Durant and his wife--who co-wrote all of the volumes although she didn't get credit until Volume 7, "The Age of Reason Begins") are simply the greatest writers of history since Gibbon.

The prose is engrossing, engaging, spectacular, pithy, witty, warm, inviting--in short, I am exhausting the vocabulary of praise for them. I read these volumes, especially this one, over and over again for the sheer joy of the prose.

Durant covers the period from the year 300 until 1300, usually considered the Middle Ages in the West. He covers so much material it is simply astounding and impossible to aborb in ten readings. This book is one for a lifetime of reading.

The strengths are in the cultural area--particular the coverage of writers. Durant was an academic specializing in philosophy so his coverage of subject as overwhelmingly dull as the Scholastic Philosophers makes it come alive. He gives summaries of dozens of writers and the major literary movements in Europe, the Middle East and Islam.

The coverage Islam is extensive but contains the word "Mohammadan" to describe muslims. This is understandably offensive to muslims because it implies whorship of Mohammad. However, Durant is no bigot, the word was simply the fashion when the book was written, much as the word "negro" was in fashion at the same period of time (1950). Muslim readers should not be put off by this. His treatment of your faith and civilization is honest, fair and free of prejudice.

The primary weaknesses of the book (and the entire series) is in the military area. Durant admits his relative lack of interest in this area and relies on secondary sources. He is too credulous of ancient historians--often printing fantastic figures for soldiers and casualties; e.g. he states that the militia for the city of Bruges was 189,000 when the entire town could not have had more than 50,000 inhabitants! He has little grasp of military science and falls back on the conclusion of others with little of the critical examination most every other subject receives at his hands. This is a minor quibble and will probably only be noticeable by those who are avid scholars of military history.

There are, of course, many mistakes--impossible to avoid in a book over 1000 pages of text covering 1000 years, three continents, and three religions.

All minor quibbles compared to the thrill of one of America's greatest writers. Sadly, the Durants are given short shrift by critics and scholars.

As I said, read this book for a lifetime. I have been doing so for fifteen years and I continually learn new things.

In his eleven volumes Mr. and Mrs. Durant come up with a wonderful history of Western Civilization that is simply stunning in its achievement and unflagging level accomplishment for a work that began in 1930 and wasn't completed until 1975.

Will Durant wrote like a force of nature, and this book is a fine expression of his power. The body of his life's work seems to have been an effort, albeit incomplete, to cover the entire history of mankind, and each individual volume covers it's time frame by sweeping through every aspect of civilization: politics, military affairs, economics, science, art, philosophy, religion, literature, architecture, and social customs. The Age of Faith opens with the death of the Roman Emperor Constantine in 337 and carries up through around the 14th century, the dawn of what has come to be known as the Renaissance. As implied by the title of this volume, it was the flowering of the three great Western religions - Christianity, Islam and Judaism - which dominates the story, and Durant devotes significant attention to all three, even though the birth of "Christendom" ultimately emerges as the defining event of the era. The charm of Durant's writing is the passionate love affair he seems to have had with humankind through all times and in all of it's manifestations. While he doesn't minimize the unspeakable brutalities that recur, he writes with an exuberant reverence for the spiritual and intellectual industry that he finds in every facet of human development. Like any competent historian, he also dispels historical stereotypes, and there is no real sense of a "Dark Age" at any point during this period despite Durant's occasional use of the term. However, what does become clear is that until late in the period, it was Islam, rather than Christianity, that achieved the most advanced civilization of medieval times. For readers, such as myself, who are largely ignorant of Islam, the lengthy chapters devoted to Muslim culture may be the most informative and interesting in the book. The Jews, who were scattered and lacked political or military power, are portrayed as bringing a degree of cohesion to European and Eur-Asian development, maintaining a cultural identity of their own, while making remarkable contributions, intellectually and economically, to the dominant cultures within which they found themselves. Inevitably the structure of a book like this is a bit chaotic. There's little chronology to it, and the author jumps from one geographic region and one topic to another in no particular pattern. The book closes with an entire chapter devoted to Dante, in whose writing and life Durant sees both the quintessence of the mediaeval spirit a bridge to the Renaissance. The book's limitations are probably inherent in the author's very purpose, since by covering everything, he's forced by the constraints of space to gloss over much. Even so, The Age of Faith extends over a thousand pages. For readers, again such as myself, who are primarily interested in the political history of the period, the lavish attention paid to cultural topics - e.g., page-long excerpts from obscure Islamic poems, or breathless and detailed descriptions of a particular Byzantine mosaic or a gargoyle on the wall of a French cathedral - are distracting and at times annoying in light of the cursory focus given to weightier matters. Allowing for all this, however, this is a fine book from an extraordinarily gifted writer, and I highly recommend it.

