As a mother of only three children, I found that the way the Garcia-Prats were raising their family was amazing. The narrative style was a perfect way to pick up pointers and suggestions on how to make your family a true family. My favorite praise for my children now is "thank you for helping. That's how a family treats each other." My children beam as they discover how much fun it is to help each other. I no longer have to raise my voice as my children now know they have to take responsiblity for their actions. I was almost sad to finish the book. I only hope that there is a sequel to this book in the future!

What a wonderful book! So many good, useful ideas for would-be parents that I would recommend this book as a prerequisite reading to anyone who intends to become a responsible and loving parent. This book really gives you a detailed account of this family's life. But they do not stop there. By showing you how they live, they clearly show you what are the values behind the way they live. For instance, they show you that they prefer to spend their time in their children's lives than watch TV. Hence, the reading time with each of their children that is something valued and important in the Garcia-Prats family.

This book is fabulous to me because I really believe that, with the application of most of the good ideas of this book, any willing couple can create a successful, loving and happy family, no matter the number of children they decide to have. So many good ideas that I decided, after having read this book once, to read a chapter regularly to inspire myself on applying the really good ideas for my future family. A small regret. There is no picture of the parents. I know, it is not the most important but they are the ones who created this happy family.

Thanks, Catherine and Joseph Garcia-Prats for your wonderful book.

I am a social worker who works with children, and as such, I read dozens of books on parenting, childcare, education and other child related topics. If I had to pick only 10 books a parent should read before having children, this would be on the list- To be read and reviewed again and again. This is not a "recipe" book for parenting, that lists a few catchy ways to teach a particular idea or principle (there are already a few dozen or so good books out there that are.) This is a book that focuses on the parenting principles needed to make up those recipies. The Garcia-Prat's wisdom is not only good for raising children but for living life as well. In fact, I found this book helped me in areas of my life that had nothing to do with children. A previous reviewer said these ideas are not easy to implement- s/he is correct! But good parenting and living a meaningful life takes an imense amount of difficult work, and that's part of what the Garcia- Prats are saying. Also, the spiritual dimension of this book is so gratifyingly honest and sincere that one hopes the Garcia-Prats will write yet another book on that topic alone. By the way- I would REALLY appreciate knowing when they'll be on TV- I went to three libraries just to track down a two page article on their family- YES, I loved the book that much.

This book takes you to the front line of the Tower and makes you duck for cover. With enough accuracy to shot you straight through chest with a high power semi automatic rifle, Gary Lavergne set the stage for the largest killing spree on American soil. His biographical account of Charles Whitman and his struggle with his father help the reader understand some of the torment that went through his life. Lavergne introduces you to all of Whitmans victims as they were your next door neighbors, and draws a picture so intense it makes you yell "Get out of the way, there's a sniper in the Tower!"

This book also tries to uncover the mystery of who actually dealt the deathblow to Charles Whitman as well, was it Houston McCoy or Ramiro Martinez? It protrays the effects of having the media splash their lives as heroes all over the newspapers and shows just what type of man could be the Father of Charles Whitman.

If you like true crime and want the back story on this savage assault on the University of Texas, I highly recommend it as the words flow from Lavergne's narration and puts you in the spectators seat as he unfolds the shooting of forty-five and killing of fourteen----including his own wife and Mother.

For 96 minutes in August 1966, Charles Whitman rained death on the University of Texas campus, shooting 45 people from the 28th-floor observation deck of its bell tower. The ex-Marine shot people more than 400 yards away and put two bullets through the fabric of an airplane flying overhead before two Austin police officers killed him. If this sounds like the makings of a great story, it is -- and Gary Lavergne is just the man to tell it. Lavergne's well-researched book delves into Whitman's past to reveal how he evolved into a person who could kill 16 people. The author then cranks the story-telling into high gear by delivering a blow-by-blow account of Whitman's reign of terror. Lavergne's words are accompanied by many interesting photos, including one taken of the tower as Austin residents fired back at Whitman 12 minutes before his death. I read this book in one sitting. My favorite part was the last chapter, which detailed Lavergne's interviews 30 years after the event with the two men who killed Whitman. The literary picture he paints of long, tall Texan Houston McCoy -- whose life since his heroic act has been anything but happy -- was really compelling.

