This was written by my great, great, grandfather! I was so excited about it! Finally I can read it as I do not speak German! My maiden name is Fricke and there are were four Richard Frickes that followed him: my brother, father, grandfather (who are all alive) and then his son and himself (both deceased). Who is George? We must be related!

Felix Holt occupies a middle-tier in the critical estimation of Eliot's novels. It is often disparaged as the "political novel," or alternatively "the one where the legal subplot is way too complicated."

At first, this seems unfair. The early introduction of Mrs. Transome is a showstopper, heroine Esther Lyon fascinates, and the detailed evocation of 19th century rural politics is through Eliot's narrative magic made riveting.

But things do go awry in the second half. A big problem is Felix himself: an idealization of a political view rather than a detailed character, the reader loves him rather less than Eliot seems to intend. The legal schenanigans are intriguing, but the tortuous plot machinations through which Felix comes to be imprisoned are near ridiculous. And finally, Esther experiences her moral conversion rather too quickly and tidily, coming to seem just a sketch for Gwendolyn Harleth in the later Daniel Deronda. Indeed, by book's end the most compelling plot thread standing is that of the unfortunate Mrs. Transome.

But to say a book isn't as good as Daniel Deronda isn't much of a criticism. For all its faults, Felix Holt is filled with excellent characters, a strong story, and unparalled insight into both 19th century England and the more universal collisions of morality and politics.

This is my 4th novel by George Eliot (after "Adam Bede", "Middlemarch" and "The Mill on the Floss") and it has become my favourite along with "Middlemarch". "Felix Holt" is so marvelously written and gave me many hours of reading pleasure - I can't understand why it's not as highly acclaimed or well-known as Eliot's other novels.

If you're a fan of Victorian literature, then you mustn't miss this brilliant work. The story's set in the 1830s and is 1/3 focused on politics (i.e. a fascinating insight into the electioneering process and the fight for a Parliamentary seat between the Torys and the Radicals), 1/3 on family and sensational issues (e.g. illegitimacy, dispute over who has the legitimate claim on the wealthy estates of the Transome family and plenty of blackmail, manipulation and betrayals) and 1/3 devoted to a love triangle.

George Eliot wrote so eloquently and beautifully that many times I find myself re-reading a particular phrase in order to saviour its beautiful words. Each chapter also starts with either a beautiful poem or some well-chosen lines from Shakespeare/the Classics. Here's a favourite of mine from Chapter 45 (a poem by Eliot):

"We may not make this world a paradise
By walking it together with clasped hands
And eyes that meeting feed a double strength.
We must be only joined by pains divine,
Of spirits blent in mutual memories".

I confess that above all, it is the suspense over the touching love story that kept me turning the pages very quickly. The hero is Felix Holt, a passionate, idealistic young man who studies medicine but chooses to quit midway and forgo a comfortable future as a doctor in favour of leading the more righteous life (in his opinion) of an ordinary, poor workingman because of his scorn for wealth and its corrupting powers. Felix is described as honest, brusque, generous and highly intelligent. He's got "wild hair", dresses simple and to his own liking e.g. not wearing a cravat "like all the other gentlemen", and sometimes looks like a "barbarian". He patronizes no one and is rather unpopular in the town of Treby Magna where the story takes place. His political views are Radical (i.e. more severe than the Liberals) but his main concerns are for the well-being of the working class and especially the future of their children. (Read the excellent "Address to Working Men by Felix Holt" which comes after the Epilogue). Felix's good intentions land him in great trouble with the law later on when a massive riot breaks out among the drunk working class directly after the election and Felix is wrongly accused of being the leader of the mob.

Early on in the novel, Felix is introduced to the heroine, Esther Lyon (the beautiful daughter of a poor chapel minister) whose vanity and high-bred manner he scorns. He rebukes and lectures her constantly in that straight-forward and honest manner of his because he cares to improve her views on what are truly the important things in life. Esther dislikes him utterly at first... she cannot understand why Felix doesn't admire her beauty and graceful manners like other young men do. Esther is vain and proud (at least, initially) and has always dreamed of leading a better life, with fineries and beautiful clothes and servants to do her bidding. And Felix Holt is definitely not her idea of a lover! But Esther is not unkind or ungenerous - she loves her father dearly and treats everyone well. Gradually, she begins to see the true nature of Felix's character and noble aims, and holds him in great esteem, despite his outward looks and manners. But Felix has declared never to marry and if he were ever to fall in love, he would just "bear it and not marry" (preferring to "wed poverty"). Later in the novel, Esther is courted by the rich and handsome Harold Transome whose initial reason for wooing her is to save his family estates. But he doesn't count on falling in love with her subsequently.

