P Books

A Christmas Carol

It was my goal this December to read to my children, ages seven, nine and 14, the Christmas Carol story by Dickens so that they would know the original before seeing the movie. I also thought this would be an accessible way for them to get oriented to English literature and prepare them for further reading.

The requirements of the Christmas Carol book to be purchased were that a) it be new as opposed to a ragged used copy, b) it be unabridged, c) it have good drawings; and d) if possible it be inexpensive. I first looked in the library, but their book was checked out, and anyway I was looking to start a family tradition of reading the story every year with our own copy if possible. The Candlewick Press edition with illustrations by P.J. Lynch appeared to fill the bill; I bought it; and it delivered the goods. The book is nice and readable-sized, the illustrations good, the type pleasing. Thirteen bucks. I was immensely satisfied with the purchase.

As to the fate of the reading, we handled one chapter per evening, there being five chapters; each took an hour or so to read. I found Dickens to be sometimes heavy going for the younger TV and video-generation kids to get a sense of what is going on. I did not recollect Dickens to be so when I read some of his works as a younger person, but apparently it's something you have to be exposed to and get to understand. Anyway I was happy to provide my children with the chance to get started. It gave me a measure of the gap between the reading preparation of today's youth versus my pre-Cambrian elementary and middle school days. On Christmas Day I showed them the George C. Scott version of the movie, and they all liked it. But all knew the basics from the book, which was my goal, even if the mid-1800s prose obscured many of the action points to the younger ones in their Sponge Bob and Hannah Montana mindsets.

So the effort was a success, and this edition of the book did what I had hoped by delivering up an excellent presentation at a very low cost.

Dan of Arlington

If you are looking to purchase a copy of "A Christmas Carol" by Charles Dickens, then I believe that this would be a excellent choice for you. The book is very well bound and of excellent quality. The illustrations are wonderful and very well detailed. The pages are slightly thicker than normal so you are probably less likely to tear them. If you purchase this book, you will not be disappointed.

I purchased this book as a gift for myself so that I could enjoy this timeless Christmas tale over the holidays. This edition of A Christmas Carol was a wonderful purchase. The illustrations added to the enjoyment of the story and allowed me to visit another time and place while relaxing with this holiday classic.

I would highly recommend this book to young and old alike.

I think we have yet to experience the definitive film version of "A Christmas Carol", but we now have the definitive book version! Masterful illustrations complement the unedited text. Oh, and EVERYONE who purchases this book, PLEASE take off the dust cover and let this one age without it! WONDERFUL cover, perfect!

This book is beautiful! The pictures are amazing and held my children (6 and 4) captive while I read to them. I would recommend reading this story every year at Christmastime as a family.

Endurance: An Epic of Polar AdventureI wanted to know something new, beyond the shackleton's book - south, but sometimes I think Worlsley had a great imagination.

Amongst all the books on Shackleton's voyage, this one provides the best insight into Shackleton as a man and as a leader. Due to his sense of humility and perhaps focus on the task at hand, Shackleton's own account of the voyage tends to dwell on the daily details of the group's struggles. Worsley's account on the other hand provides great insight into group dynamics and Shackleton's skill at maintaining unity under trying conditions. Shackleton's story needed someone other than Shackleton himself to tell it, Worsley being the expeditions captain and Shackleton's right-hand man, not to mention a masterful writer, is just the person. This book should be mandatory reading for anyone studying leadership and team building.

Now those were some tough adventurers back then...just solid outdoorsman and really strong willed and strong physically. This was outstanding to read and imagine what the human spirit can endure.

I have read every book about Shackleton's epic voyage to Antarctica, and this book is by far the best. It is written by the captain, so it is first hand info, written from his personal diary. The details are magnificent; you are there, alternately shivering or tasting the caribou fur in your mouth. This book makes Lansing's book look like toast; and Lansing's book is good!

I read this after "South" and I think it is the right way to go. Worsley not only recounts the difficulties of the journey, but makes no effort to hide his admiration for his great leader and friend. The way Shackleton manages to motivate his crew in an unimaginably hostile environment is an example of true, effective leadership. Adventurers and business men, children and adults should all read this book.

