This is an interesting book, however, it listed too many rumors that the authors have heard. I was expecting to read it with scienfitic analysis. Although those rumors are quite interesting and could be true, but the authors did not actually further investigate. Therefore, it can't be taken seriously as a book that you can prove that it really happened in area 51.

It was definitely not a weather balloon that crashed near Roswell in 1947. But what was it? The unbelievable details are discussed in this title.

The Roswell Incident was the most important UFO encounter of our century. The facts about the incident are still being hidden from the American public. This ground-breaking book not only explores every aspect of the mysterious UFO crash near Roswell, NM, but also probes the bizarre government cover-up that began within hours of the discovery and has continued up to the present day.

Fully Illustrated.

This book has an intriguing title but unless you believe in biblical solutions to personal problems it will probably be of little interest. It is a highly religious oriented book.

This is a great book. The techniques it recommends were the ones I used years ago when I had someone I needed to forgive.

I borrowed the book a while back, and when God brought another situation needing forgiveness in my life, I realized I needed my own copy.

A lack of forgiveness leads to bitterness, which is most distructive to the one who NEEDS to forgive, not the one who offended. This book helps the reader forgive so that bitterness is no longer a problem.

After reading it myself (twice), I have bought several copies of this book for friends. Dr. Lynch explains and provides practical suggestions for all the emotional and relational problems surrounding forgiveness -- forgiving others, forgiving yourself, forgiving God; dealing with memories, reconciling, dealing with people who deny they hurt you, etc etc. His approach covers both information useful to you if you need to receive or need to give forgiveness, and information useful to people who are helpers to others, professionally or informally.

While this book has many great pictures from the decade and examples of artwork inspired by psychedelic rock, it is a very lightweight effort. Perhaps it was meant to be that way. Concentrating almost solely on London and the Haight-Ashbury district of San Francisco, the book consists mainly of reminiscences of aging hippies, most of whom were involved in the music and/or art scene of that era, either in San Francisco or London. Pretty much all of these consist of uncritical reminiscences about the hippie movement, whose downfall, if we are to believe these people, apparently came only from its eventual invasion by those looking to get rich off the movement (i.e., the establishment), totally disregarding the fact that those hucksters and exploiters were there from the beginning within the movement. One thing that also bothered me is that the rampant drug use of the period was presented almost completely as a positive thing. Indeed, it was glorified. With the exception of mentioning that Syd Barrett apparently became emotionally unhinged at least in part due to his use of LSD, there is almost no mention of the lives destroyed by the hedonism and drug use of the period, including such famous rock pioneers as Janis Joplin, Jimi Hendrix, and Jim Morrison, to name the most prominent. While it was interesting and entertaining to read many of these reminiscences, I wanted to know more. I wanted the authors and editors to dig a bit deeper than the superficial outline of that period's history that we've heard about before. One good effort in that direction was the timeline that was at the bottom of every page, spanning the years from 1965-1969 throughout the course of the book. Basically, I recommend this book, but mainly for the great photo spreads and not as much for the commentaries and reminiscences.

i found that this was a wonderful book. i was not around during the sixties, but i have been in love with them for a while. this book is a great trip back to the sixties for those of us who weren't fortunate enough to be there, and i'm sure it is great memories for those who were. i would reccomend this book to anyone in search of information about the sixties/hippies. it is definately a must read!

This book is an excellent portrayal of life in the 60's. It is great nostalgia for those who were there, and a great taster for those who wish they were.

Charles Brockden Brown's importance in the field of American literature is indisputably very high; thus, how unfortunate it is that his works are so unknown to us today. Were it not for H.P. Lovecraft's mention of him in his essay "Supernatural Horror in Literature," I myself would remain ignorant of his very existence. Brown is arguably the father of the American novel, a brave pioneer in the era of the early Republic. This man set upon himself the noble purpose of writing fiction for a living, going against the wishes of his family and the dictates of contemporary society. Had there been no Charles Brockden Brown, there may never have been a Poe--at least, not Poe as we know him today.

