England Books

This book is great! It has some great photos, and the info in the book is very interesting! I thoroughly enjoyed this book! Well-worth buying if you love London!

This gorgeous coffee-table volume is the outgrowth of a TV series created by the most artistic of the HRHs. While the book has certain problems, it's nevertheless easy to lose a whole Sunday engrossed in its beautiful photography and anecdotal history. From the Saxon kings on, London and the monarchy have had a very close relationship -- though not always a friendly one. Edward's goal here is to explore the physical remnants of that relationship, from the assortment of present and past palaces (not only Buckingham Palace, but Hatfield House, Whitehall, Westminster, Kensington, Hampton Court, and many more), other structures assorted with the Sovereign (the Tower, Blackheath, St. Paul's, Kingston-upon-Thames, etc), and, naturally, the River Thames itself. The problem is, whoever the principal editor was (probably not Edward himself) didn't do a very careful job. Often the same descriptive sentences are repeated in the text, then in the sidebar in the same spread, and then often in the photo captions as well. (One would think there would be plenty of other nonrepetitive things to say.) There are also an unsettling number of awkwardnesses and infelicities which lead the reader to stumble. Often the capsule history of a location jumps around chronologically, causing one to say, "Wait -- what?" Finally, the fact-checking is rather sloppy for a royal who took his degree in history: Christopher Wren did not use "dynamite" to demolish the ruins of Old St. Paul's after the Great Fire, . . . dynamite having not been invented until the 19th century by Alfred Nobel. Still, it's a lovely book.

This book is a must for anyone who enjoys Englands long and interesting Royal history. The photos are awesome, and text very well written. I have to get the whole video Tape series. Buy this book, you will be pleasantly surprised, it is wonderful!

This a great book. Every site that is mentioned in this book is lovingly told with witty and paranormal anecdotes and pictures galore. Well worth the money! I Highly recommend this book. BUY IT NOW!

Great guide to all the inlets in Narragansett Bay and surrounding areas. The book has all the place we know of and we agree totally and we can't wait to try out the places we didn't know about.
Thank you for a great book.

Being very familiar with boating on Buzzards Bay i was drawn to expand my sea ventures. This book gave a great dipiction of the waters along the south coast of Mass and RI. I have already traveled to many of the destinations the book discussed. what a great service the author has done for the boating community

I always wondered what those old ruins were hidden on overgrown islands, the history of secluded anchorages.... Great naturalist, along the shore information. Excellent cruising guide!

I lived and sailed Narragansett Bay all my life and never knew the history behind all I was looking at. Excellent book and great fishing section!

It all starts with Jean St. Michel when he is sixteen-years-old. Infamous Nadia Petrovna sets her choreographer's sights on young Michel. Her choreographer, Charles Crown, is considered talented, but dangerous, within the dancing art circles. But Michel can't afford Crown. At least not until a certain letter arrived.

Jonni Kendal is determined to be an actress. When she and Michel get together, sparks fly. But it is not all rosy. Both, especially Michel, will be pushed to their very limits... Perhaps beyond.

**** Author Rebecca Horsfall takes the glamorous life of the arts, strips it down to its harsh reality, and presents it to you, the reader. See what the world of art is really like. At the same time, you will cheer characters on as they reach for the stars. ****

Reviewed by Detra Fitch of Huntress Reviews.

Follow the life and dancing career of Jean Baptiste St. Michel. As a little boy he was determined to excel at dancing to attract his famous father's attention. His love of dancing and his talent took over his life. Michel, as he was known was the best in the world. Jonni Kendall met him at a party and fell in love with him. However, she would always come second to dance. Michel and Jonni had a wide network of friends. Their lives are shattered when the unexpected happens. So much happens throughout this extended novel. It is a unique friendship and mentoring relationship between Charles and Michel. Lisa helps him open his eyes to the rest of the world. Michel pushes himself to go back to his mother Carrie. After reading, you feel like an expert on all ballet movements. Treasure this illustrious work of fiction.

He is only sixteen but his promise as a classical dancer already seems lost as his teachers at the Academie in Paris have given up on him and worse so has he. Jean-Baptiste St. Michel's dream of proving to his renowned dancer-choreographer father that he is worthy appears doomed to failure as his techniques are imperfect until the internationally once famous aging Nadia Petrovna arrives for two weeks of escape from bills to the place she first achieved acclaim. She brings him back to London and arranges for her ingenious protégé Charles Crown, head of the Islington Ballet, to tutor the teen.

Over the next few years, Michel works on his craft to become a star under demanding tutlege. He also becomes the center of the troupe that includes Jonni Kendal. They are attracted to one another immediately and marry, but he is unable to provide any true emotion to their relationship as the dance is everything. In spite of success and marriage to a nice sweet person, Michel remains discontented as he still fails to achieve his objective of parental approval.

