As one who was first shown the Northern Lights, alerted to a bull elk's bugle and introduced to Blue Flax (Linum lewisii) by Frank Craighead, one who was favored with the chance to rent a cabin from him facing the Tetons and enjoy many hours of conversation and dinners with him and his family, I feel qualified to say that this rare book, FOR EVERYTHING THERE IS A SEASON, is a portrait of the man as well as the biologist---there is nothing detached or dry in Frank's telling, but a thinly veiled almost poetic passion for the natural world he so intimately knows---and wants others to know as he does. For if you can love nature, you will want to save it; And I see that as one of Frank's primary goals. Yet he is generous, not hoarding, in his knowledge of secret sites where exciting biota interact: He could easily withold where and at what exact time of year one finds morel mushrooms or certain unusual flowers, but he doesn't. He trusts the reader enough to not harm what he discovers through Frank's book. A valuable, valuable read and resource. There could not be any better for that region.

For anyone who's in love with the land of the Yellowstone and the Grand Tetons, Craighead's book is required reading. What a joy to follow the changes of the seasons and the cycle of birth and migration of the area's animals with this knowledgeable man as a guide! Craighead focuses on weekly changes in climate and life, and each week is brimming with details of flora and fauna. I am constantly learning about my home, but this book isn't just for Jackson Hole dwellers - there are vivid photos on every page and extensive appendices for birders and amateur ecologists, as well as mammoth additional reading lists and a detailed index. Thanks, Frank.

Frank Navratil in his book on Iridology clearly explains to the beginner or advanced iridologist the importance of iridology as a diagnostic method. I have read many books on Iridology, I sincerely recommend this one. It has hundreds of iris photographs that are marked with various signs and there are also healing methods and lifestyle advice. Don't miss this one if you are interested in Iridology.

This book offered a clear and step-by step description of iridology and what can be seen in the eye. The author Frank Navratil BSc. N.D. shows how wonderful the art and science of iridology is and what it can reveal about our health. I was amazed at what the eye reveals.
One of the best books on iridology that I have read and I have read many. Certainly a must for any therapist working in iridology or anyone new to this fantastic science and miracle of natural medicine.

I can remember pouring over the pictures in this book,using my book light,long after the final lights out call from my parents. I traveled back in time, imagining dinosaur growls and prehistoric seashells. By day, I would wander the acreage on my Grandma's farm, scouring the weedy earth for the slightest hint of ancient rock or dinosaur footprint. I wanted my school-age children to enjoy the imaginative art of archeology and paleantology and immediately remembered my favorite book, Fossils: A Guide to Prehistoric Life. I was delighted to see that it was still in print with the same exciting drawings. I immediatley ordered my copy! I then decided to order a copy for my kids! This is a great book that will encourage your children to look beyond the video games and satellite channels and into the fascinating world of the ancient past.

This little guide is the best choice for beginners and children. Book gives the reader an idea about what a fossil is, where and how they can be found, and some information about major fossils. All the pictures are hand drawn illustrations, so that they are not very detailed but still OK for kids and beginers. (I liked it when I was young!)

My one year old loves the Frank and Joey books! He picks the Frank and Joey books out of the stack. He loves the combination of photos and drawings. His father is a big guy in construction like Frank. My two year old nephew and four year old niece also loved the stories when they came to visit for summer vacation. I logged on to Amazon to see if there were any additional adventures...

This book is funny from cover to cover; for myself and my three year old. Good natured fun, reminds me of Stan and Oliver.

The Journalism & Mass Communications Quarterly Review highlights:

"One of the many strengths of this book is Saltzman's writing style. Like good journalism, the writing here is straightforward and clear. The result is a book that is accessible to both students and others interested in film, Capra, the image of the journalist in popular culture, or any combination of the three.

"Academics will find it a valuable resource, especially if teaching a course that examines the image of the journalist, a Capra course, or even a film genres course. In the latter case, the book offers professors an ideal opportunity to supplement genre-based texts in an unexpected way. What Saltzman cleverly does here is show how the journalist, like the gangster or hard-boiled detective...navigates his way through the urban milieu and represents another version of a 'cultural middle man.' Further he elevates the "journalist genre" to the ranks of other, more recognized genres like the gangster or detective, replete with its own codes, conventions, characters, and cliches, and clearly explains how Capra and his collaborators solidified and refined them...."

