I loved Sandra Brown's "Mirror Image", but was extremely disappointed with this effort. This book offered some witty bantering between the two main characters, but the romance was unsatisfying--not nearly enough build-up of believable tension between them. Some of their behavior seemed ludicrous--almost like Brown was forcing conflict. And the writing was not very discriptive. The story is set in Hawaii and yet I had no sense of scenery. A disappointment all the way around.

I first read this book three years ago and even now whenever I need something entertaining to get rid of bad mood, I read it again. It never fails to make me laugh. Lilah is just so funny and persistent while Adam is stubborn as mule but no less endearing. Thanks Sandra.

Great book! I couldn't put it down. This is how Sandra Brown should write all her books!! Worth buying and re-reading 100 times!!!

I am an EMT-B instructor in West Virginia and have used this edition to teach my classes. I have found it to be a great improvement over previous editions. The text is easy to read, comprehensive and all-in-all an excellent text on EMT-B. My only gripe with the book is that it makes prehospital patient assessment somewhat confusing for new students. The book breaks patient assessment up into several chapters, giving the reader the impression that assessment is both difficult and complicated. This lack of single-chapter continuity coupled with the trepidation many new students bring to this module creates the impression that patient assessment is a disjointed, randomized activity. I have to tell my students that for patient assessment, these chapters are a good reference, but that I will tell them just how easy assessment is; TAKE NOTES!

If Brady would spend a little more time examining this module, I feel as though they can make it a little less imposing and a little more readable.

I am a student interested in becoming an EMT. I know the people at the local fire station so I asked them for a resource book and they gave me a 6th edition of this manual and it is proving to be an excellent resource. It has many pictures and at the beginning of each chapter, it gives a real life scenario for you to focus on for the chapter and explains objectives you should know by the end of the chapter. I've found it very informative and hope that the 8th edition follows in its footsteps. Well done Brady!

I have been teaching the EMT-B class for more than 10 years. I have found that this 8th Edition Brady book is the best available. This text prepares my students not only to pass the State and National exams, but also very useful for the real world!

Jack Worthing is engaged to lady named Gwendolyn and they are soon to get married. Jack had to find away to escape from Miss Prism because she disapproved of him so he created a brother named Earnest. While Jack was in London he feel in love with another women named Cecily Carden. Over time his fiancée's mother started to see that there was more to Jack than what he was letting on to. The only reason that Cecily wants the marry Jack is because she thinks that his name is really Earnest. Jack/ Earnest has a fiancée but is in love with another women at the same time.

This is a very short book but at the same time it is very easy to get in to because of the conflicts that occur. This book is very funny especially the conversations between Jack and Algernon. The story is a political and social satire and a look at the upper British society. I thought that the story was great because of the humor but at the same time the story was kind of sneaky which drew me into the story even more. I would suggest the book to anyone.

Perhaps it is my unique sense of humor, but I found this book incredibly funny. I wasn't rolling on the floor or anything, but it is funny in an Oscar Wilde way. My personal favorite is The Importance of Being Earnest, although all the others are very good also. Get this book. There are great quotes and good characters.

"All women become like their mothers. That is their tragedy. No man does. That's his.
Is that clever?
It's perfectly phrased! and quite as true as any observation in civilized life should be."

This is just one of the many jocular exchanges and epigrams in this short but brilliant social satire. Wilde wryly and cleverly gets his claws into the upper caste and its twisted moral etqieuette, romantic relationships, and self-critically the propensity for sententious moral (and aesthetic) self-guidance.

Dispensing with politeness and social convention through his farcical dialogue, Wilde unleashes his comic criticism on all types of hypocrisies and spurious norms. The Importance of Being Ernest is always subversive and funny, but never crude or sophomoric.

On paper, a chess bio of a grandmaster authored by the grandmaster's father with the grandmaster's help has all the sad rings of a "puff piece" about it. This book avoids falling into this trap through a simple, unadorned style that makes us feel as though Michael Adams is a person who became a grandmaster, rather than some monolithic genius of chess above common humanity. The book uses games and brief discussion to take us from Adams' childhood early folly at the game up until he breaks through into the GM ranks. We get a sense of prodigy, hard work, and of a supportive dad. Is there much more we need from this type of book?