This is a terrific dance saga and though Michel is the main character, the novel contains side tales of several other key players so that the prime cast seems genuine whether it is a scorning father, a cold mother, a nurturing yet demanding teacher or a sweet wannabe actress. Still the in spite of the powerful characterizations, ballet is the star of this five star production. Readers will appreciate this strong look over several years inside the life of a classical dancer and those in his sphere.

Harriet Klausner

I really couldn't stop reading this novel once I started. Jonni and Michel and Primo and Lisa and Annette and Roly just pulled me right in. I hope lots of people will discover Rebecca Horsfall because she's a great storyteller. You don't have to love dance to enjoy the novel, either. Ballet is a big part of it, but really this is a novel about friends and lovers who survive through all the good times and bad.

BOOK REVIEW by Richard Desper of:
The Dark Side of Shakespeare: An Iron-fisted Romantic in England's Most Perilous Times
A trilogy by W. Ron Hess

When delving into the life of the putative poet/playwright "William Shakespeare", it may well be said (irony intended) that there is less to the man than meets the eye. Neither the background, qualifications, nor the historical record seem to support the historical William Shakspere as the Bard, and historical research leave us with a number of "lost years" unaccounted for in his life. Ron Hess has undertaken a somewhat parallel task - he has examined the facts about the 17th Earl of Oxford, most likely the actual identity of the author "William Shakespeare", and shows that there is much more to the man than meets the eye. Indeed, it would seem, if we believe Mr. Hess, that there is much more to the "Shakespeare enterprise" than we had ever imagined.
The "Shakespeare enterprise" is a key concept in Hess's book. In his own words, `... The real question of importance should first be, "WHAT was Shake-spear?"` In the First Folio, Ben Jonson calls Shakespeare "Soule of the Age! ... Thou art a moniment (sic) without a tomb!" suggesting Shakespeare's purpose, that of defining the character and tone of an age. The written works are only part of a larger project, with Oxford playing an international role embodying a mythical hero, the "Palladin of England", which Hess identifies (through Greek etymology) with Pallas Athena as the "Spear-Shaker". Hess identifies that project with a long-term alliance involving the earls of Sussex, Oxford, and Pembroke, along with Lord Hunsdon and Lord Effingham, all with key roles at Court and in the London stage. According to Hess, beginning in the 1570's, `The alliance controlled the public and semi-public stages, but I argue that the private homes of those in the alliance were where the "Shakespeare" plays each were "originated".' The alliance used stage plays as a public relations part of its efforts for promoting its desired goals, both in the earlier period when the author was anonymous and later on when the pseudonym "Shakespeare" was introduced.
Mr. Hess's book abounds with notes, appendices, references, and a bibliography which attest to the extensive research involved in its preparation, a level of research which would seem to be unmatched by orthodox Shakespeare scholars. He speaks with logic and clarity, as when he debunks the orthodox "voice of authority" in such matters as the dating of the plays. He deftly skewers their inconsistent logic, for instance, as to what standards are to be accepted or disdained as it suits their purposes in one instance vs. another. His writing style exudes candor, freshness, and openness - he works by presenting the evidence, offering alternate interpretations (including his own, of course), and inviting the readers to draw their own conclusions. And for those who have found his speaking style entertaining, this has translated into his written work as well, resulting in a colorful presentation, which abounds in Hess's rich personal literary images.
Hess dwells extensively on Oxford's possible role in international intrigue, juxtaposed in the 1570's against Don Juan of Austria, natural half- brother to the King of Spain and the great military leader of the day, a role perhaps not as far-fetched as it might seem at first glance. It has long been noted that the "Shakespeare" plays abound with topical references dated to that decade, including allusions to Don Juan. To what extent Oxford was an active player abroad in these intrigues remains to be clarified, but it is clear that he was an active player where it counted a great deal - in molding opinion first at Court, then in the world at large. For perception, image, whatever one might call it, counted a great deal in those days, even as it does today.

BOOK REVIEW by Richard Desper of:
The Dark Side of Shakespeare: An Iron-fisted Romantic in England's Most Perilous Times*
A trilogy by W. Ron Hess

