is based on five years of research by the daughter of one of the living survivors.

I don't like to spend money on information that I can get for free. I found plenty of free information about geodesics on the web, but not enough.

I'm glad I spent the cash. This book filled in all the gaps.

It is not for people with weak math skills.

The book seems confusing at first, but if you keep reading and studying you will be rewarded with a deeper understanding of geodesics than you can imagine.

This book is a "must have" for anyone who wants to build their own dome, or just learn more about geodesics.

And yes, it's worth learning the math skills to understand this book.

To paraphrase Barbara Mandrell, geodesic domes were green when green wasn't cool. I read this book in college and was sorely tempted to steal it out of the university library because it had gone out of print and was just not available new or used anywhere else. I kicked myself later for not yielding to temptation when I went to check it out again and realized that someone else stole it before me! Seriously, give Kenner his rightful due, this is a classic in its field. What is my test for saying so? It has been thirty years since the book's first printing and has yet to see its equal. And there have been many many contenders. I could not recommend any one book higher for hobbyist or even professional reference to geodesic calculation and the practical design of geodesic domes. Though Hugh is no longer with us, five years gone as I am writing this, but the effects of his powerful intellect live on and continue to infect others with his inquisitive spirit by way of such seminal work.

The subject very well presented and in a way that is easy to understand. Gives the underlying math to be able to use our modern computers setting on our desk tops to go far beyond what one person could do 25 years ago.

Well, the time has come for the pirates to take a hike. UC Press is reprinting this book. The information I have indicates both hard and softcover bindings...It will be available this year (2003).

Geodesic Math and How To Use It is an extremely well written book, and with the NASA papers, forms the "canon of applied geodesic math." It is a great book, well written and useful.

Seemed over-technical at 1st, but after about a year has been my reference book on geodesics & making all kinds of geodesic domes... It lists chord factors (lengths of segments before applying radius of dome) on tables to 7 decimals for various domes @ the end of the book if you don't want do calculate w/formulas provided. If your familiar with trigonometry, it will let you jump around chapters that are of more interest.

This book was originally copyrighted in 1976, but not edited for this 2nd paperback 2003 Edition (glossy color cover). The author, Hugh Kenner (1923-2003), has compiled a very thorough book. Very well written & explained in orderly fashion with excellent general layout & (especially for the time) detailed diagrams plus cross page-references. IMO there is very little that I would change except for replacing current diagrams with modern CAD generated illustrations, that's about it.

Has 172 pages with several blank pages for notes (I note in the wide margins instead) & is 8.7 x 8.7 x 0.5 inches. Not a small book but not a big bulky one either. Makes for a lot of information handy to store just about anywhere...
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I found many formulas & shortcuts throughout the book. From Chapter 12 I plotted a 16 frequency (# of divisions making total # of triangles) icosahedron (the typical geodesic polyhedron shape) dome with 3880 chords or "struts". Even made them into arcs for a perfectly round sphere. Chapter 12 has "Using the Tables" with a simple symmetric triangle xyz-grid on a spreadsheet. Each chord calculated does not rely on another chord's result, so chance of error is greatly reduced. Chapter 14 "Truncations" has "Truncation by Rotation", which saves time on calculating the rest of the chords in dome, or moving chords by their symmetry.

This "still nicely" bound book after a lot of use covers tension & tensegrities, subdivisions, great circles, symmetry & breakdowns, choosing a polyhedron, spherical coordinate system, ellipses & superellipses, truncations, space frames & many kinds of angles - plus charts & other resources @ the end.

A free program on the web called Windome is useful to 8 decimals, but lacks input parameters like radius... So I use it to verify chord factors. From 2-16v involving about 12,240 chords plotting all verified (to 15 digits) on 1st try. Besides spreadsheets, formulas can be used in programming like "The R Project", formulas & programs are also written for old Hewlett-Packard HP-35, 21 & 45 series calculators & programs filed with the HP-65 library (circa mid-1970's). I guess it also goes to show Hewlett-Packard has a history in the PC & hardware programming business...