I attended the University of Texas, and have been a resident of Austin since 1977; this crime has held a tight grip on my psyche for many years. (Currently, I live across the park from the site where Whitman and his wife lived before moving to their last home in south Austin, so Charles Whitman is never far from my thoughts.)

The story and the book that details the mayhem caused by Charles Whitman represent one of the top true crime episodes in the history of America.

This was one of America's first mass murder stories in the era dubbed "The Media Age." The carnal horrors of Vietnam presented on the six o'clock news by the broadcast media closely paralleled the impact felt by the horrified followers of the Tower killings.

Lavergne does a fine job of detailing the early life of Whitman and the events that led to his premeditated madness.

The Kennedy assassination, the Speck murders, and Whitman's killing spree woke and shocked America from its contented and homogenized post-Eisenhower dream. Innocence was truly lost in 1966 that day in Austin, Texas, under a scorching August sun.

I don't believe in the theory of "closure"; any event that must encompass the concept of closure will always be so painful that the person involved will never completely forget that tragic incident. For the people affected by the Whitman murders or any other earth-shattering event, closure is an inane concept.

This novel is Joseph Devon's first, and it is a triumph of literary talent. The story revolves around a road trip taken by four friends, Kevin, Rick, Joe and the main character, Tom Quint. Earlier in the year Quint lost his family in a horrific accident, and this road trip is a last ditch effort by his friends to get him to come around again and to stop living in the past. The journey is a joyous ride to be along as these characters bounce off of America and visit classic American landmarks like Yellowstone National Park and Mount Rushmore, along with some not so classic landmarks, like the continental divide and the worlds largest thermometer. Just seeing Joe and Rick and Kevin interact is enough to carry any book along, but Devon delves deeper and comes up with gold. His insight into Quint's character is remarkable, and we are alternately delighted by the conversations and antics of Quint's friends while being chilled by his memories and saddened by his amputated soul. We lose hope with him, and we find little reasons to go on with him as Quint not only travels across America, but also travels across the human psyche and what it means to truly be alive. The trip is interrupted by the arrival of the boys at a gas station somewhere in Montana where they hope to repair their overheating car. The mechanic turns out to be a true jack-of-all-trades, patching up the vehicle while doing his best to patch up Quint's life. One of the most amazing features of this book is how it tells the stories of all the characters while only seeing the world through Quint's eyes and his mood at the time. Every detail in every description is a clue into the things that Quint is overlooking about the people joining him on his journey, and while most of this seems lost on Quint, the reader is slowly introduced to all of the characters and all of the baggage they are carrying. Adding even more to the story is the fact that it is actually a flashback, bracketed by an older Quint, looking back on this summer and trying to explain to a friend why he is going to miss his birthday. This seems like a minor point at first, but as the older Quint tries to explain his motivation he is constantly drawn into the past and into the journey that he took when he was at the end of his rope with three of his closest friends. Touching, humorous, lively, and beautifully written, The Letter is a novel that draws you into the world of Tom Quint and delivers and ending that will give you the chills.

Watching Quint fly across the country in his convertable was one of the most enjoyable reading experiences I've ever had. It took me back to a number of college road trips, the antics, the conversations, the carefree feeling. And when you add Devon's ability to weave a touching story into all of this, it's like Kerouac mixed with a lot of heart. Quite a rush to read and to feel like I was on the road again with my friends.

I found myself getting swept up in the journey of the young Tom Quint across America. By the end I wished that these characters had decided to travel the world instead of one continent. The more I read the more attatched I got and the more I was immersed in Devon's ability to capture landscapes and settings along with the mini-adventures that this band embarks upon. I will add that even though I wanted the book to be longer in order to soak up more of Devon's writing, the ending certainly delivers and the structure of traversing from one coast to the next in a journey of self discovery resolves itself brilliantly.