Covering the fantastic weight of medieval history (325-1300 A.D.) from Julian the Apostate to Dante, Will Durant with excessive force and candor handles the decline of a classical age growing into the gloom of the dark ages only to sprout again into a post-adolescent Europe characterized by the emergence of gothic architecture, philosophy and letters, poetry and science, all shrouded by the spiritual jurisprudence of a Christendom at its climax. However, the voluminous expanse of this work not only necessitates the primary features of European civilization, both sacred and profane, but adds to the breadth and timeless lore of it the nature and origin of Islamic and medieval Jewish culture...ultimately constituting the "Age of Faith."

The scope of this work is treated in five books: The Byzantine Zenith (325-565 A.D.), which handles the downfall of paganism, the triumph of the barbarians, the progress of christianity, Europe (western) in its nascent form, the reign of Justinian - his successes and failures, Byzantine civilization - its extent and wealth, science and philosophy, literature and art, closing with an elaborate sketch of Persian royalty and society with the advent of the Arab conquest; book two, Islamic Civilization (569-1258 A.D.), beginning with Mohammed describing his moral character and military prowess which ultimately culminated into the conquest of a vast domain, the Koran - its influence, form, creed, and ethics, the successors (caliphs and emirs) to the "Sword of Islam", the nature of Islamic government, economy, and people, the thought and art of Islam, finishing with its granduer and decline; book three, Judaic Civilization (135-1300 A.D.) - the exiles and makers of the Talmud, and the character of the medieval Jew; Book four, the Dark Ages (566-1095 A.D.), covers the rise of Byzantine, the birth of Russia, the decline of the west, the rise of the north, christianity in a state of confilct, and the origins and rise of fuedalism and chivalry; book five, the Climax of Christianity (1095-1300 A.D.) handles the victories and defeats of the Crusades, the economic recovery of Europe, the Roman Catholic Church, the inquisition, the rise of monasticism, the morals and manners of Christian Europe, and finaly to its flowering...the resurrection of philosophy and the arts.

To undertake such a vast task with so many factors and outcomes throughout such a long period of time - which customarily was characterized by a plethora of follies and misfortunes with the occasional rise and fall of greatness and prosperity - is without a doubt challenging if not wholly impossible to acheive without making some generalizations...but if anyone has ever penetrated and colored the principle aspects of the "Age of Faith" with a common intellect and driving sincerity it is unmistakebly Will Durant.

The poems in the Airplane Diaries blend the poet's childhood memories and her adult experiences which were shaped by those earlier events. Not only do her lovely poems--and the equally enchanting paintings which accompany them--bring to life Adams' unique personal background, they also stir memories and stories from the reader's own life.

The poetry in this book is magnificent. The incredible weather imagery make the poems larger than life--nearly a working model for objective correlative. The art and design that went into this book don't overshadow the poetry, but make it so exquisite that it would be a shame to hide the book on a bookshelf.

I was struck initially by the physical beauty of this book. The covers--front, back and end papers--are made from copies of silk flight maps and echo the theme of most of the poems. The book evidently is a collaborative effort between Adams,a poet, and her mother, an artist, who as one of the poems explains is legally blind. That the lovely and engaging illustrations were painted by a blind woman is one of the book's pleasures. The book's poems work childhood reminiscences into sensuous and intriguing shapes. Adams counterpoints each poem with a prose voice that speaks back to the poem in plainsong. Adams' approach to language seems physical and sometimes surprising: she mentions in the book that she is also a carpenter and she seems to exult in the texture and weight of words themselves. I appreciate the warmth and humanity of the voice, which comes through in the prose as well as the poetry.

