Written about a time and place which will never return. The translation by Frans van Rosevelt is excellent. A short tale about the Dutch East Indies.

The John Day River is one of the hidden gems of the northwest. Located in the desert canyonlands of Oregon, northeast of Bend, it offers boaters multiple trip options, including an 85 mile stretch uninterrupted by roads or bridges, which makes an exquisite 4-6 day canoe, kayak, raft or driftboat trip.

Art Campbell's drift and historical guide is the comprehensive John Day guide. It provides detailed maps and descriptions of every section of the river - but also a fascinating account of the history of the region, along with historical anecdotes for each stretch of the river. The region was briefly populated by ranching communities 100 years ago, but has returned to primarily a state of wilderness, with a small amount of ranching remaining. As you drift past side-canyons, it's fascinating to read that rustlers were captured at this spot, that this is where a ranchhand accidentally drowned a child while playing with her in the river, or that here is where a man lost everything gambling, including his clothes, and had to ride home wearing only his long-johns.

The only drawback to the book is that it hasn't been updated recently. A few landmarks have changed, and, as rivers do, some rapids have changed slightly. Still, the changes are minor enough that the boater who trusts the guide will not go wrong (as of 1999 anyway).

The John Day is seasonal, depending on snowmelt from Oregon's Ochoco and Blue Mountains. The prime boating season is June. Later in the season the water level may be too low. The ideal flow level for canoes is between 800 and 2000 cfs. The river is uncontrolled by dams, and flow level may fluctuate significantly, revealing or obscuring some obstacles. Don't go without Art Campbell's guide! It's worth far more than it costs.

There is probably no more legendary figure in the history of colonial America than Captain John Smith, the English Explorer. Of course, this is due mainly to the story of how his life was saved by the Indian maiden Pocahontas. To be fair, Smith's story was obscured by such tales long before the Disney movie. In this informative juvenile biography, Tara Baukus Mello gives young readers the true story of John Smith. We learn about Smith's early career as a soldier, which saw him brought to Constantinople as a slave, before he joined the Virginia Colony and came to Jamestown. After exploring the truth behind the legends of Smith, Pocahontas and the Powhatan tribe, Mello also looks at the period where Smith was the leader of Jamestown and then traces his final explorations and the important books he wrote about life in the New World. This book in the Colonial Leaders series is illustrated with historic pictures as well as contemporary color photographs of the Jamestown restoration. Other volumes in this series cover both colonists like Lord Baltimore, military leaders like Peter Stuyvesant, and religious leaders like Anne Hutchinson. Young students, as well as their teachers, who are interested in getting beyond what they find in American History textbooks about any of these famous figures will find this series provides excellent additional information.

In his new biography Joseph Jefferson: Dean of American Theatre Arthur Bloom captures the life of one of the most compelling figures in the history of American Entertainment. As a comic actor and producer, Joseph Jefferson stood alone at the head of his art. In terms of financial and critical success, Jefferson had no rival. He built this success, for the most part, by perfecting a stage version of Washington Irving's "Rip Van Winkle". A role which Bloom shows Jefferson lived off-stage as well. Like Will Rogers and comics who followed, Jefferson traded on a home-spun simple image. For years and years audiences packed houses to see the simple character Rip experience the extraordinary. However, behind this mask was a man who lived a luxuriant life, and cultivated fame at the cost of artistic growth. In his life, Jefferson was filled with contradictions. He was the common man in public, and a pampered man in private.

It is the contradictions in Jefferson's life that Bloom reveals for the first time in this biography, and captures with great detail. Before he died, Jefferson had published and enormous autobiography which is charming and seemingly the last word on the subject of Jefferson's life. Fortunately, Bloom penetrates the amiable facade of Jefferson without viciousness. Indeed, the contradictions which Jefferson would have hid from the public, make him all the more appealing as subject for biography. Jefferson's response to the civil war, his relationship with his wives, his temperament as a manager, his impoverished childhood--all of these subjects keep this book from falling into the realm of the dry theatre biography.

Born into a theatrical family in 1829, he made his debut as an infant in crowd scene. His work as an actor would end only with his death in 1905. In his lifetime, Jefferson was praised as an actor of comedy touched with pathos. Like Robin Williams of today, this sentimental side was embraced by some and rejected by others. In this biography, the praise and criticism co-exist with dynamic results.

Wisely, Bloom has found a way to balance the details of Jefferson's 76 years of life at a swift pace. His method is to present the narrative followed by a large appendix. The core of the book is 300 pages, but what follows is another 200 pages of footnotes and performance information. While the appendix is not needed to appreciate the book, it holds additional colorful stories and odd bits of information. Bloom's style is straight-forward, clear, and he supports his work with details. At times, the biography is even quite fresh and witty. In discussing Jefferson's All-Star production of "The Rivals" , Bloom quotes a letter from Jefferson: "We all lived in four cars which were provided for us and during the whole four weeks of the trip, I never heard a cross word". Bloom responds: "If Jefferson never heard a cross word among ten star actors living together for four weeks in a railway train, it is probably because he was going deaf'. Bloom then provides evidence that there was much unhappiness on that tour.

Another strength of the book is the description of Jefferson's acting style. As an artist, Jefferson was consistently praised for his natural style. He achieved humor without artifice. His work as a comic actor seems to shatter many stero-types about 19th century theatre. He was an innovator. There is no question of Jefferson's artistic ability, but even here Bloom does not take anything for granted. Using criticism, promptbooks, and recordings, he is able to communicate Jefferson's unique artistic accomplishment in a clear way, without becoming clinical. In his autobiography, Joseph Jefferson wrote with great eloquence about the craft of acting...communicating with great clarity and passion. Arthur Bloom proves to be Jefferson's equal in this area.

