These stories also stand the test of time as they are every bit as entertaining now as they were over 100 years ago.
Some of the ones that I enjoyed the most;
The Canvasser' Tale; the story of a man's collection of echoes
The Diary of Adam and Eve; a humorous look at what Adam and Eve's first thoughts of each other and the world around them.
The McWilliamses and the Burglar Alarm.
The Californian's Tale with a twist at the end.
This collection is writing at its very best; a treasure of American story telling.
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My personal choice of decks are those of the modern theme. I find classical decks to be a tad boring. Crows Magick Tarot deck is a VERY modern deck, with clear images of creatures: crows, bears, lizards, etc. This deck is definitely not something for those who are just beginning to learn the tarot. The thing about this deck is that you will be moved to another world where your visions will be varied, and you will also find it useful to use the animals as metaphors to translate them into real people. The most important factor to consider when using this deck for reading is putting yourself in a lucid state of mind, trusting your intuitions, and tapping into your subconscious.
The artwork is enchanting, dark, but not gothic. Ignore the keywords printed on the cards because they are misleading. The accompanying booklet is also a bit off, so I completely ignored it.
I've heard on some tarot card forums that they have used this deck for spells. I'm quite familiar with spell casting as a Wiccan, but I wouldn't even attempt to do that with this one. It would just be irreverent.
This is by no means a beginner deck. If you're just starting out with tarot, try Rider-Waite, but not this one.
This is my second best deck, the first one of course is the Vertigo Tarot, which has now gone to oblivion.
Traditional 78 card deck, 22 major arcana and the minor arcana. The World is replaced by the words "The Universe". I would say 96% of the cards have fantastic, computer-generated graphics that are just dark and gothic. I read an interview with the author of this deck, Londa Marks, and she said this is her tribute to the animal kingdom. I was also intrigued that what inspired her to create the Crows Magick Tarot was she was lonely about the loss of her son. When she completed work on this deck, by coincidence or miracle, she was united with her son!
There are two keywoards that are printed on each card, but I personally find them quite misleading. This is by no means a beginner card. Experienced tarot card readers will either immediately connect to the fascinating imagery, or find their way around them. The astrological symbols printed on each card are also useful. For example- the Emperor has the Aries symbol on it.
For the advanced reader, I suggest that you find the softcover book that used to be very much available. Because this deck depicts mostly animals and birds, it would be useful to find out the characteristics of the animals on this deck. I also suggest that when you use this for readings, be really on a very meditative state so that you will see further into the images on the cards.
I give this deck five out of five. Thank you, Londa!
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What a bitter disappointment. This book is as wide as the horizon and as deep as a backyard puddle.
I wish I could give this title a negative number, but I'm forced to be polite and post a "1".
I can't believe any self-respecting CCIE would attach his/her name to such a fluffy, insubstantial work of garbage.
Save your money and buy one of the specific security titles:...
This book is well written and keeps your interest. (Something that is hard to come by in the networking field of books.)
Kudo's to Andrew Mason, and Mark Newcomb for an excellent book.
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One can especially see that the authors are doing something very unusual when reading their discussions of Descartes. Most intellectual traditions and institutions prattle on about 'Descartes' Error'. In fact, criticism of Descartes is so common, I would suspect that there is a book on aerobics that is built around a criticism of Descartes. The error discussed is the way in which Descartes understood and located the certainty of objective knowledge. Certainly many of our worst problems derive from intellectual traditions that rely on Descartes' error--though it is always a question of the level of culpability, regarding Descartes and his users. This book asserts that Descartes' writing style exemplified an understanding that 'truth can only be understood within the context of the speaker and audience'. Descartes' Error ostensibly springs from NOT understanding this. The authors have strong evidence, and while I'm not necessarily convinced, at least they are swimming against the current in a way that abjurs glibness and rejects mainstream intellectual glibness.
Also worthy of praise is that the authors identify, describe and discuss at length the nature of classic prose vis-a-vis the nature of all prose. They are almost hyper-aware of the fact that classic prose can only say things in a very limited way, and that classic prose is not the only--and not certainly even the best--way to be eloquent. I'll certainly give a chance to anyone aware of the holes in their perspective, and I think it is worth it for others to give them a chance too.
