Very solid fantasy which rapidly draws the reader into the fully realised world that Preiss and Reaves have created for this wonderful novel about dragons, mystical Pearls, political intrigue, and the attempt at justice for the murders of three children. This novel came highly recommended, and I've a story brewing in my head about dragons and humans. The relationship between these two races has always been of chief interest to me in fantasy literature and one of my chief pleasures from this book was the stately and regal relationship the dragons had with the humans and how myth had obscured the memories and must be reinstated. The political world in this book is crucial in this regard.

The comparison to Tolkien is not unjust, although DRAGONWORLD lies much more closer to THE HOBBIT than THE LORD OF THE RINGS. There simply will never be another LR. We do not get a conflict on the cosmic level here that is the central plot of THE LORD OF THE RINGS. If Frodo fails, the entire world is ensnared in the Darkness of Sauron. If the characters in this novel fail, the cold drakes will prevail. Although this is an assumption, it is a very reasonable one: in as highly detailed a world that Preiss and Reaves create, there most be other societies and cultures present in this particular sphere, and it is hinted at by the one of the characters.

DRAGONWORLD deals with two nations plunged in war when their efforts should be concentrated upon their common foe. The authors guide the reader through these predominant terrains: the farmlands and villages of Fandora, the forests and battlefields of Simbala, and the cold land of the Drakes and their lairs. There also is a good scene of the crossing of the Fandoran troops over the Strait of Balomar, a very dangerous episode where one of the characters get to show their metal and grow in character development.

One of Preiss's and Reave's greatest strengths are creating fully developed characters who, without fail, draw you into the book. Another great facet about this book is there are really no true villains in the work. The worst character is Mesor, who cares only about his personal ambition thru Evirae. Evirae, the best candidate for the central villain, comes off as a foolish young woman who comes across not really as wholly evil but as wholly childish. Her ambition for ruling prevents her from being fully human, and generally the reader does not conceptualise her as formidable evil but a spoiled brat who's playing with a very real, hot fire who needs punished. The Darkling, the chief of the coldrakes, is not truly a villain, for in his mind he is acting in his races' best interest. Your sympathies are stretched to what would be a breaking point in writers who were unable to maintain the realism these characters demand, but Preiss and Reave's pull it off beautifully.

Another great element in this book is how each side most come to terms with people on their own side. Throughout the book, Fandorans are at conflict with Fandorans, and Simbalese in conflict with Simbalese. This book deals with a big pet peeve of mine. Because Amsel has a scientific mind and he can do things which are seemingly at odds with the natural world yet in actuality is only taking advantage of the natural laws, the Fandorans call him a sorcerer and a Simbalese spy. This is partially Amsel's fault for isolating himself, and his character is being developed in this fashion throughout the novel. Those who react in ignorance and do not listen can cause much harm, as this novel aptly illustrates.

The political complexities and the ingenuity stands in sharp contrast with the simple way of life of the Fandorans, and both have much to offer to one another. Preiss's and Reave's usage of the political world in this book is crucial as it supplies much of the tension in the book from the Simbalese end. Hawkwind, the Monarch of Simbala, most constantly deal with the fact that he was a miner who defeated the Kuln* and that he is a commoner who has risen to power by Ephirion's hand, the former monarch. Much of the novel is Hawkwind trying to manage the war effort as well as dealing with these attempted overthrows, and with the help of Ceria, his lover and a Rayan (who is also looked down upon by the Royal Family in particular and Simbala in general), he makes a fascinating monarch indeed, and a fully competent one at that. Because of their skills as writers, Preiss and Reaves have you cheering and hoping and then turning those hopes on their ear and bringing you into another character's situation and hoping they will make it through safe.

As for my own favorite scene, there is a beautiful commentary on art where the soldiers of Fandora must use iron sculptures for weapons. The owner does not want to allow the soldiers to take them. I won't spoil the scene for you. It's a wonderful comment on art and the power and beauty it holds.

Another favorite scene of mine is the voting process in which the Royal Family must decide on how they will react to the invasion of the Fandoran Troops. Great scene, so watch out for it.

