Reference books make great gifts because they can be pretty useful for years to come. Some of them are even attractive enough to leave out on coffee tables for guests to flip through when conversation drags. by Ken Mogg (Taylor Publishing Company, 1999) is probably the most attractively produced book on that much written about director. It is well organized, each of the Master's films getting anywhere from one to five or six pages, well illustrated, with several specialized items to keep us abreast of trends in Hitch's career. For example, there is a list of all his cameo appearances in his films, a brief examination of his film techniques, his use of famous locations, and so on. Especially welcome are little inserts of trivia, such as the story behind the song the children are singing as The Birds are massing outside in the playground, and a generous number of lobby card reproductions. There is also a good discussion of his television series and even his paperback anthologies. In short, Mr. Mogg does not concentrate entirely on the films, although they do take up the bulk of the volume. By the way, listing Janet Leigh as co-author on this website is misleading: she only wrote a one-page introduction that is quite amusing. My only complaint is that 211 pages are not enough room to handle this wealth of material; and here and there I feel much more of value could have been said had the author been given more space. (Hence the one star less in my rating.) Still such a comment merely shows how much I like this book and many of you will too.

Film director Alfred Hitchcock was a master of suspense: this survey of his film contributions gathers over 300 photos from throughout his life, providing an excellent collection of revealing images spiced with film reviews and sidebars of facts. Highly recommended for any Hitchcock fan.

Interested in the films he directed, or just a hitchcock fan? Either way this book is a must. Not only does it cover every film he directed, but there are nice little extras on the stars he worked with, the writing process and even a look at films he inspired. The book is beautifully laid out, yet if you are looking for close analysis then this is not what you want. It looks at each film and talks about them, but there is no hard depth to this material - this is just a good look at the entire canon.

the Oxford Shakespeare has been touted as 'a new conception' of Shakespeare, but is in fact merely an update of the cumbersome old Arden editions. Like these, 'King John' begins with a 100-page introduction, divided into 'Dates and Sources' (full of what even the editor admits is 'tedious' nit-picking of documentary evidence); 'The Text' (the usual patronising conjecture about misprints in the Folio edition and illiterate copyists); 'A Critical Introduction', giving a conventional, but illuminating guide to the drama, its status as a political play dealing with the thorny problem of royal succession, the contemporary legal ambiguities surrounding inheritance, the patterning of characters, the use of language (by characters as political manoeuvring, by Shakespeare to subvert them); and an account of 'King John' 'In the Theatre', its former popularity in the 18th and 19th century as a spectacular pageant, the play distorted for patriotic purposes, and its subsequent decline, presumably for the same reasons. The text itself is full of stumbling, often unhelpful endnotes - what students surely want are explanations of difficult words and figures, not a history of scholarly pedantry. The edition concludes with textual appendices.
The play itself, as with most of Shakespeare's histories, is verbose, static and often dull. Too many scenes feature characters standing in a rigid tableau debating, with infinite hair-cavilling, issues such as the legitimacy to rule, the conjunction between the monarch's person and the country he rules; the finer points of loyalty. Most of the action takes place off stage, and the two reasons we remember King John (Robin Hood and the Magna Carta) don't feature at all. This doesn't usually matter in Shakespeare, the movement and interest arising from the development of the figurative language; but too often in 'King John', this is more bound up with sterile ideas of politics and history, than actual human truths. Characterisation and motivation are minimal; the conflations of history results in a choppy narrative. There are some startling moments, such as the description of a potential blood wedding, or the account of England's populace 'strangely fantasied/Possessed with rumours, full of idle dreams/Not knowing what they fear, but full of fear'. The decline of the king himself, from self-confident warrior to hallucinating madman, anticipates 'King Lear', while the scene where John's henchman sets out to brand the eyes of the pubescent Pretender, is is full of awful tension.
P.S. Maybe I'm missing something, but could someone tell me why this page on 'King John' has three reviews of 'Timon of Athens'? Is somebody having a laugh?