When delving into the life of the putative poet/playwright "William Shakespeare", it may well be said (irony intended) that there is less to the man than meets the eye. Neither the background, qualifications, nor the historical record seem to support the historical William Shakspere as the Bard, and historical research leave us with a number of "lost years" unaccounted for in his life. Ron Hess has undertaken a somewhat parallel task - he has examined the facts about the 17th Earl of Oxford, most likely the actual identity of the author "William Shakespeare", and shows that there is much more to the man than meets the eye. Indeed, it would seem, if we believe Mr. Hess, that there is much more to the "Shakespeare enterprise" than we had ever imagined.
The "Shakespeare enterprise" is a key concept in Hess's book. In his own words, `... The real question of importance should first be, "WHAT was Shake-spear?"` In the First Folio, Ben Jonson calls Shakespeare "Soule of the Age! ... Thou art a moniment (sic) without a tomb!" suggesting Shakespeare's purpose, that of defining the character and tone of an age. The written works are only part of a larger project, with Oxford playing an international role embodying a mythical hero, the "Palladin of England", which Hess identifies (through Greek etymology) with Pallas Athena as the "Spear-Shaker". Hess identifies that project with a long-term alliance involving the earls of Sussex, Oxford, and Pembroke, along with Lord Hunsdon and Lord Effingham, all with key roles at Court and in the London stage. According to Hess, beginning in the 1570's, `The alliance controlled the public and semi-public stages, but I argue that the private homes of those in the alliance were where the "Shakespeare" plays each were "originated".' The alliance used stage plays as a public relations part of its efforts for promoting its desired goals, both in the earlier period when the author was anonymous and later on when the pseudonym "Shakespeare" was introduced.
Mr. Hess's book abounds with notes, appendices, references, and a bibliography which attest to the extensive research involved in its preparation, a level of research which would seem to be unmatched by orthodox Shakespeare scholars. He speaks with logic and clarity, as when he debunks the orthodox "voice of authority" in such matters as the dating of the plays. He deftly skewers their inconsistent logic, for instance, as to what standards are to be accepted or disdained as it suits their purposes in one instance vs. another. His writing style exudes candor, freshness, and openness - he works by presenting the evidence, offering alternate interpretations (including his own, of course), and inviting the readers to draw their own conclusions. And for those who have found his speaking style entertaining, this has translated into his written work as well, resulting in a colorful presentation, which abounds in Hess's rich personal literary images.
Hess dwells extensively on Oxford's possible role in international intrigue, juxtaposed in the 1570's against Don Juan of Austria, natural half- brother to the King of Spain and the great military leader of the day, a role perhaps not as far-fetched as it might seem at first glance. It has long been noted that the "Shakespeare" plays abound with topical references dated to that decade, including allusions to Don Juan. To what extent Oxford was an active player abroad in these intrigues remains to be clarified, but it is clear that he was an active player where it counted a great deal - in molding opinion first at Court, then in the world at large. For perception, image, whatever one might call it, counted a great deal in those days, even as it does today.

Ron Hess has written a fascinating, entertaining, and well-researched account of the 17th Earl of Oxford's part in Scottish, English, European, and even Asian politics during the Elizabethan and Jacobean eras. He begins the "Shakespearean period" in the 1570s, with almost all of the plays having an "origination date" within a twelve-year span of 1574-86.

The most intriguing of Hess' theories, however, is the role played by Don Juan of Austria (natural half-brother of Philip II of Spain) in Oxford-Shakespeare's horizon. The author shows the Earl to have been a veritable "Scarlet Pimpernel" -- at Court a fop with Italianate tastes, an effete but gifted poet and writer of Euphuistic comedies, skilled in the aristocratic sports (fencing, jousting, falconry, tennis), respected for his erudition, and loved by women as well as by a grateful coterie of actors, poets, and writers, whom he subsidized (or commissioned for darker tasks!).

Oxford's "dark side," however, can be seen in a secret life of spying, intriguing, plotting, smuggling, gun-running (to Protestants abroad), and possibly even assassinating! The butt of all these activities, Hess believes, was the Earl's "alter ego," the Don Juan of Austria mentioned above (for whose 1578 death Hess holds Oxford responsible).

Only time and further research will tell if Hess' conjectures upon the evidence prove out. If even half of them do, we are in for a radical "paradigm shift," equal to Looney's in 1920. Certainly, Hess buttresses his argument with good scholarship and wide reading. He cites a truly staggering roster of resources: historical, political, and literary -- both Stratfordian and Oxfordian (the latter including not only the usual Looney, Ward, and the Ogburns, but such almost forgotten ones as E.T. Clark and H.H. Holland, and newer ones like Stritmatter, Brazil, Moore, Davis, and many more.

Not all Oxfordians (including myself) will agree with some of Hess' conclusions, particularly his views on the Sonnets. Hess produces no tangible evidence for adoption and use of David Honneyman's theory that early versions of these poems were translations from the French Huguenot poet D'Aubigny. But he does contrast various alternative theories, including those of Leslie Hotson, Joe Sobran, and most recently the intriguing theory by Sidney Lubow that the key to the Sonnets lies in Lover's Complaint and the ancient myth of "Narcissus." In the end, Hess is less interested in the Sonnets' meaning than in how they may offer up clues for dating Shakespeare's works to the 1570s and 80s, as more ammunition for knocking-out Mr. Shakspere's insufficient candidacy.

It's a pity the advanced copy Hess shared with me was poorly edited. Still, he assures me the published final available from..., ..., and www.Amazon.com will have been purged of the typos, graphical, grammatical, and even factual errors that I observed.