The Art of Worldly Wisdom is one of my favorite books. It was written in the 1600s and contains 300 maxims in paragraph form. All you have to do is to open the book to the back where you will find a listing of the maxims. For instance, #192 is "A peaceful life is a long life." and #148 is "Have the art of conversation." Then turn to the appropriate page for your lesson in full. It's a tiny book that will amaze you with the amount of brilliance it contains. It's a book that will fit in your pocket and help you through life. I hope you'll love it as much I do.

THE ART OF WORLDLY WISDOM. Adapted from the translation by JOSEPH JACOBS. Unabridged. Shambhala Pocket Classics. 283 pp. Boston & London : Shambhala, 1993. ISBN 0-87773-921-8 (pbk.)

Balthasar Gracian's 'The Art of Worldly Wisdom' is a collection of 300 brief maxims, most of which take up only a single page or less of this small book. His maxims teach us the art of getting along in the world.

Gracian must have been a singularly wise person. Those who are lucky enough to discover his book before making all the major mistakes of their lives should count themselves very lucky, because what the author sets out to do is to teach us, in a very clear and easy-to-understand way, how to avoid all those dumb mistakes.

You can open this book at any page and, if you are young, find out what you most definitely shouldn't (or should) be doing. And if you are old you will probably find yourself reading about all the things in your life that you shouldn't (or should) have done, and that you wouldn't (or would) have done if there had been someone as wise as Gracian around to advise you - and _if_ you had followed their advice.

Here, chosen at random, are a few of his maxims : 83. Allow yourself some forgiveable sin. 141. Do not listen to yourself. 250. When to turn the conversation around. 252. Neither belong entirely to yourself nor entirely to others. 3. Keep matters for a time in suspense. 36. Before acting or refraining, weigh your luck. 69. Do not give way to every common impulse. 195. Put up with fools. 262. Be able to forget.

Each of these maxims is fully developed and explained in the text which follows the maxim, and you are going to be amazed that anyone could have figured out so much. A handy complete list of the maxims is given on pages 261-81.

Physically, the Shambhala Pocket Classic Edition of 'The Art of Worldly Wisdom' is an attractive book, and at just 7.5 cm by 11.5 cm is small enough to fit into the smallest purse or pocket. It is well-printed, in two colors, on excellent paper, is sturdily bound in stiff decorative wraps, and is even stitched.

So if you think it's time you got your act straightened out, let Gracian show you how. You'd be hard put to find better counsel than his.

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A very small book--literally the size of a credit card, and only half an inch thick--of three-hundred maxims, covering practically all of the wisdom one needs to go through life. Each maxim covering less than a tiny page, often only half. (The size of THIS PARTICULAR EDITION is NOT meant to make one feel cheated of what one paid for. It IS meant to be COMPACT, to carry in the pocket or bag, for frequent reference, in brief quiet moments. There are hardcover versions around.)

Originally written in Spanish in 1637 by a Jesuit scholar, it has been translated into eight European languages. This one translated by another scholar and literary critic named Joseph Jacobs, who also collected folklores (including English and Celtic fairy tales, as well as the fables of Aesop).
This particular translation is known to preserve Gracian's epigrammatic style, including his word plays and puns, albeit later updated where necessary due to being unclear and/or dated in grammar and syntax, and revised in comparison with other known English versions.

In contrast to Machiavelli, who put CRUDE REALITY into words, Gracian is more on the side of a little IDEALISM and NOBILITY in living one's life. Which is not to say he aims for ASPHYXIA; much is given to living a happy life, part of which is giving oneself a break and a breather.

[NEGATIVE] A few maxims are of limited use for its obviousness--in essence, "sometimes go left, sometimes go right". (Uhm, aren't those ALL of the very choices from which one must pick? And doesn't EVERYBODY ALREADY know that.) The wisdom of everything else in the book in nonetheless undiminished.

The brevity (not concise; some maxims are translated rather long-windedly) of the maxims does not mean that they are to be read as many in one stretch. After all, the benefits only start when wisdom is absorbed and lived out. Best to read through a dozen at most at a time; re-read and re-read, giving each time to sink into the heart and mind; only then move onto the next dozen or two.