"Lastly, do not overlook Saltzman's endnotes, which include interesting production notes, additional analysis, comments on and evaluation of his resources, and other useful information. In short, the book could supplement a variety of courses and is an important resource."

"The first book of the IJPC project, Frank Capra and the Image of the Journalist in American Film, sets a precedent of excellence in scholarship, writing, and readability, serving academics, students, and film aficionados alike. Its attractive design, including full-page stills, will hopefully be retained for future entries in the series...."

"Frank Capra and the Image of the Journalist in American Film" is the first publication of The Image of the Journalist in Popular Culture (IJPC), a project of the Norman Lear Center, Annenberg School for Communication, University of Southern California. For more information, please see our Web site [web page] Publisher: Norman Lear Center, USC Annenberg, 218 pages including 25 photographs.

Critical acclaim for "Frank Capra and the Image of the Journalist in American Film":

"A dandy new book that recalls an area of his moviemaking not often cited." - Howard Rosenberg, Pulitzer Prize-Winning Critic, Los Angeles Times.

"Here is real scholarship and original research presented in a wonderfully readable style. Joe Saltzman's book will be consulted for many years to come by film buffs and media scholars alike. I was hooked from the very first page." -- Leonard Maltin, Film Critic-Historian, "Entertainment Tonight."

"(This book)is indispensable to any student of the American journalist, the mythical as well as the real one." -- Loren Ghiglione, Dean, Medill School of Journalism, Northwestern University.

"Saltzman shows that we could reconstruct most of American journalism, at least as it existed in the middle decades of the twentieth century, through Capra's work. Saltzman convincingly demonstrates that the journalist in his films is the link between the private and public spaces of life - and that negotiating that gap between the heart and the mind, our souls and our jobs, the personal and the professional realms, is the challenge of journalism." -- Ray Carney, Professor of Film and American Studies and Director of the Film Studies Program, Boston University. General Editor: The Cambridge Film Classics Author, "The Films of Frank Capra."

"Although much has been written about Frank Capra's influence on American society, little of this attention has focused on Capra's treatment of that most foundational and fundamental of American institutions, the Fourth Estate. Joe Saltzman corrects that oversight with his carefully researched examination of
the depiction of the press in Capra's films. Saltzman's work, particularly his discussion of several lesser-known films by the director, is a significant contribution, not only to Capra scholarship, but to film and journalism studies." -- Richard R. Ness, Author of "From Headline Hunter to Superman: A Journalism Filmography."

"Joe Saltzman has written a lively and comprehensive account of filmmaker Frank Capra's contribution to the image of the journalist in popular culture." -- Howard Good, Author of "Girl Reporter" and "The Drunken Journalist," State University of New York at New Paltz.

In "Frank Capra and the Image of the Journalist in American Film, author Joe Saltzman looks at the colorful gallery of journalists created by director Capra and his writers who were responsible for much of what Americans thought they knew about their newsgatherers in the twentieth century. Capra's familiar "Stop the Presses!" images still focus our thinking today - the energetic, opportunistic reporter who would do anything for a scoop; the cynical big-city newspaper editor committed to getting the story first; the sarcastic sob sister trying desperately to outdo her male competition; and the morally bankrupt, ruthless media baron who uses the power of the press for his or her own ends. From 'The Power of the Press,' through 'It Happened On Night,' 'Meet John Doe,' and 'State of the Union,' Saltzman shows how the Capra films influenced the public's perception of who and what journalists are all about. an influence that continues to this day."

This is my favorite cookbook, and I have lots. The recipes are fast, easy, and taste out of this world. Being from New Orleans, and having tasted some of the best food in the world, Frank's recipes yield the best results I've ever had. This is a book everyone should have among their collection.

I have all of Frank Davis's Cookbooks and watch him everyweek on a local TV morning show. His recipes are precise and easy to follow and the results are magnificent. All his cookbooks have typical New Orleans food and he even tells you what is good to accompany main dishes.