But, even if we can't agree with him totally, Hess is not to be easily dismissed. Better yet, The Dark Side of Shakespeare is simply an exciting read. Stratfordians will hate it of course, but Hess proves that their opinions simply don't count anymore!

BOOK REVIEW by Richard Desper of:
The Dark Side of Shakespeare: An Iron-fisted Romantic in England's Most Perilous Times
A trilogy by W. Ron Hess

When delving into the life of the putative poet/playwright "William Shakespeare", it may well be said (irony intended) that there is less to the man than meets the eye. Neither the background, qualifications, nor the historical record seem to support the historical William Shakspere as the Bard, and historical research leave us with a number of "lost years" unaccounted for in his life. Ron Hess has undertaken a somewhat parallel task - he has examined the facts about the 17th Earl of Oxford, most likely the actual identity of the author "William Shakespeare", and shows that there is much more to the man than meets the eye. Indeed, it would seem, if we believe Mr. Hess, that there is much more to the "Shakespeare enterprise" than we had ever imagined.
The "Shakespeare enterprise" is a key concept in Hess's book. In his own words, `... The real question of importance should first be, "WHAT was Shake-spear?"` In the First Folio, Ben Jonson calls Shakespeare "Soule of the Age! ... Thou art a moniment (sic) without a tomb!" suggesting Shakespeare's purpose, that of defining the character and tone of an age. The written works are only part of a larger project, with Oxford playing an international role embodying a mythical hero, the "Palladin of England", which Hess identifies (through Greek etymology) with Pallas Athena as the "Spear-Shaker". Hess identifies that project with a long-term alliance involving the earls of Sussex, Oxford, and Pembroke, along with Lord Hunsdon and Lord Effingham, all with key roles at Court and in the London stage. According to Hess, beginning in the 1570's, `The alliance controlled the public and semi-public stages, but I argue that the private homes of those in the alliance were where the "Shakespeare" plays each were "originated".' The alliance used stage plays as a public relations part of its efforts for promoting its desired goals, both in the earlier period when the author was anonymous and later on when the pseudonym "Shakespeare" was introduced.
Mr. Hess's book abounds with notes, appendices, references, and a bibliography which attest to the extensive research involved in its preparation, a level of research which would seem to be unmatched by orthodox Shakespeare scholars. He speaks with logic and clarity, as when he debunks the orthodox "voice of authority" in such matters as the dating of the plays. He deftly skewers their inconsistent logic, for instance, as to what standards are to be accepted or disdained as it suits their purposes in one instance vs. another. His writing style exudes candor, freshness, and openness - he works by presenting the evidence, offering alternate interpretations (including his own, of course), and inviting the readers to draw their own conclusions. And for those who have found his speaking style entertaining, this has translated into his written work as well, resulting in a colorful presentation, which abounds in Hess's rich personal literary images.
Hess dwells extensively on Oxford's possible role in international intrigue, juxtaposed in the 1570's against Don Juan of Austria, natural half- brother to the King of Spain and the great military leader of the day, a role perhaps not as far-fetched as it might seem at first glance. It has long been noted that the "Shakespeare" plays abound with topical references dated to that decade, including allusions to Don Juan. To what extent Oxford was an active player abroad in these intrigues remains to be clarified, but it is clear that he was an active player where it counted a great deal - in molding opinion first at Court, then in the world at large. For perception, image, whatever one might call it, counted a great deal in those days, even as it does today.

I LOVE this book. I stayed up half the night to finish it....the story is well written. It made me feel like I was in Darkside, running through the alleys with the "wereman" and the boys. I read a lot of Young Adult books so I can recommend books to the kids and teens who come to our Library (yes, I do work in a Library.)and I must say Tom Becker will be an author I will suggest. Especially to fans of the Twightlight series by Stephanie Meyer and The Great and terrible Beauty series by Libba Bray. The Darkside books are a little "darker" but in a great, exciting way. I ordered the other 2 in the series and cannot wait for them to arrive! Spinetingling fun!

I enjoyed this book very much. Reminded me of Cirque du Freak. From the first page I was hooked. It's very much a page turner. I love the twist of vampires and werewolves in it. The mystery to it is just right, it keeps you wanting more. Can't wait to read the next in the series.

Picture a windy dark night. The rain is hammering against the house. The lights are flickering from the wind pounding the power lines. The rest of the house is asleep. The clock slowly inches towards 2:00am.

Does that catch your attention? Well, I had to set the mood for how I found myself last night with the horrible weather and DARKSIDE in my hands. I had spent the better part of the day in bed with a migraine. So, finally feeling better, the rest of the family was asleep, and I was wide awake. And in more ways than one.

DARKSIDE had my pulse racing from page one, and with the weather conditions going on outside, I wasn't sure if I should keep reading or put the book down and wait until the sun came out the next day. But I was already wrapped up in the developing story of Jonathan Starling and his journey to Darkside.