The Human Comedy is a saga of 92 novels that Balzac said was written by French society. Legend described him as the night-shirted social recorder working until dawn fueled by liters of coffee. Lost Illusions (1837-1843) is considered to be one of the best of the novels in the series in scope and structure. From the frenetic world of writers and booksellers in Paris to the grueling life of hard work and boredom in villages, Balzac traced the systematic destruction of illusions in his characters. No one could be trusted (friends, foes, or family) when the creative or inventive characters attempted to reach a goal. The flicker of hope and joy related to an artistic or business accomplishment was extinguished within days or hours. The enduring artists and producers were those who lived almost without hope, guided by a strict code of ethics protected only by their ability to keep their accomplishments secret. Ultimately, some of these survivors reached their goals. But by then, they no longer placed high value in them, much of the luster lost with their illusions. Lost Illusions set the standard for many of the wonderful French novels of the subsequent years of the 19th Century. The reader is immersed in French culture in a manner similar to the later writing of Gustav Flaubert.

Lost Illusions by Balzac is one of the most famous novels out of the ninety two he wrote in his lifetime and maybe also among a million his admirers have written in 175 years since his first novel was published.

Balzac choses Lucien as a romantic, good-looking dreamy poet. We are first thrust into his provincial life, with details about his ordinary life and extraordinary ambitions that he has no means of realizing. Except patronage by an older woman! She leads him to Paris, only to abandon him to fight his way into the high society. How Lucien rises and falls in the glamorous, amorous, corrupt and vicious life as a journalist in Paris is picturized through a narrative that is bathed in realism, and yet proceeds through both suspense and wit, in the spirit of the pace at which Balzac could conjure up such novels.

In the provinces, Lucien has a friend, David, who likewise is somewhat lacking in social and economic acumen, and is a hard working inventor. David own father ruins him by extracting an unreasonable price for the printing press that he leaves or sells to his own son. Crafty competitors take advantage of David's credulous character. David endures both provincial small mindedness and economic setbacks suffered to keep Lucien afloat. Balzac displays his knowledge of these disparate characters with remarkable attention to detail. He weaves an undercurrent, of what could have passes as a dissertation, on the art and science of paper making.

Balzac creates in his one book, a saga that unravels friendship, love, jealousy, lust, ambition, vanity, greed and absurdity that lurk in our beings and in our relationships. By using two main pillars, Lucien and David, Balzac erects a bridge into the two worlds of poetry and science. He shuns hint of any romance of either worlds, and shows how much character, how many hardships and set-backs, how much devotion and labor are required for a man to become a known poet or a scientist.

I am quoting an example from this translation (carried out by Katharine Prescott Wormeley):

"No one can be a great man cheaply," said d'Arthez in his gentle voice. "Genius waters her work with tears.Talent is a moral being which, like all other beings, is subject to the maladies of childhood. Society rejects undeveloped talent just as nature removes her feeble or deformed creations. Whoever wishes to rise above his fellows must be prepared to struggle, and not recoil at difficulty. A great writer is a martyr who does not die - that's the whole of it!"

Besides the two pillars, the book has an interesting array of characters. Actresses, society women, editors and publishers, lawyers, struggling writers, dandies - all appear with their human failings and foibles as part of a drama that unfolds with an enrapturing narrative. Be it history, economics, alchemy, or psychology, or any topic under the sun, Balzac ushers in his great knowledge, suspending and supporting the story with able and apt pointers, tresses and metaphors.

Balzac's Lost Illusions is undoubtedly a classic everyone can enjoy and must read at some point in their lives. Highly recommended.

I read this book during my latest visit to my favorite middle east country. I must admit that I didn't enjoy this book as much as others. I felt like it was slow to come around and I thought there was too much detail on (seemingly) unimportant things at times. I'm just a regular person, so that said if you are an accomplished reader you may love this, for neophytes such as myself, other titles are more likely to be properly enjoyed (see my reviews)...and keep me updated!

This is one of the best novels by Balzac, which is to say much, since he is still one of the best writers that have ever lived. Here, as in the rest of his work, the reader can appreciate Balzac's knowledge of worldly life, and especially the world of business, so alien to other writers. In this book he elaborates on the printing business as well as on journalism -vastly so-, back when it first began as a mercantilist activity. He contrasts the small life and intrigues of the province with the -no less petty but more gandiose- life and intrigues of the big city, Paris, and in particular of the faubourg Saint-Germain, the paradise of the Parisian jet-set.

