This is the only book that I have ever read that I would give 6 stars to if I could; the amount of depth that this book has really is quite fantastic. And, what is more, this volume is the first of three volumes, so if one desires to read the entire set, one will have not only a historical understanding of Christianity, but a real insight into the Christian worldview - a real insight into the heart of Christianity.

The way that this volume is divided up is worth noting: the first part deals with more historical and sociological data - movements and the like - while the second section deals with the spiritual insights and understandings of different people at different times. Both sections complement each other quite well. Furthermore, within each section focus is made upon both the Eastern and Western traditions so that one gets a more rounded picture of Christianity.

It is nice, too, to notice the illustrations in the book. Although they are not in color, they are attractive and worth a second and third look. Such illustrations certainly help to portray various Christian understandings just as well as the essays do. After all, " a picture is worth a thousand words."

The essay on Gnosticism is especially worth noting, as it seeks to answer the question of whether Gnosticism is a legitimate expression of the Christian faith. The answer - which is negative - is given in a genuinely thoughtful way, where both similarities and differences are noted. Gnostic scholars of Gnosticism (such as Elaine Pagels) oftentimes do not really appreciate the real differences that existed between Gnosticism and proto-Orthodox Christianity. This essay does a fine job of surveying those differences.

The other essays in this collection are all first rate; the essay entitled "The Spiritual Message of the Great Fathers" is a well written survey of some of the 4th and 5th century Church Fathers. The essay comparing Eastern and Western views on the Trinity is also illuminating, especially since it shows that what has long been fought over between the East and the West (since Photios, in particular - see below) may not be so important.

The only thing that I would have done differently would have been to add an actual essay about the Photian schism - a schism in the ninth century that was led by an Eastern bishop named Photios. The accusations leveled against the Roman Church by Photios are still repeated today; Photios is a saint in the Eastern church but considered a heretic in the Western church. More information on this development and its ramifications for Eastern Orthodox spirituality would have been welcome.

In the end, I would recommend this book to anyone and everyone who has any desire to learn about the Christian faith in both the East and West during Christianity's first millenia. For both the scholar and the layperson, it is a valuable reference guide, sketching out some of the more prominent contours of Christian spirituality.

This book is a wonderful thing for me. Because, I'm working on "the Relations Between Muslims and Christians at the Period of Almoraides-Almohades in the Medieal Spain". I'm very glade to the author of the book and thanks. I hope that the book would be very useful for mankind on the earht.. LUTFI SEYBAN, SAKARYA UNIVERSITY-TURKEY

This book is a collection of interviews with John Cage, the late avant garde composer who was one of the most influential composers of the 20th century. The interviews span nearly a half century and give a cogent idea of Cage's thought on music, art, education, politics, and social revision.

If you are curious about why a composer would write music that is "silent", why he would use chance, nonintention, and denounce music as communication, this is a good book to begin an overview of Cage's philosophy of art.

It also shows that Cage's musical thought was not monolithic, but changed several times in the course of his life, as did his music.

This book shows how animals defend themselves from predators. It has a lot of information on where the animal lives and what it does to protect itself. There is animals like the armadillo that curls into a ball and has protective armor that covers it so it safe from a predator like the coyote. A lot of information about other animals is in this book. I learned a lot from this book and you will to.

In The Eclectic Odyssey Of Atlee B. Ayres, Architect, Robert Coote (professor emeritus of architecture at the University of Texas, Austin) informatively surveys thirty years of the architectural career of Atlee Ayres, focusing on Ayres' residential architecture in the San Antonio suburbs of Monte Vista, Olmos Park, and Terrell-Hills. It is in these architectural designs that Ayres' eclecticism is most apparent. Coote studies twenty-five of Ayres' houses in detail including their plans, spaces, exteriors, materials, and structure. Additionally, Coote describes Ayres' architectural education, travels, and career highlights. Highly recommended for professional and academic architectural reference collections, The Eclectic Odyssey Of Atlee B. Ayres, Architect is a superbly presented treatise on the work and career of a most remarkable American architect.