Jonathan is fourteen, a loner, and can pretty much do as he pleases. His father is often hospitalized for what he calls "the darkening," leaving Jonathan to fend for himself. After his father's latest hospital admission, Jonathan and their neighbor, Mrs. Elwood, venture off to find Carnegie.

Jonathan has never heard of this Mr. Carnegie before, and Mrs. Elwood is evasive. Driving toward the Thames River, Mrs. Elwood's car is attacked. The passenger door is literally ripped off the side of the car. Mrs. Elwood tells Jonathan to run, and the heart-pounding adventure begins.

Jonathan has investigated his father's study (which he has usually found locked) and discovered references to this Darkside. His father has never mentioned it before, and Jonathan can only surmise it is the reason behind his dad's illness. Following hints he's uncovered, he is able to find his way to Darkside and to the well known Mr. Carnegie.

Darkside is the opposite of Lightside, or the world as we know it. Darkside is the meanest, vilest parts of London. Inhabited by the likes of weremen, vampires, and the progeny of Jack the Ripper, Jonathan is forced to survive if he has any hope of helping his dad recover from his latest hospital admission.

Mr. Becker has written a fast-paced, page-turning adventure. I am not usually a fan of the fantasy genre, but I was pulled into the action of the book from the first page. The story is a bit graphic in the descriptions of Darkside, so the younger reader should be warned. But the book was quite thrilling and the ending has been left open for more adventures featuring Jonathan and Carnegie.

Reviewed by: Jaglvr

Jonathan Starling cannot remember his mother, and his father barely speaks to him when they pass each other in the hall. Most of his father's time is spent in the study, behind the only locked door in the house. Jonathan would give anything to get into that room and find out what keeps his father in such a secretive state of mind. That is, until the day his father is placed in an asylum and Jonathan finds himself trapped in the very room he wanted to enter. Barricading himself behind the door to escape the claws of his attacker, Jonathan calls his only friend, Mrs. Elwood, for help.

Finding an old photograph of his mother in the study prompts Jonathan to follow mysterious clues his father has scribbled on little scraps of paper, tucked away in ragged books. A rare text located in the British Library gives Jonathan the nudge he needs to confront his dad about his mother's disappearance and a hidden part of London called Darkside.

As Jonathan visits his father in the hospital where he is recovering from "the darkening," he begins to uncover secrets that will lead him into unraveling the mysteries of his past and ultimately force him to try and save his father's life, and his own.

British author Tom Becker wanted to become an author as soon as he learned to write. At 25 years of age, he has created a wonderful teen novel in his first book, Darkside. From Carnegie, the werewolf detective, to Mrs. Elwood, the neighbor who is more of a mother to Jonathan than a friend, Becker's characters are imaginative and well thought out.

Darkside is an easy to read, attention-grabbing work that will keep teen readers interested and looking forward to the next book in the series.

"A Day's Work: A Sampler Of Historic Maine Photographs, 1860-1920: Part 1" is compiled with annotations by Maine historian, author, cattleman, and businessman W. H. Bunting who labored for almost 30 years assembling his collection of historic photographic images of the people, buildings, activities and landscapes that comprise Maine's history, commerce, and communities. Each of the 225 black-and-white photos is accompanied by a narrative caption that are as entertaining as they are informative. From a lumber batteau working on a log jam, to an eccentric cobbler traveling from island to island by sailing scow, to trains wrecks, hootchie-cootchie dancers, coastwise cargo schooners, and so much more, readers are treated to unique perspectives captured by a camera's lens and documented life and work in the state of Maine during a sixty year span that begins in 1860 and ends in 1920. Also available in a hardcover edition, "A Day's Work" is especially recommended for academic library Regional History reference collections in general, and Maine's community library State History collections in particular.

My only objection to this book is that it's a tease waiting for the third book. Sometimes I wish it were more integrated topically, or at least that the index were more expansive. But few would want to miss any page. Each reads by itself, with valuable insight (and entertainment). The printing, layout, author's style, comprehensive research, and especially the photographs are all wonderful. In a way, the non-topical approach is exciting too: the penultimate in "coffee table" books. One never grows tired of it, rarely if ever skips a section, looks forward to the next session, and cherishes it as much as the spectacular first volume.

NO author of Maine historical and cultural subjects writes better, or has done more comprehensive research. I would certainly include it in the parcel I would assemble for exile to Boon Island.

I pray for the author's health, happiness, and continued productivity. He is the best of Maine writers and scholars, and sets the best example and model for the generally motley group of Maine "writers", especially the very narrowly-scoped academicians who slavishly follow fixed models of interpretation and presentation. I'm sure Fanny Hardy Ecstorm, Elizabeth Ring and James Baxter (god bless their beautiful souls) are smiling at this wonderful, wonderful writer.