A wonderful and unique chess journey through Michael Adams career, as told by his father, with all the games annotated by Michael. Many of his first competitive games are here, and you see him make typical mistakes that we all make, when he was 8 and 9 years old. Then you see him improve steadily. It is a marvelous thing to see this type of progression in a book. Most game collections by GMS just have them destroying other GMs. This is the only book I can think of that shows a GMs early games, played when he was a mere mortal. This is not ony very instructive, but somewhere in the book is the transition in play from an intermediate club player to a GM. The lessons are there for you to absorb. It is a beautifully written and annotated book. I think it belongs on everyone's shelf, and that it, along with its sequel, Chess in the Fast Lane, have been seriously overlooked by the masses of chess players. Because of this, you can get each of them cheap used, and I suggest that you snatch them up while this book can still be found. Adams comes across very much as a normal guy, and this book, in addition to its inherent strengths, also gives hope to the aspiring player that with hard work, he can improve! Highly recommended.

I enjoyed this book as well as Michael Palmer's other books. He does a great job of effectively creating an intricate plot and introducing new characters throughout. What I am tired of, with this and Palmer's other books, are how most (not all, but disproportionately most) of the female characters are described as "tall, slender, attractive, beautiful, etc." Geez, give me a break! I suppose this is a male fantasy, but it ain't real life. I would like to see Palmer include female main characters who are more "normal" looking.

This was a great book.. full of suspense right from the start. The only disappointment was the ending. I feel as if I was cheated. The ending leaves the reader hanging. Maybe you need to draw your own conclusions. This shouldn't keep anyone from not reading this book.
Once again, Michael Palmer leads the reader on a roller coaster ride of emotions. For the first time, it wasn't until near the end that I finally caught on. This is one of his better book.s

An excellent medical drama. My first Michael Palmer book, but certainly not my last. I was very impressed with the characters and how Mr. Palmer portrays them. A word of warning: It is unbelievably hard to put this book down once you've started reading it!

Fop Flop In the most elegant apparel Nothing but worm silks In the finest golden thread And superior king red velvet sashes

You'd think I would have known better? I couldn't blame them who wouldn't? cut air with scissors while sewing their needles into invisible cloth for the very low price of..... silk a loom golden thread a full bag of coins Oh those Villain Scoundrels! Now, I know not to buy such vestments with rather large investments Oh what a bratty gnatty I was For I thought I was cool but truly a fool Why emperor you look rather bare, that's quite rare! I was in such a pursuit For only a birthday suit I must admit now Me, My very own self yes indeed, your emperor himself have become a stupid and incompetent dandy All for the Imaginary Image! and now I live happily ever after, no more garb well, that is until the next apparel discovery (Now if you'll excuse me there's a clothier waiting at my door who says he's created the latest design in Pajama attire)

Generally, I do not care for audio books; many of the readers speak in a dull voice that rapidly drives me either away from the story or to sleep. However, there are a few exceptions; this is one.

Understand, that this is not the normal audio book; this edtion has a large cast of actors who collaborated to produce this item as a fund raiser for Starbright.

The result is an ensemble piece that is witty and charming. Part of the fun for me, was guessing who was reading before looking at the cast list included in the box.

Other folks feel that this isn't for children; I don't know as I don't have children, but I found that my "inner child" was highly entertained for 40 minutes with this tape.

If you are a fan of one or more of the actors in this edition or like puns (there are many here!), then you will probably like the Starbright edtion of the Emporer's New Clothes.

I had been given 2 of these books from a friend and I decided to see if there were anymore. My son loves this book. He's now working on reading the adult side. It's a great idea to have a page each, 1 for the adult and 1 for the child. We have several of these books now and I see my son sitting down and reading them on his own.

Wow, for once I find myself agreeing with Ian Fletcher - really great job, Michael. Every neighborhood should have a book like this - but only Harlem does! And, Michael, you're too sensitive about 1-800-Riverside - he/she made some reasonably fair criticisms - who among us are without sin? - but still endorses your book.

Hope you make a $million (Gianfranco Monacelli, are you listening?) - or at least enough for a computer.

