William Burroughs Jnr. was born to the predicament that all those in the wake of a formidable family history are. That is, one in which one must, to forge one's own identity, risk especially large strides to step from long familial shadows. Burroughs Jnr.'s ancestors cast not only long shadows, but contorted ones too. His great grandfather founded the Burroughs Adding Machine Company, the double-edged sword of inheritance then laid at the feet of subsequent generations; at age four his father, iconic hophead and avant-garde litterateur William S. Burroughs, accidentally shot his mother in the head during a drunken presentation of William Tell. (She died. Burroughs Snr. was charged with criminal imprudence and subsequently decamped for South America and Tangiers, the latter being where he wrote NAKED LUNCH, a love-it-or-hate-it binge of surreal imagery that has since assumed mythic proportion in counterculture lore.) By age eighteen he was under the care of his paternal grandparents in West Palm Beach, Florida - and injecting methamphetamine daily. It is here that we rendezvous with the narrative of SPEED.

Superficially the book recounts the 1966 trip to New York made by Burroughs Jnr. and his needle buddy, Chad ("His whole attitude was full of fear and I could see that right off, and I always respect scared people who know what they're up against.") Chad comes off as one or two shy of the full compliment ("We turned a corner and he kept on going straight and didn't answer when I called to him.") though as a sidekick I think he would have been without peer. Appropriately he provides the book's comic highlight, a bout of grand paranoia during which he makes the protestation familiar to anyone acquainted with that state of being: "Every direction I started to go, he'd say, 'Oh, no! You're not getting me to go THAT way!'"

Accompanied only by their wits and an accommodating moral code ("I never rob anyone unless they die or go to jail which leaves me plenty of room, after all. I remember one time I boosted a guy that was only in a coma, and when he came to, the atmosphere was pretty strained for a while.") they accept hospitality where they can, occasionally with squares ("They wondered in stage whispers what was on my mind. I said, 'Carnivorous albino badgers, the size of a boxcar,' and they shut up.") but mostly with fellow chemical crusaders, amiable folk who wished the trivial and mundane would let them be so that they could get down to the real business of transcending reality ("I got on the phone to another session across town and tried to get them to come over. But they were all in the midst of God and didn't feel like driving.")

Considering what must have been a fairly skewed appreciation of reality, his sensibilities nevertheless appear attuned to some degree. At a gas station he lingers to savour the phonetics of "Gargoyle Arctic Oil", and later falls to the spell of a prodigal jazz musician ("But one morning I woke up just as it was getting possible to see and he was talking through his horn real quiet and conversational, and I think I never heard a more healing sound. I wish I knew his name so you could watch out for him."). Still, he's not above it all so much as to be immune from a spot of arbitrary rumination ("I sat still for a long time thinking about cathedrals.") or the inevitable rush of hyper-self-awareness ("'On the way over, I got to thinking about my ape man heritage for some unknown reason and I felt pretty hairy by the time we arrived.")

Substance abuse and the law being mostly antagonistic fields of interest, it's not long before the fuzz show up ("I was standing there on the curb dreaming revolution when a cop came over and said to break it up, fella. There was only one of me, but I broke it up anyway and went down the street in a well-rounded way.") Inevitably Burroughs Jnr. is soon in the wrong apartment at the wrong time. A stint or two at the county hotel follow. Against the narrative of the street these passages betray a mind grateful for respite and reflection ("Up and down the tier, the Puerto Ricans were banging out Latin rhythms on bedposts and bars and singing popular love songs...I felt sleep catching up to me as Gestalt shifted and spaces between the bars floated free...It was complex now, maybe thirty captives in separate cells listened hard and patterned together as my cellmate's tears and prayers fell unconsciously into time. Every bit of light went out, shapes ran melting through the dark as the rhythm slowed and stopped, and the last I heard was the click of the hack's heels as he passed on the catwalk and the kid finished, 'forgive me...'")

Mainlining a drug that narcoleptics use to stay awake doesn't bode well for the pursuit of slumber, and soon enough Burroughs Jnr. decides that for the sake of health, sanity, etc., a return to Florida is in order. At book's end, standing out front of the grandparent's house, he signs off in typically humble fashion ("Then I took a deep breath, smelling the jasmine, and I went inside.")

