Europe Books

This is a fascinating study of German super heavy tank destroyers during World War II. Using a ton of primary sources, the author gives an account of the 653rd heavy tank battalion and its many actions. The most telling part of this history is that most of these monsters spent almost all of their time in some kind of maintenance. They were so heavy and unreliable that they broke down constantly. I thought that this was more of a maintenance history than a combat history. This is somewhat mitigated by the fact that the book is loaded with great black and white photos. It also has color plates in the back for those who are interested in camouflage and paint schemes.

Overall, this is an excellent book, which I highly recommend to anyone interested in WWII German tanks.

The great book on this unit, when you want to get know its history.
It's a pity, there is no table where you can easily find a particular vehicle's tactical number, its commander's name or the details on its end, especially when you look for any details on rearming this unit with Jadtigers.
The big disadvantage are the photos, not good quality in fact.

This book does give you an idea of what working with these very heavy tank destroyers was like. In practice that meant dealing with the frustrations of equipment which was frequently broken down, and you will see how critical the infrastructure which supported the actual AFV is. There is very little about actual combat, but some. You do get a good feeling for the tradeoff of extremely heavy unit weight and combat effectivness. If you know what you are buying this can show you a lot, but it is not a combat narrative.

When this book appeared, it collectively took the breath away from World War Two armor enthusiasts and historians alike. Karlheinz Munch has cleared away decades of half-truths and assumptions by going directly to the source. He has interviewed unit veterans and consulted original military documents and private diaries to produce the most complete history of the 653rd Heavy Tank Destroyer Battalion, a unit that operated some of the most remarkable vehicles of the war, the Ferdinand, a self-propelled antitank gun built on the redundant chassis of the Porsche Tiger (and later renamed the Elefant), and the Jagdtiger, a self-propelled 128 mm antitank gun built on the chassis of the King Tiger. The other surprise was that the soldiers were avid shutterbugs, and the veterans and their familes have opened their private photo collections to the author. These are vehicles previously known through a mere handful of German propaganda photos and US Army Signal Corps pictures. Suddenly, we have not dozens but hundreds of fresh photos, showing details of operations, unit markings, and more. Rarities include a Porsche Tiger P prototype converted to a command tank, a recovery Panther with a Panzer IV turret bolted to the roof, a Russian T-34 converted to a German antiarcraft tank, and more.
What you will not find is breathless, blow by blow recreations of thrilling battle scenes (for that, read books by Franz Kurowsky). Munch offers straightforward reprints of unit after-action accounts augmented by some private materials provided by unit veterans. Publisher Stackpole books has taken the enormous hardcover edition originally published in Canada by J. J. Fedorowicz, and reissued it in a slightly edited softcover edition at 20% of the original price. A superb investment for the historian or model builder.

This book contains little combat information so it is not for the combat fan. However it does provide you with a written record of how this unit functioned, the trials and problems incountered with heavy tank killers.
The book is crammed with photographs, most of which I have never seen before. It is a wonderful source of information for the historian, heavy fan, or model nut. A must have for any reference library and the scale drawings and colour picture will please the model builder. An unbeatable value for the price!!

A lot of things began in Renaissance Florence: the way businesses keep their books, the way sovereign states relate to each other, the way people use art to tell stories and create beauty. These things and many more elements of modern society have their origins in this smallish Tuscan city. These impulses were born in the middle of the last millenium - during the century or so when Florence blossomed as the intellectual and artistic supernova of the Italian Renaissance. Today, Florence remains densely packed with the memories of that time. Eve Borsook's "THE COMPANION GUIDE TO FLORENCE" is the key to the city. In addition to all the names, dates, places of history, Borsook skillfully weaves in meaning and context so that you may know who painted what fresco in which church - but why it remains meaningful 500 years down the road. You can go to Florence to shop for many beautiful Italian creations. But with this book, you can gain a clear appreciation about why the names,images and achievements from this amazing city's glorious past still resonate in our lives today.

I lived in Florence as a full time tourist for a year in the early eighties. I could divide my year into before and after finding this book; it's that good. The maps reveal every nook and cranny, helping you to see the hidden wonders right before your eyes in this city that is so immensely rich in wonders. The recommended walking tours make your time more meaningful, as the buildings and artwork become not only isolated splendors, but also pieces of the history of this remarkable city. I am eagerly awaiting the arrival of the latest edition so that I can plan a return visit for next year. Buy yours early and plan your time, and you will have a visit beyond what even the best tour guide could ever offer. Buon viaggio!

Borsook offers a comprehensive overview of the history and culture of the cradle of the Renaissance, and a guide to the many nooks and crannys of old Florence. This book details all the important venues open to the public, plus many that are not. It gives invaluable insight into the context of the city, and site maps to all the important works of art and science.

I read this book before a recent trip to Florence, using it to plan the visit. I left it home, thinking it too heavy to tote along. I won't make that mistake when we return. Forget the guidebooks; Borsook is all you need to enjoy Florence.

A lot of things began in Florence. The way businesses keep their books, the way sovereign states relate to each other, the way people use art to tell stories and create beauty. These things and many more elements of modern society have their origins in this smallish Tuscan city. These impulses were born in the middle of the last millenium - during a century or so when Florence blossomed as an intellectual and artistic supernova of the Italian Renaissance. Today, Florence remains densely packed with the memories of that time. Eve Borsook's "THE COMPANION GUIDE TO FLORENCE" is the key to the city. In addition to all the names, dates, places of history, Borsook skillfully weaves in meaning and context so that you may not only know who painted what fresco in which church - but why it remains meaningful 500 years down the road. You can go to Florence to shop for many beautiful Italian creations. But with this book, you can gain a clear appreciation about why the names and images from this amazing city's glorious past still resonate in our lives today.

A lot of things began in Renaissance Florence: the way businesses keep their books, the way sovereign states relate to each other, the way people use art to tell stories and create beauty. These things and many more elements of modern society have their origins in this smallish Tuscan city. These impulses were born in the middle of the last millenium - during the century or so when Florence blossomed as the intellectual and artistic supernova of the Italian Renaissance. Today, Florence remains densely packed with the memories of that time. Eve Borsook's "THE COMPANION GUIDE TO FLORENCE" is the key to the city. In addition to all the names, dates, places of history, Borsook skillfully weaves in meaning and context so that you may know who painted what fresco in which church - but why it remains meaningful 500 years down the road. You can go to Florence to shop for many beautiful Italian creations. But with this book, you can gain a clear appreciation about why the names,images and achievements from this amazing city's glorious past still resonate in our lives today.