Best, Christopher Gray

This great book comes forward to change forever our view of Harlem. It is a highly significant step toward informed appreciation of Harlem's architectural importance, cultural complexity, and the abundant variety and beauty of its singular places. No publication at this scale has yet been attempted for Harlem and the grand scope and close detail brought together here by this talented historian will raise the intelligence of the national sense of this unique cultural center never before served so well. Harlem is a household word -- across the globe -- and many may have felt that "our country's African American center" or "jazz incubator" or "home of black Congressional leadership" or some such positive phrase sums it up. Here is presentation of the whole, its place in shaping our revolutionary republic, its welcome to those arriving first from Europe, then from southern states as well as the Caribbean Islands, its heritage of architecturally glorious churches, its handsome houses -- and the innate preservationist sensitivity of each wave of residents who have kept this heritage of fine architecture so largely intact. The book presents these churches and houses through the superlative photographic studies contributed by Paul Rocheleau which bring the reader right into the sites so brilliantly described by Michael Adams. This fine collaboration opens eyes to the deeper meaning of carefully designed housing itself as well as how these churches stand witness to the care of their parishioners. Those viewing these pages far from Harlem will feel on site; those here will want to walk these streets with newly opened eyes. The book is a lifetime purchase and is itself one of the most significant Harlem events in years.

Paul Rocheleau urged me not to worry about what I wrote stressing, "Most people only look at the pictures anyhow." Taking over ten years to research and write something, how tiresome it is to then be compelled to defend it. One is reluctant to do much beyond urging those who might disagree with what you've said to take a decade or two themselves and write their own work. After all no matter what one does or doesn't do the inadvertent error is sure to emerge. This was so for Galsworthy and for Langston Hughes. It will be for you as well. The Riviera Apartments, for instance, were designed by Rouse & Goldstone, not Schwartz & Gross. Mr. Charles Lovejoy is in fact Mr. Charles Loveday, and so it goes. It appears that Harlem Lost and Found will warrant a second printing at least, so thank goodness these mistakes and similar ones can be addressed.

What cannot be altered, however, is my understanding of Harlem's boundaries. Quite justifiably, I believe they can be identified as extending as far north as 168th St. "Not For Tourists Guide to New York City 2003", sponsored by JPMorgan Chase Community Development Group, at least agrees to this hallowed region extending north as far as 160th St. Well, actually, they call the region south to 134th St. between Bradhurst Ave. and the Hudson River 'Manhattanville/Hamilton Heights'. However, surely these neighborhoods are agreed to be in Harlem, are they not?

Unashamedly, I concede that my book was driven by handsome buildings. But, throughout its publication from circa 1910 through 1934, Harlem Magazine, an all white journal, included the very same structures that I have located north of 155th St. in its pages. Things do change, of course. Attempting to dissect Harlem into a series of hierarchically class-based districts, many, by the 1890s, designated all Manhattan west of St. Nicholas Ave. and north of 135th St. as 'Washington Heights'. Already by the 1860s the appellation was used from 155th St. north. But this initial usage much like that of 'Carmansville' was meant, I believe, to identify a subsection of greater Harlem. Certainly, the Audubon, Knapp, and Hooper families continued to identify their address as Harlem much as today many residents of the officially named 'Clinton' continue to give their address as 'Hell's Kitchen'.

In any case, perhaps the old-fashioned but unfashionable race card trumps other considerations? Asked in the 1950s by Joe McCarthy where he lived, Ralph Ellison said 150th St. and Riverside Drive. He qualified his answer, though, noting that the area had once been regarded as 'Washington Heights'. But stated that from his experience, "Wherever Negroes live uptown is considered Harlem." Surely this is the logic whereby the Audubon Ballroom and Theater, where Malcolm X was slain in 1965, was and continues to be identified as a Harlem landmark. No doubt, as more whites displace more blacks and Latinos throughout Upper Manhattan, Brian Keith Jackson's satirical references to name changes in the novel "The Queen of Harlem" will, in fact, occur more and more. It's this likelihood that makes me even more adamantly compelled to document the old understanding amongst blacks and many whites of what is Harlem.

How easy it is to regret what one has not done. If only I had a computer I might have addressed these issues earlier. If only I were more prosperous, I might have also included footnotes in Harlem Lost and Found and saved myself some grief. But as an author under contract to a small press it was difficult enough to pay for an index, I can assure you. As it was so dear, I especially wish the mystery reviewer at 800 RSD had consulted it. I reference Vaux & Withers twice. Once in relation to their Trinity Cemetery suspension bridge. Another time based on Francis R. Kowsky's 1980 monograph of Withers (Wesleyan University Press), on page 196, in the appended work list, I cite the George B. Grinnell house and stable on West 156th and 157th Sts. entered for 1869 and 1870. At no time, regarding this firm, do I ever mention either Mrs. John James Audubon or her dwelling.