Who does Esther ends up with finally: Felix or Harold? But take it from me that the romantic scenes between Felix and Esther are the most passionate and heart-wrenching I've ever come across in a classic literature - with many kisses and hugs amidst pure longing and despair, and scenes filled with beautifully spoken words of affection which brought tears to my eyes.

For many, many reasons, "Felix Holt" makes for a most brilliant read. I urge you not to miss it.

Some might say nothing can equal Middlemarch as Eliot's greatest work but I think that even if Felix Holt doesn't rank alongside it in literature, it should be given at least an equal status.

The novel deals with provincial politics in nineteenth century England through the mouthpiece of one of the best male protagonists ever drwan in literature by a female writer. As in all her books, Eliot is sharp in her details, the satire is poignant and she doesn't miss out on humor. Feminism takes a different turn here, with telling criticisms on the way females were brought up at that time and in many third world countries, still are brought up.

Eliot is never bitter, never hopeless, yet always realistic and idealistic with this difference: she doesn't let it get out of control. Fear not: mawkish is the last thing this book is. Some details might seem to be superfluous but it adds up to showing the literary prowess of this great woman, and is very helpful in letting you understand the real stuff going on at that time. A good, very well-written socio-political novel, that depicts the atmosphere of its time with more accuracy than many other books I've read.

Eliot does have the most amazing ability to get into her characters' minds. although this book is an all rounder in the sense that it comments on most social issues, the two main intimate themes of the books are personal to the central character, Felix, the most "alive" hero of nineteenth century literature: his politics and his love interest, in herself a very compelling and subtly drwan character.

Worth reading for all Eliot, Dickens, and Hardy fans. Will definitely give you two or three new opinions: even if the time period is different, much of the philosophy of the book is still very relevant.

In this historically wide ranging book, the authors overlook the large numbers of excellent programs on many of the cable channels. My understanding of the authors point of view is that the government has lost a wonderful outlet for its propaganda. Cable television has lead to the fulfillment of televisions promise, and has also rendered PBS obsolete.

If you are at all interested the history of television, and how it got to be the vast wasteland that it is, you need to read this book! It ultimately gives a glimmer of hope to those of us who think television is too far 'Down the Tube' to be redeemed.

I am the CEO of a public television station, so I read the book with great interest and in an informed and critical frame of mind. I found it intelligent, analytical, and very felicitous in its combination of fact and philosophical judgment. It's a pleasure to read, and should be enjoyable and useful to anyone nterested in television, whether as a viewer or as a professional.

The number of writers included in this book is 43 and the number of articles even more than that. Many of these writers have not written about Gurdjieff elsewhere.

The best in this book is that it presents many views of the people who had worked with Gurdjieff himself or those who were around him and carried his work on. Many of the articles are based on direct experience of the Work and only a few are speculative and theoretical. The tone of the book is positive; if you are looking for a critical approach to Gurdjieff and his ideas you will have to look elsewhere.

People are different and so are their reflections. Some of the articles are brilliantly written both in content and expression; some are badly translated from French, vague and with very little content.

About 70% of the book is on the Gurdjieff psychology and philosophy, 15% on the Movements and the music and 15% on cosmology.

This fat collection of essays comes at Gurdjieff from seemingly every angle but one--criticism. While Gurdjieff was indeed a serious, sometimes brilliant observer of many facets of human experience in his day, his best insights are hardly unique, and even those have mostly been surpassed in the half-century since his death. The real flaw in this book, however, is that no one here seems to mind that a very large part of Gurdjieff's life was spent conforming perfectly to the same old sad pattern of a "guru" working a typical religious con, exploiting a gang of pitiful, starry-eyed cult members who believed, despite overwhelming evidence to the contrary, that he could do no wrong. In an age that has seen the ravages of Bhagwhan Rajneesh, Free John, David Koresh and thier like, many of whom almost seem to have deliberately lifted from Gurdjieff's huge grab-bag of techniques for taking advantage of the gullible, it would perhaps be constructive to have included an essay on the dangers of blind faith to these manipulative "masters", no matter how brilliant they might seem on the surface.

For Gurdjieff followers, both school and independent; this work verifies much of Gurdjieff's cosmology and psychology. The different contributors offer a sifting ground to seperate the fine from the coarse. The "factionalization" of the Gurdjieff movement cannot deter this infusion of new/old knowledge. Its 'Alice's' restaurant.