David Sechard is a young man who inherits, at great cost, his cold and greedy father's printing business. Lucien Chardon (later "de Rubempre", after taking his impoversihed mother's more aristocratic last name) is his best friend. Both of them share a love for poetry, but it is Lucien who comes to shine as the young genius of province, the promise for whom it is worth it to sacrifice it all. Lucien gets the love of one Louise de Bargeton, the "queen of Angouleme", the most cultivated and refined woman in town. Louise promises to take Lucien to Paris, introduce him into the great society, and make him triumph as a poet. His family gives him all they can to get him started, and off he goes to Paris. But he happens to be arrogant, proud, and insecure, and soon he suffers the despise and insolence of aristocrats and other rich people. After what he believes to be an offense from Louise, he rejects her, earning her eternal hatred.

In the meantime, Lucien has been spending time with two very different circles of friends. The first is composed of a group of young intellectuals, hardworking guys sacrificing money and fun for the sake of science, art, and knowledge. They are there for him in times of need, and encourage him to keep up with his writing. The second group is a bunch of journalists, easy going but corrupt people who convince him to achieve quick fame and money. Lucien gets more and more trapped by this seemingly easy life, and after he conquers the love of the prettiest actress in Paris, his fate is decided. He achieves fame and fortune overnight, and so he jumps completely into the world of parties, frivolity and silly competition for status. At this point in the novel, Balzac introduces us to the sordid, decadent, and disgusting world of journalism understood as an unmerciful network of extortion and constant blackmailing. Lucien slides down that road, getting recognition and fame, oblivious to the growing net of envy that closes in around him every day.

What follows is the sad story of an unlikable character. Lucien has very little redeeming qualities about him, as opposed to some of his early friends, his young lover and his family. He is blind as blind can be, since his extreme selfishness builds a cloud in which he lives. He cares for nobody, except perhaps for the little Coralie, and he goes on leaving too many wounded bodies by the side of the road. Nevertheless, this character is the vehicle that allows Balzac to show us the real world out there. This writer never ever gives up to the temptation of sweetening things for the reader, he's brave and persists on his plan. Balzac is never a moralizing preacher, he is just a skillful painter of life as it is.

Here, as in the rest of his work, you will find characters who also appear in other novels, an ingenious device intended to give us a feeling of reality. This book is never boring and builds up tension rapidly, even for its length. It is an encompassing ride through all the fancies of youth gone wrong, as well as an unrelenting depiction of all the falseness and emptiness of high society. Much recommended.

I love Balzac. At his best he soars above the rest of French literature and here he is definitely at his finest. Easy to see why Proust thought him the best, at his best. Vautrin/Collyn is at his most sinister and attractive. If you haven't read Balzac before, this is the best to start with.

AJ P Taylor is one of the master historians of the European era and this book is one of the clear reasons why. Taylor analyzes the data available at the time and clearly and concisely traces the reasons for the outbreak of the Second World War. Starting with the Treaty of Versailles and moving up through the new diplomatic outlook created from Locarno. The failure of the Locarno system becomes evident in the disastrous disarmament talks and the four power pact by Mussolini. Germany's rise to power as an aggressor coupled with the timidity and stupidity at times of Great Britain and France allowed anarchy to slip into war. Italy's reliance as a stable power was a huge miscalculation by the allies of Great Britain and France as Italy went to war in Ethiopia. The expanding and remilitarization of Germany caused more contention among the powers and the aloofness of the Soviet Union and United States forced Europe to deal with their own problems leading to war. Overall this is an excellent interpretation of the war and one that is truly a timeless classic. Highly recommend for those who wish to know more about why the war started.

A. J. P. Taylor presents a controversial view on the cause of the Second World War. In his thesis, Taylor argues that the Western powers were as much to blame for the war as Hitler himself through their lack of reactionary response to his activities. Taylor should in no way be taken as a Nazi apologist in anyway, but simply presents miss opportunities that could have staved off disaster. Well researched and written, Taylor is one of the preeminent historians of 20th Century European history along with B. H. Liddell-Hart and J. F. C. Fuller.