Many people feel that this play of Shakespeare's is either unfinished or a poor effort. But I do not think this is accurate or fair. The reality is that many people can never find a middle ground. It is actually (in my opinion) quite common for people to only be able to see things from one extreme or the other. Despite Apemantus' cynical nature, there is no denying that whatever his faults are, HE DOES HAVE RIGHT ON HIS SIDE when he tells Timon: "The middle of humanity thou never knewest,/ but the extremity of both ends...." (4.3.342-343). Critics also tend to think Apemantus is unlikable, but are we missing a crucial point? I can not help but think Shakespeare is commenting on the fact that more people DON'T have a concept of reality. Apemantus refuses to join in the delight when Timon thinks highly of his false friends. Apemantus is aware of reality and no one wants to hear it. In my opinion Timon and Apemantus are VERY TRUE to life. In addition, the roll of Flavius is very touching. He can not dessert his master even when he knows (or thinks) Timon has nothing. Finally, I can not over estimate the mastery of Shakespeare when first Timon has money, he can not do enough for his so called friends and when he has nothing they dessert him. When Timon through fate gains a second fortune, he does not turn back into what he was, but rather he uses his 2nd fortune to destroy Athens. It is interesting that Shakespeare derived this play on the legend of 'Timon the Manhater,' and decides to take it a step further and show how he got there. And how much more realistic could Shakespeare have made this than by first showing Timon as a 'manlover?' Many people feel Timon should have somehow found the middle of humanity, but if he had, that would have defeated the whole purpose of this excellent play.

Timon of Athens has often been thought the work of a madman. Disjointed, polemical, irrational, and downright inelegant, many have thought that Shakespeare (or whosoever it may be) suffered a mental breakdown. This and more surrounds what I believe to be a tragic under-appreciation of this play. This play is NOT the story of a naively generous soul who eventually "faces reality". This is instead the story of a glorious Dionysian self-expender, who, upon realizing the cowardly conservatism of his so-called "peers", runs off to the wilds, to continue expending himself in body and soul. He dies on a curse, the climax of all the "evil wind" he has been sending out, the ultimate self-expension, his ultimate glory. The "tragedy" is the stone cold tablet that lies atop his corpse at the end, and the message of frugality it seems to send out, which is all too easily accepted by fatally declining cultures.

The British economist Alfred Marshall is one of the greatest political economists of all times and this book represents a deep effort to address in an orderly way the many social and economical issues that were at stake at the turn of the 19th to the 20th century. This way of addressing disturbing social questions is an Alfred Marshall trademark.

In this sense, his motto could well be the oft quoted " Natura non facit saltum" , which is Latin for "Nature does not evolves in leaps and bounds", and all things are going to be all right in the future but it will take some time untill they consolidate themselves into a coherent whole, where everyone in this world will have an opportunity to fully develop his natural propensities for love, companionship and free will. His view is helped by the many mathematical formulae he uses to illustrate his points of views, using differential calculus, due to his mathematical background. But the reader has not to worry if he/she is not proficient with this type of mathematical tools, because they are used only as a side-line to the text, which is dense and full of logical thinking in itself. Marshall, despite his mathematical background, didn't judge Mathematics as a fundamental tool to Politcal Economy.

Alfred Marshall is the most influential representant of the minimalist movement called Neo-Classics Economics (Stanley Jevons, Vilfredo Pareto , Karl Menger) and in this capacity is the most notorius proponent of what today is taught and learned in all Economics Schools over the world as Microeconomics, or the economics of particular competitive or non-competitive markets. In some way, he is both the inheritor of the Utilitarian theories of Jeremy Bentham, as of the economics doctrines of David Ricardo and Adam Smith. Also, one of the interesting facets of Marshall is that he had both John Neville Keynes (the father) and John Maynard Keynes (the son) as one of his pupils in Economics.

His knowledge of History and Mathematics is astounding and if he has not reached the status of Keynes or Adam Smith, this is more due to the constraints of the Victorian era in which he wrote this book, and the influences he received, than to any lack of deep understanding of economics realities, which were indeed recognized by John Maynard Keynes himself as fundamental to the latter development he gave to the so-called Dismall Science.

This is certainly one of the most influential books ever written, and served as a pathway to a lot of governmental measures adopted at by many countries to adopt its fiscal, employment and money policies to revert the forces of recession in the United States and Europe.

But this is not a book easy to read, given the fact that Keynes had to break a lot of prior misconceptions and fallacies of earlier economists. Also to be taken into consideration is that Keynes was especially keen of linguistics and got all the opportunities to present a very refined text with big literary value. What Keynes had in mind was to discard the useless precepts of free-hand economics, in the very tradition of early British neo-classical economists like Alfred Marshall and Stanley Jevons, and to energetically recomend state intervention to secure full-employment policies.

