Having just read Saravejo Blues - a book that forces one to face the horrors of war - I returned to Requiem for a Woman's Soul - an even more horrific look at the missing of Argentina - the torture and imprisonment. This is a remarkable book that forces one to recognize the horrors humanity is able to inflict on fellow humans - and because of the concreteness, the personalization of the torture, there is no way to escape the message of the book. It should haunt you for years and demand action even though all action seems inadequate.

A good through book on environmental ethics. Taylor has outlined his anthropocentric view of environmental ethics. He has been complete and thorough in discussing quite a few key issues and in answering possible problems with his theory. A good all-encompassing theory that is much needed in environmental philosophy.

While ecological restoration is undeniably a valuable part of the growing "new" conservation movement, many of its adherents have been somewhat reluctant to look at the social side of their work. This book does a nice job of that. Several of the authors' contributions provide unique views of activities that many of us in the conservation movement take for granted. The editors' pieces (Gobster and Hull) are excellent and thought provoking. The philosophical works in the volume, though wordy and, at times, unnecessarily academic, are useful discussions of arguments we have been debating for years. Finally, a chapter by Dr. Helford, while a nice bit of ethnographic writing, just plain pissed me off, but I can't help to think he is on to something and may be right. I just am not ready to accept his ideas. I think that reaction sumarizes my feelings about the book. Maybe we in the conservation and restoration movements aren't ready for what some of these people in this volume are telling us. If you consider yourself an ecological restorationist or just a conservationist, you owe it to yourself and to these authors to read this book.

As the author of The Christmas Box, I found the parody irreverent at times but, on the whole, a lot of fun.

This short book is a good introductory critique on the New Perspective view of Paul (Sanders, Dunn, Stendahl, et al). The book is short and uncomplicated so that the average layperson can understand what the New Perspective teaches and what the criticisms are against it. Stuhlmacher is a German moderate evangelical and generally holds to the traditional Protestant understanding of justification. However, I do have some reservations on some of Stuhlmacher's views. On page 62, he states that the "distinction between 'imputed' righteousness...and 'effective' righteousness...cannot be maintained by Paul. Both belong together for the apostle." Thus, Stuhlmacher is blurring (I assume unintentionally) the line between Trent and traditional Protestantism on justification. Also, he takes the "re-creational" view of justification (p. 73). However, he does maintain that the Final Judgment for Christians "will determine not their salvation or damnation but only their position in the kingdom of God and of his Christ" (p. 69). Thus, he separates himself from those who promote a nomistic "Gospel" that is being preached popularly within "evangelical" circles today. Finally, Donald Hagner's contributory essay (chapter 4) is a must read. Hagner examines the New Perspective and sees whether it has Biblical foundations (which it does not). Overall, a good book critiquing a movement that has influenced a significant section of Christianity today.

This thin volume is actually a rare...and I mean rare...limited edition hand made book. In the late 1970's, an east coast artist began an experiment of creating exciting small book editions using old letterpress techniques and colred inks. The problem was that these books, in tiny editions, fell through the cracks and were sold as ordinary trade books. Well, these books are back with fresh new bindings. The artist was Paul Woodbine, who is now a nationally known printmaker called Dore, and the signitures were found by Dore's aunt in a storage space. If you are a graphic artist, printing enthusiast, or enjoy Japanese haiku poetry, you might want to snatch this nice little volume up quickly before it disapears again for another 25 years.

COVERS A WIDE VARIETY OF OUTRAGEOUS CASES,WITH REWARD AMOUNTS RANGING FROM THE SMALL TO ENORMOUS.......PROBABLY THE MOST SENSELESS MURDER COVERED IS THE MASS MURDERS OF SEVERAL EMPLOYEES AT THE RESTAURANT OF A TEXAS MALL..........THE WRITING HERE BY MISS COOPER IS PRECISE AND TO THE POINT,YET SHE AVOIDS THE LURID ''TRUE DETECTIVE'' APPROACH IN THESE CAPSULE SUMMARIES OF UNSOLVED CRIMES......RECOMMENDED.

This book provides those who are more likely to have believed the Harlem Renaissance to be entirely literary and entirely Harlem-centered with evidence of the all-encompassing scope and international import of this crucial, modern, blackened artistic surge. The exploration of black identity and construction of black nationality called the Harlem Renaissance is insightfully revisited through the social and artistic problems enacted in the works, within the voices, and upon the bodies of protagonists: Josephine Baker, Paul Robeson, and surprisingly, Orson Welles. This book is a fine complement to books which focus on literary-hitsorical aspects (such as David L. Lewis' _When Harlem was in Vogue_) and those which focus on music such as Angela Davis' _Blues Legacies and Black Feminism_ and Albert Murray's _Stomping the Blues_). It is a a fabulous expansion of the artistic territory encompassed in black art. Maya Angleou has said: "I am human, and therefore nothing h! uman can escape my grasp." I believe that black art has languished too long in the storage bin where fads and fanices go to die. _Black Rhapsodies_ rescues the Renaissance from this fate by positing black art as a philosphical stance, therefore attainable in varied ways throughout the post WWI world--not as the exotic and undisciplined, irregular expressions of primitive black jungle souls on the drum-pulsing streets of 20s Harlem. I couldn't agree more, and I hope that the idea that black art is both a real category and a complex one full of contadictions is adopted in the teaching of the Renaissance.

My one complaint is minor and may stem from my own unfamiliarity with the indexing system of books on art. I found it difficult to locate quickly the visual art being described in certain passages. If there were a more convenient way on idexing the art or of expaining the system to the novice reader, it would be appreciated.

Hans Dieter Betz's commentary on the epistle to the Galatians, which applied the study of ancient Greco-Roman rhetorical forms to the letter, has set the tone for Galatians scholarship for the past twenty years. The few negative early reviews were swamped by the wave of acceptance and the application of Betz's methodology to much of the rest of the New Testament. Some critique and dissent have trailed along quietly over the years, and have begun to grow recently. Kern's work is the first book-length attack on the Betz movement. Though it reads a lot like a dissertation in places (this is not light reading), Kern has built a solid collection of arguments against Betz and his followers. He has seriously called this type of rhetorical analysis into question. In a positive vein, Kern points toward toward the narrative patterns of the Hebrew Bible as a more likely and helpful backdrop for reading Paul than the ancient rhetorical handbooks. Those who have bought into Betz need to face Kern's critique. Those who find value in Betz's work, but are troubled by its ubiquitous influence, will find a very helpful corrective here.

Mr. Kendall does an excellant job in his research and his theories, but he is a tad too repetitive. He gives terrific analagies, but could have consolidated many of these and made easier to read. Some places are tedious to read. but the subject matter is so interesting that you plod through and are never disappointed. Great theories and his research is incredible. I only wish there was more DNA research available for this book. Great book.