Taylor modifies totally the existing traditional view regarding the origins of the second world war which has considered Hitler as the sole creator of the conflict. Taylor doesnt defend the german Fuhrer nor simply condemns the commonly called "appeasers", but instead with a very original argument explains that the war originated due to the oportunism of Hitler added to the the shortsightedness and blunders of the french and british statesman.

This book is a very good explanation of the origins of the Second World War. All of the major events between the wars are described in detail. The book also describes World War One and how it relates to the origins of World War Two. I think it is interesting that if it were up to America, World War Two may very likely have never happened. The reason for this is: America had been in World War One for much less time than all of the other major countries at the end. She would have rather gone on into the heart of Germany and defeated her outright. This would have led to Germany's not having grievances such as having to hand over the Alsace-Lorraine region to France, the demilitarization of the Rhineland, and having to pay reparations. Of course, it was not up to the Americans and they did not get their way. The Origins of the Second World War goes on to describe all the treaties between the wars such as Locarno, Rapallo, the settlement at Munich, and the Nazi-Soviet Pact. It describes more of the events right before the war than of the ones that weren't. These are the crisises over the German populations of Austria, Czechoslovakia, and the free city Danzig, which was right in the middle of a part of Poland that belonged to Germany before and during the First World War. Hitler waited for the Austrian state to collapse, and it did. He waited for the Czechoslovakians to give in to his demands, and the British and French (trying to prevent war), eventually gave in for them. With Poland, however, Hitler had set a date to invade if diplomatic measures did not solve the crisis by then. They hadn't, so World War Two started two days after he invaded Poland, on September 3rd.

When this reviewer read A.J.P. Taylor's THE ORIGINS OF THE SECOND WORLD WAR, he was impressed by the research, scholarship, and concise written experssion. Taylor argued that the Hitler regime never planned to enter a "total war," and a total war was the last thing the Germans wanted. Taylor convincingly demonstrates this thesis in this book.

Taylor begins his study with some forgotten problems that "mainstream" historians, those historians who are too timid or too politically connected, refuse to handle due to preconceived conclusions which Taylor undermines. The facts are that while the Germans lost World War I on the Western Front, the Germans did indeed win World War I against the Russians and extraced a peace treaty from the new revolutionary regime under Lenin (Treaty of Brest-Litvosk). The subsequent Versailles "Peace" Conference (1919) unhinged German victorians in the East.

Taylor also unhinges the myths that Hitler was solely responsible for unraveling the unjust and tentative conditions of the Versailles settlement. For example, Taylor carefully examines the Anschluss between the Germans and the Austrians in 1938. This event was not planned by the Hitler regime, and the crisis was started by the Austrian Chancellor Schnussnig and not by Hitler. Schnussnig provoked a rebellion in Austria when he tried to used armed force to crush the Austrian National Socialists and lost political control. The Germans were the only ones who were seen as able to restore order. The crisis caught the Germans by surprise. When the Germans sent military and police forces Austria, over 70% of the vehicles malfunctioned. There was no carefully planned operation to take control. The crisis a totally unexpected political favor. In an attempt to legitimatize the Anschluss, he submitted the matter to the Austrians for a plebiscite. The vote was 99.08% in favor of the Anschluss and only .92% against it, "...a genuine reflection of German feeling."

Taylor further gives a more precise account of the Sudetenlan situation of the subsequent Munich conference in 1938. The French and British were branded as "appeasers" by lazy historians who are not aware of the situation. Taylor argues that the Czechs and Eastern Europeans would not be well served by war. If one looks at a map of Europe, they should realize that Czechoslovakia is Eastern Europe, and there was little that the British or French could do if war did result. One should note that the Czechs, British, French, etc. were very concerned about possible Soviet military intervention and fears of Big Communism moving west into Central Europe. One should also note that when the Germans moved into the rest of Czechoslovakia, Hocha, the Czech foreig minister, asked for German help because of fears of Polish, Soviet, and Hungarian dismantling the rest of the country.

Taylor handles the critics of these events. Taylor argues that the Czechs were "betrayed" while, later in 1939, the Polish were "saved." Less than one hundred thousand Czechs died during World War II while the Polish lost over six million people and their political independence after the war. Taylor asks which was better-to be a "saved" Pole or a "betrayed" Czech? When there was political flak during the Cold War about Soviet dominance in Eastern Europe, Taylor relates that the only ones could honestly raise such flak were those who were against British instigation of World War II in the first place. The Cold Warriors who preached war against the Germans in the 1930s could not honestly whine about Soviet presence in Eastern Eruope since their support for Stalin & co. enabled to control Eastern Europe afte World War II. What did they expect?