The story is an Americanized Gothic romance. The spirit of Gothic literature pervades the tale, but the setting has been transferred from old castles and courtly settings to a recognizably American rural landscape which is preeminently beautiful rather than spooky. The horrors described so effectively by Brown are borne in the minds of the characters. The female protagonist Clara narrates the tortured history of her family. Her father dies mysteriously, perhaps by spontaneous combustion, ostensibly due to his failure to follow God's will in his life. She enjoys a happy adult life with her brother and his wife until a stranger named Carwin appears and quickly becomes a part of their inner circle. Carwin eventually becomes Clara's tormentor. She, her brother, and their mutual friend Pleyel all hear mysterious, unexplained voices warning them of danger and imparting fateful news on several occasions. Her brother, deeply religious like his father, is greatly affected by these phenomena--how much so we learn later in the novel. Carwin fatefully destroys Clara's life when his evil designs paint her as a harlot in Pleyel's eye. Her unrequited love for Pleyel is now met with his condemnation of her--the agony of the charges against her is particularly poignant in the early American era in which the story takes place. On the fateful night, she discovers Carwin hiding in her home, and he admits to having had murderous designs on her. Her sorrows are greatly magnified the following day by the murder of her brother's wife and five children by none other than her own beloved brother. She blames Carwin for having influenced her brother to commit murder, but we later learn that dementia itself is almost surely to blame for her brother's wrongs. Before the tale ends, she faces a confrontation with both Carwin and her murderous brother, an experience which she is fortunate to survive.

The tale itself is wonderful. The suspense Brown draws out and continually heightens is first-rate. Clara's encounters with voices and human spirits hidden in the darkness of her bedroom are spine-tingling. The language of the novel does make it a work that requires some concentration on the part of the reader and may serve to frustrate some, but I think it greatly magnifies the horrific aspects of the tale. The dialogues of the actors are admittedly overdramatic and drawn out. No one speaks in this book; rather, everyone makes speeches. The protagonist often resorts to long laments of her great woe and asks how she can possibly go on with the story. Despite such dramatics on her part, though, Clara is clearly a brave, independent woman (reflecting Brown's strong and admirable commitment to the rights of women). Overall, the tale delivers a buffet of the passive voice style of writing, which I for one refuse not to love; even the most unimportant sentences are graced with a flowery, beautiful aspect.

In terms of the Gothic element to the story, one cannot say that the supernatural aspects are wholly disproved in the end--to some extent they are, but not to such an extent that Wieland's murderous actions can be explained by them. Clearly, Wieland did hear voices other than those made by Carwin the biloquist. The air of mystery that remains about Wieland's dementia and the causes of it makes the ending more successful than I feared it would be once I learned of the power of ventriloquism exercised by Carwin to dictate many of the related events. My only complaint is with the final chapter, which is basically an epilogue in the protagonist's journal. Inexplicably, it introduces a new character to explain something about a minor character whom I frankly could not even remember.

This book has a very original plot line. The influence of the bazzar, mystical death of the father of this family set off much questioning and fear when similar occurances happen decades later. You will be desperatly trying to piece together what is going on as this family is ripped apart. The true cause of these events is far to bazzar to be guessed. This essencial Gothic classic can be a bit slow to read at parts, but the conclusion is well worth hanging on for.

Charles Brockden Brown has been almost completely forgotten today. Unlike the more famous James Fenimore Cooper, who is often accorded the title of the first American novelist that Brown should bear, Brown's reputation is largely borne up by those few literary critics who love the earliest roots of American fiction. "Wieland" is Brown's best novel, and still quite readable today as a Gothic novel (although the secret of the villain seems rather mundane today, as the 'power' he exhibits has been played largely for laughs since the days of vaudeville and radio). Brown was born in Philadelphia in 1771, trained in the law, was one of the first to try and make a living as a writer in the early years of the American republic, and died young in 1810. If you like Gothic novels, or you have a passion for early American literature, you will enjoy "Wieland." Myself, I prefer him to Cooper, who has been forever rendered laughable in my mind by Mark Twain's hilarious essays on Cooper's literary sins.

**** Všechny dosavadní publikace o "Slovenskom štátì", pokud se vùbec zmiòují o armádì, tak jen tolik, že utržila èasté porážky a trpìla vysokou dezercí. Naproti tomu tato kniha nabízí skuteènì detailní pohled na vznik a vývoj slovenské armády, její organizaci, výstroj, výzbroj a bojové nasazení na bojištích WW2. Nechybí ani podrobný popis vìtšiny zbraní a bojové techniky, které slovenská armáda používala. Vše je pak zdokumentováno množstvím dobových fotografií. Co mi na knize vadí, je absence rejstøíku (jmen i míst). Také seznam tabulek by se hodil, protože jich je pomìrnì hodnì. Jinak ale hodnotím tuto knihu velmi vysoko: jednak je to dosud jediná kniha, která se vìnuje slovenské armádì, jednak rozšiøuje naše poznání a reviduje stereotypy o úèasti Slovenska na WW2.