Joan Dunayer compellingly argues that the cruel treatment of nonhuman animals (in vivisection, entertainment, sport, rearing/slaughter for food consumption, etc.) is often masked by the euphemisms we employ. We are all familiar with our tendency to call the flesh of dead cow "beef," but Dunayer digs deeper and calls for an end to other common practices that undermine the individuality and unique personality of each and every nonhuman animal that exists. "Wildlife management" groups facilitate hunting. "Animal welfare committees" often oversee research in which countless nonhumans are blinded, subjected to burns, and killed. Zoos market themselves as "wildlife conservationists," imprisoning sentient beings in cages and tanks, depriving them of natural stimuli, and driving them to repetitive and self-destructive behaviors.

Dunayer dispels the myth that language separates humans from nonhumans. Two of her many examples include Alex the African gray parrot who can count, identify objects, and convey fear and sorrow (all using human English), and Washoe the chimpanzee who learned American Sign Language then spontaneously taught it to her son.

The author draws analogies between the current treatment of nonhumans and past abuses of human slaves and women. (At one time both human slaves and women were not considered "persons," much like nonhumans today.) Words like emancipation and abolitionist are resurrected and applied to a cause just as worthy of our concern and immediate action.

The book incorporates a handy thesaurus of words that can be used as alternatives to speciesist terms (e.g. use "flesh" or "muscle" instead of "meat," use "captor" or "keeper" instead of "caretaker") as well as style guidelines for countering speciesism (e.g. use the term animals to include all creatures, human and nonhuman, with a nervous system; avoid expressions that elevate humans above other animals, such as human kindness, the rational species, the sanctity of human life).

This book is a very important building block in making the world a better place for everyone.

We use words not only to inform -- but to deceive and retain our biases. This important book shows how we use words to cover-up and desensitize ourselves to our abuse and cruelty toward other species. It shows how our use language to support our attitudes toward non-human animals as being things or "tools." Dunayer also compares our speciesist language with our expressions of gender bias -- we use the term "mankind" for humankind and "lower" animals for all but humans.

Even people who are sensitive to our more obvious speciesist epithets (like the use of "animal" or "subhuman" to refer to bad actions and "pig" to refer to human sloppiness) and our use of impersonal pronouns when referring to non-humans -- even such sensitized people might still find themselves not exactly "off the hook" (also speciesist).

The book includes a useful thesaurus of speciesist terms and substitute, preferred expressions, as well as a list of style guidelines.

Although this is not a book that one can read in one sitting, it is an important work for both people who care about our treatment and "use" of animals as well as those who care about how we use language.

This book is a MUST read!! Read it and "mind your bees and shrews."

...because you cannot imagine what is in it; I find it remarkable that anyone could. I bought this book mainly based on the cover picture, because I like looking at innovative design. I did not expect the combination of (1) delightful, radically imaginative, yet practical architecture / interior design with (2) insightfully sardonic Monty Pythonesque, Warren Zevonish humor. The blend, throughout, is liberating. There are many excellent photos as well as professional and kid-like drawings. You will feel admiration. You will laugh. You will want a house made of shipping containers. You will want to call the number that shoots the gun that misses the ...(buy book to find out what). The book includes plans and photos of the author's art exhibits. It will make you want to sit down with pencil and paper to design! Nothing could have prepared me to appreciate this book except all the crap I've been exposed to in the last 40 years that is supposed to be penetrating, funny, and original in art and building. It is what you really want on your coffee or bedside table. You'll feel badly if your dogs rip it up. It is not an imitation. It will damage that dead stuff that hangs out in your CNS.

A venal and combustible mix of troglodytic patois. Perfect bathroom reading; small, but raw enough to inflate your bowels with a new sense of self. You will laugh, sweat and vascillate between repulsion and enlightenment. A perfect gift for someone you might befriend.

This book is a big surprise for you!!!
You have not seen the book of architecture anything like this!!!
The book evolves a new field of architectural design thinking
which denies the mainstream of conceptual architecture of nowadays and will let you reconsider the humanism in the design process.

Even anyone who accepts Rem Koolhaas as such a leading architect will be moved by Kalkinfs powerful ideology.