One thing - spherical coordinate symbols for Theta & Phi are switched, though referenced in correct order (check Mathworld). Easy to correct, just read "Phi symbol" as Theta & "Theta symbol" as Phi - references & formulas will be in order. This book was written in mid-1970's, guess more? people then used this as convention.
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There are many good free sources on the web for geodesic domes & math plotting through Cartesian x,y,z and/or spherical Theta, Phi coordinates using basic trigonometry. This book cost me $13.57 shipped free brand new & is WELL worth it, even after searching the web...


A final word of caution on building materials for domes in general: if you use wood make sure you take extra fireproofing precautions, unless it's a temporary frame. 2 domes here in town (on same lot) burnt down before fire department got to them - and they were right down the street! The intense heat from both fires left nothing except the slab & melted everything.

So, when they start to burn there is very little time to exit the structure. As energy efficient as they are, the same design allows for a very efficient combustion, especially with wood stud frames & panels. Other problems arise as well with ventilating interior wood frames to help prevent condensation.

There are many other materials that will not burn that could make up the panels (like from American Ingenuity, Inc.), or even a monolithic concrete pour over a temporary plastic covered geodesic wood frame. Another method that doesn't use geodesics is a "monolithic shotcreted airform dome" (from a company called Monolithic Dome Institute).

I picked up "The Girl Who Remembered Snow" at a secondhand book sale and am glad I did. Charles Mathes is a talented writer and I found his second novel to be touching and engaging. It's written in literate prose, is filled with empathetic characters, has flashes of quirky humor and whimsy, and contains enough interesting plot twists to remind you this is a mystery, not only a bildungsroman.

Struggling professional magician Emma Passant is the girl who remembers snow. Her first real memory is of having her hand held in a snowstorm, although the grandfather who raised her chides her for speaking of it. When Emma's grandfather is murdered, she embarks on a journey of discovery, not only of who committed the crime, but who she is. Along the way, she meets a cast of colorful and wonderful characters, from Big Ed Garalachek, the Chevy King, to Tomoteo, her ten-year tour guide in the benighted island of San Marcos, to Bernal Zuberan, a courtly drug dealer. All of them offer her aid as she wends her way through a psychological terrain of uncertainty and a landscape that begins in San Francisco and ends in Paris.

This is the kind of novel you wish you could keep reading for a while longer!

My only quibble with this book is that the plot verges on something out of Ludlum or (yikes!) Sheldon. But the narrative is wonderful -- smooth and well-paced -- and the characters are interesting and well-drawn. In a field crowded with wooden and poorly-edited clunkers, this was a refreshing find. I hope Mr. Mathes gets noticed by the paperback majors soon -- he deserves it.

This book was incredible. I've read it three times, and every time I get caught up in the story and the characters. My mother read the book, and also loved it. Emma is so well created that I start to feel like I'm living her story, and experiencing what she experiences. I definitely recommend this to everyone!

i read this book in one sitting and couldn't turn the pages fast enough! emma as heroine is alive, spunky and full of zest--her inquisitiveness makes the story happen...a clever title which ties the entire story together!

Oh how I love a good mystery! The characters in this book are well developed and pleasurable to read about. Highly recommended!

Read this book a while back. Liked some stories better than others, but all were written well, all the characters unique.

Robert Levin has the natural talent to manipulate words and bend them to his will. His flair for the dramatic make each of his stories come to life right in front of you. One story in particular, The Profundity of Madness is a nonstop, verbal declaration of emotions. His characters are so true to life and his wonderful flow will keep you reading and wanting more. I would highly recommend this book along with his others, The Lizard and the Fly, as well as his new novel that is coming out April 2003, About Face. He's already received an affluent critique by the NY Times and they say the book is "Absolutely Brilliant!" This is the author to keep an eye on, he's definitely going places.

I really enjoyed this book. You can't get the stories out of your head and definitely don't want them to end. After finishing this book I bought The Lizard & the Fly which I would highly recommend also.

Read this collection on a weekend away. I found it very thought provoking. The characters are well-drawn with unique voices. Give it a try when you have time to kick back, laugh a little and perhaps shed a tear, as well. You'll come away wanting to read more.