If you're looking to learn about Nazi Germany this book is a great introduction. Clear and easy to read without being dumbed down. Treats the subject very thoroughly, for example starting with German history in the 1800s and relating how this helped lead to the Nazis. A lot of information is covered but the treatment is lively and not dry. For the non-expert, this is highly recommended.

this is an excellent introduction to nazi germany for the novice. there are so many books on the subject that someone who wants to start learning this can be overwhelmed. well, you don't need to be! start here! this book starts off as to how germany became a country and little wars here and there. next, it carries you into world war one. then, you really get into the nazi germany information. the book carries you into world war 2 and to the downfall of the nazis. finally, it closes with the nurenberg trials. these chapters and in manageable chunks. there, you'll get a basic, overall theme of the beginnings of germany and nazi germany. plus, you get maps! unlike the idiots guide to world war 1, which is another excellent overview of that war. that is recommended as well.

Excellent and fair treatment. Shows how Hitler persecuted, imprisoned, tortured and killed not only Jews, but also Christians.

Hitler despised Christianity and Christian morals--far preferring the warlike Islam, Japan's emperor worship, and pre-Christian germanic paganism. Although he himself did not believe in any religion, he wished to utilize religion in his pograms and even tried to create a new cult with himself as the object of worship.

Atheist/Socialist/Humanist/Darwinist leaders were responsible for more deaths during the past century than all of the so-called "religious wars" of all previous centuries combined.

This is a very complete summary for anyone interested in pursuing a study in Nazi Germany. It covers a lot of ground with a small number of pages. Important dates and events are all summarized as well as major characters in history. The only problem with this book is that the levels of detail regarding really important scenes in history are only touched on briefly. However, this is understandable since the author had to cover numerous events with a small number of pages. The book serves as a solid work that gives you a complete but general idea as to what happened in Nazi Germany. Serious historians or readers are encouraged to pick up books and other references that focus on specific aspects of history mentioned briefly here. You will know after reading this book whether or not you would like to pursue your studies in this field and what specific areas you may want to focus your studies on.

This book pulls no punches in explaining the rise of Nazism, exploring German history in a compelling way. This author has no axes to grind. This is must reading for anyone who wants to understand the way Adolf Hitler and National Socialism came to power. You know the old saying -- about those who don't understand history being doomed to repeat it.

I enjoyed reading the book but in some parts I had difficulties to understand the context. Somehow, Clogg jumps from one subject to the other. Also, there were very difficult historical words which are especially difficult for readers whose mother tongue is not English. Admittedly, the book has not been written for foreign readers but I think that even an English native speaker has a problem to understand words like "irredentism" and "shibboleth" if he didn't study history. Another problem is the title of some chapters. He calls one chapter "The legacy of the Civil war 1950 - 1974" although the civil war in Greece was between 1944 and 1949 or so. How can he call this capter in the abovementioned way if he writes about military rule and the Cyprus conflict? He admitted in a way that Britain and the USA have contributed to the beginning of the Cyprus conflict but he doesn't write much about it. I read the book but sometimes I did not understand it, in particular the context. I wished he would have written also more about the Ottoman rule in Greece or even the beginning of the history of Greece. The book would have been thicker, indeed, but it would have given more information. Also, he should have given the book a slightly different title, for instance "A Concise History of Greece - 1770 - 1990". This would have been clearer because as a reader you think that he has written about the whole history of Greece. However, all in all it was a good book. I enjoyed it.

A very interesting and concise history of Greece from the 18th century to the present. It includes detailed examinations of all the major turning points in Greek history in the last three hundred years; the Greek war of independence, Greece under the Nazis, the Greek Civil War and the dictatorship. All of the important passions that have overcome the Greeks are woven into the story as is the story of the destruction of the Greek peoples of Anatolia (The Pontic Greeks and Smyrna Greeks and others) as well as the ethnic-cleansing of Greeks by the Turks from places such as Adrianople, Constantinople and Rumania and Bulgaria. The conflict over Macedonia is highlighted as is the tragic story of the 100,000 strong Greek community of Egypt that was also cleansed by the Nasser regime.

A fascinating history,

Seth J. Frantzman

This is a great book for both an introduction as well as an on-going reference source on modern Greece.
Highly recommend it to students or anyone interested in learning the history of the modern state, without getting bogged down with boring details.

Now in an expanded second edition, A Concise History Of Greece by Richard Clogg (Fellow of St. Anthony's College, Oxford University, England) is a straightforward, scholarly chronicle of the modern history of Greece, ranging from the Ottoman rule of the late 1700's, to the pressures of Balkan strife and political modernization of the present day. Deftly written and carefully researched, supplemented with tables, short biographies, as well as a listing of the royal houses of Greece, A Concise History Of Greece is an excellent and scholarly survey of the modern growth of the nation which is a strongly recommended addition to academic World History collections in general, and Hellenic History supplemental reading lists in particular.

Richard Clogg is a renowned international scholar who has been writing about Greek history for decades. This work is a popularization (from footnotes deliver me) that should prove very helpful to the layman with more than a casual interest in Greece. It invites comparison with C.M. Woodhouse's also famous history, but I must declare myself incompetent to decide if one is better than the other.

Clogg's section on the Ottoman period is blessedly brief and his discussion of the Nazi occupation and Communist insurection are to-the-point yet incisive.

Perhaps the most exciting feature of the work is the great bunch of pictures gracing nearly every page and showing the days of glory in Modern Greece as well as some of the saddest. The maps are also helpful.

There are no footnotes but the selective bibliography will be useful to most readers. There is also an appendix giving thumbnail biographies of some luminaries in modern Greek history.

For most, Charles Dickens is the only source we've encountered regarding the awful human misery of the early industrial revolution. However, Friedrich Engels and Karl Marx reported on it, too. Indeed, most of their criticisms were far more applicable to the raw capitalism of contemporary England than their native Germany.