BOOK REVIEW

A Day's Work: A Sampler of Historic Maine Photographs, 1860-1920, Part I, annotated and compiled by W. H. Bunting. Sponsored by Maine Preservation, Tilbury House Publishers, 132 Water St., Gardiner, ME 04345, 1997. 380 pp., oversize, paperback, $35.00

This is a wonderful book, so don't let the title drive you away. You must read halfway through that forbidding title to find out that it's about Maine, farther yet to learn that it's photographic, and "Part I" leaves you dangling. I would have called it Maine at Work, 1860-1920: Photographs and Text; the rest is superfluous--and I have added the word "text" because the text is just as delightful as the photos. I am writing this review because it's a book that people who love Maine shouldn't miss.

I have been summering in Maine for about forty years. The mountains and the skies and the rockbound coast make one constantly aware that Maine is different--the most northern and most eastern state in the USA, with a thousand of miles of shoreline and huge expanses of forest wilderness. Its wild geography has shaped its people and determined how they live. Vestiges of the past are everywhere, from the old docks and windjammers and lighthouses to the barns and sawmills and huge piles of firewood. If one wants an understanding and a feeling for those old times, this book is for you.

William Bunting's fascination with these historical photographs is communicated through the text. He has spent decades immersing himself in local history, and he not only explains each photo but goes behind it, delving into the history and significance of what is shown. If you want to know how to make hard cider, see p. 150 opposite the superb photo of the farmyard with a pile of apples by the old barn. The complex process of logging in the wilderness and getting the logs downriver to the mills and eventually by ship to market is followed through many photos with descriptive text (see pp. 34-44, 86-88, and more). Many buildings in Boston and points south were built of Maine granite; here you can see the granite cutters and the ships and men that carried that heavy cargo to market. Would you like to know and see how in the old days lobster fishing, seining, dip-netting, and canning were done? Or railroading, hunting, or harvesting ice? They're all here, and much more.

Start reading at the Introduction, a fine evocation of Maine today in relation to the past, and a convincing demonstration of the value of photos as historical documents. You will also discover that the author raises cattle and is a bulldozer operator, which doesn't quite explain his mastery of local history (this is his third book) but puts him closer to the down-to-earth people in the pictures. The introduction takes you directly into the text; there are no breaks or chapter headings. Bunting explains that the book is like "taking a journey," one that he took himself--and fortunately it has a good index. I began by looking up the places I know best: Waldoboro, Boothbay, Edgecomb, Casco, Bath, Damariscotta, but the book is a trap--once in, it's hard to get out. You go from photo to photo and from text to text.

The content of the pictures and text is absorbing, but I have said nothing about the aesthetic quality of the photographs. These old black and whites, from the days of heavy cameras and glass plate negatives, have a crispness and wealth of detail rarely seen in today's polychromatic action photos with artificial photo-effects. Many of them were taken for the purpose of making a record, and they project an authenticity that makes the viewer a participant. They have the grip of reality. The photos are worth the price of the book, and the text multiplies their value.

A Day's Work (Part I) focuses on many economic aspects of life in Maine in the late eighteenth and early twentieth century. The author, or annotator and compiler as he calls himself, says that some topics will appear in both volumes, but Part II will emphasize the pulp and paper industries, cotton textiles, coopering, axe manufacturing, etc. Perhaps he's waiting to sit down with the photographs and see where the journey leads. If it's anything like this one, it will be worth waiting for.

Herbert S. Bailey, Jr.
Fearrington Post 248
Pittsboro, NC 27312

Wow! Once in a while a book comes along that is so satisfying that one wonders if you really read it. I can't praise the author enough for bringing to life the life of Maine 100 years ago.

This book is good, yet it is just like any other ordinary mystery book. It has a boring start, but as the story progresses it gets more intense. It starts off like a mystery book. The detective meets with a lady. They get to know each other and later on the lady is found dead in her home. Murder? or Suicide? --The detective is on the search for answers.

A chance, flirtatous encounter between Inspector Morse and a friend of a friend provides the context for Inspector Morse's interest in a tawdry suicide. The brooding Chief Inspector contemplates what might have been as suicide turns to murder, and murder again ! Sergant Lewis and Coroner Max Bell provide a delicious counterpoint to a puzzle with a light literary undercurrent. A good read !

In the beginning of the story, it was just like another typical mystery story. After a while, the story was getting really exciting. The ending was smashing and the characters was great.I highly recommend this to everyone.

Colin Dexter's Inspector Morse series is a must read for mystery fans. Notice that I say the series, not just a specific book. They are all equally good and each one is unique in it's mystery and puzzle. In this book a woman that Morse had met at a banquet is found hanging in her kitchen. Did she commit suicide or was she helped. Morse needs to find out because the woman had left an impression on him six months before at the banquet. By the time the reader gets to the end of the book there is another death that is most certainly a murder in the Jericho section of Oxford (in fact next door to where the woman was found). Morse knows that the two deaths are connected, but what a convoluted puzzle for him to figure out. Everyone involved is lying and that doesn't make it any easier for him, but the irascible Morse figures it out in the end. These books are extremely well-written, and a real joy to read since they are so well-written. The plots are always extremely clever, and they keep you guessing right until the end.