ART OF THE THIRD REICH is a fascinating book for several reasons:

1. First, it addresses a subject (painting, sculpture, and architecture of Nazi Germany) that has yet to be objectively explored by scholars (just try finding anything else about it, much less a volume of this quality). The Nazi era still provokes such an emotional response that it has yet to be seen in any kind of historical perspective. However, as time marches on, studies such as this one will become more common, as students of history attempt to understand the perplexing Nazi phenomenon.

2. Art was arguably more important in Nazi Germany than in any other regime in history. In fact, some scholars have argued that the entire social structure was based on the pursuit of an aesthetic ideal (see the film "The Architecture of Doom" for a presentation of this thesis). In other words, rather than Nazi-approved art being a reflection of the culture, the culture sprang from the artistic ideals of its founders. Much of the events of 1933-45 can be seen to fit this paradigm, and this book provides valuable insight into how those events were orchestrated.

3. No regime in history has used propaganda as extensively as Nazi Germany. All aspects of media, art, cinema, and popular culture were channeled toward advancement of the government's objectives, to a degree never seen before. Hence, this book provides a window into the period that will be useful for anyone wishing to understand how images can be manipulated...something that occurs all around us every day.

4. Finally, there is a great deal of magnificent art in this book, which can be appreciated as a distinct phenomenon from the regime that created or condoned it...just as works such as "Alexander Nevsky" are hailed despite their obvious origin as Soviet propaganda. While it is true that totalitarian government-sanctioned art often dips into mediocrity, that is certainly not always the case here. The art of this era deserves to be viewed in the context of the larger evolution of art in the twentieth century, regardless of the political/social "baggage" associated with it.

The reviewer immediately below has raised a very troubling but quite accurate issue in relation to National Socialist art: much of it - particularly the sculpture - is quite beautiful by the standards of classical/Renaissance aesthetics. Can we separate the appeal of some of this material from the political regime which operated the factories of death? I think that we can and we must. Adam's book opens the door onto a forbidden chapter of art history, but one with startling implications for modernism. This book is the only basic, english-language survey of its subject. Sadly, much of the art Adam discusses was destroyed or remains inaccessible. I have had the great priviledge to have seen some of the works reproduced in this book on travels to Germany, and it possesses an undeniable power. My only criticism of this book is Adam's decision to treat the art of 1930's Germany as an anomaly in the history of 20th century art - ignoring the fact that these artists were enormously popular in their day, and neglecting to offer a comparison with the distorted visions of Weimar art. No historical phenomenon is without context. Perhaps the rejection of modernism characteristic of this period is not solely the result of a society descending into barbarism, but is indicative of some flaw in modernist culture. If you buy this book, you will be able to judge for yourself.

This is a remarkable book; 300+ pages of wonderful art - much of it censored today (hidden away in DOD archives in Washington DC).

Some of the art is clearly the propaganda of a powerful government. And some (the chapter of "Degenrate Art") is the propaganda of modern American elites. But most of this artwork is truely fine - and of a type no longer allowed to be seen anywhere.

In our modern age - where art is subsidized by the government and reflects the taste of elites - this kind of art is priceless for this is the art of the people. I was touched to tears by the loving caress of working folk and farmers in the painting of Adolph Wissel, Leopold Schmutzler, and Fritz Mackensen.

Also remarkable is the celebration of the human body as nature in ways that are simply not seen in Judeo-Christian societies like modern America - particularly in the sculpture of Arno Breker and Fritz Klimsch. So also the nod to non-Judeo-Christian spirituality that simply could not exist in a modern European society.

The author - Peter Adams - makes the required politically correct, anti-German statements - without which this book could not have been published and would never be sold. Ignore the text - look at the art.

Unlike the propagandistic "Degenerate Art" exhibit of a decade ago, this art will not be traveling to a museum near you. For that reason you MUST get this book. It is pricey - but it is priceless.

I genuinely enjoyed this book. The stories reflect the true humor in simply being human, especially if you grew up in the South. I could have read 100 more of Mr. Adams artfully expressed stories....I hope to discover more of his work....and, yes...I actually DID go out and bring home some butter beans to further wallow in the nourishment of this read...