The prose is breezy, uncomplicated, a loose freeform arrangement that occupies the space a foot or two off the ground. Commas are applied sparingly, the effect being a pitter-patter rhythm that never slows for heavy discourse or pedantic application of fact. There's no danger of cutting yourself on any severe literary edgings here.

Highly recommended, but as the reader is often asked to meet the author half way, as it were, I'd hesitate to push this title upon anyone but those on amiable terms with the subject matter (though a passing interest may suffice).

William Burroughs Jnr. died in 1981, aged 35, of acute gastrointestinal hemorrhage associated with micronodular cirrhosis.

****stars

READ THIS FOR YER OWN GOOD...

_Speed_ was William S. Burrough's Jr.'s (not to be confused with his father, the "real" WSB) first novel. It's hard not to compare it to _The Basketball Diaries_ on the basis of some trivial and obvious similarities (_Speed_ is about the author's adolescent experiences as a methedrine addict in NYC) but he's going somewhere very different from where Carroll was going. His vision is colder and more distant than Carroll's, less sentimental. Yes, it IS possible to be less sentimental than Jim Carroll. WSB doesn't (didn't, i should say) write at all like his father; his prose is clean and spare, his characters are human, etc. Forget WSB sr. and Jim Carroll; WSB Jr. was enough of a writer to be considered on his own merits, which are significant. A very worthwhile book, as is its sucessor, _Kentucky Ham_. A third novel, _Pakriti Junction_, apparently was too fragmentary to print at the time of the author's death.

This is a really fun little graphic novel, loaded with great artwork and a decent storyline. I wouldn't recommend it as a first-time read for anyone unfamiliar with the X-Men - taken out of context from the overall series - it might be a somewhat confusing introduction. But for those who know the characters and have a general idea of what is going on, believe me, this one delivers the goods.

In the past, I have generally hated the X-Men's adventures in the Savage Land, or whenever they would go to outer space or get into really super sci-fi type situations. I always felt the X-Men stories worked much better when they were grounded in very normal, down-to-earth settings, because it made the X-Men themselves stand out and seem that much weirder. But this book is an exception to the rule. It's a big, crazy, larger-than-life adventure, part of which takes place in the prehistoric Savage Land, and part of which gets hyper technological, and it works out OK.

The artwork is tough and gritty. Jim Lee draws a mean, shadowy, ugly Wolverine who kills lots of villains and looks like he needs to take a shower very badly.

And Lee's women - whoa. This book contains more gratuitous cheescake shots than any X-Men graphic novel I've seen, but it's all very pleasing to the eye. Especially the scenes with Rogue, whose bare skin can kill anyone she touches and thus, understandably, was always the one major female character who kept herself completely covered at all times. This was the first storyline in the series where they finally drew her as a scantily-clad, sexy heroine. A real treat for male Rogue-fans who'd been reading the series patiently for years.

This storyline also chronicles the transformation of innocent young Psylocke into a mature woman trained in the art of Ninjitsu, and she becomes an ultra-violent, sexy bad girl. And then there are cameo appearances by other Marvel superheroes, namely Captain America (from the Avengers series) and The Black Widow (from the Daredevil series). All in all, it's a satisfying, action-packed, well-drawn, crowd-pleasing comic book in trade-paperback format.

X-Men Visionaries Jim Lee trade paperback Is a great X-Men graphic Novel by Jim Lee! the book reprints Uncanny X-Men issues #248,#256-258,#268-269,#273-277 are reprinted together in this wonderful Marvel book collection! This book contains the early Uncanny X-Men issues that made Jim Lee famous! All the issues are written by Chris Claremont with artwork by Jim Lee. These issues lead to the popular Claremont/Lee colaboration on X-Men#1 in 1991. Most of the artwork was done by Jim Lee. Uncanny X-Men #273 was done by various artists. Buy this book if your fan of X-Men and Jim Lee. Highest Possible Recommendation!