Heyer wrote mysteries to read more for the fun of watching the various suspects run around than to admire the structure of the puzzle. Here we have a dead man found in the stocks on a quiet village green but the solution isn't found due to forensic work or a careful checking of alibis or schedules, but a sort of bumbling around until the murderer is impelled to strike again and again. Even so, I found the story entertaining and even plausible.

Wealthy Arnold Vereker had a family full of enemies. We're plunged into their lives, starting with his half-sister Antonia who had come down to the same town to argue with him about the forbidding of her marriage to an embezzler, and who soon brings in her attorney, cousin, and potential love interest Giles Carrington. We proceed through half-brother Kenneth, heir apparent, his girlfriend Violet and the female friend-of-the-family Leslie. Then we add on missing-and-presumed dead brother Roger who pops up to claim the fortune, throwing turmoil into everyone's schemes.

On the whole I think this would have worked better if the suspects had been snowed in somewhere but I still enjoyed watching the antics of this socially outrageous family and the poor villains they tempt to try to get their wealth one way or another.

Georgette Heyer's "Death in the Stocks" has all the elements of a classic Heyer "whodunit." The dialogue is brusque, the characters off-the-wall, as a cousin treads his way between his wayward cousins and a growing friendship with the Inspector assigned to discover who murdered Arnold Vereker. Then placed his body on public display, dressed in evening clothes, in the stocks on Ashleigh Green. Every person has a motive without an alibi, outside the fact the deceased was heartly disliked and avoided by his step-relatives.
Brother and sister try to protect each other and lead Scotland Yard astray, as each suspects the other. Then they turn detective and examine the clues with some of the finest dialogue in mystery fiction. To the very last the murder remains a puzzle. First published in 1935, it remains a tale to prop your feet up and enjoy.
Nash Black, author of "Qualifying Laps" and "Sins of the Fathers."

"Death in the Stocks" was a delightful read. I have long been a fan of Georgette Heyer's Regency Novels but only recently discovered her mysteries. The mysteries are light reading - much like Dorothy Sayers - but with the marvelous character developement and amusing dialogue charateristic of Heyer. I found myself laughing out loud whenever two of the main characters (brother and sister) had a chance to analyze the mystery or have any discussions exploring the various characters' possible motives.

I advise reading this title before reading "Behold, Here's Poison" since some characters appear in both stories.

"Death in the Stocks" was a delightful read. I have long been of Georgette Heyer's Regency Novels but only recently discovered her mysteries. The mysteries are light reading - much like Dorothy Sayers - but with the marvelous character developement and amusing dialogue charateristic of Heyer. I found myself laughing out loud whenever two of the main characters (brother and sister) had a chance to analyze the mystery or have any discussions exploring the various characters' possible motives.

I advise reading this title before reading "Behold, Here's Poison" since some characters appear in both stories.

G.M. Malliet is a professional journalist and copywriter with degrees from Oxford and

Cambridge Universities. DEATH OF A COPYWRITER is her first mystery and has already garnered the Malice Domestic Grant and the Romance Writers of America 2006 Stiletto Award in the thriller category.

Sir Adrian Beauclerk-Fisk is as phony as his title. He has also produced one of the truly great dysfunctional families. He is ensconced in his eighteenth-century Cambridgeshire manor, and has married a woman who was accused of murdering her first husband for his money. He delights in using Violet to torment his grown-up children, all of whom have their own foibles. The result naturally turns to murder, and it is up to Detective Chief Inspector St. Just and his sidekick, Detective Sergeant Fear, from the Cambridgeshire Constabulary to sort out the mess. The servants also have their own secrets to cover up, and the result is a jolly investigation marked by hilarious dialogue and commentary:

"The poor bugger really was dead, and he'd been dead awhile. St. Just thought it was little wonder the man who said he was his brother was in such sad shape. The body in the wine refrigerator or whatever it was called was a mess, the skull thoroughly crushed in. The face, itself, however, was intact: In profile, it retained the aristocratic, pampered visage of what the coroner would undoubtedly describe was a well-nourished, middle-aged man."

Malliet writes this little "cozy" with a sense of humor and an eye towards thoroughly confusing the reader. The connections made by St. Just are nothing short of Sherlock Holmes at his most coherent.

Malliet is not unaware of the perils of alcoholism to the family unit, and she uses this as a vehicle to produce the family secrets that would otherwise emerge as far-fetched. But in Ms. Malliet's able writing, it all makes a sordid type of sense. The result is a page-turner that is both entertaining and exhilarating. A most excellent first mystery!