As for my attribution of Audubon Park's ownership by George Bird Grinnell, on page 21 of the pamphlet "Audubon Park" published by the Hispanic Society in America in 1927 and reissued in 1987, a later George B. Grinnell relates of his relative, "Long before this, the greater portion of what had been Audubon Park, that is to say, all of it except the track where the old Audubon houses stand had become the property of a single owner, George B. Grinnell, from whose estate, in 1909, a large part of it passed into the hands of builders who covered much of it with tall apartment houses."

Similarly, so far as Jesse W. Benedict's earlier ownership of the park after 1864 goes, no less an historian than Audubon Park's own Reginald Pelham Bolton in his great book "Washington Heights, Manhattan, Its Eventful Past" asserts the same on page 111.

Regarding record sale prices at the Grinnell, the New York Times, it's true, might inflate values, but can I really be faulted for believing all the news that's fit to print?

Yes, indeed, whatever else it is, thanks mostly to Paul Rocheleau and designer Abigail Sturges, Harlem Lost and Found is a visual feast. Whatever its shortcomings, I hope that it is better written and researched than one critic suggests. Better than ever, I now appreciate the aphorism 'Some do, and others complain'. And anonymously, no less. Well, what can one say except God Bless America.

I am a homeschooling mother of two. I was really excited when I ordered this book. It was not all togethor a bad read and along with reading the scriptures it is not too bad of a translation. However I found it a little confusing when it talked about Nimrod and The Tower of Babel. Also about priests and priestess worshiping Satan. This is all speculation and not in the Bible so I found it hard explaining it along with the Bible History I was teaching to my children. Also I was always tought that The sons of God marrying the daughters of men to be rightous men marrying ungodly women. The author writes that angels had come to earth and married human women. I see the other translation as a possible account of what happend but I find the later to probably be more accurate. I have recently ordered The one year chronological Bible and it looks like it will be a real help in organizing Bible History events.

I've read this book several times since it first came out. I've given 2 dozen as gifts and will give more as it is easy to read/comprehend. I think it should be required reading by every 6-12th grader in every school to try and balance the incessant/overwhelming dumbing down of our kids as relates to 'REAL' scientific inquirey and the foundational knowledge upon which our republic and civilization rests. You won't find this in public or school libraries because of the 'censorship' that goes on, and not by right-wingers, so you must get this in your own library. It's very thought provoking and if you read Nat. Geographic, etc. the known technology and many artifacts from past eras take on a whole new meaning.

The author is very clear that not every theory about creation or the beginning of human history is used. And that's not the point. It is meant to be a novel of what might have happened. One does not have to buy every theory, but it is still extremely interesting because it "fills in the blanks" of what you might have wondered about the Genesis accounts. It makes sense and I think it makes an excellent companion to Bible study and ancient history study.

As a play, "Othello" encompasses many things but more than anything else it is a study of pure evil. Although Othello is an accomplished professional soldier and a hero of sorts, he is also a minority and an outcast in many ways. As a Black man and a Moor (which means he's a Moslem), Othello has at least two qualities, which make him stand out in the Elizabethan world. He is also married to a Caucasian woman named Desdemona, which creates an undercurrent of hostility as evidenced by the derogatory remark "the ram hath topped the ewe".

Othello's problems begin when he promotes one of his soldiers, Michael Cassio as his lieutenant. This arouses the jealousy and hatred of one of his other soldiers, Iago who hatches a plot to destroy Othello and Michael Cassio. When Cassio injures an opponent in a fight he is rebuked, punished, and subsequently ignored by Othello who must discipline him and teach him a lesson. Iago convinces Desdemona to intervene on Cassio's behalf and then begins to convince Othello that Desdemona is in love with Cassio.

This is actually one of the most difficult Shakespeare plays to watch because the audience sees the plot begin to unfold and is tormented by Othello's gradual decent into Iago's trap. As with other Shakespeare plays, the critical components of this one are revealed by language. When Othello is eventually convinced of Cassio's treachery, he condemns him and promotes Iago in his place. When Othello tells Iago that he has made him his lieutenant, Iago responds with the chilling line, "I am thine forever". To Othello this is a simple affirmation of loyalty, but to the audience, this phrase contains a double meaning. With these words, Iago indicates that the promotion does not provide him with sufficient satisfaction and that he will continue to torment and destroy Othello. It is his murderous intentions, not his loyal service that will be with Othello forever.