John Rushkin originally published this little volume in the winter of 1856/57. It promptly sold out and went into multiple printings. It is surprisingly still relevant today. Rushkin gives the reader many exercises beginning with a dip pen and ink and later moving to pencil and then watercolor (which in the 19th century was classified under drawing). I was so intrigued I actually bought a speedball dip pen and some india ink and began to practice the many exercises he gives. They work. By the time I finished the ink exercises I noticed a definite improvement from my early attempts compared to the later ones. And I am continuing the exercises.

Another fascinating aspect of this book is the snapshot it gives into the mind of a prominant 19th century art critic. Rushkin not only was a master draughtsman and painter but a widely respected art critic in his day. Monet was quoted by a British journalist to have said, "90% of the theory of Impressionist painting is in Rushkin's Elements of Drawing." A young George Seurat obtained a copy and admitted to having read it carefully. Now I'm no Monet or Seurat but I figure if these guys valued Rushkin's instruction I should certainly pay attention to what he had to say.

Rushkin explains exactly what the goal of each exercise is. He also recommends specific paintings or drawings to examine along with critiques of why this or that area in the drawing/painting is superior or lacking. He strongly believed it more profitable to study in-depth a few highly superior drawings/paintings to a wider assortment of middling/average execution. And he believed this even of famous artist's work - famous or not he advises to ignore for the moment their less masterful work and focus on the truly great ones. Rushkin pulled no punches. The entire treatise is full of his opinions right along side the exercises - yet I would say they are not opinions without merit. He gives you something to think about when looking at works of the art masters and something to strive for in your drawings and paintings so that you can become more than just technically competent. He addresses the heart and soul of drawing and painting. It made me think of why this or that particular line, shading or painting technique in an art master's drawing/painting touches me the way it does.

This is the best marriage between technical competence and artistry. And you grow in understanding that all the exercises he gives are only in service to the spirit of art. It is an emphasis that most modern how-to books don't touch. Analysis this deep in modern art books are left for books that are advertised as art critiques. Since almost all my art books fall under the "how-to" category (as anyone who's read my other book reviews will see) I found this critique aspect rather refreshing and wanting to read more such types of books.

I strongly recommend this book. Despite the lack of photos or modern step-by-step illustrations (the illustrations are line art - the most up-to-date technology for book illustration then available in an affordably priced book) I think it is very worth getting and reading. Perhaps artists who have been formally trained in universities or art academies will find this kind of instruction typical. But for someone like me who is entirely self-taught from the books he/she buys it is a great investment into expanding boundaries and knowledge of art in general.

For those interested in a deft, thorough, dispassionate, and readibly cogent presentation of theism, and a well-honed critique of anti-theistic nostrums, this work is a must.

This book is a collection of four different works of Saint Augustine. The table of contents is as follows:

"Christian Instruction", introduced and translated by John J. Gavigan

"Admonition and Grace", introduced and translated by John Courtney Murray

"The Christian Combat", introduced and translated by Robert P. Russell

"Faith, Hope, and Charity", introduced and translated by Bernard M. Peebles

Index

The supplemental materials in this book consist of fairly short introductions to each work written by the translator of that work, footnotes that explain translation issues, references to other works, including scripture references, and finally, a shared index.

Each of the four works which comprise this book will be discussed in turn.

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The title of the first work, "Christian Instruction", leaves the reader to wonder whether the work is intended to instruct him in Christianity or to be an instructor of others in Christianity. The answer is: yes. To quote Augustine himself, in his discussion of it in his "Retractions":

"I...completed the work in four books. The first three of these help to an understanding of the Scriptures, while the fourth instructs us how to present the facts which we have just comprehended."

Of the "books" alluded to by Augustine, the first prescribes the proper attitude for the study of scriptures, specifically from the perspective of "faith, hope, and charity". The second prescribes a program of education, central to which is knowledge of language: both the general knowledge of language as a system of signs, and specific knowledge of Hebrew and Greek. The third prescribes a system of hermeneutics or interpretive principals and rules. Finally, the fourth is essentially a discussion of rhetorical methods of persuasion and their application to teaching Christianity to others.