Shelley Glodowski
Senior Reviewer

Let us begin this review with a blunt declaration: G.M. Malliet can WRITE. And, more vitally, she can tell a story.

The plot of Death of a Cozy Writer revolves around a wealthy, aging aristocrat's will, a storyline harkening back to Kyd's Spanish Tragedy and Shakespeare's King Lear. Ms. Malliet's novel's central conceit is a British detective procedural that gently skewers the Cozy mystery sub-genre within an English country house setting. Familiar ground, brilliantly re-traversed. Moreover, Malliet manages to honor the sacred concord between mystery writer and reader by faithfully observing the requisite genre conventions, but in her own quirky, tongue-in-chic style.

The author uses the early chapters to depict the various characters with wit and unusual insight. She then deposits them at the nimbly executed meal en famille, a model of nuanced familial interaction and serial revelation. Once the estimable DCI St. Just and obligatory sidekick are introduced into the mix, the pace quickens and the reader is catapulted into a dizzying vortex of misdirection, surprise, and, echoing Greek tragedies, recognition and reversal. So sure, so authoritative is Malliet's grasp of character, plot, and convention as she propels the intricate plot to conclusion, I felt I had witnessed a display of narrative virtuosity equal to that of any first rate mystery writer's very best work.

Appetite whetted, I avidly await the gifted G.M. Malliet's next literary outing. Perhaps she will even include a "Death of an Amazon Reviewer" book in this promising series. Hmmm, I better hide the cutlery......

. . . but this one should satisfy the most demanding devotee. All the right things happen to all the right people, and the mystery unfolds just as it ought. Enjoy!

The late, great Bill Deeck is smiling down you, G.M., for upholding all things malice domestic with your mystery debut, Death of a Cozy Writer. Long may you write!! Congratulations on your talent and your perseverance.

This is a totally engrossing, deeply learned historical novel based on the life of Sir Walter Ralegh (Garrett's preferred spelling), with emphasis on his last few days before being executed by order of James I. Garrett "paints" a brilliant picture of Ralegh's life and times, and rather than relating his story in chronological order, he describes and develops, through various voices, the major events that have brought him to the prison cell he now occupies. In one chapter a fellow soldier relates Ralegh's military career, emphasizing the bravery, pride, and honor that guided him in all things: even at the end after failure in Guiana means certain death for him in England, Ralegh out of pride and honor brings his ship home rather than desert his pledge. Most of the chapters are told in the voice of an omnipotent narrator as they focus on events and people associated with Ralegh: Francis Bacon, a schemer always in debt, eventually impeached by Parliament for bribe-taking; Edward Coke, who as Attorney-General tried him in 1603 in a cruel and most unfair way; Queen Elizabeth, who granted Ralegh all sorts of favors and privileges; James I, prejudiced against Ralegh ever since the death of the Earl of Essex, his partisan, the blame for which fell on Ralegh's shoulders; even the Bishop of Salisbury who administers to Ralegh's religious needs the night before his beheading (they have a brilliant conversation about innocence, the King's justice, and fear of death). Garrett's prose is muscular and authoritative: it shows a great deal of research, but his notecards are nowhere to be seen. Anyone interested in Ralegh or in superbly written historical fiction will find much to praise in his book. Highly recommended.

If you are ready to read some beautiful prose, then check this book out. Garrett's writing is wonderful, but rather thick. Take some time to read this book, as it is not one that can be read in one (or even three) sittings, but is well worth the read. Raleigh is very well portrayed here, with all his character quirks thrown in for good measure.

The intensity with which this novel focuses on every moment of two days of Sir Walter Ralegh's life (and the era-spanning memories that run through his mind) can make you wake up to the passing of your own life. The book paints a big canvas, dealing with the political intrigues and daily life of the world most moderns know through Shakespeare. It has a sharp eye for historical ironies, at times can be spooky in its showing of puny humans caught in the vast forces of history. But it is also a celebration of man and womankind, and one particularly complex and interesting man.

The research that must have gone into this is amazing, the book is a fund of knowledge. If you know something about English history of this time, you will take pleasure in witty ways the facts are revealed. But if you don't know anything about the period or place, you will find yourself in an alien but strangely familiar world that unfolds with the feeling of current events. A great novel of politics, society and the mind.

Lots of copies are available used -- get it.

Garrett's novel is one of the best works of historical fiction I have ever read--and one of the best works of literary fiction. His knowledge of the historical setting, the detailed narrative and his stately pacing make an already fascinating story completely engrossing. His moving depiction of Raleigh the "Fallen Star" living with memories and facing the inevitable is coupled with an unsentimental look at the intricate machinations of Raleigh the "Fox." With the exception of Thomas Flanagan, I can't think of another author who writes historical fiction with so much intelligence and subtlety.