A.J.P. Taylor also has severe criticism of the Nuremberg War Crime Trials. He stated that if judges from neutral countries held these trials, the defendents would have been set free or some of the "allied" leaders would have joined the defendents as war criminals. He wrote, "The verdicts preceded the trials." Taylor also debunks some of the presecutions' evidence and proves it to be fabrications.

Taylor stated that in regard to World War II,"Though none were innocent, all were guilty." Taylor uses careful research, precise examinations of documents, and clear reason to make his case. This book is quite readable, and a reading of Harry Elmer Barnes' review titled 'Blasting the Historical Blackout" will assist the reader to have a better understanding of Taylor' THE ORIGINS OF WORLD WAR II.

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

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

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

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

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

I was hooked.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This book presents some interesting concepts on Process Design and Performance.

Don't let the date this book was published influence your decision to buy - it is timeless. I am on my second copy of this book and would characterize it as the best book on business process management that has ever been published. This is "The Book". Everyone I know in the Business Process Management field has this book. I recommend it to every client and every business improvement team member that I work with.

The information contained in this "gem" can help anyone involved in process improvement. Consultants, executives, managers, process team leaders, process team members - it doesn't matter whether you are working in manufacturing, finance, logistics, sales or human resources. It also doesn't matter whether you are new to BPM or have been in the field for 20 years. This book will change the way you think about organizational structure and approaching business process.

Trying to characterize what parts of the book were best, would be like trying to dissect what parts of the blue sky you like best. It is all great stuff - each chapter is better than the next, and will help you understand what needs to be done to make business improvement initiatives work. It is well written, easy to understand the concepts, with hundreds of useful illustrations and models to learn from.

I would give this book 6 stars if I could ...

This book will survive the trends, since most of the trends are based on the principles in this book. The names will change (Quality Circles, Just In Time, TQM, Re-engineering, Six Sigma, ...), but these principles and how well they are implemented will determine a companies' efficiency and quality.

As a business process and systems analyst, I have used the techniques in this book extensively to document existing and proposed processes and systems.

The diagramming techniques ensure thorough identification of all relevant interfaces and will assist in identifying those frustrating and toxic business processes that defy verbal description, but once diagrammed, seem to become clearly understood. I cannot count how many "Ah-ha" moments I have seen when confused managers, too deep in the trees to be able to see the whole forest, finally see the problems with their business laid out in clear pictures drawn with the techniques taught in this book.

This is by far the first book that dealt with process improvement and change from all angles. This book provides examples that will help the novice in preparing and implementing change. Packed with examples and worksheets to guide the reader thru the whole process. However, since it was written in 1995, this book does not cover prevailing technologies but is still useful in understanding the foundations for change. If you are looking to implement business process change/improvement, read this book in conjunction with a more recent book by Paul Harmon "Business Process Change" who happens to be a student of Mr. Rummler. Paul Harmon's book cover such topics as CMM and Six Sigma when implementing process change.

I needed this book right away for a Summer school class, and I received the book less than a week after ordering it!

This is the wonderful first edition of The Mathematical Experience written by Philip J. Davis and Reuben Hersh. However it is NOT the study edition which was designed for use in the classroom. The ISBN number for the Study edition is: 0-8176-3739-7.
The authors are Davis, Hersh, and Marchisotto

In my view, this book (which looks like a collection of articles gathered up under several rubrics) shares typical achievements and flaws of all popular-math literature; namely, it's enjoyable and enlightening as far as historical and philosophical aspects of the material presented, yet when they authors actually get to mathematics, it becomes fragmeted, jerky, and confused. Symptomatic of this is the chapter on nonstandard calculus: the historical narrative is very interesting, yet the math proper is confused and incomprehensible. Perhaps that is because it's impossible to express it fully and right in a popularizing context; perhaps it is so because I'm too obtuse to have understood it (but then the most of the target audience is probably no better); or maybe it's because the authors didn't do a terribly good job of it. The next chapter (Fourier analysis) suffers from the same.