Keynes was instrumental in many important policies adopted in the first half of the last century and along with Adam Smith, David Ricardo and Karl Marx, deserves to step to the pantheon of the most influential economists of all times.

The other two reviews in this page are both correct but they review different books. Both reviews, however, appear under both items. I would, therefore, keep the ratings of each reviewer for each edition.
The Great Minds Series is indeed abridged and omits crucial material from Marshall's Principles. Marshall put all the mathematical apparatus in the Mathematical Appendix which is omitted in the Great Minds Series. The Porcupine edition is the unabridged edition of Marshall's 1920 8th edition of the Principles. The first edition was in 1890.
There is also a variorum (9th edition) of the Principles edited by C. W. Guillebaud, 2 vols (1961), which is out of print, but it appears as volumes 4&5 in Peter Groenewegen's Collected Works of Alfred Marshall,Thoemmes, 1997. There is also a great free on-line edition in the Library of Economics and Liberty.
The book is by all means a classic. It consolidated neoclassical economics and it was one of the most influential books on economics ever written. Indeed, the very change of the name of economic science from "political economy" to "economics", although not suggested by Marshall, is due to the influence of the Principles.
To understand Alfred Marshall (1842-1924), I would suggest to read John Maynard Keynes's "Alfred Marshall" essay in Essays in Biography (1933) or Peter Groenewegen's magisterial biography "A Soaring Eagle: Alfred Marshall 1842-1924", Elgar,1995.

I enjoyed this book and, unlike some others, was engrossed by the military expeditions of Alfred the Great. The author gives enough information that one can well imagine how incredible it was indeed to fight off the Vikings. Further, the defensive works and the creation of the burghs led to modern economic England, and this point is brought out quite well.

I bought this book on the recommendation of a professor of mine when embarking upon my senior thesis this spring, and though Abel's book did not end up playing a large part in my paper, I went back to this book after the term was over. This book was an easy, quick, and absorbing read, while informative, cohesive, and clear in its aims and the points it was trying to express. My only criticism might be a minor one -- As an English major, I am more interested in the ideological, cultural, or literary influence or views of an individual. Naturally, as a history professor, Abels interests were not the same as mine. He devotes a lot of the book to details of Alfred's battles with the Vikings, and at times, this failed to hold my attention. This criticism, as a result, is only the result of a personal preference.

Alfred, being the only English monarch styled "the Great", is a notoriously difficult subject to write history about. The Victorian cult of Alfred made him a marked man for the debunkers of the Dead White European Male focus of history. Attempts at an even-handed review of the Wessex king's life are fraught with peril.

This book does the job magnificently. Alfred the warrior, ruler, innovator, strategist, and moralist are all presented well within the context of a 9th century Anglo-Saxon world. Alfred the pious and Alfred the ruthless are both shown as parts of the same man.

While concluding that Asser's "Life" is a legitimate source of biography for Alfred, the author does not limit himself. Extensive use and comparison between versions of the "Anglo-Saxon Chronicle" is combined with what limited charter evidence survives, archaeological discoveries and an examination of coinage patterns to round out the picture of Alfred and his times.

One major strength of this work is its very careful comparisons of Alfred and his activities to those of predecessor kings of Wessex and successor kings of the Anglo-Saxons. Alfred's reign is not studied in isolation. How Alfred was both traditional and innovative in contrast to his father and brothers helps place Alfred in the context of his times. The legacy which Alfred left his descendants (to become kings of all England) is given special attention.

The author is circumspect in trying to get inside of Alfred's head. Alfred's physical afflictions are examined with an eye to a modern medical diagnosis and their effects on Alfred's personality. Using the marginalia in Alfred's own translations from Latin into the vernacular, the author tries to see inside Alfred the man - all the while cognizant that such a review is only speculative.

This is a great book and a very good read.

Hitchcock is my very favorite film director, and I think he's definitely one of the best, if not THE best, directors ever, so I was very disappointed to read this book which only skims over Hitch's life, giving some films barely a page or two. Taylor looks at Hitch's many movies with neither a critical or even historical eye--and many, many details are left out, and many facts are just plain backwards, especially that "Notorious" was based on an idea provided by David O. Selznick, and that "Spellbound" started as Hitch's idea (it was in fact the other way around, with the recently depression-cured Selznick wanting to make a film about analysis; in fact, in the few paragraphs afforded to "Spellbound," Mae Romm, Selznick's therapist who acted as an advisor on the film--and set--isn't even mentioned!). Donald Spoto's two books about Hitchcock, one a film-by-film analysis and the other a straight biography, are much better than this slight volume.