As for the ending, it is rather good and keeps you turning the page and the book ends setting up the sequel, which, as far as I know, Preiss and Reaves have not delivered. Le Guin has just this year published an anthology of novellas about Earth-sea (TALES FROM EARTH-SEA) and a new novel (THE OTHER WIND) in that particular series, so never rule out the possibility of letting these excellent writers revealing more of this world to us in the future.

*Kuln: Cave demons that are sadly unexploited, as they sound very interesting and could have made for wonderful characters as villains.

This book wraps one into it's story like a dream. I HIGHLY recommend it to all who love daydreams and dragons. If you have a child or the child within needs a release, get this book. I was looking for a part two, hoping to read how Amsel and the the story continues. If you find one let me know :-)

I was fortunate enough to have received this book as a gift in 1983 and I cherish it as part of my collection to this day. Byron Preiss and Michael Reaves crafted a wonderful story befitting comparison (in my humble opinion)to Tolkien in its' readability, sense of wonder, and awe-inspiring world-creation. This is a highly enjoyable read! What makes the book all the better are Joseph Zucker's incredibly gentle illustrations. I credit Mr. Zucker's work here as one of the reasons I became an artist. His line-work is a must-see for any aspiring illustrator of any genre. It is a shame this book is out of print. If you find it in a used-bookstore -- BUY IT!

I am not writing a review but I am seeking information on Joseph Wambaugh; more specifically what he has written lately. From what I can recall Finnigan's Week and Floaters are his most recent.

Does anyone out there know if Mr. Wambaugh is creating a book at the moment or if he has had something since the Finnigan's Week or Floaters.

I have read all of his books and I would rate them a 4 and 5. I am stuck on them. A great story teller, his humour lightens the terrible things humans can do to each other yet, at the same time, he makes us feel the pain felt by the victims and those close to them.

Hopefully, has, is or will be writing more.

Dan

"The New Centurions" came as a bit of a surprise to me. I read other Wambaugh works, but they were written more recently. This book was written back in the early part fo Wambaugh's career, and I feel under the false assumption that it was going to be inferior.
Boy, was I wrong. This is the most honest and perfect police novel I have ever read, and I liked it more than the author's later work (which I love).
"The New Centurions" focuses on the lives of three Los Angeles cops from bot camp to their 5 year anniversary on the force. Not a police procedural, the emphasis is rather on the lives of the characters and the various experiences they go through as police officers. Alternately brutal, funny, smart, sad, warm, philosophical, and ugly, "The New Centurions" is an extremely well-done piece of realistic fiction. These characters could be real.
I won't spoil anything here, but I have to recommend this book to anyone interested in the cop lifestyle. I'm going to give this book to my brother who has contemplated becoming a police officer, since I think the realism here can be an eye-opener.

Wambaugh takes us beyond the "Adam-12 and "Dragnet" image of the LAPD in this gritty and realistic portrayal of three young police officers during their first five years on the force. During their tour, the men face the harsh reality of "Protecting and serving" the citizens of Los Angeles. He holds no punches, from the opening scene where a recruit almost gets choked to death in a self-defense class in Academy to the final scene where Officer Roy Fehler lies dying from a gunshot wound. As one reviewer stated, "like cops? read the New Centurians. Hate cops? read the New Centurians." Wambaugh's realism is what makes his books enjoyable to read. I am a long time fan of the NBC television anthology "Police Story" developed by Wambaugh in the 1970s, and reading books such as "The New Centurians" gives me an understanding of why the show was so successful.

The Onion Field is a top shelf book. It's the in-depth analysis of the true story of a 1963 event in Los Angeles. Two cops pull over two crooks in an otherwise routine traffic stop. But the desperate crooks get the drop on the cops, get their guns, kidnap them, drive them out to an onion field in the countryside, and murder one of them. One of the cops escapes death, but is haunted by guilt over the death of his partner and his inability to help. The murderers are captured, tried, convicted, and then retried over and over again on appeal.

The surviving cop is further savaged when the LAPD uses the case in training as an example of all the wrong things a cop can do when stopping and approaching cars.

Haunted by horrific memories, saddened by the loss of his partner, wracked by guilt, ostracized by his own, and repeatedly tormented by defense attorneys in one retrial after another, the cop suffers emotional meltdown. Wambaugh, takes us meticulously through the crime, second by second, and then tells the surviving cop's powerful and moving story: the destruction of a forgotten victim. This is as good as it gets. --Christopher Bonn Jonnes, author of Wake Up Dead.