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The second work, "Admonition and Grace", was written because a number of monks had been disturbed by an a letter of Augustine which they thought so exalted the importance of divine grace as to leave no place for human free will (and responsibility). The specific question they asked was:

"Why are we preached to, and given commands, in order to have us avoid evil and do good, if it is not we ourselves who do these things, but God who effects in us the will and the deed?"

To the immediate question, Augustine in reply developed the doctrine that while man of his own free will could do no good without grace, he could recognize his own evil, and in that power lay his responsibility:

"Whenever you fail to follow the known commands of God and are unwilling to be admonished, you are for this very reason to be admonished, that you are unwilling to be admonished...You are unwilling to have yourself shown to yourself, that you may see your own deformity, and seek one to reform you, and beg Him not to leave you in your ugliness of soul."

Not content with having answered the question at hand, Augustine went further, and discussed the ultimate origin of sin, and the state of man and the fallen angels before their respective falls and the nature of those falls. Going further yet, he discusses grace with regard to Mary and the elect, and still further, ultimately ending in a theodicy.

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The third work, "The Christian Combat" is a short, muscular work "written in a plain style for brethren not proficient in the Latin language". Its end is to lay out how a Christian should live, and to identify heresies that Christians should avoid falling into. As befitting its audience and purpose, it is simple and direct. The basics of Christian belief and scriptural justifications for them are quickly described, then then warnings are given a series of heresies that must be rejected.

The points of Christian belief covered are the nature of evil (Manichaean dualism being explicitly rejected), the governance of Providence, salvation through the sacrifice of Jesus Christ, and God as the Trinity.

The list of heresies to be rejected is actually the bulk of the work. Each begins with a "Let us not heed..." introduction, followed by a description of the particular heresy, and then a justification (generally scriptural, sometimes logical) for why it should be rejected.

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"Faith, Hope, and Charity", the fourth and final work in the book, is also known as the "Enchiridion", or handbook. It was written in response to a letter containing a list of questions pertaining to Christian doctrine.

"Faith, Hope, and Charity" begins by discussing is a wide-ranging work, as its origin might suggest. Most of the work is loosely organized around the apostles' creed as a framework for explaning the faith. As such, it discusses belief in God, the goodness of creation, the nature of sin, the origin of sin, God's grace and Christ as the means of man's salvation, the church, the resurrection of the dead, the relation between providence and free will, hope and the Lord's prayer, and finally charity as the crowning principal of the commandments and the true good at which man should aim.

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For my part, the work that really stood out was "Grace and Admonition". The subtlety and power of Augustine's solutions to the problems of grace and free will make truly impressive reading. Several times, I went back to the beginning and started reading again - not because I didn't understand it, but because I was so floored by it, that I simply had to read it again right away.

Bernard Knight again produces an authentic period mystery in The Grim Reaper. Characters finely drawn, meaning the reader feels as if (s)he knows the people; settings so realistic the reader can almost see, smell and hear what is going on. In addition to all this is an intriguing medieval mystery, true to the times, solved by that all too human protagonist, Crowner John de Wolfe, assisted by his cohort Gwyn and clerk Thomas de Peyne. The Crowner's unsympathetic wife and his mistress Nesta add to this continuing saga set in twelfth century England. A VERY good read!

The first edition of this book came out in 1973. I am reviewing the sixteenth revised edition. Sixteen editions and virtually no reviews by the JFK Research Community. The sensational conclusions in this book, if generally accepted, would lead to a radical recasting of modern history.

The book: "Is President John F. Kennedy Alive ... And Well" by Bernard M. Bane. Published by the BMB Publishing Company, Boston MA. 16th Edition, 1997. By the author of "The Bane in Kennedy's Existence".

The book is self-published. Too radical, I suppose for most publishing companies. One would think that Mr. Bane, after 16 editions, might be able to produce a more professional
publication. This edition is photocopied on legal size paper, which is then bent over as a group and crudely stapled to a home-made cover. The book will not even stand on its own
on a book shelf. The binding on my copy fell apart within moments. Let us hope the 17th edition will be an improvement.