Highly readable and informative. Recommended for all Hitch fans as well as anyone interested in the history of cinema. Beyond the basic facts,there are lots of telling anecdotes and perceptive observations, such as Hitchcock's famous distinction between shock and suspense. My favorite Hitch quip: a father wrote to Hitchcock for some advice. After seeing Les Diaboliques his daughter refused to take a bath, and now after seeing Psycho she wouldn't take a shower either. "Have her dry-cleaned" was Hitchcock's cheerful reply.

This book was a really easy read. With tales of Hitch's career and providing insight - I believe - into the man behind the much misunderstood myth.

"Hitch" is mostly filled with tales from behind the scenes rather than an examination of Hitch's craft and technique. I enjoyed it because I think knowing the PERSON behind a picture will often explain his technique better than any self-proclaimed "expert" who will often take technical necessity and make it symbolist bull.

Well written and very interesting subject matter. A must for anyone!

Alfred the Great lived in a time where information is very scarce, very hard to come by. This book gives information about the only English monarch with the word 'Great' added on to his name. If you are just getting into this king, just beginning to study him, and what he did, this book is a good way to begin, if you can find it anyway. And although it was written almost a hundred years ago, it's still very readable.

The Elizabethan Renaissance: The Life of the Society by the renowned historian of Elizabethan England A.L. Rowse is a fascinating look at life in this most remarkable period. Unlike many "social histories" which deal primarily with the upper classes of society, Mr. Rowse gives equal time to all, from the Court and the landed gentry to the middle and lower classes, examining in great detail all elements of life. He presents a complete portrait of human nature of this time, with chapters on customs, religion, sport, food, sanitation, sex, and a noteworthy examination of the Elizabethans' obsession with what we now call "New Age," featuring such topics as astrology, witchcraft, sorcery, and alchemy.

It is a truly entertaining book, filled with facts and "trivia," that makes the Elizabethan world come alive. Although some passages can be rather dense--it helps tremendously to have at least a basic knowledge of the major personalities--it is a must read for anyone interested in the Elizabethan period.

This beautifully illustrated book shows a young child and her great uncle Alfred trying to understand one another through the Alzheimer's way of thinking. Although written for the child who notices their loved one is different, it can also help other loved ones learn how to respond to the quirkiness of Alzheimer's. It gives a gentle sort of peace as you go through the pages, reminding us that not all of the person is gone . . .just bits and pieces. I highly recommend this book for anyone dealing with Alzheimer's, not just children.

The viking invaders of Britain and Ireland in the ninth century, whom the English generically called "Danes," were not merely raiders but settlers who founded dynasties in Northumbria, the Orkneys and Hebrides, York, and Dublin that lasted for several centuries. All this activity produced an elaborate body of heroic litera-ture in Scandinavia and it is the northern viewpoint rather than the English that Smyth adopts. The first of the lot was Ragnar Loðbrok (which translates roughly as "hairy ass"), who perished sword in hand, according to tradition, in the snake pit of King Aella of Northumbria. Ragnar's ancestry is unknown and probably unprovable but his progeny claimed as their grandfather Sigurd Ring -- the "Siegfried" of the Niebelungenlied. His sons seized on their father's murder as justification for a retaliatory invasion but the process actually was one of economic and population pressure. Genealogy figures prominently in this study, since so many of the conqueror-rulers were blood-related. And what the monks of Lindis-farne recorded as pirate raids were, to the Norse, a well-organized campaign to occupy the fertile British Isles. This volume in the Oxford Historical Monograph series is a very readable treatment (supported by thorough footnotes and an extensive bibliography) of one of the main skeins of the history, language, and political tradition of England.

I know many things about seaways changing. I know about changes. I went through many changes in my life, but one change that has never occured is in my true love. Jim will always be my true love and when I read this book I can't help thinking of him. Jim, if you are out there, please know that I LOVE YOU!

I am a reader, no God. I am the earth, The Changing Seaway is God. Who know's more than me, the bride of such a wise tale. This is a must read. I read it to my wife and son, who is ill. I am not ill, but quite healthy. Now everyone knows.

The Changing Seaway, a classic, an honor to read. This is probably the best book of it's kind. Ignore other reviews that praise it. Destroy the reviews that destroy it. If this book was God it would have created the Earth. It is brilliant and so am I. For I know these things.