Quite ENLIGHTENING. Worth keeping one copy of. Or perhaps two--a hardcover edition, too, in one's library, work desk, coffee table or reception room . . . for anyone who might walk in or anyone being made to wait, and who could use the time literally wisely.
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Every Sunday the strains of the Radetsky March are heard outside the residence of Baron von Trotta, son of the lieutenant who saved Emperor Franz Joseph's life at Solferino and father of Lieutenant Carl Joseph who saves the Emperor's portrait from a whorehouse. (Thus have times changed!) As this book narrates the saga of four generations of the von Trotta family and the parallel decline of Franz Joseph's Austro-Hungarian Empire, the strains of this march dwindle until it, too, is finally obliterated.

Roth's masterpiece touches us as he deftly depicts the disillusionment that inevitably replaces the once-elevated code of honor of an outdated Empire. The book's style, that of an omniscient author reminiscent of nineteenth-century aesthetics, complements its subject. Here is a glimpse of a world where military and social rank dictate behavior, where women are seductresses regardless of social pretenses, where servants are endowed with unquestioning loyalty, where Jews live on the fringes of society yet must also subscribe to its rigorous decorum. Yet, as the exploits of the youngest von Trotta illustrate, this world has become decadent in its rigidity.

For the von Trottas, as for the Hapsburgs themselves, this discovery comes at a time when one cannot escape its consequences. For it is the rhythms of the Radetsky March, along with the portrait of the Hero of Solferino (whose heroism is not all that it was made out to be) that shaped even the youngest von Trotta and remain forever in the background, preventing a return to the family's peasant heritage and the romanticism of a more idyllic existence.

Roth's book is well worth the read. It is especially endowed with a gentle irony that bespeaks compassion without indulging in sentimentality. For those of us still trying to understand what formed the Western world of the twentieth century, it abounds with all the poignant music, imagery, and people of pre-World War I conditions in Eastern Europe.

This novel is the story of a world that is disappearing fast, and of people desperately clinging to its traditions in an attempt to avoid the chaos fast approaching. The setting is the early 20th century in the last days of the Kaiser's long rule. The destiny of a family of peasants suddenly changes when an ancestor saves the life of the young Kaiser in battle--the legend of the Hero of Solferino follows son and then grandson, making a career in the military almost inevitable despite its being completely wrong from the grandson's point of view. The military in this tale seems a refuge for men much more interested in drinking and gambling than dealing with growing unrest in the Empire. The details of this fast disappearing world are beautifully drawn--the music, the uniforms, the portraits of the Kaiser everywhere, the society of the time--and the reader's knowledge of the devastation of the First World War about to come lends a poignancy to it all that I found almost sad. A terrific historical novel!

This is a novel so good that it is hard to find anything critical to say about it.Perhaps the reader needs to know a bit about the end of the Habsburg Monarchy first- try the relevant chapter of a good history textbook.Other than that ,this is a work of astonishing qualitites. The prose is written with extraordinary care: Roth's description of the appearance of things is beautiful in itself and becomes even more so when you realise that he is recording the details of a vanished way of life. There are scenes which really do deserve the overworked adjective 'unforgettable'.His prose is so clear, economical and precise that you have to compare him to somebody like Tolstoy. This book is hardly known at all in the English-speaking countries, which is a very great shame. Roth disapproved of his characters' actions and the Empire in which they lived and yet he managed to make me genuinely mourn the end of both the Habsburg Empire and the Trotta family.

Strunk and White tell us to "omit needless words", and rely on taste to be our guide. The methodical Dr. Williams, viewing this as old-fashioned, sets out to define exactly what words are needless, and why, and how best to get rid of them. It's a worthy goal. Too bad the book stinks.

It's funny that Williams quotes H. L. Mencken's remark that most books about writing are badly written. He first quotes it, then goes on to prove it.

Normal humans from Planet Earth wouldn't say "stylistic infelicity" when they meant "bad writing". They wouldn't say "peripherally relevant" when they meant "closely related". And they wouldn't dream of saying "topicalize X", not even under torture, if what they wanted to say was "make X the topic of the sentence". (You read that right, the guy unashamedly says "topicalize".)