I just want to begin this review by saying that this book is a need for any architect's library. The book Frank Gehry, Architect, provides a wealth of knowledge about the architect as well as the structures that he has created over time. Most pages in this book (and there are many) contain full color pictures, sketches, or descriptions about the structure and the architect. This book spans from Gehry's earliest projects to project underdevelopment. Projects range from structures to furniture, and even to art (sculpture like stuff). An aspect that I like most about this book is seeing Gehry develop his ideas and hone his craft. I should also add that this book also contains several models that were created for structures. I think this is essential because it allows beginning architects a chance to see effective model building techniques as well as different ways to convey a feeling which is essential for effective communication with a client. Overall, I would highly recommend this book for all architects and students.

a very interesting look into the life and times of Frank Gehry. Anyone ineterested in architecture or interested in increasing their knowledge of architecture and architecture's past must read this.

Frank Hatchett and Nancy Myers Gitlin have provided a thoroughly comprehensive guide to jazz dance. Whether enthusiastic novice or experienced jazz dancer, this book is a tremendous resource on the methodology of jazz dance. The unique expressive nature of Frank Hatchett's jazz style is captured and broken down, with detailed warm-ups and movements, truly helpful technique tips and anecdotes from the authors. The history of this unique style of jazz dance is documented, which is a great resource for those studying dance at the collegiate level. What I found particularly helpful is understanding the various elements of Frank's style, known as VOP, and becoming comfortable with now teaching this to my students. The book even has an introduction by one of Frank's star students---Brooke Shields! Nancy Myers Gitlin has done a great job collaborating with this dance legend to document this influential jazz dance style. I would recommend this book HIGHLY!

This book is every dancers dream. It is wonderful and very touching.

Why isn't this book published in english. This is absurd. Shame on you Birkhauser. Long live Zevi. Viva Italia.

This book is a good monography to have in one very small size book, almost all the project made by wright. all the buildings are presented cronologically with b/w pictures and a small text, some drawings follow some projects. The text made by Bruno Zevi, is also very interesting.One very important things about this book, is that it is in GERMAN & FRENCH only!

To anyone familiar with Frank Lloyd Wright's architectural designs, the fact that love of Japanese art, design and print work should come as no surprise. The book 'Frank Lloyd Wright and the Art of Japan: The Artist's Other Passion' by Julia Melch gives clear details of the influence of the Japanese on his thinking and creativity, both in narrative and in glorious photography and print.

Frank Lloyd Wright
Wright was born in Wisconsin shortly after the American Civil War. He studied in the late nineteenth century with noted architect Louis Sullivan, with whom he had continuing and occasionally strained relationship. Wright is probably best known in America for the design of the Guggenheim Museum of Art In New York City; more generally, though, he is known for a particular style of low-built prairie-style houses and institutional buildings, that utilised open-space planning, and often had an element of interaction with elements such as water (in fact, a perennial complaint of Wright buildings is that they leak!). Wright was an innovator in incorporating engineering principles into the design of his buildings to provide sturdiness and creative forms of support and room design. In Japan, Wright was well-known for his design of the Imperial Hotel in Japan, as well as other buildings, including private residences of many prominent Japanese citizens. His work in Japan did not extend much beyond the early 1920s, however, and even the Imperial Hotel was demolished in 1968. Wright himself passed away in 1959 at the age of 91.

Wright and the Art of Japan
This book was produced for the Japan Society Gallery of New York by Julia Melch. It traces early affinities and influences of Japanese art on Wright and his work, continuing interest including Wright's almost voracious collecting habits, and the final selling and distribution of his collection late in Wright's life.

'When Wright died at the age of almost ninety-two, he owed money to several Asian art dealers in New York, and there were six thousand Japanese colour woodblock prints in his personal collection, not to mention some three hundred Chinese and Japanese ceramics, bronzes, sculptures, textiles, stencils, and carpets, and about twenty Japanese and Chinese folding screens.'

Some of this collection remains as part of the Frank Lloyd Wright Foundation, but much had to be sold to pay debts, including tax bills.