Read this collection on a weekend away. I found it very thought provoking. The characters are well-drawn with unique voices. Give it a try when you have time to kick back, laugh a little and perhaps shed a tear, as well. You'll come away wanting to read more.

This book is beautifully conceived. The photographer, James Rudnick, had the foresight and the love for these icons of New York City to preserve them photographically for generations to come.
The design is elegant. The text is interesting and important.
A great book.

Rudnick's book is monumental both figuratively and literally. In photographing the restorative work performed on New York's most recognizable structures, Rudnick has forever preserved an important piece of Americana. With a discerning and creative eye, he juxtaposes images of exquisite detail and grandiose sweep, of human form and man-made object, of decay and renewal. One of my favorite shots is that of Liberty's internal spiral staircase (p. 75). This photograph could just as easily be a study in abstract form; three ghostly lights punctuate an array of metallic angles and curves in an enormously deep field of vision. Another stand-out is a view of Liberty through scaffolding (p. 67). The torch rises dramatically above the gridwork, suggesting that American freedom can never be constrained. There is obvious forethought to Rudnick's work -- as in a shot of ironworkers on the Brooklyn Bridge perfectly framed by the Twin Towers (p. 49) -- but his photographs never appear cliched or stilted. Gotham Restored offers up new rewards with each viewing. It should serve to place Rudnick among the pantheon of living photographers. Highly, highly recommended.

Thomas Mellins provides the text for Gotham Restored: The Preservation Of Monumental New York, an impressive survey of photographer James Rudnick's works on New York. Rudnick's images gave him a reputation as a documentary photographer, and his projects following landmark buildings and structures in New York provide fine shots from 'before' and 'after' their reconstruction. New Yorkers in particular will find this packed with memories and familiar images.

This beautifully designed book presents monumental icons in a way that is both insightful and inspirational. The subject matter in this work is so very familiar (the Statue of Liberty, the Brooklyn Bridge, Grand Central Station and the NY Public Library) that it would have been temptingly easy to trivialize and display these structures as they are frequently seen in glossy calendars and travel books. In contrast, Rudnick's exquisite work transcends these more commonly seen depictions. His intimate knowledge of, and obvious reverence for, the structures allows him to share with the reader unique perspectives that revitalize our appreciation for these great national treasures. The book celebrates the exhaustive and impressive work that the restorations entailed and the presence of the various craftspeople in the shots allows one to appreciate the enormous scale of the projects. Those who spend time with this book will never look upon these colossal structures in quite the same way again.

A curious thing happened to me as I read the text and looked at these photographs. They made me feel somehow comfortable and pleased. I realized this after going through the entire book. It was comforting to see how these standard landmarks are rejuvenated to be enjoyed for time to come. Far more than a "coffee table" book on famous sights (or sites), the images are embued with the authors sensitivy to the aesthetic of the structures and the city. If you love New York you will enjoy this volume. Wonderful book and a great gift for anyone who knows NYC.

Ample photos and interesting text...a fine book to own if one is interested in graffiti art in the LA area

By no exaggeration, this book is the best of its kind. It starts out with the history of gang writing then follows up with the evolution of the art including techniques, paint and cap types, run-ins with the law, etc. The pictures are as clear as can be, and the forever present artist commentary is the perfect compliment to the fantastic collection of pics. This is a must own for any fan of graffiti.

All I can say is get this book!!!!If you love that LA raw stuff.It's pretty well rounded,and gives you a whole look at what's going on past and present.If you have never been to LA.Here is your chance.Oh and it's focus is not on just one crew.Get this book first, on LA graff if you have to choose one.Plus an cd rom with photo's.You can't beat that.Good job Mr.Grody GOOD JOB!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

I bought this book for my bf, because he loves graffiti art, and used to have his own crew many years ago. He loves to look at the pictures, and see the deeper meanings that a lot of artists present in their graffiti along with murals. Finding the artist's tags in the art is also fun. We both enjoy looking through this book, and plan to buy similar items in the future.