This is a great X-Men: Visionaries Jim Lee graphic Novel! This is Jim Lee's early work on the Uncanny X-Men series! This Marvel Tradepaperback reprints Jim Lee's early years when he was the comic book artist on Uncanny X-Men. In this book reprints Uncanny X-Men#248,#256-258,#268-269, #273-277. His early work on the Uncanny X-Men in the early 1990s, lead to to the critically aclaimed Clarmont/Lee work on X-Men #1 in 1991. All the Uncanny X-Men issues are written by Chris Claremont. Most of the artwork is drawn by Jim Lee. Unncany X-Men#273 is drawn by various artist. Buy this book if your a big fan of X-Men and Jim Lee. Highest Possible Recommendation.

Happened upon this nifty book in the counterculture section of my local bookstore and bought two copies.

The author takes us on a spirited, insightful sojourn through the backalleys of America's true icons and offers up zillions of interesting sidetracks along the way.

He doesn't mince too many words when disclosing the nitty gritty opinions that each of the protagonists has of one another - this makes for a more interesting read than many works which simply glorify all their subjects.

Additionally, somehow the author has an uncanny finger on the pulse of what we really want to hear about on the way, such as the piece on James Dean - his significance and his death. The section on Hunter S. Thompson is a riot!!!

This is a nice addition to your psychedelic editions.

Next to Jay Stevens' classic "Storming Heaven" and Don Snyder's wonderful photographic essay "Aquarian Odyssey," make room on your bookshelf for Peter O. Whitmer's seven-dimensional biography "Aquarius Revisited." Combining well-written history and targeted recent interviews, we meet seven of the elemental forces who shaped the counter-culture of the Sixties as the outrageous, facinating, and above all intelligent souls that laid the groundwork for the last great movement our century will see. William S. Burroughs; Allen Ginsberg; Key Kesey; Timothy Leary; Norman Mailer; Tom Robbins; Hunter S. Thompson: some are gone, some are still with us, but all come together here to make a biography not only of seven people, but of a way of life, thought and hope.

"Conversations With William S. Burroughs" might be more than most readers interested in the Beats might care to read. However, if you find the life of a writer as intriguing as his writings, you'll love this.

As a student of the Beat style (particularly how Kerouac merged poets into music), I was curious to learn more about the people of the movement.

"Conversations With William S. Burroughs" feeds into the pretensions of Burroughs' personality. There's the obvious cross-pollinating in here, showing how Corso, Ginsberg, Ferlingetti, Kerouac all fed each other compliments. Owning a lot of the pop-philosphy which eventually ruined the Beats... discussing issues he didn't care about in 'real life'. It is hard to tell what Burroughs finds interesting, and what he really believed in.

This isn't the best you'll read on Burroughs, but it is essential to get into the full look of the writer's pensive life. He seems more introspective than his counterparts, but just as politically-minded.

I recommend "Conversations With William S. Burroughs."

Anthony Trendl

Who can't love a book in which WB tells all?

A great, thought-provoking look at non-profits with helpful, action-oriented examples and clear writing. What I like about this work is its focus on building organizational capacity - both as funded and prioritized by the organization itself and through foundation support.

The authors provide the insight that non-profits all too often focus exclusively on expanding their program offerings without providing for the needed organizational capacity to really pull them off. As a non-profit manager, it helped me to think through the capacity challenges we face everyday - and to think of how to create opportunities for both management and foundation support for capacity building.

The ideas they espouse will change the world of non-profits by helping to make them financially and structurally sound, while achieving high performance mission-driven results - if we listen!

A great book! Read it! Enjoy it!

This is the best treatment I've seen of the barriers nonprofit leaders have in implementing high performance strategies in a nonprofit organization. The authors rightly point to the convergence of the bias of funders and nonprofit leaders to only invest in programs and not organizational performance improvement. They present a well-researched case that this mono-focus on investing in new programs and not the structural needs of nonprofits results in less than desireable outcomes. Our intention at the Center for Excellence in Nonprofits is to use this book to help educate the philanthropic community and nonprofit leaders in the need to better balance the altruistic urge to use every penny for client service with the need to develop the internal capacity of these organizations to continously improve their deliver systems.

This dear book gives a carefully thoughtout and inspired interpretation of the Twenty Third Psalm in the context of the shepherds who lived among the Syrian hills over 2000 years ago. The beloved Psalm comes alive anew as one understands the words as they applied to life then and even now. The spiritual meaning of the passage is explained and a wonderful sense of the Father's care for each of us is unfolded. This is a very worthwhile book for any sincere student of the spiritual meaning of the Bible.