Engels stayed in Manchester, the premier industrial city of the time, during the early 1840's to research his book. And he produced a devastating indictment of the truly miserable and life-threatening living conditions he found. Unlike Marx, Engels had a pronounced flair for writing; he makes it a fascinating, eye-opening journey back through time.

The topics he includes cover: struggling labor movements, the denigrating effects of immigration on domestic workers (due to competing subsistence-cost labor), the ignorance and crippling of child workers, the sexual exploitation of women workers, the displacement of male heads of household by lower-cost and more pliant women/children, the unbelievable filth and subhuman housing conditions workers endured, the dangerous and unhealthy working conditions of miners/factory workers, rampant substance abuse, doping of children by babysitters, the total lack of legal redress for the poor, the displacement of labor by machinery, and the role of unbridled competition in perpetrating economic distress.

While we all know communism has failed, its rise was due to these very real and serious problems, some of which remain with many Western workers today. And most of these conditions do very much persist in emerging economies right now. So, even though the book is well over 150 years old it is still highly valid!

The main fault of course with Marx/Engels' communist philosophy is that ALL humans are greedy and lazy - it's just that the clever ones (whether they originate from 'bourgeous' or 'working' classes) will always exploit the others. And it doesn't matter whether the system is capitalist or communist - those at the top will always exploit those below for personal advantage. Probably the best response has been the progressive social reform in Western nations over the last 100 years. (Revolutions and dictatorships usually only lead to mass murder.)

This chilling book is the real-life Oliver Twist exposed.I think Fredrick Engels wrote this book,in part to clear his conscious.And largely, to shed light on the fetid ,wretched underbelly of the 19th century industrial-age society.The nameless toilers working ten to twelve hour shifts,in a factory operation they had no vote or control over.Marx and Engels had many valid arguments for improving the workers lives.Did their end-results justify their means of social revolution? Engels would be amazed at the former textile towns,like Manchester,absorbing the large influx of Asians,Moslims and Africans today.It is still being debated,whether history has proven Engels & Marx right.This book is still a historical classic,thats presumptive findings give the modern reader,reason to pause. So,look all around you. -A Great Book !

Fabuous book. Engels wrote this when he was only 24- and what a tour de force.

The work is detailed, beautifully observed and elegantly written. Despite the depressing nature of the subject matter, the tone is always possible about a better world beyond the evils of capitalism.

Unfortunately 150 years after this masterpiece was written things dont seen to have gotten better under capitalism. Rather, the old evils of poverty, infectious diseases, starvation have been replaced by the modern evils of capitalism: obesity, alienation, mass materialism, depression, plunging fertility and marriage rates and so on...

Engels was the engine behind Karl Marx, one that gave him all the support he could, so to permit Marx to dedicate himself almost completely to the completion of his works. Judging himself many degrees bellow Marx in terms of intelect, Engels nonetheless is capable of writting a book such as this which describes all the impoverishment of the working class in the beginning of the industrialization in England, being helped by some well porputed factories labor fiscalization agents who allowed Engels to flip trough their reports. Strong terms like "the dark satanic mills" describe fully what were the working conditions of the time in a so rich country as England. An historical document lest no one forget what can happen again if the free hand of capitalism is allowed to run free of any barriers.

Friedrich Engels' classic "The Condition of the Working Class in England" was written when he was only twenty-four, and had but recently abandoned his Calvinist upbringing for a more critical, socialist, point of view. Yet this book reads as if it were written by an experienced political commentator or a radical sociologist, without actually at any point becoming melodramatic or dense.

Engels' main purpose is to confront the bourgeoisie with the reality of their mode of production and to contrast this with the rhetoric of "free choice" and "civil liberties", as well as the capitalist apologia of the political economists of his day, in particular Andrew Ure. With great insight into both the causes and effects of the capitalist system, Engels catalogues the endless want, filth, despair and misery experienced by millions of labourers every day in 19th century England. He pays attention to housing, to factory safety, to unionism, to the physical condition of the workers, to alcoholism, the state of the Irish underclass, to prostitution and disease; in short, all the ills attendant on industrialization.

What gives this book such power is that Engels on the one hand proceeds in an analytical manner, making use above all of sources from the bourgeoisie itself and from Parliamentary reports, in explaining the functioning of the capitalist system and the competition between capitalists and between labourers. On the other hand, he writes in a particularly readable manner and at no point bores the reader with the mere summing-up of statistics. On the contrary, every analytical truth is accompanied by a vivid description, taken from Engels' excursions into working-class neighbourhoods, of the terrible state of humanity that the economic laws of capitalism cause for a great number of people.

For those interested in political economy, it may come as a surprise to see how much of the functioning of capitalism Engels already understood at such an early point in the development of theory. This gives the lie to the many theorists who would later claim that it was Marx only who worked on economics and that Engels was a mere epigone; this book should be a vindication of Engels. His later sketches of the political economy and of the historical development of capitalism would lay the foundation for both the Communist Manifesto and Marx' economic works. But the core insights that would create the modern theory of socialism are for the first time fully expressed here, and in a most appealing and shockingly effective manner.

In other words, an absolute must read for every person of intelligence.

It is 1741; Otis Gardner is the Coram Man, a cruel, sadistic trader who makes his living from the disposal of unwanted infants and by selling older children into slavery. Together with his half-wit son Meshak, he travels from Gloucester to London, collecting children under false promises of delivering them to the famous hospice founded by Thomas Coram.

Alexander Ashbrook, disinherited heir to a large estate, is unaware of the existence of his illegitimate son Aaron, a child given away in infancy and brought up in the Coram hospice to avoid scandal. Aaron, also oblivious to his father's identity, befriends Toby, a young boy saved from an African slave ship, and the childlike Mish who brought him to the orphanage all those years ago.