Animal Farm is the story of a revolution gone sour. Animalism, Orwell's take on Communism, is an illusion used by the pigs as a means of satisfying their lust for power. At the beginning of the book, Mr. Jones, the master of the farm, is irresponsible toward his animals, so old Major, a white boar, informs the other animals of the need to form a rebellion against Mr. Jones and the human race. The other animals embrace the idea of a revolution and develop a scheme to overthrow Mr. Jones. After the revolution is complete, the animals feel an immediate freedom, a set of commandments is developed for the new "Animal Farm," and they all begin working together for a common good. However, it does not take long for the new society to begin to corrupt. The satisfaction of removing Mr. Jones from the farm prevents the animals from noticing the politics still going on within the farm. The animals are convinced by those in power that their memory of the original utopia and commandments are false. So long as the animals cannot remember the past, because it is being continually altered, they will have no control over the present and future. George Orwell is making a great political statement in Animal Farm with specific emphasis on mass rebellion. It personifies Karl Marx's ideas for communism and illustrates what can happen after a revolution with specific attention to the fact that every society is political and contains "pigs" who will always grab for power. This satirical fable leaves the reader with a better understanding of communism and the anatomy of political revolution in any culture.

The story Animal Farm is something that every person in the entire world should read. This simple tale of a group of animals, neglected, abused, enslaved, and put down, rising up against their hateful masters with the hopes of creating an egalitarian society was meant as a commentary on the state of the Soviet Union. The depiction created of a Communist society from its conception to its death is one of tyranny, deceit, distrust, and rivalry that destroys the pure intentions of the original revolutionaries. Though the depth of the underlying political commentary may be lost on people with no interest in the operation of the economy or the government, Animal Farm is a very accessible story with easy to understand lessons in morality, fairness, and honesty.

One note on the additional "filler" information added to this edition, it is both poorly written and uninteresting. While the life of George Orwell is interesting and something worth learning about, especially if you have aspirations towards being a socialist, the author of this section does such a poor job that reading tax codes in IRS publications is more interesting.

In summary, buy this book, read it, lend it to someone else, read it again, lend it to more people, read it again, and dream of a world of egalitarian communism. Or you can just read the story, enjoy the struggles and triumphs of the heroic animals, despise the greedy pigs, and share the experience with someone else.

George Orwell's Animal Farm is a superb animation of the Russian Revolutioon. The book is amusing and interesting; it includes a comic element as it synonymously demonstrates the evolution from the proletariat revolution to a totalitarian government led by the swine of the society. Orwell successfully simplified the not-so-simple theory of class stratification and Karl Marx's proposed solution of communism. Orwell's method of conveyance is incredibly inventive. He uses satire in the form of a fairy tale to share his indignation for ideological doctrines that would, if allowed, lead to the eventual destruction of a society. Each character in the story is representative of someone who was involved in the Russian Revolution. Old Major is Marx, and inspires the proletariat revolution by motivating the over-worked animals and educating them on the ways of the human beings, who represent the bourgeoisie. Orwell's creativity convinces the reader that the animals on the farm are intellectual beings, revolting against the tyranny of the humans. Animal Farm offers itself as an example of a responsible criticism of Marxism. The story gives us a peek at the Utopian vision, and then offers a long look at what results from using a Marxist approach at achieving it. I strongly reccomend this book, as it is entertaining and educational. Orwell succeeded in creating a fairy tale that evokes both sadness and laughter, while causing us to feel sympathy and even empathy for the working class animals. The book escapes complexity, but its message does not.

To those who either study Greek, or simply are curious about the meanings of the Scriptures, this is an excellently informative tool of insight. At this low price, every Christian can afford his own Greek Bible! I would encourage all to take advantage of the opportunity.

The hard cover edition printing is deficient as variations in text darkness are readily noted on many pages. Some pages (e.g. pp. 652-653) bore large ink blotches which are undesirable. The content is from the best Greek source text and the interlinear structure (literal translation) with footnoted textual references is excellent. A superb Greek-English interlinear New Testament based on the oldest unadulterated Greek text - Textus Receptus (1550). A must for the serious student/exegetor of the Word of God. Used with a companion Greek New Testament, Bruce Metzger, 66,68, 1975, United Bible Society, it is very helpful. A FIVE STAR book except for the printing deficiency noted.

Why?

There are several interlinear NTs (AKA, "ponies") available, some with words "Strong-coded," and/or more "up-to-date" translations, while others, like Berry, stick with the KJV and the Textus Receptus Greek. At least one includes a rather extensive concordance.