Want some idea of what you'll be getting yourself into? Check out this boner of a sentence, typical of the writing style of the whole book:

"But the object of our attention is writing whose success we measure not primarily by the pleasure we derive from it, but by how well it does a job of work."

Someone ought to tell this guy to omit needless words. The parallelism isn't parallel, the phrase "of our attention" is pointless, the phrase "whose success we measure" is awkward, and that "job OF WORK" is simply nauseating. An Earthling would write something like this:

"Our goal is not just pleasant prose, but effective prose."

So the whole book is written in turgid-ese, even while trying to speak out against it. It's all just an endless wearying slog through the mire. Not unintelligible, just not worth the effort. For what do we learn at the end of the Long March? We learn we should omit needless words.

Last but not least, the book is a typographical disaster, with everything jumbled together and packed into the page. Skimming is impossible.

Many of the five star reviews here are from technical writers, engineers, and so forth. I see a guy from MIT, another from Compuserve, and that's as it should be. They're enured to bad English already, and I'm sure that compared to an engineering textbook this is John friggin' Keats. But for the rest of us, it's just not good enough.

(It's by a linguist, after all, and what the heck do they know about language?)

So it's back to Strunk and White for non-fiction. If you're interested in clearing up confusion in your fiction, check out "Writing and Selling Your Novel" by Jack Bickham, especially chapters 4 and 6. Teachers should consider "Classical Rhetoric for the Modern Student".

This little-known gem is the very best American book on writing and grammar. I have found it immensely valuable over an 18-year career as newspaper reporter, magazine editor, columnist and technical writer. Williams teaches you to write clearly and directly, to eliminate the bureaucratic bull and to make your sentences sing. When I was a cub reporter, I would do a few of his exercises in my head each morning as I warmed up the car. By the time I had finished the book, I could cut through the deadly jargon of school committee babble and social service double-talk and put my reports in words that people could read without slipping into a coma. The most amazing thing about this book is that it isn't famous in the writing community. If you care about your writing, buy it -- you can't go wrong.

I've seen some of the reviews that disparage this book. I weep because they did not see the humor of this book. Style is hilarious. Before I read this book, before I understood the value of language use, I was terrified of editing, because I cannot keep the rules of grammar in my head. Each time I re-read this book, more of its inherent humor comes forth. So much of Joseph William's humor is admittedly subtle, but it is just that wonderful humor that perhaps only careful writers and readers can understand. I must say that this book has been a good part in helping me edit my own work... no: it has helped me want to edit my own work and explore the rules of language as being Real, Folklore or Optional.

Joseph William's book Style taught me that language could actually be fun. I thank him for writing this book.

If you're tired of approaching the topic of strategy piecemeal, seminar by seminar, bouncing from concept to concept, read this book. You might read this book after sifting through the assumed absolutes of decades old strategic planning procedures, in an effort to retrofit and contextualize early schools of thought. Or you may read it as a preface to understanding the fashionable strategic development theories emanating from today's academic and consulting leaders. Whatever the motivation, if you are a student of strategic management, read this book. The authors paint the clearest picture of the strategic landscape you will find in print. They've done a tremendous job of describing, comparing, contrasting and critiquing the premises and accomplishments of ten prominent schools of thought on strategic development. The book's final chapter provides an excellent summary and an overview framework for engaging in, observing or studying the strategy development process in organizations.

The first and last chapters are worth the entire price of the book. Mintzberg is a master at revealing the assumptions and inconsistencies of conventional business school training. The explanation of the various "schools" of strategic management theory is more suited to academics or serious strategic management consultants, but provides one of the most concise and logical overviews of this eclectic field. As a PhD student studying business strategy, this book is better than any survey course in the topic.

Mintzberg has done in previous books a superb analysis of planning as well as management processes (Rise and Fall of Strategic Planning and Mintzberg on Management). This new book is a absolutely necessary for anyone interested on strategy, be it from a conceptual point of view or day-to-day building / developing strategies in real life. In a time when people emphasize changes brought by the internet, e-commerce etc to every company's operations, the book offers a complete review of each strategic school strengths & weaknesses. This sort of view develops one's capabilities of integrating these changes into the strategy process without buzzwords (exception the strategy safari title...).