Set in eighteenth century Britain, "Coram Boy" is an epic tale of good and evil and the relationships between a father and a son. The plot is complicated yet compelling enough to make this novel impossible to put down. Jamila Gavin weaves a powerful story that explores the darker side of life in the 1700s and which combines romance, history, tragedy and hope. Beautifully written and filled with a cast of colourful and memorable characters to bring this eighteenth century world to life, Coram Boy is both a unique and special book. Although difficult to get into, this is ultimately an extremely rewarding read that has a wide appeal, although some readers may find the content of infanticide disturbing. Overall, this is definitely a five star book, and I would highly recommend it to both teens and adults .

~Jenna~

Otis Gardiner is a peddler in London who persuades young women to pay him for bringing their babies to the famous Coram Hospital, a place where unwanted children can receive proper education and have a successful future. However, after Otis got paid, he would kill these babies and later on blackmail the women who entrusted him with their babies for more money. His son, Meshak, saved a baby that he was about to kill and escaped to the Coram Hospital and stayed there for the next eight years. The baby was named Aaron Dangersfield and was very talented in music, like his father, Alexander Ashbrook. Alexander discovered that Aaron is actually his son in a meeting with his wife and sister, but Aaron was already being sent on a ship to America to be sold as a slave. Someone rescued Aaron from the ship shortly after it parted. Finally, Alexander reconciled with his long lost son.
I think this is an unbelievably awesome book. It involved many characters that each has their own small story in this book. For example, Aaron Dangersfield¡¦s foster father is a simpleton, and he often dreamed of living with the kind angles in the chapels away from his cruel father. Aaron¡¦s real father was kicked out of his family for living a life as a musician instead of learning how to take care and prosper from his father¡¦s estates. Furthermore Aaron¡¦s best friend, Toby, is an African, and he was being treated like a rare, dark-skin plaything more than a human. All of these small stories add up to be what Aaron has to experience or discover, which is what makes Coram Boy extra interesting.
My favorite part of this book is the epilogue. In the epilogue, Meshak was finally able to be with his imaginary angels after all the suffering he went through. He is a simpleton and was being treated cruelly by his father ever since he was born. He doesn¡¦t really mind being mistreated by his father, but he does feel mad when he saw with his very own eyes that the girl he admired fell in love with somebody else. Therefore, he saved that girl¡¦s baby boy and loved him like his son. At the end, when even the boy that he cared about so much went away, he asked his imaginary angels, ¡§Can I be dead now?¡¨ With merely five short words, so much is being remembered and expressed.

Otis Gardiner is a peddler in London who persuades young women to pay him for bringing their babies to the famous Coram Hospital, a place where unwanted children can receive proper education and have a successful future. However, after Otis got paid, he would kill these babies and later on blackmail the women who entrusted him with their babies for more money. His son, Meshak, saved a baby that he was about to kill and escaped to the Coram Hospital and stayed there for the next eight years. The baby was named Aaron Dangersfield and was very talented in music, like his father, Alexander Ashbrook. Alexander discovered that Aaron is actually his son in a meeting with his wife and sister, but Aaron was already being sent on a ship to America to be sold as a slave. Someone rescued Aaron from the ship shortly after it parted. Finally, Alexander reconciled with his long lost son.
I think this is an unbelievably awesome book. It involved many characters that each has their own small story in this book. For example, Aaron Dangersfield¡¦s foster father is a simpleton, and he often dreamed of living with the kind angles in the chapels away from his cruel father. Aaron¡¦s real father was kicked out of his family for living a life as a musician instead of learning how to take care and prosper from his father¡¦s estates. Furthermore Aaron¡¦s best friend, Toby, is an African, and he was being treated like a rare, dark-skin plaything more than a human. All of these small stories add up to be what Aaron has to experience or discover, which is what makes Coram Boy extra interesting.
My favorite part of this book is the epilogue. In the epilogue, Meshak was finally able to be with his imaginary angels after all the suffering he went through. He is a simpleton and was being treated cruelly by his father ever since he was born. He doesn¡¦t really mind being mistreated by his father, but he does feel mad when he saw with his very own eyes that the girl he admired fell in love with somebody else. Therefore, he saved that girl¡¦s baby boy and loved him like his son. At the end, when even the boy that he cared about so much went away, he asked his imaginary angels, ¡§Can I be dead now?¡¨ With merely five short words, so much is being remembered and expressed.

Books are like baskets, with sturdy sides and empty spaces in the centers to fill. It's rare to find a novel so well-crafted that its story fills the basket up to the brim, but I have. Coram Boy is one that shines because of its powerful story, life-like characters, and the many emotions portrayed throughout the tale.
Alexander is a rich, talented choirboy who spends his life enveloped in music. Thomas, his best friend, comes from a poorer family, but is also devoted to melodies. There is one difference: Thomas is free to become a musician, but Alex can only look forward to becoming the master of his huge mansion. When Thomas is invited to spend the summer at his friend's house, he discovers that Alex holds a great passion for Melissa, the maid's lovely daughter, while at the same time dislikes his father for not letting him follow his musical talent. However, none of them know that another person trails Melissa too: Meshak, the unloved son of a man who makes money out of selling babies to become slaves. To everybody's shock, Alex runs away from his father's grip to become a musician, and Melissa, barely a child herself, gives birth to his baby. The baby is handed over to the `slave-dealer' secretly, but Meshak snatches it away, and cares for his angel's child as if it were his own.
Eight years later, the child, called Aaron, is taken as the now famous Alexander Ashbrook's apprentice without knowing that they are related. Meshak's father is still on the lookout for young boys and girls to become slaves. He gets his hand on Aaron and plans to ship him across the sea. Will the innocent Aaron become a slave? Will he find out that his mother and father are still alive? Will Alexander discover that he has a son to love?
In a way, the characters in the novel are examples of people in real life. There are conflicts between fathers and sons, between girls and boys, and between best friends. These work out in the end because the characters feel a push to make things right again, even if it's a few years late. You can also learn numerous life lessons from this book. I found out that people with bad intentions never win in the long run; their bad hearts stick out like a piece of coal in gold! I also learned that you should always be optimistic, because you never know if your life will turn a bend that will change your life forever!
Out of the many characters in the book, whether old or young, I must say that my favourite one was Thomas, Alexander's friend. He felt sympathy for Alex when his family problems became bigger and helped him without any questions. He raised the suspicion of Meshak's father when many children started disappearing. He started the question of whether Aaron was his best friend's son. He raised many spirits with his sense of humour. Without him, how could the story have gone on?
Why did I choose this book and not a fat juicy one then? I leafed through the novel and discovered that it was the proud winner of the Whitbread Children's Book Award, and decided to give it a try. Even though the novel isn't as thick as some as the other ones, it's packed with precious lessons for life and stories you'll never forget!
I love this book with all my heart; I love the plot and the way the ending is a complete and breathtaking surprise! I recommend this book to the whole world, because everyone on Earth deserves such a great book!