This is basically the only book on the Slovak army in WW2 that goes in to great detail. It has lots of photo's so you can see what the foot soldier whore and what gear they carried and what equipment they used. It also lists in good detail the vehicle's that were used. The history of the Slovak army I found to be informative and some info matched what my dad had told me (Slovak Army Vet WW2). My only critique would be on some of the illustrations pictures of soldiers, medals and insignia which are crude water colored pictures. I wish they could have done illustrations pictures like in the Osprey books (clear and detailed). I would highly recommend this book if your interested in the Slovak army in WW2. Their is no other book that I know of that can come close to it on this subject matter.

Solid, ok plot, ok characters, which I hope develop more in later works. I agree fully with the other reviewer. The author writes solidly- short, to the point-, not really well like a PD James or other literary style writer, but it's ok for a procedural. The only odd thing about this book is that it seems to have been originally written in the 1980s -everyone is dressed in 1980's clothes, such as suits with vests, track suits, etc. Most people are still using cassettes, and the references to Hill Street Blues and other 1980's pop culture are only offset by occasional disconcerting references to 1990's music, culture and CDs. This does not really work. If it was originally set in the 1980's it probably should have been left there.

This is a pretty solid debut police procedural with both feet firmly set in the Camden Town area of London. Much like John Havey's Charley Resnick series, the reader follows the professional and personal travails of D.I. Christy Kennedy as he solves a few murders and feels his way though a relationship. Kennedy is decidedly less troubled and dark than Resnick, however. The central case is the murder of the head of a local independent record label who has recently sold out to a major for big money. There's some sort of music insider stuff mixed in, but none of it particularly enthralling in and of itself. It's more fun to watch Kennedy trawl the past and present of the Irish promoter to track down the killer. It moves pretty smoothly, although it'd be nice if Charles managed to make his chapters a tad bit longer (60 chapters over 240 pages = 4 page chapters!), as all the breaks get rather intrusive. His love of music gets the better of him with the rather silly inclusion of song lyrics at the beginning of each chapter (the book's title is that of a Nick Lowe song). These minor annoyances and few bits of a sloppy prose aside, it's a good beginning and I'll definitely look for the next in the series.

Skip this book if you're looking for details into the reigns of these monarchs or specific instances of foreign policy, etc. This book mostly discusses the image of the kings, as the title suggests. There is little mention of Charles I's attempt to rule without his Parliment, but instead concentrates on his exquisit art collections, his vanity and his self-image. There is more written about Charles II and how his exile shaped his personality and made him so markedly different from his father. The book itself is small and is a fast read. It is a great character sketch on these two Kings.

While I agree with the previous reviewer that this book is not an historical chronicle of the reigns of Charles I and Charles II, it does not purport to be. What it does provide is superb insight into the personalities of these two fascinating monarchs, their public images and private personae. One can get excellent chronicles of the reign elsewhere. Here, one encounters vivid exposition and analysis of the thoughts, motives and manners of the kings, and how these were affected by the conscious cultivation of image. Ollard is, as always,elegant and eloquent.

Speaking from a Layman's point of view, this is no easy read. The book is full of information and plenty of explanations about schemas and their application and origin. This book will likely require a 2nd if not a 3rd reading to fully understand it's concepts.

As for me, I found if interesting enough to know what schemas are and how they interpret my life's experiences and viewpoints. This was already brought up in the 1st chapter. But having no desire to pursue a PHD, I quickly lost interest in reading the rest of the book because of the considerable details. The book read more like a 4 th year psychology textbook than a self-help book.

Surely schemas are a very important and relevant method of clinical diagnosis, and I will be better off knowing more about them. I only wish the authors could make it less scientific. Perhaps a few more case studies would be helpful.

Why Can't I Get What I Want? emphasizes one of the latest developments in cognitive therapy, i.e., the role schemas play in our lives. The authors suggest that schemas can be thought of as powerful lenses that affect every important part of life. I had previously known of the schema concept, but was impressed by the clarity of the presentation and the case examples that brought the notions to life.

I was also surprised to see elements of chaos theory applied to schemas in a fascinating manner. The authors cleverly demonstrate how inconsistencies are a natural phenomenon in all of us. They note out how easy it can be to flip between opposite, seemingly contradictory poles of any particular schema (such as from perfection to inadequacy).

This book makes you think. I have acquired a much deeper understanding of myself and others. The ideas have stuck with me and I see new applications of them frequently. I have never read a self-help book before that provided such a wide swath of applications. It isn't just about depression or anxiety; it's about life-relationships, empowerment, and self-worth.