I lived in Los Angeles in 1963 and I've seen the movie several times, but not until I picked up a used copy of the book out of the Good Will this last week did I read the written account. As usual, the book is ten times better than the movie. It's gripping and very hard to put down. The sadness of what happens to the surviving police detective is so frustrating and seems, today, so unnecessary. Of course, we forget that seeking help from therapists and even talking about your innermost fears(called "burdening others" with your problems), etc. were not the vogue in 1963. If they had been, this story might have ended differently. I was particularly interested in the author's references to local landmarks which made the story come alive for me. What makes it eerier is that the area of the onion field where the murder took place is not all that far from the city but even so, it's strictly away from city life, kind of up in the hills, pitch dark at night and isolated with nothing but a big lonely highway running through surrounding fields growing a variety of crops. Oddly enough, regarding the two sleazoid criminals, at times they seemed more intelligent than some of the defense attorneys. Fantastic story! I predict it will stay with you for days after reading it.

This is an interesting book. See the movie, too. People mention Capote's IN COLD BLOOD in previous reviews, and Wambaugh used that book as a model for this one, and even used Capote's release forms to get interviews. Wambaugh could not get the surviving cop to tell the story so that Wambaugh could write the book. When Wambaugh told him about this book idea, and how it wasn't going to happen, Capote encouraged him to keep at it. So, with Capote's encouragement, Wambaugh finally got the surviving cop to cooperate, and the book got written. The whole subtext of the book is what I find fascinating, and that is: the surviving cop, who could not help his partner being killed, felt guilt that destroyed him emotionally. But the actual murderer and his partner felt no guilt whatsoever. Psychopaths can not feel guilt, even after they've murdered. The innocent man felt guilty, and the guilty men felt innocent. It's an incredible and wrenching and tragic contrast that underlies this whole book. I recommend it.

Peter Bogdanovich has written a book that is for the movie enthusiast. I suspect the general reader may find some of the interviewees obscure, and the topics technical. I feel that is their loss. For the student of film or film history, this is a treasure trove of information, ideas, experiences, and feelings about films taken from interviews with some of the most distinguished directors in movie history. The author's selection is not encyclopedic, but the directors' experience spans from the earliest years of silent film to the present. These men are not just informative, but their strong and distinctive personalities show in each interview, giving the sense that one has actually met and understood many of them. Some of the interviews are brief, or even very idiosyncratic, but the best are delightfully personal. This is a long book, but affords many pleasant evenings of good conversation. It also makes one want to go back and see the films again!

Regardless of one's feelings about the egomania of author Bogdanovich (and it certainly bleeds through every page), he provides the creative world a great service by sharing his many years of interviews with some of the masters of American Film.

Contained within these pages is a critical access to the creative process. Each director interviewed (obviously some more than others) provides invaluable insight into the nuts and bolts of film directing. Bogdanovich has compiled with this book, an indispensable historical document that does much to inspire, educate and guide any aspiring film director.

I particularly valued Alan Dwan's insights into the importance of communicating character relationships into the narrative. I have incorperated much of the late director's invaluable advice into my attempts at stage direction.

All in all a must have for anybody interested in directing or gaining insight into the creative process.

This is an incredible book that contains Bogdanovich's various interviews with some of Hollywood's greatest filmmakers. These are not detailed biographies however, they are an in-depth conversation about the filmmaker's films and his own feelings about them. While some go into the individual's past it is just so you can get an idea of the personality of the filmmaker. This is a must-have book. A good way to look at it is to read it through once and become familiar with all of the directors, some of whom may be new to you. Then as you view their films go back and read what they have to say. Though sometimes their comments are very brief, it's one of the few sources you'll find where the film-maker makes direct reference back to a film. And I don't know what it is about Bogdanovich but he always brings out gems of truth from those he interviews.

I read Bad Boy with great anticipation and came away with mixed feelings. "If only we had another Lee Atwater" is a sentiment that resonates with today's too-often clutzy, tone-deaf GOP. But the Lee Atwater presented in Brady's comes off less as the strategic Messiah lionized in Republican circles and more like a go-getting prankster. The truth is probably somewhere in between.