The one concern is that the limits of classic prose becomes an excuse for the problems that arise from it. But a more positive view of relativism is fine here, because errors here are often benign, often recognized and addressed, and usually quickly and persuasively identified for the ignorant. I won't pull down an idea that can be exploited by scoundrels no more easily than a typical idea or view. Maybe, though, there isn't enough time in the book to the limits of classic prose made clear by the use of the word 'classic'--i.e., that ideas outside the 'classical' mainstream or the everyday mainstream can't be integrated into classic prose, or proven to be worthy of inclusion in the 'classics' through a defense written in classical prose. For example, I could never say 'classically', "Each man faces his culture as Winston Smith or Winston Rodney," because the eloquence of the statement can't make people more familiar with reggae music, and if you don't know much about reggae, Rastafarianism, or the artist Burning Spear (Christian name: Winston Rodney), then you can't understand or recognize the eloquence or cleverness or usefulness of the equation. Orwell's 1984, though, is almost too 'classically' prominent. How then do we expand the classics?
The writing is clear and pure. Classic style does not portend to talk down to the reader, but assumes that she is capable of understanding the concepts presented. It is a style to intelligently present information and ideas for the consumption of the intelligent. And, as the authors rightly point out, there are frequently other styles appropriate for other things. Unlike other books about writing style (the best of which is perhaps Williams' "Style"), this book does not give rules or advice, but simply observes and inspires.
To me, this book is the prosaic equivalent of Edward Tufte's books on visual design (and Robert Bringhurst on typography). I re-read these books regularly, and try to follow their intelligent examples.
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Some of the very enjoyable characters in this book are Marji, Mitchell & Davis (the cowboys), Ellie (the chimp), Glinda, and the fairy. The usual characters are still interesting, but I felt like the whole "who does he really love" thing was getting old after a while.
All the characters come to face their greatest fears. Grace finds out who her parents really are (now THAT'S a plot twist I didn't see coming). Travis still has to figure out where he belongs, but at least he is not as wimpy in this book as in others. Aryn has many things to figure out in this book, and it isn't quite known if she does figure them out.
This book is about defeating evil, in its many forms. Duratek and the Seekers play prominently in this book. Some interesting clues are given throughout the book to lead readers to other things. I call this book a placeholder because while it does advance the series, it still seems that there is something larger on the horizon, and this is just a prelude.
I would recommend this book.
I have no problem with the increasing number of characters in the book, in fact I think it adds to the story since each character brings something unique into the mix. Mr. Anthony has managed to give us some essential scenes with each of the characters, revealing some of their motivations and secrets, making them that much more real. All are essential to the plot. It's interesting to see how the friendships are growing and the romantic interests are weaving together. In each book, the characters have been evolving and deepening. Some reviewers seem to have a problem with the way some of the relationships appear to be developing, but to me, the characters have become so familiar and so real that their yearnings and growing awareness are all the more poignant. How can you not wish them well?
In this third book of the series, Travis and Grace return to Earth to seek medical care for the gravely wounded knight, Beltan. However, while there, the evil Duratek Corporation (who are planning to rape the ecological resources of the world Eldh) have managed to locate them due to the betrayal of a friend, have captured Beltan, and plan to conduct medical experiments on him. Travis and Grace are forced to turn to the Seekers for assistance. Meanwhile, back on Eldh, Melia, Falken and the others travel to the fabled city of Tarras to find out who is killing the New Gods. Grace and Travis are finally forced to come to terms with the shadows of their pasts that have haunted them all of their lives. This, of course, is a great simplification of the plot, which has many more twists and turns, trials and tribulations. It is a fast-moving, interesting, and enjoyable story, and I for one am looking forward to Book Four.
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My only quibble with the book is that the author tries to show that the ancient Egyptians "had it right all along" by comparing their beliefs with what modern science teaches about the way the world works. No problem with this, except I caught a few errors in his understanding of science. Also, he is not too subtle in suggesting that the world might be a better place if we returned to believing this ancient "truth". But is is easy to overlook the author's advocacy because his explaination is so clear and thorough.
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After reading this, the only thing I wanted to do was re-read A Gathering of Saints, Robert Lindsey's book about the same period.