Iago's promotion provides him with closer proximity to Othello and provides him with more of his victim's trust. From here Iago is easily able to persuade Othello of Desdemona's purported infidelity. Soon Othello begins to confront Desdemona who naturally protests her innocence. In another revealing statement, Othello demands that Desdemona give him "the ocular proof". Like Iago's earlier statement, this one contains a double meaning that is not apparent to the recipient but that is very clear to the audience who understands the true origin of Othello's jealousy. Othello's jealousy is an invisible enemy and it is also based on events that never took place. How can Desdemona give Othello visual evidence of her innocence if her guilt is predicated on accusations that have no true shape or form? She can't. Othello is asking Desdemona to do the impossible, which means that her subsequent murder is only a matter of course.

I know that to a lot of young people this play must seem dreadfully boring and meaningless. One thing you can keep in mind is that the audience in Shakespeare's time did not have the benefit of cool things such as movies, and videos. The downside of this is that Shakespeare's plays are not visually stimulating to an audience accustomed to today's entertainment media. But the upside is that since Shakespeare had to tell a complex story with simple tools, he relied heavily on an imaginative use of language and symbols. Think of what it meant to an all White audience in a very prejudiced time to have a Black man at the center of a play. That character really stood out-almost like an island. He was vulnerable and exposed to attitudes that he could not perceive directly but which he must have sensed in some way.

Shakespeare set this play in two locations, Italy and Cypress. To an Elizabethan audience, Italy represented an exotic place that was the crossroads of many different civilizations. It was the one place where a Black man could conceivably hold a position of authority. Remember that Othello is a mercenary leader. He doesn't command a standing army and doesn't belong to any country. He is referred to as "the Moor" which means he could be from any part of the Arab world from Southern Spain to Indonesia. He has no institutional or national identity but is almost referred to as a phenomenon. (For all the criticism he has received in this department, Shakespeare was extrordinarlily attuned to racism and in this sense he was well ahead of his time.) Othello's subsequent commission as the Military Governor of Cypress dispatches him to an even more remote and isolated location. The man who stands out like an island is sent to an island. His exposure and vulnerability are doubled just as a jealous and murderous psychopath decides to destroy him.

Iago is probably the only one of Shakespeare's villains who is evil in a clinical sense rather than a human one. In Kind Lear, Edmund the bastard hatches a murderous plot out of jealousy that is similar to Iago's. But unlike Iago, he expresses remorse and attempts some form of restitution at the end of the play. In the Histories, characters like Richard III behave in a murderous fashion, but within the extreme, political environment in which they operate, we can understand their motives even if we don't agree with them. Iago, however, is a different animal. His motives are understandable up to the point in which he destroys Michael Cassio but then they spin off into an inexplicable orbit of their own. Some have suggested that Iago is sexually attracted to Othello, which (if its true) adds another meaning to the phrase "I am thine forever". But even if we buy the argument that Iago is a murderous homosexual, this still doesn't explain why he must destroy Othello. Oscar Wilde once wrote very beautifully of the destructive impact a person can willfully or unwittingly have on a lover ("for each man kills the things he loves") but this is not born out in the play. Instead, Shakespeare introduces us to a new literary character-a person motivated by inexplicable evil that is an entity in itself. One of the great ironies of this play is that Othello is a character of tragically visible proportions while Iago is one with lethally invisible ones.

Jealousy is perhaps the ugliest of emotions, an acid that corrodes the heart, a poison with which man harms his fellow man. Fortunately for us, Shakespeare specializes in ugly emotions, writing plays that exhibit man at his most shameful so we can elevate ourselves above the depths of human folly and watch the carnage with pleasure and awe.

In "Othello," the "green-eyed monster" has afflicted Iago, a Venetian military officer, and the grand irony of the play is that he intentionally infects his commanding general, Othello, with it precisely by warning him against it (Act 3, Scene 3). Iago has two grievances against Othello: He was passed over for promotion to lieutenant in favor of the inexperienced Cassio, and he can't understand why the Senator's lily-white daughter Desdemona would fall for the black Moor. Not one to roll with the punches, he decides to take revenge, using his obsequious sidekick Roderigo and his ingenuous wife Emilia as gears in his transmission of hatred.