Joe Adams may be the funniest new voice in the South. The stories in this collection all make me laugh out loud, and I find myself reading them over and over again. Not only did I buy one for myself but have given it as gifts to friends who need a few laughs (and a few who didn't)

Joe Adam's "Butter Beans for the Soul" is a charming, laugh-out-loud read that will leave you with a smile on your face, and, as the title suggests, nourish the soul. This book is a collection of articles written for the author's hometown newspaper, "The Gaston Gazette" in North Carolina. The chapters are brief recollections and musings on growing up in a small, Southern town, as well as the author's humorous observations on his life today. With a heart and style as big as Mississippi's Willie Morris ("My Dog Skip"), Joe Adams tells us of the miracle of Television first coming to his small town; his grandmother stopping by the funeral parlor once a week to make sure her casket was still there (as the author notes, "Nobody had the heart to tell her it was a display model"); or taking his elderly cousins from the small town of Gastonia on a pilgrimage to Graceland in Memphis ("We've been here since 5 o'clock watching people go up and down on these glass elevators. We try to guess which floor people will get off. So far Mary's ahead'). He even locates an enchanted "healing springs" on his journeys that have been deeded outright to God. ("Although", he adds, "I don't know who pays the taxes. I would hate to see them try to foreclose on God for back taxes"). As life is a collection of moments, this witty collection of "snippets" -as the author calls them-provides warm insight and great humor into the author's rich life. All who read it will benefit from the joy contained within this book, and may find themselves craving a big bowl of butter beans once they're done.

In this installment, we find our western horse and city pig travelling back home to the city. Along the way, they meet an old dog with a passion for dancing. My students loved reading about Clarence in the first book and flipped over this selection. Really is a must for any collection!

When we last saw Clarence, the pig, and Smoky, the purple horse, they were about to leave the dude ranch and head back to the big city where Clarence lives. They've packed their bags and are ready to begin their long journey, over the mountains and across the desert. "Clarence can hardly wait. But first, Smoky is going to show Clarence a great surprise. Clarence loves surprises." They travel, and picnic, they sleep under the stars in a tent, go fishing, nap, watch the clouds roll by, and even get to stay in a hotel. "Clarence loves the hotel. He really loves room service. Smoky orders hay." But best of all, they meet a new and special friend along the way. Old Edgar, the dog, hums and dances. In fact, he is such an amazing and energetic dancer that Smoky warns Clarence, "You'll have to watch him to make sure he doesn't twirl away." And as the three friends travel on to see the great surprise, that's exactly what happens..... For those who loved Clarence Goes Out West And Meets A Purple Horse, Jean Ekman Adams is back with another Clarence and Smoky adventure that's sure to warm your heart and tickle your funny bone. Her engaging text, with its simple message of friendship, loyalty, and acceptance is filled with gentle humor and begs to be read aloud. But it's Ms Adam's marvelously bold and bright artwork, rich in witty western detail, that makes this picture book sparkle, and brings these endearing characters to life. With a satisfying, happily-ever-after ending to complete the story, Clarence And The Great Surprise is perfect for youngsters 3-7, and is a sweet little treasure of a book, you don't want to miss.

I am delighted that author/illustrator, Jean Ekman Adams, has returned Clarence to his devoted fans with a second book. Clarence stole our hearts with his first adventure, "Clarence Goes Out West and Meets a Purple Horse." Now he and Smokey are off on another adventure and they have taken a dancing doggie along with them. The same endearing illustrations are found throughout this second offering and "the great surprise"...well is a great surprise. Clarence and friends are gentle souls with silent lessons abounding throughout their stories and illustrations, all of which will delight readers of every age. I eagerly look forward to the next adventure.

The simple fact is that the sun always shines somewhere. When times are tough at home, there is some country where investment opportunity is best!

I find wisdom, humor, and so much intelligence here. I pass this book on to my husband and children so that they may gain from reading it.

Diversification is key. Diversification ensures that when there are big swings and big hits in the U.S. market, a portfolio has some balance to it. For safety, look for markets that don't react the same way at the same time as your domesitc market does, and that should be offshore. The other main reason to invest offshore is opportunity. Opportunities abound in places like China, the Middle East, Africa and other third world nations that are shedding their third world status.