The publication noted 1904, 1905, 1906, and 1911, by The Pilgrim Press, Boston, is by far the best publication. Not only are the main title and the verses of the 23rd Psalm within the book in a beautiful red script, but especially interesting "Author's Notes," beautifully giving more information begins on Page 43 and continues through Page 59. The 1904 book does not include this.

Talking With Artists volume.3

This book is pretty interesting. It is about artists who share what they like to draw and about their lives. They are asked questions such as, "Do you have any kids or pets?" The illustrators show some of pictures that they drew when they were children. They also show how the children illustrators got their inspiration to draw.

I liked this book because it was neat to see how good some of the kids are at drawing and then to see them draw as they are older. Also that was cool it showed how to draw pictures in the back of the book. I recommend this book to people who are just stating to draw and people that want to read an interesting book.

I got this book at the library for my children, but I think I enjoyed it as much as they did! (I plan to buy a copy of my own!) Instead of a cool, impersonal presentation of artists and their work, this book provides a refreshingly personal view. The artists talk about their childhoods, how they spend their days (the answers are fun & honest!), their families, and best of all, they give us peeks inside their studios. I don't know about you, but I love seeing inside of an artist's private workspace! It's like a glimpse inside his/her mind.
The styles of the artists are very diverse and they use many different techniques that kids and adults alike would like to try out. I highly recommend this book!

Mardo Williams, a long lived man in his own right & an Ohio newspaper reporter, has written a good biography-cum-memoir of his mother's 110 years of life before electricity to seven decades later, flying in a plane.

From his career as an observer of daily life, Mardo Williams gives us a particularly detailed & fascinating glimpse into the life & times of early America. Liberally sprinkled with philosophy, humor & tragedy, MAUDE 1883-1993 is indeed a fine tribute to one ordinary woman's extra-ordinary spirit.

This is an important book.It reminds us of what we've lost. Read it and pass it down a generation. Joanna Wolper, New York City

MAUDE is a vivid chronicle of life in the first half of this century. Mardo Williams' writing is exquisite, his reportorial style is pithy and wastes not a single word. On both counts this book should become an important reference manual.

Dear fellow readers: I recently read Schaum's outline of feedback and control systems. This book was recommended to me as a text that will give me a clear understanding of control systems. I am sorry to say that this book did not meet my original expectations. The basic concepts are very well illustrated in the first two chapters, but then it dives into explaining the mathematics of control systems (differential equations, z-transform etc.). They're simply too much emphasis of the vocabulary, which is down right confusing. The book also fails to give a clear picture of how different design methods (e.g. Root-Locus) can be employed in a real situation. It is my recommendation that this book should not be the only source of information, and must be used in junction with another control book. This statement holds true especially for university students. In a positive note, there are many examples that can help the reader gain insightful knowledge in this subject, and it also does a good job giving an overall picture of how different concepts relate to each other. These alone are good enough reasons to have a look at this book when studying control systems.

I'm currently taking a Feedback Control Theory course at the undergrad level, and I think this book is an excellent exposition of classical control theory. Our text for the course is Feedback Control of Dynamic Systems, written by people from Stanford. Schaum's Outline actually has more *theory* than the textbook we are using. It eliminates all of the frills and pretty colored diagrams in favor of exposing everything an undergraduate would have trouble with. And for those people who think the emphasis is only on problem solving, this "Outline" has more mathematical proof than the book from Stanford I just mentioned! I highly recommend using this book to get off on the right foot in control systems, whether you are an engineer just learning the material or an undergraduate; it solidifies the foundations of the theory so that practical problems will come more easily. Also, it is a practical book as well.

I only bought this book after I went through undegraduate control and digital control classes. And after getting very fragmented knowledge of these disciplines, this book was very good in helping me sort it out. Yes, if you don't know a thing about control theory or don't have basic math background, it probably is hard to grasp without any other sourses. But if you have some basic understanding of the subject, then it is a very good review and reference for the classical control theory. I used this book for review before taking a PhD preliminary exam in controls, and it helped a lot. Now I am using it for the same reason for the job I just started. I like the way it describes digital control theory in parallel with the continuous-time controls, which is the best way to understand the discrete-time tools, instead of taking a whole other class starting from scratch. Constant examples to illustrate the theory are very good, so are the excersises. Mind you, this book doesn't go into details like some 800pp. volumes but it doesn't leave out anything important either. I highly recommend this book to undegrad and grad students, as well as a reference for the engineers.