Typically, Brady obsesses over the Willie Horton episode, even though he does dislodge the pervasive myth that Atwater was somehow the prime mover behind this over-hyped episode. Still, these pages would have worked better as a more detailed account of the strategy behind the '88 campaign. (That's why I bought the book -- not to read more re-hashing of the Horton claptrap.) After enjoyable and vivid accounts of Atwater's early South Carolina campaigns, Bad Boy starts to disappoint and doesn't shed much more light on the politics of the 1980s and beyond.

Atwater may be called the master of negative politics, but after watching the latest episode in Florida and recalling the impeachment ordeal, I doubt that this is what will distinguish him in the pantheon of political masterminds in years to come. Atwater's legacy will be that of a strategist who had a unique sense of what was really going on in his generation, and one of the first to recognize the current transformation of politics from a battle between left and right to contest between libertarian-minded thinkers who relish progress and freedom and traditional populists who want to control it.

Like Lee Atwater himself, this biography is entertaining, and quick-and-dirty. Also like Atwater, it is essentially skin deep, offering little assessment on how a figure like Atwater could arise and become so powerful within the Republican Party so fast. There's also not much about Atwater's innovation -- "oppo" research-based politics that turned the nascent 24-hour news cycle to the advantage of the savvier campaign. Atwater invented the style of "war room" campaigning that was enhanced by another southerner, James Carville, four years later.
Still, the book is well-crafted and does an excellent job of chronicling Atwater's life. It is especially admirable for revealing the truth about Atwater's alleged deathbed renunciation of hardball politics -- which never really happened. The real story is far more interesting.

Lee Atwater knew politics and how to work it. This book gives a compelling look at the transformation of a good ol' boy into the man responsible for the election of the most powerful man in the world. Mr. Brady does a fine job of showing all sides of Lee. From the insecurities that drove his attitude through the frailities of a man on his death bed,this book does justice to the real man. Lee Atwater set the trend for the future of politics. This book is a must read for anyone in the business of getting people elected.

This book is an invaluable resource for any serious practitioner of molecular biology. Content is detailed and comprehensive. Highly recommended reference source. All credit to the authors for what is a thorough revision of this latest testament of what is undoubtedly the revealed scripture of molecular biology. The website gives you access to all the printable protocols from the book and is perfect for lab bound grad student.

Molecular cloning has been a lab staple for years. Now reprinted so you can update the old lab copy worn out by years of student use! Its a must have for any lab serious about molecular biology. Its also useful for student training. Many times there are simple explanations for the lab techniques we have adopted as dogma, but are unsure why. Molecular cloning has the answers and is a great resource. I highly recommend this book for its depth and breadth of protocols and guidance in the complicated realm of cloning!

So few and so much to say about this bible of Biology at the bench...
You'll really find everything you want in it, including the composition of all the buffers and solutions, the new protocols for high-tech biology (FLIM-FRET), some paragraphs about bioinformatics and more.Incredibly precise, this book is consequently a big book (3 huge volumes), so better know exactly wath you're looking for before opening it!
The must have of every lab!