The scheme Iago develops is clever in its design to destroy Othello and Cassio and cruel in its inclusion of the innocent Desdemona. He arranges (the normally temperate) Cassio to be caught by Othello in a drunken brawl and discharged from his office, and using a handkerchief that Othello had given Desdemona as a gift, he creates the incriminating illusion that she and Cassio are having an affair. Othello falls for it all, and the tragedy of the play is not that he acts on his jealous impulses but that he discovers his error after it's too late.

It is a characteristic of Shakespeare that his villains are much more interesting and entertaining than his heroes; Iago is proof of this. He's the only character in the play who does any real thinking; the others are practically his puppets, responding unknowingly but obediently to his every little pull of a string. In this respect, this is Iago's play, but Othello claims the title because he -- his nobility -- is the target.

Othello relects the true meaning of a tragedy both in its content and its structure.Tragedy is 'a story of exceptional calamity produced by human actions, leading to the death of a man in high estate.'The downfall of Othello is caused by his own actions, rather than by his character, or rather the two work in unison to create the stage for his downfall.
This is what captured my attention when I read this play.It is very profound to realize the fact that Shakespeare uses Iago to set this stage on which Othello is a mere player.
I love the character of Iago. His total confidence, the superiority that he feels when psychoanalysing human nature, his rational thinking and intellectualism sways the reader to think: 'Wow, this is a compelling and sophisticated man we're dealing with here!'
However, my admiration of Iago does not in anyway undermine my love of Othello. His poetic and calm demeanor makes the reader feel the pity and terror for him when he falls from grace (catharsis). Yet, we are made to understand that the reason why he is made to appear a gullible and ignorant fool to some readers is that he does not have any knowledge of a delicate, domesticated life. Venetian women were foreign to him. This tragic flaw in Othello added to the circumstances used by Iago to destroy him.
The meaning, and hence the tragedy of the play is conveyed through the use of Shakespeare's language, style, literary devices and imagery. Without these dramatic effects, readers would never be able to enjoy the play as much, although the dialogue is at times difficult to decipher.
I thoroughly enjoyed Othello and it is my hope that more people find it enticing as I have. I would be delighted to contribute more of my reviews to that effect.

I've been playing White Wolf games for a few years. I gotta say I love the game, and I've been waiting for this book since I heard it was coming out, and in fact pre-ordered it through my local bookstore so I got it the day after release. I was a little dissapointed that the book left out a system for dealing with other World of Darkness creatures such as Vampires, Werewolves, Magi, etc, like the other rule books contain, so that they could put in the long (and sometimes redundant) history of the fallen and rules on the faith and torment system (which the first time through I had trouble understanding, probably cause I hadn't slept in a day because I was so interested in getting into the game). Overall, it's a great game, but I'm hoping the Storyteller's Companion, dated to be released December 9th, contains some of the info that this book lacked.

White-Wolf has churned out another good crock of butter. Demon is a superb game, and tottally seems to be fitting the White-Wolf concept of the final days, but also manages to portray the typical duality that it's games seem to hold. On the one hand, not all demons are crazed and want to be evil, most of them fight against it. On another hand demons also fight between holding onto hope or becoming completely fatalist. This part of the plot is fine, the game is fine enough, although it restricts things more to Judeo-Christian philosophy a bit more then usual (it doesn't do it exactly).

My only true gripe is that White-Wolf has done this for expansion and money. It's become almost a white-wolf trend to increase the amount of supernaturals running around solely because they need new projects. You can only write about but so many cities that Vampires live in.

Demon: The Fallen is in my opinion the best game that White Wolf has made since Mage: The Ascension. White Wolf obviously put their best writers on this and it definitely shows. The system that was designed for showing off the players supernatural prowess is great! Sure it isn't as versatile as a Mage's sphere magic or as overtly powerful as a Vampire's disciplines but it can sure kick some serious tale if used correctly. The beauty of the system of the book as that characters can be made SO distinct. They can be fighters, manipulators, redeemers, assassins, etc. As to their power-level relative to the other denizens of the WoD... lets just say that a well-made Angel of Death (slayer) could probably send any elder vampire into the afterlife. That said... if you are a die-hard roleplayer pick up this book.