Managers do not need formulas, but a full grasp of all available techniques that can bring superior performance to an organization. The book shows some pitfalls of over-emphasizing certain aspects that are always the cornerstone of formal companies - some processes that are more conceptual than real life. And it brings real life processes back into the strategy process and how to understand and manage them proactively.

This is the type of book one would like to have besides whenever reading a Latin text. The help it provides goes much beyond the one found in good and traditional Latin dictionaries, focusing on ALL the tenses of some of the most important Latin verbs, passive voices included, although it should be remembered that the purpose of this book of verbs is not to substitute a dictionary, given, for instance, its narrowness of scope when translating verbs meanings (in fact , just one meaning, which in a language like Latin may be misleading).

Why 501 and not more? It seems there is no true reason behind the number except to compete with some 201 book of verbs; in fact, there is a lot of important verbs not listed and some repetitive verbs from the so-called regular conjugations in Latin.

The latin sentences avaiable on the end of the page adds content to the book and help readers to better understand the meaning of the verb and are in fact a true trove of good traditional latin sentences. I just think that translating them in to English would be a plus. Don't know why some verbs are not accompanied by latin sentences (no more than 10% of the cases).

The verb locator is a very good idea, but it should be expanded to additional irregular conjugations. Also, the extensive listing of co-related and compound verbs in the very same page of the fully conjugated verb is a good help.

A table with all the so-called paradigms of regular conjugations would be helpful, the same being valid for a table with depoents and semi-depoents verbs.

In all, the book is a very good one, and I use it as a precious tool to help me decipher the beauty and the intrincacies of Latin. I hope you feel the same.

Barron's has always produced some good academic tools (they are best known for their standardized test aids), and this work is no exception. As the title read, there are 501 Latin verbs, fully conjugated in every tense. This, of course makes for a great reference tool for anyone who is studying Latin, or translating Latin, and is having a tough time trying to find (or learn) the correct conjugation of a verb.

There is also a nice intro to this volume explaining certain things about Latin verbs, and this same introduction includes charts for English verb conjugations. The book is formatted like a dictionary, in alphabetical order, and each verb is listed with its conjugated form thoroughly described/demonstrated. 501 verbs may be limited but not too many students of Latin (who are perhaps simply trying to finish their languages in school) will use this many verbs, so in that sense 501 is enough. However, for the scholar of Latin, perhaps more might be needed. Nonetheless, the book serves it purpose well with the verbs that were included.

There are several appendices in the back which include an Index of English-Latin verbs, verb form locator, and Latin verb index. Each of these give added aid to the student and user of this volume. Overall, this is a great volume, and has been a big help for me in my past studies of the Latin language.

This book was great. It really helped me with my college latin class. One great feature of this book is a section in the back that has strange forms of verbs listed alphabeticaly. When you are reading latin and you come across something you dont recognize, this section can help you figure out which verb the form is from. Buy this book. It is worth it.

The July 31 review by the reader from Texas is invalid because he obviously did not read the book. He probably just read the book description posted above and made false assumptions.

The truth is that while Jesus did indeed speak of himself as the "son of man," he also spoke of one to come who would "first suffer many things and be rejected by his generation." He was obviously not speaking of himself, because Jesus suffered only after he had completed his mission. He did not suffer "first," beforehand. Also, Jesus was not rejected by his generation, but was accepted by multitudes from every generation at the time. He was only rejected by the scribes and religious and civil authorities who held power.

In addition, the current son of man is the very same witness and servant of God who Isaiah said would not make his voice heard in the street (or in public), which Jesus clearly did. Isaiah also foretold that this servant of God would first be "stricken and afflicted" (and would suffer many things). Isaiah also foretold that this messenger would send "his work before him" but would be rejected to the extent that he would wonder if all his work was "in vain and for nought." (The author explains how he tried for many years to have his work published, only to be rejected.)