Overall, I say, it's a good, although overrated, book. Read it, get what you can out of it and don't fret about the rest: the book is really a collection of articles, apparently written for different purposes, at different times, and for different publications; the quality of writing varies from section to section, although the overall structure and topicality are unquestionably very good. The book has an extensive and diverse bibliography along with a rather mediocre (close to names-only) index. Well, no book is perfect, including this one: overall it's solid four stars -- recommended.

The authors deal with various important aspects of mathematics and about practising mathematics. They also deal with the philosophy of mathematics. By and large, they do it engagingly. Specifically, they tackle why mathematics seems to 'work'; how a mathematician actually goes about doing mathematics; they offer some light treatment of a few mathematical topics, and they illustrate mathematical thinking as well.

This book is best read by students thinking about choosing mathematics as a career, or even just as a field of study. Although, any layperson will come off with a greater appreciation of what mathematics is, and what mathematicians do.

The Mathematical Experience by Philip J. Davis and Reuben Hersh
1981 Houghton Mifflin Company, Boston

Is all of pure mathematics a meaningless game? What are the contradictions that upset the very foundations of mathematics? If a can of tuna cost $1.05 how much does two cans of tuna cost (Pg. 71)? If you think you know the answer, don't be so sure. How old are the oldest mathematical tables? What is mathematics anyway, and why does it work? Can anyone prove that 1 + 1 = 2?
This is a book about the history and philosophy of mathematics. I'm certainly not a mathematician, and there are parts of the book I will never understand, yet the balance of it made the experience well worth while. The authors presented the material so that it is interesting and (mostly) easily understood. They have a creative way of making a difficult subject exciting. They do this by giving us insights into how mathematicians work and create. They live up to the title making mathematics a human experience by adding fascinating history. Frankly I was shocked when they pointing out how even mathematicians have made questionable assumptions and taken some basic "truths" on faith. They show the beauty of math in the "Aesthetic Component" chapter. Ultimately the question that comes up again and again is the question of whether or not we can really know anything about time and space independent of our own experience to make an adequate foundation for a complete system in mathematics. If you have ever wondered about the world of mathematics and the personalities involved you might consider this book. If you are a mathematics teacher you should read this book. If you are a mathematician you could find it quite unsettling.
It contains eight chapters, each one broken up into many subtitles so if you do get bogged down in the mathematics it isn't for long. There are 440 pages. I'd like to see a much more complete glossary for people like me who need it.

Cute little story about a big dog and a little dog who like opposite things. It's pretty obvious that the Spanish was translated from English (as opposed to being originally written in Spanish), but with that said the Spanish seems well translated. Good book for the price.

I read this to my 4-year-old daughter only in Spanish the first few times and she LOVED it. The pictures and ideas convey the meaning of, (what is to her), a foreign language so well! As a barely-fluent speaker myself, the book introduced a few new fun vocabulary words. The context of the story very clearly depicted for her the meanings of the words "despacio" and "deprisa" which quickly turned into a game of running around the house in each of the two manners. Once she realized that the little words underneath were in English, she refused to hear the story in Spanish, but with patience on my part, that has changed slightly :0) The story is just plain really cute, too.

I have a non-profit corp. and took those books to the Dominican and they really enjoyed the book-I would recommend it for youngsters-6-10 Roger/Dominican Team for Dreams,Inc Florida

I know a handful of Spanish vocabulary and wanted to expose my infant son to the sounds and cadence of the language. This is a fun book although if you're a Spanish novice, some of the word tenses are a little tough to sound out. It is paperback though - I was hoping for a board book so he could turn the pages while we read. He loves it anyway.

Love it just wish it was a board book my one year old loves to flip the pages i know he's reading in his little head but the pages get crinkled so thats why i wish it was a board book.......easy and fun to read.

If you were born during the tail end of the Baby Boom or are part of Gen-X, think of "Retro Hell" as a travel guide to Memory Lane. This book covers almost every aspect of life in the 1970's and '80's, from the most profound to the most trivial. What makes this book a joy is its ability to remind you of the little things you've forgotten -- toys, fads, fashions, one-hit-wonder bands, TV shows, commercials -- and bring back a flood of memories.

Though much of the writing is strongly tongue-in-cheek, it's not all cynical... which is quite refreshing. Not everything about the '70's and '80's was horrible; indeed, in an age of terrorism and war, roller disco doesn't seem so bad.