While the book is an interesting and entertaining read, most of it is untrue and horribly researched. The one star review lower on this page got it right. The facts that Mr. Allen gave as the boy's identity, his father, and where this all happened are all dead wrong. Nothing ever happened in the town or house that he said it did. It was apparent that Mr. Allen did minimal digging into the subject and just took what he found and threw it on the page with nothing to back it up with. What's even odder about this is how easily the real information(from the "Strange" Magazine)was found by that reporter. That Mr. Allen didn't take enough time to see that what was in front of his face was horribly wrong and what was right was not hard to figure out. When Mr. Allen was even contacted by the other reporter, he seemed to not care or answer any questions as to why he didn't go further to find the real truth. Everything he has stated about the boy and the location, is all wrong. Even the possessed boy himself stated that he never lived there and didn't know why people thought that. While the book is an interesting read, it can only be categorized under 'fiction', because that is what it is.

When I first read this book in its previous edition, I, too, was impressed with its supposedly accurate and dispassionate account of a true-life exorcism. That was before I read the extensive "Strange" magazine article debunking the case, which shows up the shoddy lack of research conducted by Allen. (In fact, Allen ends up looking like the Erich von Daniken of exorcism scholarship.) "Strange" magazine's investigative research discovered a whole lot that Allen apparently did not (or did not wish to reveal), such as the fact that the case did not take place in Mount Rainier, Maryland, as press reports stated, and the fact that the boy's father did not believe his son was possessed. The "Strange" magazine researcher not only tracked down the identity of the "haunted boy," but interviewed former neighbors, friends, and classmates -- basic research that Allen failed to do. The actual facts are quite different from those claimed in Allen's highly sensationalized and fanciful account.

I have always wanted to tell this story someplace, and here seems as good a place as any. I swear that what I am about to describe really happened. It was pretty scary.

Although we now live in Pennsylvania, my husband and I used to live in St. Louis. We know where the Alexian Brothers Hospital is and some of the other landmarks in the book. When this book came out it was released in St. Louis first, before it had a nation-wide release. I purchased the book with the intention of sending it to my father in NY State as he had liked the movie The Exorcist.

The first night I read 1/2 of the book. The following day while cleaning the livingroom I heard the distinct sound of rapping and/or scratching coming from a corner of the room, up near the ceiling. My husband laughed it off as either a mouse or my over- active imagination from the book, but later that night he heard it too. We had never in over 10 years had a problem with animals or mice in the walls, etc. In the book...the possession starts with rapping sounds.

That night I read the rest of the book, although by this time I was a little frightened. The following morning my mother in NY State called to tell me of an odd occurrance. The phone had rang the day before and when she answered it the person asked for "Sadie", my mother's name. When she said, "This is Sadie" the person started talking, according to my mother, "gibberish". She couldnt understand what they were saying or even if it was a male or female or what language they were speaking. When she asked who it was the person stated "Emily" which is my name. My mother said, "This is Emily, my daughter?" to which the person said, "yes" and then started speaking gibberish again. My mother hung up.

What is odd is that the phone number at the time was listed only in my father's name and I hadnt lived at home for almost 10 years. How did this person know BOTH of our names?

Because this freaked me out even more, that day I wrapped up the book and sent it to my parents. I didnt hear anything about it until about a week later when I asked my mother if she had the book, she said she did, and that my father would thank me for it but he wasnt at home. I asked where he was and she said that he was at the hardware store buying mouse traps as "We have heard scratching in the walls for a week now, so we must have a mouse."

This incident happened about 10 years ago. Nothing else happened after that, my parents never caught a mouse, the scratching stopped, and the book appears to be lost as I havent seen it when I have been over there. But it was very odd when it happened.

So...read the book, it is a fascinating story. But if anything odd happens to you or your family, please write a review and let me know. Thanks.