This is all explained in the book, so you should ignore those who won't believe because they are indoctrinated by misguided beliefs. Many will hate the truth and call it a lie, mainly because they hold their religious beliefs as superior to all others. The truth, however, will prevail.

I love this book. I've read it three times already, and I am convinced that it really is the long-awaited message from the Spirit of Truth. Therefore, I feel I should register the opinion that the review posted on July 30, while generally favorable and supportive of the overall message, nevertheless contains two criticisms that are invalid.

The author makes it very clear that a judgment and rebuke was promised by the prophets, including Isaiah and Jesus. This is absolutely necessary because proud and aggressive hypocrites MUST be thoroughly exposed and discredited in order for the humble, faithful and meek to be able to inherit the earth. While hypocrites claim to do "many wonderful works in the name of the Lord, they are an abomination," according to Jesus, and he said the day would come when they would be rebuked and told to depart from the church (unless they repent). Therefore, the hypocrisy of the New Right (which includes Reaganites and the Christian Right) must be thoroughly exposed, and its legacy (which includes growing corporate corruption, increasing income disparity, poverty, etc.) must be thoroghly examined and revealed.

Secondly, it is not necessary to go through all the symbolic prophecies in the Book of Revelation to prove they are symbolic. When you know the outcome and the destination, it is not so important to dwell on details along the way. However, the author does discuss the "seven churchs," the "seven seals," the Christ's "coming in the clouds," the "bride and the bridegroom," etc. In other words, he covers what is really germane to understanding what the prophecies really mean.

The real point is that this book (and subsequent volumes) gives the power of truth to the people. It assigns to us the responsibility and provides us with a way to facilitate a peaceful reformation of government and religion. It establishes the equality of all men and women, and the equality of all religions, races, cultures, and nations. It shows us how we can actually and finally create government that is truly of, for, and by the people, so that we will no longer be divided and ruled by rich pretenders who fight for power over each other. As I said, this is truly the message from the Spirit of Truth, who want us to realize we are equal joint heirs to God's new "kingdom," which really will be established on this earth. What else can I say?

I noticed that someone else already refuted the July 31 one star review from Texas, but I just have to add my two cents. Those false claims just have to be exposed.

The Texan claims that: "This book twists scripture to arrive at it's own goal, namely, putting God in a box of the author's design." The truth, however, is that this book exposes how the Religious Right twists scripture to arrive at their own goal, namely, fabricating Jesus into a warlord-god-idol who would destroy the world and annihilate everyone who doesn't swear allegiance to their doctrines. This book speaks of the real God, who is certainly not "in a box" but is the divine, eternal, omnipresent Source of our existence.

The Texan claims that the prophesied "son of man" who would "first suffer many things and be rejected by his generation" was Jesus. But as another reviewer pointed out, the book explains that Jesus did not suffer first, beforehand, but only after he completed his mission. And, while Jesus was indeed rejected by the elders, chief priests and scribes (as he predicted he would be), he certainly was not "first" rejected by his generation or any other generation. In fact, he was accepted by multitudes of people from every generation at the time.

The Texan claims that Joseph could not possibly "divine what many of the worlds most intelligent people have not been able to for the past 2000 years!" But the fulfillment of prophecy is that the messenger for the Spirit of truth will, as Jesus foretold, "guide you unto all truth and show you things to come." He unveils what has been "hidden" regarding the true meaning of prophecy. And, as John foresaw, he will be "of your brethren and have the testimony of Jesus."

The Texan claims that: "There is nothing new about this book ... it's the same old twisting of scripture to reshape the truth ... a classic attempt to force God's sovereignty into the preconceptions of man." But the truth is that his book fulfills scripture, restores God's sovereignty, and exposes the error of hypocrites whose preconceptions mislead their blind flocks.

But don't take my word for it. If you read this book, you will realize that the Texan either did NOT read the book or simply wants to deride it. He is probably a fundamentalist preacher who doesn't want this message to spread. You can decide for yourself.