According to Mr. Bane, he represents the "third school" regarding the JFK Assassination. The first school subscribes to the single assassin theory, as represented by the Warren Commission and Gerald Posner. The second school subscribes to the multiple
assassin/conspiracy hypothesis. Mr. Bane's third school subscribes to the view that the assassination attempt in Dallas was completely faked, with the full knowledge of JFK, who is just waiting for the right moment to re-surface. President Kennedy was "duped and deposed" from power but rather than being killed was allowed to take part in a fake assassination which was tantamount to resignation. Mr. Bane advances a rather sophisticated societal/political analysis which is rather difficult to explain briefly. He posits societal controllers or social engineers with a hidden agenda who program the population via conduits. However, Mr. Bane is firm in his belief that "the core power struggle pertaining
to President Kennedy's assassination-hoax revolves around me." He further states:

"Above and beyond my proposition that the reported assassination of President Kennedy was a hoax I am offering an answer to the programming of the populace that was enabled through this bogus assassination. In a word, this answer is by way of de-programming the populace." One more quote: "The hidden agenda is sponsored by the 'network' that vyes with the Constitution as the source of the authority for the powers that be. The network is hierarchical in structure with its chain of command represented by conduits."

Theoretical considerations aside does Mr.Bane present any actual evidence to support his views?

Mr. Bane theorizes that JFK was behind a planned "assassination attempt" which he would survive, perhaps wounded, and which would naturally strengthen his political position. But instead he was deposed, and the conspirators announced that he was killed. His present whereabouts are apparently unknown.

Mr. Bane, of course, agrees with many that the Zapruder film is faked, along with the autopsy photos and X-rays.

Mr. Bane, a "radical lecturer in the field of psychology and sex" and the author of "The Phenomena of Mind", was involved in organizing a series of dances or mixers in the late fifties and early sixties in the Boston area. At one he paid a young coed $5 to perform. Her name: Joan Baez. All was going well until his license to operated dances was arbitrarily revoked, the beginning of the conspiracy against him. On Oct. 9, 1063 he made two phone
calls to the Attorney General, Robert Kennedy, after which he was arrested and committed to a mental institution for observation. "While confined I was 'treated' with a shot of LSD which induced severe hallucinations and disorientations that lingered for months Later, I was told by a fellow inmante (who I believe was an FBI plant) that it was President Kennedy who was responsible for my getting put away and that he was going to be assassinated as a birthday present to me. My birthday falls on November 23." A striking coincidence. Mr. Bane was released on Nov.15. He later filed suit for false confinement, linking his case to the Kennedy assassination-hoax. The case went all the way to the Supreme Court where it was denied review. The documents of his suit are in his first book, which unfortunately I have not seen. According to Mr. Bane he lost his case "on the basis of the diagnosis of me being a 'paranoid schizophrenic'".

After presenting this compelling evidence Mr. Bane returns to his political analysis. "It is this author's contention that the reputed/reported assassination of President Kennedy will
some day be shown as the consequence of a modern-day 'Trojan Horse' strategem which enabled the Republican party to gain a solid handle of controls over the country's electoral process." Those damned Republicans!

His analysis of the abortion controversy is particularly insightful. "I submit the controversy is but a euphemism for the abortion of the attempt to surface President Kennedy." The
Iranian hostage crisis "was supposed to have surfaced President Kennedy as the 'significant other' who was presumably being held in hostage. While the world cheered as the hostages got released, there were thousands, I submit, who were disenchanted and
disappointed and chagrined that JFK was not one of them". Indeed. On O.J. Simpson: "O.J. Simpson is as guilty as Oswald and that Nichole and Ron Goldman are as dead as President Kennedy, and that O.J. Simpson 'threw his hat in the ring' in an attempt to
rescue/surface President Kennedy, a feat that President Nixon tried and failed."

Most of the rest of Mr. Bane's book consists of reproductions of his correspondence with prominent citizens, including Senators, Congressmen, and Cardinals, all of whom are unfailingly polite to Mr. Bane. Congressman Downing, for example, writes "Your offer to be a witness before the committee is most generous." Professor Blakey of the House Select Committee on Assassinations writes: "We have been unable to find a staff position which suits your qualifications."