Set in the eighteenth century, Coram Boy is a story of love, crime, tragedy, heartbreak and miracles. It is one of the most beautifully written books I have ever read and one of my all time favourites. I am always reading it aloud, just because the words are so nice. The characters are very clear and made to love or hate. The author shows such depth of knowledge and expresses so much emotion! It is a complex, exciting novel and the end will make you cry! I love it to bits. I'm sure you will to.

1970's "The Crofter and the Laird" is John McPhee's graceful account of an extended stay on the Scottish island of Colonsay, ancestral home to his clan and a living fragment of an almost feudal lifestyle in the 20th Century.

Author John McPhee is rightly known for his keen observation, his simple but highly descriptive prose, and his ability to capture a sense of place. These skills are very evident in his clear-eyed yet sympathetic narrative of a vanishing culture in the Hebrides. The residents work small crofts, or rented farms, for a thin but apparently rewarding living in the solitude of a remote and beautiful island. The laird, owner of the island, lives in England but visits every summer. The crofters and the laird are enmeshed in an ancient legal tradition of mutual obligation, an anachronism which neither party was quite yet prepared to give up when McPhee stayed on Colonsay.

Colonsay's culture sits on a couple of millennia of history contributed by Picts, Celts, Scots, Vikings, and others. Some of the best parts of McPhee's narrative are his observations of the ancient remnants, such as ruined chapels, and the myths, stories, and customs forwarded by the islanders. Every physical feature on the island seems to have a name and a story.

The center of McPhee's narrative is his host on the island, one Donald McNeill, who pursues a variety of vocations to feed his family and make a living, and who provides insight into a close-knit society that regards "incomers" with some suspicion. McNeill is entirely comfortable in his life, appreciative of his family's long continuity on the island, yet honest about the hard work required by what is nearly subsistance living.

This book is highly recommended as a fascinating and enjoyable read on a small fragment of a vanishing island culture in a place time seemed almost to have forgotten.

The finely detailed observations and vivid turn-of-words which we have come to know so well from McPhee's books on North America and its geological history, is applied here with great skill in this look at the tiny Scottish island of Colonsay and its inhabitants. The small population of under 150 people can trace ancestry to two castes or clans. Most are crofters or farmers. Some are true islanders with family roots going back hundreds of years; others are "incomers". It's not a derogatory term but simply another social distinction. Then there's THE CROFTER AND THE LAIRD. McPhee offers a distillation of this social concoction. "The usual frictions, gossip, and intense social espionage that characterize life in a small town are so grandly magnified...everyone is many things to everyone else, and is encountered daily in a dozen guises. Enmeshed together, the people of the island become one another. Friend and enemy dwell in the same skin."

McPhee deals with his usual areas of interest such as the environmental past of the island, but its the people that fascinate him. Here it's also a little closer to home as Colonsay is the home of McPhee's ancestors. The book is as much a narrative of the strife torn history of clans as it is one Americans' exploration of the "sentimental myth" that he attaches to his Scottish surname. McPhee quickly sees that, rather than myth, the clan is as real to Scots as it ever was. This is only amplified in a feudal and cloistered social setting such as on Colonsay.

The McPhee's (or Macafee, MacPhee, Macheffie, or MacDuffie, as the various septs are known) are part of the ancient clan MacFie. They're Celtic, and the Gaelic origin of the name means "son of the Dark Fairy or Elf". Such fairy-tale-like legends seem incongruous when set against the treacherous and bloody reality of clan history. The McPhee's are a "broken clan", the last chieftan was murdered by the MacDonald's in the 17th century. The MacDonald's however got their comeuppance in the way of the clans. A group of MacDonald's were butchered in their sleep by the Campbell's of Argyll in the Glencoe Massacre of 1692.

And just to show that clan history dies very hard, many Scots, even until today, when pressed just a little bit can usually find something uncharitable to say about my Campbell clan. Time and geographical distance may make the clans of only historical interest to McPhee, myself, and other North Americans with Scots ancestors. In Scotland it's a lot more real and present, and this wonderful book gives us a slice of that life.

I really enjoyed this book. It was refreshing and light but great in detail. John McPhee explains his move from the U.S. with his wife and 4 daughters back to his Great Grandfather's ancestral home on the island of Colonsay in the Hebrides of Scotland. The population is around 150 and he learns all about the small town life in a feudal environment. McPhee talks about everything from farmers, crofters, and general laborers and their daily lives on the island. He also shifts from what he sees and experiences with first person gossip and comments from the islanders to stories and legends from the island's and his clan's past.

All the islanders talk of the Laird Strathcona who owns everything. Then John meets him and sees he is just a minor peer in the Scottish Court and more of a landlord trying to bring the island of Colonsay a little out of the past. The book is lightly sprinkled with simple sketches of the island which brings everything together.

A really enjoyable read for anyone with Scottish roots or just interested in Scottish life and history. Not everyone is descended from Scottish Kings and famous knights. Most of us are of the poorer stock like those portrayed in this book. I am even more proud of them now.

THE BOOK HELP INSPIRE ME, MY SON, AND BROTHER TO GO TO COLONSAY IN THE SPRING OF 1998. MOST OF THE PEOPLE YOU WROTE ABOUT ARE DEAD. HOWEVER CHARLIE MCKINNON AND HIS WIFE, GIBBIE MCNEIL, KEITH RUTHERFORD, AND A FEW MORE ARE STILL LIVING. I HAVE WRITTEN AN ACCOUNT OF MY VISIT AND WILL MAKE IT AVAILABLE TO THE AUTHOR IS HE WISHES. LAN NA LEF. JERRY D. MCAFEE

My family also originates on Colonsay, and we go back to visit occasionally. We were asked if we were related to John McPhee, because our name is McAfee. We were told that it was a good thing we weren't, because John had given away more secrets than the islanders thought wise. They told us that if he ever returned he would not make it off the ferry onto the dock. This is a great book and should be read and appreciated by all.