"Titus Andronicus" is the most notorious and least performed play of Shakespeare's. T.S. Eliot once called it the worst play written in the English language and not even the loyalist Shakespeare scholars have stood by it. Not until the movie "Titus" came out, have I heard anyone mention it. All I knew before I finally saw it was that it was extremely over the top violent. In fact, when the rare times it had been performed to modern audiences, many audience members started laughing at how absurd and over the top violent it was. I am a very serious moody theater person but even I couldn't help laugh at some of these scenes. However, I am very curious to suspect, as Harold Bloom did, that Shakespeare might've wrote "Titus Andronicus" as a spoof on his contemporaries. The play's content, plot, and characters are exactly equal to Seneca's plays. Seneca's plays however were never performed and we have no evidence that Shakespeare read Seneca's plays. So perhaps it was a jab at Kyd or Marlowe. The movie "Titus" seemed to use a lot of parody at many times. When I saw it the audience was laughing. I think it is safe to say that that theory may be correct. Although even if it was a parody, the play is still flat and doesn't do much for the audience. There are moments though where we can see Shakespeare developing as a dramatist. I couldn't help but think of "Macbeth" and "King Lear" during parts of Titus' monologues. Actually "Titus Andronicus" at best is a great study on the audience. 'Titus' was well received and performed in Shakespeare's day. Shakespeare was delivering to the audience, giving them a bloody Revenge tragedy that was popular in Elizabethan times. I am very surprise in an age when we make films that can depict a man cutting his face off and feeding it to his dogs("Hannibal"), that 'Titus' wouldn't be more popular. I imagine that Shakespeare was trying to shift from comedian to tragedian and wrote a little experiment called "Titus Andronicus." 'Titus' is worth reading for those who want to read all of Shakespeare but to the average reader, I would say pass and read "KIng Lear" or "Macbeth." To give this play more than three stars would be an insult to Shakespeare's masterpieces.

For my fellow reviewers who choose to simply pass this play over because of the prevelant violence, I must point out the complex, witty character of Aaron the Moor. Shakespeare either intended for this play to be a parody of Marlowe/Kyd, or he wanted to experiment with a character, Aaron, to evoke every possible feeling from his audience. And, in my humble opinion, Shakespeare succeeded at this. Aaron is, at the same time, evil and cunny, witty and horrifying, and compassionate and stoic. His final lines, as he is buried up to his neck, left to starve, are some of the best confessions ever produced by the bard. It takes a truly cruel and uncaring individual to not feel for Aaron, who gives up his life for his child's, and who hopelessly and blindly loves a cruel witch of a woman. This play is worth reading, or seeing if you should be so lucky, simply to indulge yourself in the character of Aaron the Moor.

Now that the film "Titus" is about to open, I thought I had best hear a recorded version of the complete play to keep my mind clear during what is bound to be a perversion. Of course, many consider "Titus Andronicus" a perversion anyway; and to tell the truth, I do get a little queasy during the various mutilations that make the deaths at the end a relief rather than a shock. But accepting the play on its own terms, you will find the reissue on tape of the 1966 Caedmon recording of (CF 277) possibly the best directed of the entire classic series. Howard Sackler has a bunch of professionals on hand and he lets them (with one exception) tear up the scenery. Poor Judy Dench, who has so little to say as Lavinia before the plot makes her say no more, can only make pathetic noises for most of the play until her final death cry. The evil brothers, played here by John Dane and Christopher Guinee, are not only evil but sarcastically so--and this works on a recording as it might not on the stage. Perhaps Maxine Audley's Tamora is a bit too Wicked Witch of the West now and then; but her co-partner in evil, Aron the Moor, is brought to life by Anthony Quayle in a role he made famous on stage, going even further in the outright enjoyment of his ill-doing. Yes, this play can easily raise laughs and takes an Olivier to keep the audience in the tragic mood. (Reports are that he did it so well that some audience members became ill and had to leave.)

Which brings us to Michael Hordern's Titus. Hodern is a fine actor but not a great one. He suffers well but not grandly. I am surprised that his Big Moment--"I am the sea"--is lost among all the other images in that speech. But anyone can direct someone else's play. This recording, soon to be rivaled by one in the Arkangel series, is definitely worth having for Quayle's performance alone.