This book was originally published in 1997. If a newer edition is planned, adding some context would be especially helpful, now that the entire decade of the '90's has passed. For it's the seemingly frivolous things that ultimately shape our lives in unexpected ways.

Perfectly suited to its target audience both in subject matter and in presentation, this little encyclopedia is guaranteed to be incomprehensible to anyone who was not a small child during the Ford and Carter administrations. It is an exhaustive laundry list of toys, television shows, and other products marketed to children mostly in the 1970's and early 1980's. Said children grew up, went to college, and spent many a late-night dorm room session processing their mixed amusement and time-gilded fondness for these products. Generation X's strangely premature nostalgia was in the mid-'90's documented and catalogued by the staffers of a 'zine called Ben Is Dead, and subsequently released as a book, published with a silver cover, adorned with a flaming disco ball and digito-futuro typeface, called "Retro Hell".

As with any encyclopedia, this book is not to be read cover to cover. Unlike with an encyclopedia, the entries will not strain the most fragile of attention spans, as they are brief and anecdotal. Some merely invoke the commercial slogan attached to the toy in order to clarify the meaning of the item. Chances are good that if you, a friend or a sibling had a particular game, toy, or favorite TV actor in 1976, it will merit an entry in this book, presumably to your surprise and affectionate delight.

OK, let's face it. We GenX'ers (my DOB: 12/20/69) had discussions about these silly things with our friends as far back as 1986, and it all began with our laughter at the memory of the Brady Bunch, with its plaid polyester and relentless good cheer. (Surprisingly no one has ever called attention in print to the sublime musical score of the Brady Bunch.) By the mid-1990's, most of us were a bit burnt out on that sort of discussion. And yet, the sheer inclusiveness of this book guarantees that the late-night discussions will continue for at least as long as it takes to comb through it, as the diligent editors of BID have dredged up for us memories of long-forgotten things like Wacky Packages, checkered Vans, and Operation!. One can imagine that this catalogue was generated with competitive passion, as the youthful 'zinesters engaged in that most cherished of all verbal sports, "Obscurity One-Upmanship", or "Who can recall the most marginal bit of shameless pop culture detritus from the furthest corners of their memory?

Their effort is worthwhile, despite its novelty. It is as ironic as the generation it was written for, as it is in fact useful trash. It is the narrowest history of minutiae you can possibly find, and therefore the most telling. As might once have been said on a nighttime infomercial somewhere around 1980, "It makes a great gift ! "

If you were born between 1965 to 1979, this book is aimed at you. You may end up disagreeing with many of the entries, but not because they're wrong- just because it can be so embarrassing to see your past held up in a modern light.

This is an encyclopaedic recounting of pop-culture memories of many authors, and was originally published in 3 consecutive issues of Darby's magazine "Ben is Dead". One of the unfortunate side-effects of the translation from magazine to book has been the loss of a bit of material. Most/all of the supplementary articles and sidebars have been lost; a lot of pictures have been dropped (possibly from copyright or trademark infringement?); individual entries have been changed, either to remove possibly inflammatory material, or for some judicious editing. Some entries are gone all-together.

But, after 5+ years, my copies of BiD are brown and curling from acidic decay, water damage, constant re-reading. This book is a more durable, more easily transportable, more easily read and shared compendium of what is undoubtedly the best part of the original 3 issues.

For most entries, there are comments from multiple authors- if you don't like what someone wrote about your favorite subject, there's someone else right after them that wrote exactly what you wish you could say. You'll have old dusty memories jarred- both pleasant and unpleasant. You'll cringe in agony when you realize just how stupid we looked drawing a "Z" in the dirt to run faster when wearing Zips shoes. You'll recall that night you saw Pink Lady & Jeff on TV and realized adults didn't know what they were doing, either. You'll also get a lot of info on regional fads (typically southern California) that may not mean much in the rest of the country, but makes for interesting reading.

The best part about the book is the editorial decision to not just concentrate on the happy/good parts of our collective past. A lot of dirt is listed, too, which will make some people uncomfortable, but it makes the book probably the most honest of the pop-culture books that reference the 70s. Instead of sanitizing and making palatable what was, in all honesty, an incredibly vapid and tasteless era, Retro Hell is more of a catharsis for everyone who grew up in that time. The book's not just a fun read, but it'll probably make you a better person, too.