Fifty years ago, graffiti was something written in restrooms and was relatively private. Now graffiti is an art form. You can think of it as vandalism; if it is your wall, or a public wall, and it is supposed to stay clean and undecorated, any unwanted spray-painting, no matter how fancy, is vandalism. But even if it is vandalism (and sometimes the owner of the wall invites the decoration, or the painting is done on canvas for a gallery), there is no arguing that graffiti now is some sort of art. This is especially obvious if you examine the hundreds of pictures in _Graffiti L.A.: Street Styles and Art_ (Abrams) by Steve Grody. Grody loves the graffiti of Los Angeles, and booms, "Along with the myriad styles these artists have created, they have also evolved world-class graphic skills now comparable to the best aerosol work anywhere." It seems funny that anyone would be comparing "aerosol work" from any locales, but you don't have to know about the styles elsewhere to enjoy the astonishing colors and designs found here. Grody examines the ethical issues of this sort of work, but it is clear that such evaluation is secondary to the art itself. He includes interviews with many of the artists (they call themselves "writers"), examines techniques and styles, and shows an appreciation of how this peculiar form of art has redeemed many of its practitioners, and redeemed some blighted public spaces as well.

The spray can is the choice of the writers because it is easily concealed and is portable. On the wall's surface, its effects can be controlled, but it can also cover an area quickly. The furtiveness of making graffiti necessitates the use of the spray can, but writers use it even in gallery work. It is also used, when no concealment is needed, on a "permission wall", a surface donated by its owner for esthetic reasons to be the site of an elaborate piece. The writers quoted here have much to say about the work of others; it is clear that they have examined styles carefully and can give intelligent critiques of what they have seen, and that they admire the works of competent competitors. They know "bad can control" or excessive imitation when they see it. The writers are in danger of criminal prosecution if they are not working on permission walls, and are in physical danger if they are working on some surface that is elevated. There is little tangible reward to this type of artistry, which is mainly a means of self expression with little other benefit. Grody writes, "It is this creative passion in light of all the obstacles that gives the best work its pop pulp energy." There are numerous stories here about members who were at risk of descending into drug use or crimes worse than artistic vandalism, but were saved by joining a group of like-minded artists.

The descriptions here of classifications of the work, the social forces at play, and the lives of the writers are all good for putting the pictures here in context, but the pictures are the show in this big and glossy book. Not all the pictures could even get in here, as with the book there is a disk included of hundreds more, along with audio interviews. It is fun to try to make out the letters, which are clear in some of the examples shown here, but are often so stretched and stylized that even if you know the crew that has put its name up, it is hard to pick the letters out. The depiction of figures or portraits is sometimes hyper-realistic, but usually in a comic book style, and is (to my eyes) far less appealing than the letters shaped into abstractions of extraordinary complexity and color. Grody has a couple of pages to illustrate some basic techniques, like cuts, 3-D, or letter blends, but there is no need to acquire a technical eye to enjoy the shows of kinetic mural energy displayed here. There is still some moral ambiguity about some pieces and their execution, but one picture after another shows that this is a vibrant and valid form of folk art.

Maurice Hinson's earlier revision of GUIDE TO THE PIANIST'S REPERTOIRE was of great assistance to me in my own college piano study, and its accuracy in listing historical content makes this text a most valuable tool for piano students who are ready for a more global vision of our history's piano composers and repertoire. Although brief, Mr. Hinson's sketch biography of each composer well captures his/her musical style, and his scholarly-detailed information allows the reader very succinct information regarding the listed repertoire and level of difficulty. In his current 3rd revision, Mr. Hinson also includes national, international and women composers! This GUIDE will continue to be one of my most valuable reference tools in shaping the young pianist's understanding of quality piano literature.

For the serious lover of piano music, this book is invaluable. For the piano student and teacher, it is indispensable. The finest book of its kind ever published, I refer to it constantly for information about availability of piano pieces and for the rating of difficulty used for piano pieces.

Highly recommended!