The advantage of this book is, as you can see at the bottom of the sample pages, they have included all the variations in the Greek texts that have been used as the bases for most of our newer translations. Therefore, when you see words added, omitted or changed in an English version, you can see from whence it came, assuming that it is not just a paraphrase, and determine whether the modification was justified, perhaps by the number of Greek texts that support the change, or by looking into the reliability of the texts involved.

I find this help invaluable, especially since the marginal notes are usually vague about alternative renderings of a passage, if they are given at all.

You many find that you may want to use other references too, such as a Strong's Concordance, and a Vine's Dictionary, although the included lexicon is not too shabby, but the extra effort is worth it.

In light the number of stars I have given this book, I feel I should start off be stating that there is tremendous merit in this work. The authors do a superb job of pointing out the root causes of warfare, and why it is naïve to expect that armed conflict has gone by the wayside. They then go on to point out the challenges to American global preeminence, and what needs to be done to assure it.

Specifically they look to precision-guided munitions as the key weapons of future combat, and space as its primary battleground. They make compelling arguments for each, particularly regarding the obsolescence of the primary weapons of today's Pax Americana: the tank, the strategic bomber, and the aircraft carrier. Furthermore, the completely debunk the myth of nuclear supremacy on the modern battlefield.

The problems with this book that I alluded to are twofold. First, the editing is appalling; there are numerous typos and misprints (for example, referring to a torpedo that can travel at 400 knots). While the knowledgeable reader can usually infer what the authors' intent is, editorial errors always make for a frustrating reading experience.

The second concern cuts to the heart of the book. While the authors do a superb job of defining the future battlefield, they offer very little in terms of how we get there from where we currently stand. The weapons systems they describe will almost certainly come to pass, but they neither make suggestions as to the allocation of R&D dollars, nor offer any sense of what research should receive priority. In the absence of such commentary, their bold assertions frequently seem more like dogma than scholarship. Moreover, they ignore potential doctrinal changes that might extend the service life of current weapons systems while increasing their effectiveness.

At its best, 'The Future of War' is a visionary look into the future of armed conflict. The authors correctly grasp the dawning senility of the weapons currently deployed, and paint a bold picture of what the future battlefield will look like. Unfortunately, while brilliantly describing the future, they completely ignore the near to middle term. As a result, 'The Future of War' while well worth reading, can only be treated as half of an equation. One must read the works of authors like Leonhard and MacGregor to truly appreciate the shape of the modern battlefield.

This book is more than the grocery store's blase` litany of new gizmos that has Tom Clancy's name slapped on it. So if you are intersted in a book that natters about specific weapons systems ad nauseum, you are better off shopping there or else watching the Discovery Channel. The Friedmans' book is useful because it sees technology as more than a collection of shiny and expensive toys that make loud noises; although utterly essential and often defining our ability to achieve our ends, technology is always a pillar within a grander scheme.

The value in this book is its capability to trace a concept historically, and provide us with a valuable and critical perspective of our strategic strength. Consequently we are able to analyze something transcending the, "Our ship is better than their ship," manner of thought.

So a framework of strategic thought, within which technological capability relative to others is essential for analysis, gives us insight into future needs. Whether their conclusions are valid are certainly open to debate; the approach, however, is certainly valuable.

Like, 'The Coming War With Japan,' this book is able to use multiple levels of understanding to present their arguments.......... the importance of the Friedmans' work is growing everyday. Worth the read.

This book directs one's attention to the discussion the way we have thought about war will no longer be as relevant in the future. The notion of "weapons reaching and obsolete status" points to a central thesis in the book--that America will remain the preponderant military and technical power of the 21st century. This of course may be a comforting piece of information for policy shapers and makers, and business peoples. But is it really ? Such dominance by one nation is bound to lead to the shifting of the balance of power among nations unless the movement toward internationalization proves to be successful. However, aspiring powers and emerging nations that wish to be freed from this American dominance may -- and there seems to be information to support this -- seek weapons of mass destruction to counter US global hegemony.

This book made a clearly argued case for American Dominance, but it does not help us to see the political/moral future. But within its parameters, its an "eye-opener."