Turley begins his account by reviewing the canonical account of the Church's origins and a history of other prominent forgeries intended to discredit the Church. Turley then goes over the history of the Hofmann case. An appendix lists all known documents acquired by the Church from Hofmann. Unlike other writers, he had access to a wealth of Church documents. The result is a well-documented account presenting the Church's side of the story. Though he is hardly objective in his account, he avoids the sensationalism characteristic of the so-called true crime novel. His tone is mainly that of a scholarly historian.
The Hofmann case is extremely complicated, involving Church officials, Mormon historians, document dealers, journalists, law enforcement officers, attorneys, and others. Turley attempted to keep the major characters in focus, but the reader is still liable to get lost. I found myself going back over previous material several times to keep everything straight. Fortunately, this book contains an index.
Complicating things further, Turley often digresses from the narrative. Sometimes, the digressions are faith-promoting stories more suited to Church magazines. In others, they seem like personal attacks against real or perceived enemies of the Church. Turley also occasionally pauses to score an apologetic point. Turley should have omitted these things entirely or relegated all of this to the notes. This material is not very appropriate to what is supposed to be a scholarly history.
Hofmann said he was not afraid of being caught by divine inspiration (316). Some people have raised the question of why the Church's "prophets, seers, and revelators" did not detect Hofmann's forgeries. To his credit, Turley does not attempt to answer this question. While this is perhaps an interesting theological question, it would be out of place to try to answer it in a historical work.
This book exists in relationship to other books on the Hofmann case. Turley has relegated most of the direct interaction to the notes. Discerning Turley's intent concerning these books is not easy without reading them. It seems clear he wants to refute the work of Steven Naifeh and Gregory White Smith (The Mormon Murders [New York: Weidenfeld and Nicolson, 1988]). Other sources tell me this work is most distorted account of the Hofmann case. Richard Lindsey's A Gathering of Saints (New York: Simon and Schuster, 1988) is not mentioned as often. Turley may be correcting misconceptions, but does not accuse Lindsey of willful distortion.
Though Turley perhaps comments on Linda Sillitoe and Allen D. Roberts' Salamander (Salt Lake City: Signature Books, 1988) the most, the relationship is harder to discern. Some Latter- day Saints portray Signature Books as an anti-Mormon press, but Turley is rarely dismissive of the book. At times, he may be trying to refute it. Sometimes he treats it as though its perceived misconceptions were due to lack of information available to him. At other times, he accepts its information at face value. It will be interesting to see if and how the second edition of Salamander deals with Victims.
The weaknesses aside, Turley has given us a well-balanced account of the Hofmann case. What it loses in complexity is more than made up for by its thoroughness. It is remarkably free from speculation, and highly recommended for those looking for a book placing the focus of the Hofmann case there it belongs: on Hofmann's victims.
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The novel follows the adventures of a large number of Higby's residents over Labor Day weekend in 1993, and there are some truly crazy and truly troubled and truly loveable people in this town. The kind but insecure Euless Ludlam and the homely and lonely Carmen Valentine are certainly favorites, while the put-upon and illiterate (but fully reformed) ex-convict Bowmar Stambler can be my neighbor anytime.
Another reviewer's rant disparaging the "stock characters" isn't in the least fair: In what Southern town would these people be cliches? To cite just one example, I didn't fully realize until halfway through the book that the Leigh sisters, neither of whom match any type I've ever imagined, were "people of color" (to use the author's expression). Yes, the plot may be predictable--a bit too predictable, in fact--but the characters, their beliefs, and their behaviors certainly are not. Still, I agree that the novel occasionally go so far over the top that it turns from sitcom to farce: a vegan fundamentalist Christian cult that kidnaps wayward drunks and imprisons them until they become complacent believers? What's the point?
If you're looking for an undemanding, eccentric romp, you may well enjoy the hijinks of the inhabitants of Higby. It's a nice place to visit...
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To save money, the margins run from 1/4 to 1/8 an inch. Not too bad on the outside edges, but on the inside edge near the spine the words are nearly hidden by the curve of the page. Either you break the spine to read the words, or you are forced to slide your thumb along the inner edge to reveal Twain's words. Find another edition.