The Art of Infrared Photography 4th Edition

by

Joseph Paduano.With some knowledge, a desire to try something new and the willingness to experiment, you can enter the world of infrared photography. There are things you must know about infrared film, however, in order to create the haunting, dreamlike images this unusual film can produce. Learning how to use infrared film need not be difficult or complicated, and photographer/author Joseph Paduano proves this in his book, The Art of Infrared Photography. Paduano covers all that needs to be known in clear language and uses a portfolio of his work to demonstrate his points. Enough infrared theory is discussed so anyone unfamiliar with the film can understand what makes it different and why. But Paduano does this without using terms and language that only a scientist could understand. The qualities that make infrared images so different and interesting are the grain and the haunting white appearance of some subject matter photographed. In detail, Paduano explains what subject matter photographs best with infrared film and why. For instance, certain trees-- pine, firs, spruce, for example--don't record as well on infrared film as trees with large leaves. The reason for this is that, "The chlorophyll leaf and blade structures in a healthy plant absorb visible light and reflect most of the infrared radiation to which the film is sensitive." Paduano goes on to explain which objects and colors best reflect or transmits the infrared wavelength and offers his photographs to illustrate his comments. There are clear illustrations and instructions that explain how to handle the film, load your camera and unload and prepare for processing this sensitive film. Infrared film could not be discussed without the rules of focusing and the use of filters being addressed. Filters for infrared, filter factors and exposure compensations are listed in an easy-to-read chart. Again, Paduano's images illustrate the differences the various filters make. Film speeds, image grains and why these components are important to the success of your photographs are covered in detail in chapter 4. Chapter 5 goes into greater detail about exposure and filters and the different circumstances that effect the film. In chapter 6 you will learn how to expose the film by using timed exposures and/or flash. Specific instructions are given on processing and printing your film in chapter 7. Once you have mastered infrared photography you may want to further enhance your images with toning or hand coloring. These techniques are explained and illustrated as is the use of color infrared film. Digital infrared cameras are described, explained and compared in chapter 10. The last half of the book contains a portfolio of Paduano's images. These photographs clearly show the variety of effects you can achieve with infrared film and are fuel for any photographer's imagination. I found this 100 page, soft cover volume easy to understand, thorough in explanations, encouraging and motivating. An excellent addition to your photography library, I give The Art of Infrared Photography a healthy four out of five stars.

Marilyn Dalrymple

I found this instructional book on infrared photography to be the one true book for any photographer to own, amateur or professional.This handbook is the only book that really takes you through all the steps necessary, so you can truly understand and control this unique film.I have read other books on infrared and this one sets the standard for all instructional infrared books.Other texts don't even come close.The text isn't overloaded with technical jargon to confuse the reader. Great format and comprehensive text, including a beautiful portfolio of infrared images by the author. The one complete book on infrared photography. It also includes much needed information on color infrared film,infrared digital cameras and hand-coloring b&w infrared images. Highly recommended!

The Art of Infrared Photography is an excellent, up to date look at the black and white and color infrared medium. It explores all aspects of infrared photography, as well as how new films(Kodak, once the industry standard has been joined by Konica, Agfa and Ilford) render images in significantly different ways. The book skillfully guides the reader through all the procedures necessary to produce high quality black and white and color infrared images. The text is written in concise language that any photographer ( novice or advanced ) can understand and impliment toward his or her art. There is also a chapter devoted to toning and hand-coloring black and white infrared prints. The chapter on color infrared film is enlightening and shows how this medium can also transport the reader to an ethereal world of specialized photography. The portfolio section consisting of black and white and color images is stunning and inspirational. By far, the best sourcebook on infrared photography on the market. Raises the bar by setting a new standard for the art of infrared photography.

I don't think this book gives an accurate veiw of what kindergarten is like. I teach pre-school and have been to kindergarten classes with the children. This book gives an idea of what pre-school is like.

Miss Bindergarten Gets Ready For Kindergarten is a delightful book that should be a part of every kindergarten classroom! It is a good "ice breaker" story for the first day of school and gives the children an idea of what it is like for the teacher to prepare her classroom as well as exploring the various feelings that children may have about the first day of school.

The rhyming words and repetitive text throughtout the book provide the children with an opportunity to participate in the story, as well as enhancing their recall skills.

The illustrations are beautifully done and provide much for the children to look at. My personal favorite is the one in which Miss Bindergarten (who is a dog)applies lipstick right before school starts!

Miss Bindergarten, a dog wakes up and gets ready for her first day back to school. She packs her car and prepares to fix her gloomy classroom. Her pupils are getting ready for their first day of kindergarten. Each student (animals) has a rhyme to go with their activity: "Beaver Heath brushes her teeth" and "Ian Lowe says, 'I won't go' ''. Some are excited and some, such as Ian, are upset. Meanwhile, Miss Bindergarten has transformed her room into a bright rainbow of colors. Ashley Wolff does a wonderful job of illustrating this book. The illustrations are done in watercolor-and-gouache. Depicting the animals realistically, she captures excitement, dispear, and love in their facial expressions. Each animal looks incredibly life like, even though they are portrayed with some human characteristics. I think that it is important for children's books to illustrate animals realistically. If children look at books that show purple elephants and blue horses they will believe can be any color. This way the children will be better able to identify the animal when they see it again. The colors used in this book are very vibrant. Every page contains busy animals and curved text, they fill every available space.