Those who are looking for an answer to the age old question, 'Why should we be moral?' will be, in a sense, disappointed by this book. Smith from the get-go, shifts the question. Instead he asks, 'Why ARE we moral?' Subtle difference? It's bigger than you may think.

Smith takes our moral nature as a given. Humans are born with an innate capacity for sympathy. We identify others as like ourselves and unless otherwise provoked, do not want to hurt others. We also have an innate desire for esteem. We learn early that treating others kindly gains us admiration in the same way that we naturally admire kind people. This is the core of Smiths thesis and from here he puts examines these principles across an array of human behaviors. Why do we tell truths when we could tell undetected lies? Why would we do kindly to others even if esteem of peers is not gauranteed? Why would some die for their family members or their country?

Probably the trait Smith admires most is prudence; the art of knowing what is and is not appropriate action both in our subjective judgement and that of an imagined 'impartial spectator.' The prudent person is able and willing to put herself in the context of other people. 'Although an action seems justified to me, would others see it that way?' 'Would satisfying small desire X of mine be an obstacle to other's fulfillment of larger desires?'

It goes on from there. Smith puts these ideas well to the test going through scenario after scenario. Because of this, I would say this book should be shelved in psychology, not philosophy as it simply tries to give an account of the way we think. Thus the philosopher looking for a forcefully stated, internally consistent and completely reasoned 'moral system' will not find it in these pages. Smith takes us only so far but when asked 'Why do we have these inclinations to be moral and gain esteem,' he simply answers that it is in our nature. This may be the best answer we can hope for, but it will leave some philosophers unsatisfied.

Regarding the length, IT IS TOO LONG!! With a good editor, 200 pages could've easily been cut. I would even say that the last section, examining flaws in existing moral systems is not necessary and can be skipped. Aside from length, it is a joyful read, though. Smith is an excellent writer and certainly better than Hume, Locke and others of the day. As a conclusion, those looking to bridge the chasm in the 'Wealth of Nations' between Smiths simultaneous advocation of free trade and his disdain for unchecked greed in all it's forms...look no further than "Theory of Moral Sentiments."

To truly understand Adam Smith's economic masterpiece "The Wealth of Nations", one must understand its moral foundation. Without Smith's essential prequel, "The Theory of Moral Sentiments", the more famous "Wealth of Nations" can easily be misunderstood, twisted, or dismissed. Smith rightly lays the premise of his economics in a seedbed of moral philosophy -- the rights and wrongs, the whys and why-nots of human conduct. Smith's capitalism is far from a callous, insensitive, greed-motivated, love-of-profits-at-any-cost approach to the marketplace, when seen in the context of his "Moral Sentiments." [Note: This book is a "page for page reproduction" of a two volume edition published in 1817, which is reflected in my pagination references.]

Smith's first section deals with the "Propriety of Action". The very first chapter of the book is entitled "Of Sympathy". This is very telling of Smith's view of life, and his approach to how men should conduct their lives. "How selfish soever man may be supposed, there are evidently some principles in his nature, which interest him in the fortune of others, and render their happiness necessary to him, though he derives nothing from it, except the pleasure of seeing it." (p 1:1). Later Smith asserts that this "sympathy, however, cannot, in any sense, be regarded as a selfish principle." (p 2:178)