As a pianist, teacher, adjudicator and examiner I ocassionally find myself frustrated by the fact that I can't remember off hand the name, key, opus number or a particular fact about a work when I absolutely need too!
Maurice Hinson once again comes to the rescue for people like myself and others! The Guide is wonderfully laid out and provides pertinent facts about nearly 2,000 solo piano compositions by well known and the lesser-known composers. The information is specific and to the point, without all the non-essential material which is exactly what I need when grasping for information in the middle of a competition or when asked a question in a workshop about an obscure work or composer!
All bases are covered in this edition. For students, new, and even seasoned teachers, Hinson provides precise, formidable insight on a composer's complete compositions, as well as pianistic, interpretative, stylistic and characteristic approaches.
Overall, "The Guide to the Pianist's Repertoire", is virtually a "Pianist's Bible."

Author: Raymond Vacchino M.Mus. A.Mus. L.R.S.M. Licentiate (honorary)

"Essential," "Indispensable," "Invaluable," "Crucial." Those are a few of the labels often applied to this remarkable book. Currently in its third edition, Maurice Hinson's "Guide to the Pianist's Repertoire" is still the most sought-after reference for essentially all solo piano music of significance. Outside professional private instruction and a reliable piano technician, every serious piano student needs three tools on hand: a piano, piano music, and this guide. Hinson's reputation as both an effective and productive musicologist is firmly established in this work.

The book is structured into two primary sections. The main section, Part 1, is alphabetically categorized by composer. Each referenced work includes a list of available publications, their editors, and the composition's date if known. Hinson includes a brief yet vivid description of the style or character of a given piece and, in most cases, a comment or two on some of the technical requirements one can expect for preparatory purposes. The guide is also a reliable reference to books for further study of a given work. Both logic and common sense went into organizing the massive collection of data. The guide also proves sensibly formatted for sections of large volume by a single composer, such as the collections of Bach or Chopin, for example.

Part 2 is an impressive reference to published anthologies, subdivided into four categories. The first category, "General," lists publications of character pieces, impressionistic works, and any number of "Heinz 57" types. There is a "General: Contemporary" section for twentieth century collections. In addition to Bartók, Prokofieff, and others from the earlier years of the century, one can also find reference to works by Boulez, Kohlenz and Harbison, to name a few. The third category, coined "Tombeaux, Hommages," is a brief list of collections of works composed in honor of another composer. The fourth category, the largest of the four, is a comprehensive reference to piano collections by nationality. It is subdivided alphabetically.

The book includes an appendix of historical recital programs by Rubinstein, Busoni and Gabrilowitsch. There is also an impressive group of indexes for referencing under different category types.

The entire collection of works are broadly lumped into four technical grades. The labels are "Easy," "Intermediate (Int.)," "Moderately Difficult (M-D)," and "Difficult (D)." It may help the amateur, when focusing on technical problems, to limit the comparisons to other works of the same genre or by the same composer, rather than cross-comparing any two works that happen to have the same grade.

For example, Franz Liszt's "Transcendental Etudes" is marked "D" for difficult; likewise György Ligeti's "Etudes for Piano" is graded "D." Since the primary technical demands for these two works are as different from each other as the works themselves, the grade is really little more than a signal that both works will require extensive work and patience beyond most anything marked M-D. Naturally, the serious piano student will pursue further research for works of this magnitude anyway, but Hinson's commentary often provides key information for what lies ahead. In Liszt's etude collection, for instance, the player will confront "double-note tremolos," and a "melody with rapid tremolo accompaniment in the same hand." For Ligeti's set, the performer faces "polyrhythmic, simultaneous progressive layers of tempo" and a command in dynamics ranging between ffffffff and pppppppp. Hinson's carefully worded descriptions often prove crucial in matters such as this. It pays to note them.

This massive project is both focused and thorough. Hinson has delivered a beneficial service for the serious piano explorer. Even casual browsing proves enlightening.

One request for the next edition: since the "Tombeaux, Hommages" category is so small, and only a few homages happen to be in collections, perhaps a comprehensive list of all published piano homages would make a worthy addition. Sincere thanks from this aging amateur pianist and music-lover goes to Mr. Hinson, the publisher, and to all teachers and professionals involved in the making of this excellent handbook.

I bought the book for a student and I think it is one of the first books a pianist should buy...the piano repertoire is huge but we are always listening to the same programs.
Maurice Hinson makes a great effort to list a great variety of music. Thank you Maurice.