Like other reviewers have stated, while the beginning premise of this book sounds like a dry read, it is anything but. It's very informative, entertaining and gives the reader the idea that alot of our ideas about the Middle Ages, could prove to be quite wrong. Alot of books seem to point to the idea that everyone in this time period was unsanitary, filthy, ignorant and ruled by superstition. Alot of books on history, tend to focus on dates, laws, wars, and major events. This books is much different. It takes historical records about more obscure things, such as recipes, washing, clothing, medicine and entertainment and what emerges is a fascinating read about ordinary people and how they must have lived. Be prepared to learn new ideas about the people of the Middle Ages and close the book with a new understanding about this captivating time period. Excellent read for anyone with an interest in history.

I agree completely with the praise other reviewers have heaped upon this book. I have a large number of books on the Middle Ages and this is one of the best, if not the best. There is detailed information on a large number of topics, which are easily located, and well written. This book is a winner.

This author has accomplished quite a feat by taking what could be extraordinarily dry material and masterfully crafting a very interesting book. Rarely do you find a scholarly work of this caliber that you can read simply for pleasure. Mr. Newman debunks all of the supposed truisms about the Middle Ages to put the era in its proper perspective in history. This is a marvelous, considered, detailed accounting of what life was really like in those times, and it was not nearly so dreary as you have been told. This thought-provoking book is a must-read. You won't want to put it down.

Newman's book is divided into seven sections -- Eating and Cooking, Building and Housing, Clothing and Dressing, Cleaning, Relaxing and Playing, Fighting, and Healing. Each chapter is further broken down into convenient and well-organized sub-sections that combine to paint a thoroughly detailed portrait of life at all levels of society throughout Europe. Newman points out how each of his seven areas differed from country to country and in different centuries. The writing style is simple, yet vivid and entirely engaging, bringing the middle ages to life in an easy-to-understand yet detailed way. For example, in the chapter on building and housing Newman discusses what materials were used (and where and why), how they were worked, and what tools were used for each; types of buildings and construction techniques; use of lighting, furniture, decorative elements, etc. The section on food includes what food and drinks people consumed, how food was grown, gathered, stored and served, and differences in class and geographical areas. Almost two pages are devoted to grains alone. Newman explains each element clearly, using photos to illustrate many of the concepts. He dispels common myths about the period and writes convincingly that life was much more advanced and varied than is commonly believed. This is not an academic book (no footnotes or specific source material, although there is a rich bibliography for each chapter generally), but rather a book for the casual researcher, writer or lay person who really wants to understand the middle ages. It is extremely well-written (if poorly proofed), and the only real criticism I can make of the book is the quality of the binding, which makes it hard to read the left-hand pages in the early chapters.

I have been heavily researching the middle ages for a book I am writing and have read numerous books on the subject. This one is by far the most informative and enjoyable.

Newman really gets down to the "nuts and bolts" of medieval life. For most topics, he is extensively detailed. (For a few topics, he touches them so lightly I don't know why he even mentioned them.) His sections on food, clothing and construction techniques are the best I have seen so far in any book on the subject. Overall, if you want to know the "how and what" of medieval life this is a great reference book. I only gave it four stars because while Newman had great information, he was skimpy on how he knows it other than a few pieces of artwork and some very rough sketches. More artwork examples, better diagrams, and some actual photographs would have helped.

I mean it,this is brilliant stuff ! Mr. Reginald has done his homework and proves himself a master of all things medieval with this first tale set in Nova Europa. His grasp of history playing itself out in a dark and bloody alternate Middle Ages and his subtle introduction of fantasy elements to the mix, earmark this as a series to follow closely in the months and years ahead. Im hoping that we are treated to maps in future volumes since the various tales are set in different areas of Nova Europa and at different times in history.Speaking with Ariadne Press,the second novel,The Exiled Prince will be arriving soon in Amazon warehouses and the third novel Questiones is due to be released in September.
May this author live to be a hundred !

It was with a degree of trepidation that I set out to read THE DARK-HAIRED MAN. 600 pages! I'm a strong admirer of Robert Reginald's short stories (see my Amazon review) but not a big fantasy fan. And the first few chapters were indeed not so easy. All those funny half-familiar names, for instance. Granted, there is a useful glossary at the back of the book for quick reference, and in any case that half-familiarity is the whole key to Reginald's Nova Europa. Nova Europa is how the world might have developed if the Roman emperor Julian, known to us as "Julian the Apostate", had not been killed in the year 363 in battle with the Persians (or perhaps at the hand of a Christian enemy? According to one tradition, this was the martyr St. Mercurius, who returned briefly from the dead to finish off the wicked pagan emperor). In this alternative vision of history Julian survived, to become "Julian the Great", and the following centuries worked out rather differently. The trick is not original, but Reginald carries it off most elegantly. Once the reader has grasped what the situation is, the novel zooms along in great style. I actually found it difficult to put down, and I read it through to the end in two late evening reading sessions each of which followed a long working day. THE DARK-HAIRED MAN is one of the most exuberant books that I've ever read. There is a wide-range of distinctively-drawn characters, the writing is atmospheric, the "fantasy elements" (the things I normally like least in fiction) are plausible within their frame of reference, and the main source of evil in the story is immediate, psychologically convincing and chillingly spiteful (which is more than can be said for Tolkien's Sauron, for example). So: Hats off to Mr. Reginald for a really fine piece of work! The second novel in the series, THE EXILED PRINCE, has already appeared, and there are apparently further novels on their way. If they can match the quality of this one, we shall be witnessing the creation of a major literary phenomenon.