This propriety of conduct undergirds all social, political and economic activities, private and public. When Smith observes that "hatred and anger are the greatest poisons to the happiness of a good mind" (p 1:44) he is speaking not only of interpersonal relationships but of its moral extensions in the community and world. Smith treats the passions of men with clinical precision, identifying a gamut of passions like selfishness, ambition and the distinction of ranks, vanity, intimidation, drawing examples from history and various schools of philosophy. He extols such quiet virtues as politeness, modesty and plainness, probity and prudence, generosity and frankness -- certainly not the qualities of the sterotypical cartoon of a capitalist robber-baron. Indeed Smith is contemptuous of the double standards employed by cults of celebrity: "The great mob of mankind are the admirers and worshippers...of wealth and greatness" paying lip-service to wisdom and virtue, yet Smith oserves, "there is scarce any man who does not respect more the rich and the great, than the poor and the humble. With most men the presumption and vanity of the former are much more admired, than the real and solid merit of the latter. It is scarce agreeable to good morals or even good language...that mere wealth and greatness, abstracted from merit and virtue, deserve our respect." (p 1:79) Tragically, the wealthy celebrity foists a dangerous pattern upon the public, "even their vices and follies are fashionable;and the greater part of men are proud to imitate and resemble them in the very qualities which dishonour and degrade them." (pp 1:81-82) For Smith, wealth is not the criteria of real success. He laments the political-correctness of his day: "Vain men often give themselves airs...which in their hearts they do not approve of, and of which, perhaps, they are not really guilty. They desire to be praised for what they themselves do not think praiseworthy, and are ashamed of unfashionable virtues....There are hypocrites of wealth and greatness, as well as of religion and virtue; and a vain man is as apt to pretend to be what he is not, in the one way, as a cunning man is in the other." (p 1:82) Smith, the moralist also warns that taken too far such trendy fashions of political-correctness can wreck havoc on society: "In many governments the candidates for the highest stations are above the law; and, if they can attain the object of their ambition, they have no fear of being called to account for the means by which they acquired it. They often endeavor, therefore, not only by fraud and falsehood, the ordinary and vulgar arts of intrigue and cabal; but sometimes by the perpetration of the most enormous crimes...to supplant and destroy those who oppose or stand in the way of their [supposed] greatness." (p 1:83)

With such salient observations Smith embarks in a survey of vices to avoid and passions to govern. He describes virtues to cultivate in order to master one's self as well as the power of wealth. These include courage, duty, benevolence, propriety, prudence and self-love [or as we would say, self-respect]. He develops a powerful doctrine of "moral duty" based upon "the rules of justice", "the rules of chastity", and "the rules of veracity" that decries cowardice, treachery, and falsity. The would-be-Capitalist or pretended-Capitalist who violates any of the rules of moral duty in the accumulation of wealth and power in or out of the marketplace is a misanthrope who may dangerously abuse the wealth and position he acquires. Smith describes a moral base rooted in sympathy not selfishness as the basis for an economic system which has been labeled Capitalism. The real Capitalist operates without purposely harming other men, beasts or nature; in this sense capitalism is more a stewardship than an insensitive, mechanistic mercantilism or a crass commercialism. This book is a vital component to any reading of "The Wealth of Nations". "The Theory of Moral Sentiments" is the life-blood or soul of "The Wealth of Nations". Without "Moral Sentiments" one is left with an empty, even soulless, economic theory that can be construed as greedy and grasping no matter how much wealth may be acquired.

In contrast to extreme rationalists and proponents of the selfish gene theory, Adam Smith argues that the beginnings of morality are innate, in the sense that our connection to other human beings makes us sensitive to their needs and sentiments. Morality is thus learned through experience of feeling (sentiments) that connect us to others (thus the title: theory of moral sentiments).

This is an outstanding book, full of magnificent observations about human life and values. Smith provides the theoretical underpinnings for the workings of a capitalist system by rejecting the idea that selfishness and self-interest are synonymous. For Smith's ideal to exist, humans would have to pay attention to the development of moral conscience. It is a startling conclusion, and allows us to comprehend more fully Smith's other great work, The Wealth of Nations. If the Amazon.com rankings allowed a ten, this would be a ten!

Do you belong to the race of man? Then this book is about you. Resnick has brought all five billion of us along on this magnificent journey. You will feel joy and grief, burning shame and blazing pride. Birthright shows humanity's potential- for good, for evil, and for humanity. This book is very personal- for everyone.

I'm not sure why this book was out of print for so long. I hoarded copies of it, loaning it out to only my most trusted friends for years. It is certainly a book up there with Greg Bear's Eon, Frank Herbert's Jesus Incident and Dune and the Foundation series.

If you're a fan of sci-fi, Galactic strategy games or scathing social commentary, you will completely enjoy Birthright.

If this is as good as his collection, "Kirinyaga", expect excellent, thought-provoking, award-winnig level prose (He recently won yet another Hugo for Short Story).