David Halberstam masterfully weaves the story of the evolution of post-cold war American foreign policy. He begins with the Bush years, leading into and ending with the Clinton years. Bush, he points out, was in love with foreign policy and, for the most part, excelled in its execution at the sacrifice of his domestic duties. Clinton was elected largely for his commitment to domestic issues in a time when we all thought that foreign policy was less important after the cold war...a time of peace. However, even given Bush's love of foreign policy, the confusion of the post cold war era made it difficult to determine where the issues really were. Iraq was easy for Bush. In his mind, a clear cut case of good versus evil. Bosnia, on the other hand, didn't draw as much interest and he ignored a situation that ultimately led to genocide. Enter Clinton, who early on professed that foreign policy did not matter. Only when it threatened his presidency did he finally act. Beyond Clinton, the conflicting viewpoints of other key players such as Tony Lake, Dick Holbrooke, Colin Powell, and Madeleine Albright come clearly into view in Halberstam's excellent analysis.

Hindsight is 20/20 and it is easy to find fault in retrospect. What becomes clear in this book is how muddied the post cold-war era has become. The possible paths for our foreign policy are more complex than ever, with no clear arrow pointing the way. What is certain, however, is that there is no avoiding the need for a strong American foreign policy.

Now, more than ever, all Americans should read this book to better understand why we are once again at war in a time of peace.

David Halberstam's War in a Time of Peace is a massive look at American foregin policy in the 1990s, through the presidencies of Bush and Clinton. Bosnia and Kosovo are the centerpieces but the book also touches meaningfully on Iraq, Somalia, Rwanda, and Haiti. The thumbnail biographical portraits of all the leading American figures is a great joy and asset of this book. Foreign policy can be a confusing issue, not least of all because of its lack of intelligible coverage in the media or on campaign trails. Halberstam makes all these complex issues and myriad personalities shine through clearly. His critiques of the media are particularly important and compelling and this book is a refreshing antidote to the sort of journalism television has thrust to the fore. This is a valuable book but, most of all, it is a enjoyable and fascinating read.

This is an excellent behind the scenes look at the processes, and lack there of, that took America through three post-Cold War "Teacup" wars: Mogadishu, Bosnia, and Kosovo. Halberstam shows that, while George Bush did well overseeing the end of the Cold War, his administration was not prepared for the tribal/ethnic upheavals that followed near the end of his term. More significantly, the author demonstrates that Clinton remained behind the power curve in this arena throughout most of his presidency.

With Clinton focused on his domestic agenda, his administration was divided among themselves regrading policy in East Africa and the Balkans, the president did not take charge, and the pentagon opposed the administration and, at times, its own field commander.

Halberstam's review reminds us how NOT to run wars, and that, regardless of how much an American chief executive wants to concentrate on domestic matters, foreign policy will pull him in. A U.S. president ignors the affairs of the world at his own political peril, and often at the world's real peril. After all, as the Slovenian foreign minister once said, "...the political will of the free world begins and ends in the oval office."

Ruth Rendell's "Murder Being Once Done," which was written in the seventies, is a flawed mystery with a few nice touches that redeem it slightly.

Inspector Wexford has not been feeling well, and he has been farmed out to his nephew's house to rest, eat right, and exercise. Wexford is supposed to avoid thinking about police work. However, there are two problems. One, Wexford is bored out of his mind. Two, his nephew is a police superintendent investigating a juicy murder. How can Wexford fail to get involved in the case?

The victim is a young woman who was found murdered in Kenbourne Vale Cemetery. Who is she and why was she killed? This woman, it turns out, was living quietly in poverty under a false name. No one knows where she came from. Wexford starts informally investigating on his own, interviewing anyone who may know something about the identity of the dead woman.

The investigation turns out to be a puzzle that challenges even Wexford's experienced and incisive mind, and he makes several wrong turns before reaching the correct conclusion. He experiences a period of self-doubt and shame when he realizes that his powers of detection may be waning somewhat. He even considers the possibility that it may be time to step aside and let the younger generation take over. Wexford is a wonderful character--intelligent, charming and compassionate. It is always a pleasure to be in his company.

Unfortunately, the mystery turns out to be less involving. While looking into the case, Wexford meets a variety of people, all of whom contribute to his understanding of what happened to the dead woman. Unfortunately, the characters are not fleshed out very well and the mystery itself turns out to be too convoluted and far-fetched to be completely satisfying. On the plus side, Rendell's description of settings is detailed and vivid and she beautifully captures Wexford's torment as he tries to deal with his mortality and his imperfections. "Murder Being Once Done" is not a great mystery, but it is a good study of an policeman who is desperately trying to prove that he still has what it takes to break a case.