And, here is a book truly for the readers of ... well... of ... "this kind of book". And, just what "kind" of book is it? Well, it's a book on the massive historical scale that includes pretty much all of the genres: mystery, suspense, romance, sci-fi, fantasy, murder, humor ... It's chockablock with a distorted Medieval Europe, and the myriad characters existing therein, that/who could well be assumed to exist in some other dimension. Kings and Queens and Dukes and Witches and Warlocks and Wizards, and Demons, even the Devil, come into play, in this fictionalized account of somewhere, sometime, Middle-Ages' landscapes whereupon power struggles bring into play, on an enormously large stage, all of the delicious vices and virtues, all of the acts of bravery and vengeance, all of the greediness for power and machinations of powerful people, good and bad who die and are born ... of nations that rise and fall ... of metamorphoses, physical and mental, that occur. Magic rings and torques and mirrors come into play. Magic, black and white, along with many momentous magical moments, arise on each and every page, as the brilliance of author Robert Reginald weaves this literary tapestry that, while it may prove too complex for some readers to fathom, on all its myriad literary (and those not in-on-the-inside-jokes) levels, does reward, one and all, in the end, with a finely-wrought solution to one man's search for his identify in a world suddenly gone mad because of vengeance and witchcraft. [Speaking of tapestries, by the way, a series of them play an important part in the latter pages of the volume]. THE DARK-HAIRED MAN is a must read for anyone "into" this kind of book.

P.S. The novel is very funny too.

In "The Dark-Haired Man, or A Hieromonk's Tale" Rob Reginald has created an intriguing blend of fantasy, history, romance, and mystery. Fascinating characters, from the tragic to the humorous populate in medieval world of Nova Europa. I especially like the strong female characters who use their brains, feminine wiles, magic, and their political connections to change their world. These women operate within the constraints of their roles as queens, princesses, and noblewomen but exhibit every bit as much power as men, without dueling with swords. Several forms of magic work in Nova Europa, sometimes in opposition to each other. Mysteries, from the overarching questions of Afanasy's parentage and the evil one's identity, to the small questions about magical dolls, increase the suspense. Amusing situations, witty dialogue, and sarcastic comments keep the reader laughing just enough to offset the sorrow over the horrific battle scenes and the death's of major characters. Although quite different from most fantasy worlds, Nova Europa is a delightful place to visit and I look forward to Rob Reginald's future fantasy novels.

I shall add little to the other reviewers of this extraordinarily fine account of the history of Indian (particularly North Indian) music and how it was introduced to Western ears and influenced modern popular and classical musics. I will instead say that having myself lived that history--being exposed in 1955 to the first LP recording of Indian Music and watched Ali Akbar Khan on CBS Sunday's Omnibus, having been among the first to purchase the World Pacific and Prestige recordings of Indian musicians, having attended numerous concerts of Ravi Shankar and Ali Akbar Khan, Bismillah Khan, Jasraj, Shivkumar Sharma and other Indian masters, and having become a Friend of the Ali Akbar College of Music, where I met John Handy, Terry Riley, and Ravi Shankar, as well as having followed the influences and explorations of Indian modes and rhythms in classical music and rock as a Bay Area academic hippie--I can attest that this book is amazingly well researched, comprehensive, and gets it right. Indeed, through the many insightful interviews, we go well beyond the mechanics and structures of musical infusion across cultures into the realm of spirit, humanistic motivation, and metaphysics. For instance, Mickey Hart's interview expands and details his own previous accounts of his and the Grateful Dead's musical transformation by interactions with Shankar Ghosh, Alla Rakha, and Zakir Hussain (a two-way street for the latter). Other useful interviews are with (from the classical world) Philip Glass, Zubin Mehta, Terry Riley; (from the Indian tradition) Ali Akbar Khan, Zakir Hussain, Anoushka Shankar, Tanmoy Bose, George Ruckert, Shubhenra Rao; (from jazz and rock) David Crosby, John McLaughlin, Cheb i Sabbah. But the interviews are only spice to the meat of the text, which explains the uniqueness and detail format of Indian music, supported by a glossary, and the origins and construction of the various instruments. When our world is plagued by fear and misunderstanding of other cultures, music arrives as a source for common ground. This book demonstrates its power and its promise.

Musician and author Peter Lavezzoli presents The Dawn Of Indian Music In The West: Bhairavi, a history of the recent yet amazing infusion of East Indian classical music into western culture. Though Indian music was largely unheard of until 1955, when Ali Akbar Khan issues an LP called "Music of India: Morning and Evening Ragas", its appeal steadily gained ground, to the extent that Indian and Western disciplines began to borrow concepts from one another to aid in composition and training. When "Music of India" was re-released as a compact disc in 1995, it won a Grammy. The Dawn of Indian Music in the West follows the influence and impact of Indian classical music in extensive detail, meticulously researched and presented especially for intermediate to advanced music scholars and theorists. Highly recommended especially for college library and music reference shelves.

This historical study is full of detailed information about a disparate collection of the most inventive musicians of the 20th century, all drawn together by the thread of a fascination with India. The book gives equal attention to legends like John Coltrane, and more marginal avant-garde figures like Don Cherry, John Mayer (of Indo-Jazz Fusions), and John Handy. It also refers to rock stars like David Crosby, and contemporary classical composers like Philip Glass. Each musician's biography is woven into the text, so the entire book (nearly 500 pages) gives you an intense impression of the deep spirituality of this generation of musicians.

Peter Lavezzoli is a very astute critic of the key albums of this movement, and I learned a lot from his detailed discussion of Duke Ellington's "Far East Suite," Coltrane's "India," and Don Cherry's "Mu." When reading this book, you really feel you are being guided by someone with a highly developed intuitive feel for integrity and truth in music, as he himself is a musician who is concerned, as he admits, with "the connection between musical and spiritual expression."

In this book, historical narratives are interspersed with interviews with the leading musicians in Western and Indian music, such as Terry Riley and Shujaat Khan. These interviews are not your average magazine interviews, however, as the central concern of Lavezzoli is always wisdom, and his questions are always subtle and searching. If you glanced at this book, you might be put off by the way the text is crammed on the page, the lack of margins and smallness of type making it seem somehow a hurried book or not carefully thought out, but do not be deceived by bad design--this book is a true labour of love. It will inspire all musicians to take their work on to the next level, and it will inspire all record collectors to rush out and get hold of Alice Coltrane's "World Galaxy."