While the first quarter of the book moves slowly, the momentum picks up and the picture of Jefferson emerges with contradictions, frailties, strengths and more. His life spanned from the days when actors were denied burial in a church (Jefferson's view of religion is colored by this, another delightful contradiction), to the days when, at the end of his life, successful actors had risen to be honored men in society. By focusing closely on the life of Jefferson, Bloom indirectly captures the evolution of theatre in America.

Although one wishes for more information on the relationship between Edwin Booth and Jefferson, and for more details about Jefferson's relationship with his children, it is difficult to fault the author. Jefferson's life was so long, and there is so much to cover that one is grateful for the amount of compelling detail Bloom is able to present. This biography will stand as a cornerstone for future works on Joseph Jefferson and the American Theatre. "Joseph Jefferson: The Dean of the American Theatre" is as innovative and compelling as its subject. Who could have imagined that the real life of Joseph Jefferson was more engaging than the story told in his autobiography?

Although this is technically an autobiography, this book provides excellent insight into the devlopment of television, specifically the history of kinescope and videotape recording and editing. When there are no rules, who makes the rules? The author was involved in early West Coast kinescope recording, which was the only way to record television programs in the early 1950s. As videotape came into use, it was used to record and time delay shows for the West Coast. The author pioneered many early techniques, crude as they were, that helped make videotape a more effective production tool. The chapter detailing how 'Laugh-in', one of the first shows to use a fast-paced edit style, was produced, is excellent. This aspect of televison technology has not been well documented. This book provides excellent insight into the early days of network television.

aka His Imprint, My expression. This is a good short devotional, I love Kay Arthur's devotional Speak to My heart, God. this is a good one to continually drive in the Biblical truths as well the heart of the matter of life: realness and hardships but an Almighty Soveriegn God loving us through each day and trial...

I have Prof. Arthur as a teacher at SUNY Binghamton in NY. He is very understandable, writes well, and very intellectual. We have dissected many of his works and I feel that they are all superb. Enjoy!

Arthur Szyk was a popular illustrator of the mid-twentieth century who had experienced a great resurgence in popularity in recent years. With good reason too -- his style is unique, striking, bold, brilliant (enough superlatives?). Furthermore, Szyk was intensely political and he lent his talent to fight the main issues of his day -- anti-fascism, freedom and tolerance. His art can still stir the conscience. Irvin Ungar is a leading authority in Szyk and well qualified to introduce you to his work. Fans will be delighted and wannabes will learn what they have been missing.

This is an excellent book. After reading it you may conclude that America's decision to go to war with Germany in 1917 was the biggest mistake this country ever made. You may also conclude that Bob La Follette was one of the most courageous politicians in American history or, conversely that he totally misjudged public opinion during World War I.

Kerouac and the Beats is an enjoyable read. The book (great as it is) centers on several of the main Beat authors and either presents selections of their works or offers extended yet insightful interviews with them. Though the centerpiece here is Jack Kerouac himself ---all right! The king of the beatniks, as he once roared in holy inebriation --- and how each writer was affiliated with him. Arthur and Kit Knight (apparently a journalist couple) did a swell job of giving us each author's experiences with Jack. Mainly, Kerouac and the Beats is a sourcebook which one can then explore other works by all the featured writers.

"Poor God" makes a start, a chapter introducing us to Neal Cassidy and his distinctive letter writing style. Alliterations and uneven structures are overflowing throughout his one-long letter to wife Carolyn, written in his cell because of another misdemeanor. Secondly and thirdly are two enthralling interviews with WS Burroughs and Philip Whalen. In the 1st chapter Burroughs discusses writers, writing, weapons, and such. In the 2nd chapter Whalen (a not-so-well-known Beat author) says a bit about his recently changed-person activities and how Buddhism is abetting his writer's touch. "Guilty of Everything," a short account by Herbert Huncke, proceeds the last two. The tale depicts all the never-ending jaunts Huncke took thru NYC cafeterias, crash pads, surveys with Professor Kinsey, and drugs.

Yet another interview follows, parleyed with undervalued writer Jan Kerouac, Jack's daughter of course. Jan (who decided to let the "beat" go on) is noted for her novel Baby Driver. Multiple chapters of letters are near: with Ginsberg, JC Holmes, Cassidy, and Jack and Holmes. These four sections of the book are pretty much a barrier, sweat-fest abundance. I put it down for a week because of its bombastic phrases and cryptic dialogue, although that might be gripping for some readers. 2 sections concerning JC Holmes are next. The first (an interview) is an in-depth account of Kerouac's novels. The second (Exiles Journal) is chronicle spanning the Years-of-Hope-Days-of-Rage decade. The last three chapters are the best: 1st an interview with Mike McClure describing his prose; 2nd an excerpt from a story about F. Edith Kerouac Parker, Jack's widow; 3rd (and finishing it off) a lengthy discussion with Allen Ginsberg.

All and all, (is that all?) Kerouac and the Beats is an enjoyment for those inquisitive 'bout the Beat Movement and other hep subjects. Furthermore, the sourcebook delves into historical information (chiefly the 1950-70s), ideas and facts regarding jazz, drug related matters, sexual related matters, Eastern philosophy, and much more which might seem mind-boggling for a younger audience. Nonetheless, if you read On the Road or Naked Lunch, and understood most of what those writers were talking about, you may have a chance liking Kerouac and The Beats. That's it.