This is an excellent overview of castle life in England from just after the Conquest until decline of the feudal era. It's nicely illustrated with photographs of extant castles and period illustrations. I would definitely recommend this as either a book for the casual reader who might have an interest in medieval social life or a beginning for a more serious study.

The authors try to do a fair assesment of such issues as medieval hygeine (where it is all too easy to overwhelm the readers with descriptions of how dirty and disgusting the medieval life would be to modern sensibilities, thus overlooking that there was concern about unpleasant smells from the privy chamber, and how to fix it). The discussion on the duties associated with the feudal relationship is also very clear and readable. I particularly was interested in the mention at several points that physical blows were used as mnemonic aids. The buffet given a squire upon being knight was no mere tap, but many times a hearty blow meant to make him remember his oath of knightood. Also, beating the bounds was used to teach youngsters where the important landmarks were often by giving them a blow at the site of the landmark, or even bumping them against it. Fascinating look at the medieval ideas about learning-- which does have some effectiveness, epecially in a largely illiterate society, although it would probably be cause for arrest in any state in the US if it was used today.

Libraries have been written on any one of the sujects that was mentioned in this book so don't expect it to hold the one answer to any question about medieval life in a castle, but it can't be beat for a clearly written overview.

This short book on life in a medieval castle centers around the history of one fortress on the border between England and Wales, and then relates that story to castles across Western Europe. The passages are divided into chapters on all facets of castle life, and are written in a clear, almost "novel" like way.

Some of the facts presented are well-known, but there were enough fresh tidbits and interesting anecdotes that I never found myself bored.

In addition, at the end of the book, is a list of historically important castles, ranging in construction from the 9th century to the 15th century, that can be useful if the reader is planning a trip to England, France, Spain or elsewhere in Europe.

All in all, an entertaining and well written book.

This book is an excellent start in study the workings of a Castle and how everyday life was in Medieval times. The starts with the Castle arriving in England, and then moves into the various aspects of Castle life, the function of the Lord and Lady, the running of a household, how hunting was not a sport, but a means of survival. It goes into how a knight was made, how the Castle function in warfare and then shows why Castles slowly faded away.

Excellent work for anyone interested in the topic and a must for Historical writers.

Although this novel is light in nature for the most part, there are times when the forever human struggle of Love will move the reader deeper and deeper into the story. The reader should find themselves rooting for the doomed loves, Tristan and Isluet, throughout the adventure. At times there are tremoundous action scenes, with a well written interactions between the two lovers at the heart of the story. If you love someone deeply, you should enjoy this boook.

I would not have read Bedier's translation of "Tristan and Iseult" on my own. Throughout my degree, and my previous highschool education, I've come across "Tristan and Iseult" in four different forms before Bedier's, and was so tired of the tale that I thought no one would breathe life into it again for me.

Not so.

Bedier's translation (which was then translated by Hilaire Belloc and completed by Paul Rosenfeld) has repainted "Tristan and Iseult" into a truly living piece of mythology. Presented with exquisite detail, and with portions of the story even my four previous readings had never uncovered, this is, I believe, how the tale was meant to be told.

The achetypal doomed-romance, "Tristan and Iseult" is the well-known tale of the romance between those two lovers, born of a magical philtre, and doomed in the face of Iseult's marriage to King Mark. The age of chivalry practically shines from the pages, and the heart-wrenching story itself is a joy to read, with only a few bumps and jolts of prose along the way (likely, I imagine, translation difficulties).

If you are at all interested in mythology, especially that of Arthurian theme or times, Bedier's translation of "Tristan and Iseult" is the one for you. You won't be disappointed.

"The Romance of Tristan & Iseult" is the tale of one of the earliest pairs of star-crossed lovers in literature, heavily researched and drawing from many versions of the story. Having come across the tale in many forms, from the opera "Tristan und Isolde" to cameo appearances in "The Mists of Avalon," this telling is refreshing and spirited. The authenticity of language, as well as the narrator's own action and moral interpretations make one feel that they are sitting near a fire in the great hall listening to a seneschal tell the tale of doomed love.
"Tristan & Iseult" is fast-paced and beautiful. It is also an invaluable tale to read as an example of the archetypes and symbols of the tragic hero, imbedded Christ imagery, woman on a pedestal, etc.