I highly recommend this book!

This anthology is the first of its kind in breadth and subject matter, and is a welcome addition to classrooms and bookshelves. However, I am only giving it three stars because the editors chose to parcel out each of these women writers to individuals, ranging from top-notch translators, to graduate students. The result is a mish-mosh of translations, sometimes brilliant, sometimes lackluster, sometimes not even heeding the original form of the poem. Worse still, it has been summarily edited--presumably for the sake of consistency--in such a fashion that there is a certain staleness to the sections. Nonetheless, it is as yet the only book of its kind in English, and therefore a necessary and important addition to the scholarship.

This anthology has been long in coming and long needed. An impressive accomplishment from a number of perspectives, its 891 pages are organized into two sections, Part One: Poetry, pages 1-666, and Part Two, Criticism, 667-804, and followed by extensive notes and an impressive bibliography of the Chinese and English Languages sources for the selection. Each section is then organized chronologically by Chinese dynasty so that the reader can flip from the Poetry to the Criticism within a particular dynasty. Within each section, there are both short biographies of the authors and selections from the poetry of more than 150 women, with critical notes. Thus the anthology offers a wealth of literary and historical information and a breadth of coverage for translations of the many Women poets of China that has not been seen in the past.

The anthology ends with the early 20th century, and represents largely poetry written in classical or literary Chinese. While some of these poets have appeared in general anthologies of Chinese poetry, and will be well known to scholars in the field, there has never been such a comprehensive work in English before this one. I was delighted to discover among my old favorites like the empress Wu Zetian and the Sung poetess Li Qingzhao, large numbers of female poets, especially from the Ming dynasty (1368-1644) through the beginning of the republican period in China (1911). It was also delightful to find that the criticism of some of these poets, and male counterparts who commented on women's poetry, were translated, many for the first time. As near as I can tell, they have been exhaustive in their attempts to select from a broad range of titles by individual poets and the overall result is that one can no longer credibly present women as minor contributors to the literature of this vast and ancient country.

The text described above is not the earliest attempt, but it is the most complete for a scholarly audience. The earlier anthology addressing female poets of China, edited by Kenneth Rexroth, and it was a thrilling introduction when it first came out in the seventies, but Women Poets of China (first published by Seabury Press as The Orchid Boat, 1972). New York: USA New Directions, 1982, which is still in print, offers both many fewer poets and much less context for their work. While Rexroth and Chung should be applauded for their service to the scholarly community, they serve as only a taste of the wealth to be found in this new 1999 title.

As I am sure is by now clear, this anthology includes all the scholarly framework that make it an excellent addition to any academic library purporting to deal with world literature, and a potential candidate for a course book. In fact, one could present undergraduates with a decent history of Chinese poetry by using it to introduce the periods and types rather than a more traditional anthology.

However, Women Writers of Traditional China is so well organized and readable that it is also appropriate for most public libraries as a solid, readable, general introduction to women in Chinese poetry. The translations are poetically rendered, the periodization gives them context and the bibliography locates the texts in a corpus of Chinese poetry. This book is well worth its price and highly recommended. Cloth, 891 pg., Notes, Bibliography, Index of Names.

Jan Bogstad, Reviewer

Like the reader from Walnut Creek says, this book is essentially a weight training book, and frankly, not a very interesting, thorough, or original one. I was sorely disappointed. There was really no information that hasn't already been published a hundred times before in a hundred other similar books and magazines. Nothing cutting edge or inspiring or anything that makes you stop and think, wow, now that's a good idea, I can't wait to try that. I've enjoyed some of Staley's writings in the magazines and on his website, but this was just a real let down.

I bought this book expecting to find information on how to develop & build certain attributes for a martial artist. I am very disappointed, this book is mainly based on "Weight Training" sequences. You can probably find most of the training information provided here in any good book on weight training. And it will probably be more complete!

I wish I had this book when I started karate. I wouldn't have been injured so much from improper training. This book covers exactly what is lacking in most martial arts schools. It covers the science of the physical training needed to be your best and achieve it safely and efficiently.

It won't teach you specific stances or blocks, but that's what schools and sites like combastics are for. I don't know of any other book that provides such a complete physical training regiment (not just weight training) tailored specifically for martial artists to develop strength, speed, and flexibility.

Some people might find the detailed explanations of physiology too technical and above their heads as I did at first. But, I think it's better to have the information available than to not. They weren't kidding when they put "Science" in the title.

If you should be wary of anything, then beware of taking fitness advice from well-meaning karate instructors not certified in personal fitness or training on your own uneducated.