Japanese art probably first came into Wright's sphere of creative influences with the World's Fair of 1893 in Chicago. Louis Sullivan had many books of Japanese design and art in his offices when Wright first joined the firm of Adler and Sullivan. This probably represents the earliest introduction. However, Japanese art was becoming widely available in American and Europe by this time, and Japanese principles were beginning to be introduced in novel ways to various buildings. Wright's first trip to Japan came in 1905, the first of many.

Wright became well-known in Japan, and entered a period he sometimes referred to as his 'Oriental Symphony'. During the time of his work on the Imperial Hotel, he gave an interview which showed his standing and mis-understanding in the Japanese architectural community:

Wright was not only a collector, but was himself a dealer of some standing. Particularly in Oak Park and the Chicago area, his designs for buildings would often include artistic recommendations that he would provide as dealer.

This lead to a major scandal, which Melch recounts in some (sometimes juicy) detail. Wright's egocentric way of viewing the world and attempt to 'get away' with various controversial practices of manufacture and transfer of art work.

'Wright was an immodest foreigner operating outside the guidelines of the closed community of Tokyo print dealers. He flaunted his money and exuded the thinly veiled bravado of the ace dealer. Prince were escalating, the stakes were high, and h is jealous rivals were no doubt pleased to take him out of the game. Revamping was a new technique, totally unexpected. Greed and anticipation of huge profits had made him careless.'

Wright left Japan in 1922, before completion of the Imperial Hotel. He never returned. In fact, he had few international dealings in art or architecture after this period. He longed for greater international acclaim and exposure, but save a few unfinished projects in Hungary and Baghdad, he had few foreign assignments, and none of note.

Disposing of the collection, both before his death and by his widow after his death, is a tale in-and-of itself recounted in the book. Trading with friends and other art dealers, auctioning off pieces individually and as collections, and giving gifts away reduced the collection somewhat, but Wright continued to add pieces throughout his life.

Julia Melch
The author, Julia Melch, has had a career devoted to Asian art. Educated at Smith College and Harvard University, she has worked at the Metropolitan Museum of Art organising exhibitions of Asian art. She is currently a senior consultant to Christie's, the famous auction house, specialising in Japanese art works.

This book is produced by Harry N. Abrams, Inc., which has a strong reputation, well deserved, for producing outstanding volumes of art. The colours are vibrant and attractive; the pages are firm and well-suited to the art represented. This is a reference volume, a great coffee-table book, and an interesting narrative read. Giving a perspective on both Frank Lloyd Wright and Japanese art of the late nineteenth and early twentieth centuries through the lens of each other is a unique perspective, well executed.

It's almost unimaginable that anyone could find something new to say about this protean figure of the 20th Century. And, in fact, another author, Kevin Nute, has also written in recent years about the architect's lifelong fascination with things Japanese. Yet where Nute concentrates on the Orientalist ideas and design concepts that Wright so readily and brilliantly adapted in his own work, Julia Meech turns her attention to a different--and darker--side of the architect's personality: his passion for Japanese prints and art collecting. As she tells it, this obsession (his print purchases often exceeded the money that he took in on architectural commissions) not only drove Wright into bankruptcy, but ensnared him in a debilitating scandal over the resale of "revamped" artworks to several of his wealthy patrons.

Wright, the driven, self-absorbed genius, is everywhere apparent in this fascinating, well-researched saga. But so is the conflicted man behind the famous persona. (This isn't to say that he emerges as a particularly sympathetic figure: Meech relates, for instance, how Wright helped organize a memorial exhibition following the untimely death of his Japanese mentor, the young and talented printmaker Hashiguchi Goyo. She adds, however, that no evidence exists to show that Wright ever owned one of Goyo's prints--a bit ironic given the high regard in which Goyo's work is held today.)

Equal to Meech's riveting account, I would have to say that this is one of the most beautifully-designed catalogs (it accompanies an exhibition of the same name at the Japan Society Gallery in New York City) that I have ever encountered. It is both lavish and tasteful, if that's possible, with gorgeous color plates and scads of rare photographs of the architect and his cronies, his places of refuge (including hotel suites and other temporary dwellings chock-a-block full of art treasures), and persons and places relevant to the story. For Frank Lloyd Wright fans already burdened by a surfeit of wonderful books, make room on your shelf for a fine new acquisition.