This is a fantastic book for many reasons; Peter Lavezzoli has done an amazing amount of research, delivering a lovingly written treasure trove of well-rounded details that will interest music enthusiasts from many different schools and tastes. Fascinating connections are drawn from the histories and influences of Indian music on rock, jazz, western classical and more. Included are vivid chapters on the pivotal history of Allauddin Khan, teacher of Ravi Shankar and the father and teacher of Ali Akbar Khan; Yehudi Menuhin's discovery and presentation of Indian music to western audiences (he is pictured with Ravi Shankar on the cover); the fabulous chapter on George Harrison; and a powerful section on John Coltrane, to name just a few personal favorites, with numerous connections to Ravi Shankar, who is widely referenced and featured (in too great a depth to summarize in a brief review).

A good portion of the book features the musicians and associates themselves having their say through remarkable interviews with Ali Akbar Khan, Mary Johnson Khan, Mickey Hart, Zakir Hussain, Jim Keltner, Terry Riley, Cheb i Sabbah, Zubin Mehta, Anoushka Shankar, Ravi Shankar, Tanmoy Bose, John McLaughlin, Bill Laswell, Shujaat Khan, George Ruckert, Shubhendra Rao, Suskia Rao-de Haas, David Crosby, Roger McGuinn, and Philip Glass. The author asks good questions and gets rich answers, making for a highly enjoyable reading experience.

This is a book I can spend hours re-reading. I've learned enormous amounts about a wide variety of music forms within each chapter. Readers with virtually any level of music interest will find something of value here. A real stunner! Highly recommended.

Among the many thought-provoking quotes in Peter Lavezzoli's new book is this one from tabla player Tanmoy Bose. "If you talk to any music lover in the West, they know more about [Indian music] than Indians ... they have a thirst for it, and they are very critical in the West for that reason." At first, I was tempted to reply that these Western fans are so enthusiastic because they (we) are such a small minority. In India, interest in Indian classical music runs the gamut from devotion to mild interest. There is, for example, a sense of national pride that makes Indians feel they ought to like classical music even if they don't. In the West, you are either a devoted fan or completely ignorant on the subject, and it often seems to us that all the devoted fans are gathered in the Bay Area. However, Lavezzoli paints a significantly different picture, arguing quite convincingly that Indian music has deeply influenced both American and European music for over half a century.

Peter Lavezzoli's first book, "The King of All, Sir Duke," took a controversial approach to biography. He devoted relatively little space to Duke Ellington, the book's ostensible subject matter, and instead wrote about Ellington's influence on other prominent musicians (including Frank Zappa, Stevie Wonder, and George Clinton). His newest book, "The Dawn of Indian Music in the West: Bhairavi," follows a similar format, but it is not a story of one musician's impact on other musicians. It is the story of the influences of one entire musical culture on another, and the tracing of those influences from connection to connection is the perfect format. Lavezzoli's goal is to document every aspect of that impact with interviews and historical summaries. The result is a long and engrossing read, full of remarkable anecdotes and thoughtful discussions with some of the most important creative people in many different Indian and Western musical domains.

About a fifth of this book will probably produce a sense of déjà vu for regular readers of this magazine. There are detailed interviews with many local artists, including Cheb i Sabbah, Ali Akbar Khan, Zakir Hussain, Terry Riley, George Ruckert, and Mickey Hart. If you know little or nothing about these people and their music, you get all the introduction you need. But no matter how much you may think you know, Lavezzoli has new information for you. Those of us who live in the Bay Area know that there are lots of Americans and Europeans who have carefully studied Indian music. But Lavezzoli shows us who was first, where they did it, and how things developed from there.

The book is subtitled "Bhairavi" because the first significant musical contact between Indian and Western classical music was a recording of that raga in 1955 by Ali Akbar Khan. Bhairavi is also a morning raga traditionally played to close a concert that has gone on past midnight, so Lavezzoli also uses the word as an allusion to the "dawn" of Indian music. This recording was the first 33 rpm long-playing record of Indian classical music. Prior to this, the only recordings of Indian music were 78 rpm records, which had poor sound quality and lasted five minutes or less. This was also the first performance of Indian classical music in the West, except for an unrecorded concert at Columbia University by Inayat Khan. (It is a tribute to Lavezzoli's thoroughness that what little is known about that Columbia concert is in this book.) The Bhairavi recording included a verbal introduction by Yehudi Menuhin, who had discovered Indian music while touring India. Menuhin's endorsement helped to convince his colleagues that this music was a serious disciplined art form, not an exotic ethnic curiosity. Lavezzoli has some interesting parallels between the harsh pedagogic methods used by both Indian gurus and Western conservatories, which justified labeling both traditions as "classical."

There were, however, parallel influences occurring in rock and jazz, spearheaded by George Harrison and John Coltrane respectively, who were both great admirers of Ravi Shankar. Rock and jazz musicians were attracted not only by the complex use of rhythms and microtones, but also by the freedom to improvise, and by altered states of spiritual consciousness. These musicians usually associated altered states with drugs, creating a controversy that endures to this day. For most Westerners during the 1960s, Ravi Shankar's sitar was the soundtrack for drug experiences. This was a serious misunderstanding: Shankar did compose scores for psychedelic movies like Chappaqua, but he also insisted that his audiences not use drugs. Lavezzoli asks almost all of his interviewees about drugs, and discovers a spectrum of opinions that reveal another great contribution of Indian music to the West.

Western music had fragmented into two conflicting elements: the emotional drug-tinged intensity of improvised jazz and rock, and the tightly controlled intellectual discipline of European classical music. Because Indian music had never separated emotion and thought, it could show Westerners how to reunite them. It challenged rock musicians to acquire discipline, enabled jazz musicians to see their improvisation as a spiritual practice, and reminded European classical musicians that music is not just marks on paper, but is played by a musician, and heard with the ears. Sometimes Western musicians tried to capture the mood of Indian music with little awareness of technical details. Other times, they took Indian techniques and reworked them to create very different moods. But Lavezzoli shows us that all forms of Western music now have a healthier relationship to each other, and to the rest of the world because of the Indian influence. Perhaps in the new millennium, there may even be Westerners who will be great virtuosos of Indian music. Will this music then still be Indian, and will its players still be Westerners?