This book is a very technical, heavily footnoted, treatment of the GREEK auditory structures of several Pauline Epistles. The author does a nice job of initiating the reader to the oral nature of preliterate people. He walks the reader step by step through literary devices used by Greco-Roman, Septuagint, and first century writers to catch the "ear" and give structure to the hearers. He defines the categories and controls for the devices used and then applies them to several of the Apostle Paul's New Teatament letters.

As a relitive novice in this area I must admit the introduction created an expectation that went unfulfilled in the application to biblical material. First, many of the "Readily Apparent Oral Patterns" were simply not apparent to me. Many of the "patterns" seemed unnatually forced and complicated. One wonders if Paul would have understood let alone planned some of the arrangments expressed. Second, Six of Paul's epistles (granted they are debated in some circles) were not even addressed by the author.

All in all the book was a good introduction to orality but it left me expecting much much more.

I just recently caterered my husband's 30th birthday party with a Scottish theme. I found "A Little Scottish Cookbook" to have well laid out traditional recipes that were easy to prepare. However, after buying a few other cookbooks on the subject at the time, it's pretty standard. If you're looking for the standard bill of fare in Scottish recipes this is it.

Paul Ferrini... hmmmm...
When I read something and I know it to be Truth - I recognize it - I feel it. I did not have that with this book totally. It comes close to the Truth but I feel it is missing something.

In the first two chapters I observed Mr. Ferrini was doubtful about communication from soul.
In the chapters where answers he gave to questions from people who submitted them on his website, I observed that Mr. Ferrini talks about Love but communication is "colored" with his fear(s) - this made the graphically communicated ideas close to Truth, but I sensed it was missing something. Therefore, the ideas could create more confusion (Mind communication) than make clear (Soul communication).

With love

To paraphrase A. S. Byatt, Leavis shows us the terrible, magnificent importance and urgency of English literature and simultaneously deprives us of any confidence in our own capacity to contribute to, or change it. This book is a classic example of his style. While Leavis's lack of equivocation is still thrilling, so totalising are his views that we are often left wondering if we even deserve to be thinking about the same issues. The problem with Leavis is not simply that he took a false position with regard to the relationship between culture and literature. The problem is that he, like Matthew Arnold before him, failed to acknowledge the ideological basis for his vision. Despite having aesthetic values which were clearly ideologically-informed, they both treated these values as if they were non-ideological. They saw their aesthetic choices as facts, necessarily ideology-free and non-negotiable. Arnold can be forgiven for such a view, living in the nineteenth century. For Leavis it was a luxury. For us, it is indefensible.

Throughout his life, Leavis steadfastly refused to defend his critical standards because he did not see them as choices which needed defending. Yet a defence of the Leavisite criteria - something which will make this book more meaningful to contemporary readers - can actually be mounted, and John Casey provides one in 'The Language of Criticism' (1966). This defence does not suggest Leavis's views are as unarguably true as he imagined them to be. Rather, it articulates the implied theory of art which underlies them, and thereby opens them up for serious debate: something which Leavis himself was never courageous enough to do.

Book is well organized and provides a good summary of one man's experience. It is not however, the last word on all aspects of loading black powder cartridges. A beginning black powder loader will find helpful information on all aspects of loading black powder cartridges. The book leans heavily towards .45 caliber but the information is equally applicable to .38, .40, or .50 cals. The book recommends many specific products and provides addresses from which the reader can order. Altogether, a valuable reference that even experienced shooters will find enjoyable.

If you read City of Glass and Ghosts, read The Locked Room. There is no point in stopping now, but do not expect anything to be cleared up.

Back when I read the New york Trilogy the books were sold seperately and therefore I have so far reviewed each book under its single title. If you own this one, you probably bought it with the other two so you might as well read it.

Remember, it will not answer any questions, but it is interesting like the first two books of the NY Trilogy.

Dear Readers,
I bought this book before going to Botswana Summer 2002. This book was useful, but most of the phone numbers are incorrect since the govt. has not completely switched over to 7 digits from 6 digits. It did help me go on vacation while there and gave me some good ideas of what to do. The maps are rather inadequate also.
EAC

LP's Greece guidebook is great, for phrasebooks I'd say stick to Rough Guides. RG's all-alphabetical organization is far more intuitive. That said, either phrasebook is a good companion to travel, but you'll get a lot more out of it if you take a basic classroom or tape course to learn a bit of grammar and pronunciation (both a bit hard for English speakers), as well as to get used to reading the alphabet (not as hard as it looks).

I thoroughly enjoyed the book, but descriptions such as "sane" referring to Lord Byron seem a little generous when applied to the Lord Byron written about by so many other respectable authors. The biographical information contained is rather extensive considering the book's size, and all of said information is accurate as far as my studies have shown. Altogether the book is an informative and enjoyable read, but the author's view of Byron seems a little too naive. --C.Dola

The writing was magnificent in its prose, but very difficult reading. I found it hard to get absorbed in the actual life of Cezanne - and maybe it's because his was a relatively uneventful life, so it had to be elaborated upon - and sometimes felt as though I was actually reading a biography of Zola. The style of inserting massive passages of quotes just threw me off a bit because just when it felt like I was flowing with it, there came another big, long passage from the sources. I can understand that there was a lot going on all AROUND Cezanne during his life, but I would have preferred to get more into his mind instead of trying to explain things through others' experiences at that time.