The only problem with this book is that it doesn't give equal time to the Japanese carrier fleet, which as it happened was America's only real competitor in this developing science.

The other big surprise is that the writers don't focus on architecturally striking films in the vein of Ridley Scott's Blade Runner or Fritz Lang's Metropolis. Instead they write about more obscure films, such as the hysterical Cary Grant film Mr. Blandings Builds His Dream House, Robert Quine's Strangers When We Meet, and the campy film version of Ayn Rand's arguably campy novel The Fountainhead. All three films feature either an architect as a main character or the nature of architecture in a commercial world as a principle theme. The Fountainhead in particular is probably one of the most ridiculous films ever made about art and commerce. Such ideas aren't bad in and of themselves, but the fascistic and sexual overtones in Rand's book and film are so over the top that both come off as soft-porn pieces. But I like this film, as it brings up the question of architecture as an art form: Does it only serve its purpose as a structure of necessity?

The most unusual segment in the book is the essay by Eric Rosenberg: "Architecture and the films of the Beatles." In this short essay, Rosenberg comments on the nature of space and structures in keeping the Beatles isolated from the external world, with consideration to their fans. Other subjects covered include set directors, such as the great Ken Adam, who worked on all the early James Bond films, designed the fantastic war room in Stanley Kubrick's Dr. Strangelove, and also worked on Barry Lyndon. I found the essay on Adam particularly interesting because I am a big fan of his work. Adam talks about his disappointment in Barry Lyndon because a lot of the shots were based on paintings of that period; Adam preferred to use his own imagination for his set designs. In Dr. Strangelove, for example, he essentially used his mind's eye in building the war room. But fiction can greatly intrude upon fact -- when the newly elected President Ronald Reagan asked to see the government's war room, he was disappointed that it wasn't like the one used in Dr. Strangelove. As you see, films are better than real life. And so is the architecture in films

There are no pictures in this book.

This book is actually a collection of articles about various aspects of the history and development of FMA. Some of them are new and some have been taken from the pages of Rapid Journal (published in the Phillipines). Some of the articles are written by well known people on the FMA such as: Tony Somers, Krishna Godhania and Mark Wiley, other names are new to me.

As the title suggests, the articles are about the history of the arts, not the technical side and as such this volume fills a gap in the reading of most practioners.

On the down side, some of the articles are very thin; it hardly seems worth while to have bothered with the item on the history of FMA in Europe.(This is a real contrast to some of the others).

I enjoyed the book, but was left wanting more.

JB

The placment of Mark Wiley's name on the front cover suggests he is the AUTHOR, where he is in fact, the EDITOR of this collection of articles (he is also a contributor). Not Wiley's fault--he credits the collective group in the introduction. Small point that only matters to us fans of footnotes, I know...now, on to assessing this collection of articles!

In Part 1, writers offer perspectives on the origins of the Filipino arts, including five articles such as "A Question of origins", by Felipe Jocano, Jr., and "Questioning the Origins of Escrima", by Dr. Ned Nepangue, etc.. Part 2 focuses on Historical Perspectives with five offerings like "A History of Eskrima in Cebu and Negros", by Krishna Godhania. Part 3, Cultural Perspectives, includes eight articles by different contributors, including "Passion from the Crescent Moon" by Marilitz Dizon, and "The Making of the Batangas (Balisong) Knife" by Dr. Jopet Laraya. Part 4, Facing The Future, includes three articles including Combative vs. Competitive Escrima by Krishna Godhania, and "The Implimentation of Arnis in the Physical Education programs of Tertiary Schools in Cebu City" by Abner G. Pasa.

Overall, this is a good collection of topics of a calibre more advanced than most newsstand martial arts magazines could tolerate. The tone is clearly academic in nature, although less than half of the article include notes of some sort at their conclusion. Wiley does include a well-rounded list of source materials for further reading. If you are tired of how-to manuals, here is a book which will present new information, even for those of us who have pretty well "been around the block" when it comes to learning about other cultures and practice. The variety of perspectives are insightful.

My only regret is that it tells you nothing about how to choose and put down a finished floor. But having just turned my attic into a living space, I can say with authority that it is an excellent resource, especially if you're the general contractor for the job.

The Autobiography Of A Seventeenth Century Venetian Rabbi is a unique and interesting book. It is unique in that it is one of the only autobiographies ever written by a rabbi of such stature. The book is very interesting due to the inside view it gives the reader into Jewish life in the Italian ghetto at that period in history. Not often do we find such a marvelous first hand account of history.

Aside from the holistic historic perspective it gives, the personal life of Leon De Modena is an amazing story of survival. His tragic life is reminiscent of the life of Job. The book also gives us a clue of Leon Modena's genius and talents as an author, scholar, playwright and poet.

The book contains two parts; one, the autobiography itself (which I highly recommend). The other part consists on various essays on the autobiography, the author and the historic outlook. In the essays Leon de Modena was portrayed as a typical product of the renaissance period. Leon de Modena was by no means "typical". Another flaw is the manner in which the essays portrayed his autobiography as a characterless perspective, when in fact the book is full of personal feelings and emotions. The lame attempt to define and describe Leon Modena's character which is found in the essays is an understatement of the largest scale, bordering the term 'insult'. Leon Modena's life was so colorful that no artist can paint the colors, no writer can read his limits, and no book can define his character.

For comments, contact: Eli Bernstein 6B Kobelke st. Dianella 6059 WA Australia

Aside from the holistic historic perspective it gives, the personal life of Leon De Modena is an amazing story of survival. His tragic life is reminiscent of the life of Job. The book also gives us a clue of Leon Modena's genius and talents as an author, scholar, playwright and poet.

The book contains two parts; one, the autobiography itself (highly recommended). The other part consists of various essays on the autobiography, the author and the historic outlook.

In the essays Leon de Modena was portrayed as a typical product of the renaissance period. Leon de Modena was by no means "typical".

The essays also describe his autobiography as a characterless, objective perspective. In fact the book is full of personal feelings and emotions.

The lame attempt in the essays to define and describe Leon Modena's character is an understatement of the largest scale, bordering the term 'insult'. Leon Modena's life was so colorful that no artist can paint the colors, no writer can read his limits, and no book can define his character.