Concentrating on the period 1970-1988, this textbook of cultural anthropology covers a variety of trivial obsessions which, at the time, must have seemed extremely important. For somebody from the UK, it's like a glimse into a bizarre alternative world of Pet Rocks, Farrah Fawcett's hair and the not-at-all drugs-related H. R. Pufnstuff. Did people once vote for Jimmy Carter? Apparently so. It's written in an engagingly everyday tone by the staff and freinds of a sadly-defunct magazine called 'Ben is Dead', and the only bad thing is that it isn't ten times the size - it's great to read on the train, and my copy is now creased and tatty.

My old punk rock pal Mary Mayhem pawned off a box of old fanzines on me the other day, and there was a big stack of BEN IS DEAD magazines amongst them. I had forgotten how good that magazine was. Its a bona fide work of art (without chewing on it, okay?). The publisher, Darby Romeo, was sort of the archetypal Southern California Jewish cultcha' chick for the '80s. Besides being a brilliant writer, she had a yearning quality and a very original slant. She always seemed to be looking for the real and the authentic, even as she was wading through the shallow and phony junk that is Pop Culture. With her "Retro Hell" issues, its almost as if she's looking for God in the details (and I'm sure He's there somewhere, even amidst the Fonzie lunchboxes and Charlie's Angels posters). Face it, we were all raised amidst the blizzard of Pop Culture artifacts. We tried to create a life (or a so-called lifestyle) out of the crap pouring out of our TV sets, radios, and rock magazines. Darby Romeo graduated from high school in 1985, started publishing BEN IS DEAD in 1988 at around age 21, and I think she kept publishing it until around 1999 or so. Every issue got better, slicker, more original, and even more successful (she even copped a book publishing contract out of the deal). And then, she apparently disappeared from public view. Rumor has it she joined a weird cult. WHich I suspect is just the kind of weird rumor that Romeo would appreciate (everytime I disappear from view people just assume I'm dead, sheesh). She had a highly defined sense of irony on top of irony on top of searching for something real on top of further irony. She was the kind of Hollywood chick who hated and smirked at everything "hip." Even as she seemed obsessed with all things hip. As a little girl in the '80s she had Duran Duran posters all over her bedroom walls (well, she would've if her father had let her). Then in the '90s she launched herself into the gears of the Media Machine and got to interview Duran Duran. She even got grab-assed by Simon LeBon, or one of those hair-boys. So you see, dreams come true. Its odd and odd experience re-reading those "Retro Hell" issues of BEN IS DEAD ten years later. Its a perfectly-preserved time-capsule of the long-gone '90s fanzine scene. So I guess now its Retro Retro.

This little book was my husband's favorite growing up. He loved it so much we had to get a copy for our boys. A great little story.

I loved this book when I was a kid! My parents must have loved it too because they saved it for me. I want my 3 yr old & 9 mo old to love it as well, but I'm afraid they will ruin my copy! Is that selfish? So I am buying them their very own!!

I was so happy to find this book. I have long been searching for it out of print. This is a classic story that I and my twin have loved for 20 years! We used to have it read to us every night!!! This should be shared with your whole family!! It is meant to be passed down from generation to generation.

The hard-back edition of Socks For Supper that i have is as old as i am, published in 1978. My 5yr old son absolutely loves this book. It's only 28 or so pages long, but it's easy for him to read and he loves to laugh at the silly farmer and his wife!
I'm thrilled that my son so loves the books i enjoyed again and again as a child.
I'm even more thrilled to add this book to the list of books he's read for his summer reading program for kindergarten next year!
I plan on picking up more Jack Kent books for my son, and i hope that his children are able to enjoy these books as well!

This was one of my favorite childhood books and is the only childhood picture book that I loved that I have a copy of right now. The storyline of having an old couple who was poor trade socks made from the old man's sweater for cheese and milk romanticized cheese and milk for me. Strangely, when I read about foods in a book, my imagination makes me salivate for them! In addition to simple and enjoyable pictures and a fun storyline, Jack Kent's book introduces children to the issue of poverty somewhat, that not everyone has what they need and need to work for what they need; and issues of giving and exchanging.