Rendell in her Wexford series seems to be operating from a definite formula. Wexford and others follow red herrings and goose chases and then well towards the end the real solution is hurriedly put on the table and consumed by the hapless reader before you really know what you have eaten. This novel has quotes from Thomas Moore's Utopia before every chapter and this theme is nicely worked into the novel by Rendell. She does
write intelligently. Her red herrings are more fleshed out than the actual solution and thats not my cup of tea.

As always, Reg Wexford, an older police Chief Inspector from rural England, will manage to take your breath away through his amazing ability to overcome weakness and always come out on top of the case at hand. Ruth Rendell is brilliant, introducing her readers to new characters while intertwining the old, steady ones. Inspector Wexford, one of Rendell's regulars, is visiting his nephew Howard, a Detective Superintendent in London, when a tragic murder case arises. While exploring the dark, dirty streets of London and avoiding the prestigious flower arrangements of his niece, Reg manages to overcome his illness. In the course of helping his nephew solve this murder mystery, Reg must contend with Howard's other inspectors and struggle to prove his knowledge and expertise in the field of character analysis. Filled with unwed mothers, poverty, and adoption, this novel is constantly twisting and turning through Reg's inner thoughts. Through all this, he is pulled between two opposing forces. His wife, Dora, pleads with him to rest, in accordance with the doctor's wishes. On the other hand is his burning desire to solve the young girl's murder. In the end, he manages to stay on top of the case but ignores his doctor's wishes for him to eat only bread and water. By the end of his stay in London, though, Reg is back to his beef. Once I picked this book up, I was unable to put it down. It is full of intriguing surprises and, mingled with the unpredictable new characters, comes the story of a cult with a long, uncertain past of family deceit and runaway brides. All in all, this book tickled me into giving it the rating of 4 out of 5 stars.

Larry Beinhart's AMERICAN HERO is really two novels; a trenchant political satire and a by-the-numbers PI story. The story of Joe Broz and his Hollywood paramour was stricken with the same situations, relationships, developements and cliches (even a Kung Fu showdown, fer cryin' out loud) as a zillion other Private Detective novels. Nuff said. The other part of AMERICAN HERO, the shimmering Verasalles palace of the the book, is the tale of Lee Atwater's fevered public relations pitch, it's acceptance by George Herbert Walker Bush, and it's conception in the hands of Hollywood heavyhitter John Lincoln Beagle. In these chapters, Beinhart shines: exposing the stunning gullibility, mindless jingoism and political apathy of the American people. One wonders why he stopped short of describing the war itself, but since it is such a recent memory, the readers themselves can think back with embarrassment at how heartily we embraced that highly dubious military foray, with yellow ribbons, ticker tape parades, and a nintey percent approval rating for ole George Herbert Walker. Beinhart lets the chill run down our spines as we close the book and realize for ourselves that Atwater was right. We're a nation of suckers, tacitly complicent in our own duping. (LOVED THE FOOTNOTES!)

I love a good conspiracy theory and this is one of the best. This was a very interesting novel. The thought had never crossed my mind that the Persian Gulf War was a false war. This opened my mind to the realization that a fake war could be a reality. Although the book begins with the disclaimer,
This is a work of fiction. Many public figures appear in the text. Their speech and actions as depicted here are figments of the author's imagination except where supported by the public record.
, it appeared that the Larry Beinhart knew what he was talking about, that or he has a really great imagination. I really liked the book because it was about the side of politics that no one ever really sees. The dirty, no holds bar, the ends justify the means, kind of stuff. A life of politics takes a lot of strength and courage. The two timelines that Beinhart used made the story flow better and gave a more "common person" side to it. Overall, I felt it was a great book and I'm off to find the movie version.

There's something about _American Hero_ that pulls at the edges of the reader's mind: you will not turn a page without pausing to think, "Could this really happen? DID this really happen?" I'm a veteran of the Gulf War. I was there. I KNOW what I saw.

And yet...

_American Hero_ is putatively the novel on which the hit film "Wag the Dog" is based. A president intent on reelection, a film producer confronted with the biggest project ever, a war made for the screen. But however much Beinhart's opus depends on the world of film, that paradigm doesn't have enough dimension to capture the essence of _American Hero_ in return. You NEED to read this.

The book is complex, heavily footnoted, and written in such a manner as to prove itself fact or fiction, whichever you prefer to believe. Chances are, you won't KNOW what to believe by time you read the final summation.

Beinhart, whose other work (_You Get What You Pay For_, _Foreign Exchange_ and _No One Rides For Free_, as well as the non-fiction _How to Write a Mystery_) hasn't achieved the popularity it deserves, has delivered a masterpiece.