It must all be true. At least, that's what you think when reading Chistopher's poems--they are fantastic, but they seem to be factual (you want to believe that Houdini could dog paddle under a sheet of ice for 2 hours looking for his escape, and you want to believe that John Dee could speak with Angels). This is one of his gifts and failings: his writing is beautifully flat. "Flat" must be counted a pejorative when speaking of writing; but in this collection it is exactly this quality that suspends our disbelief. Granted it must be that Christopher has found subjects that "work" within this framework. All this sounds ambivalent, and I don't mean it to. This is a wonderful book, especially for those not normally poetry readers; it is accessible--one reader has said there's something in it for everyone, and this is surely true.

5 Degrees is the title of what is a long poem in 35 sections--each section stands on its own but is made stronger and more interesting by its placement within the whole. Odd comparisons are made by way of recurring words, characters, elements, historical persons, mythology, and of course the style. Houdini is the subject of a couple poems, Van Gogh as well, and John Dee, an English mathematician and scientist "friend to Sir Walter Ralegh/and Thomas Harriot." (Harriot and Ralegh are strong presences in Christophers fantastic novel, "Veronica"). We see the Nazi's burn copies of "The Tempest" in one poem and read that "John Davis, explorer and navigator, died the night/The Tempest was first performed in London."; Iron makes its way into several poems as element from the stars that unites us through history, but also simply as the "color" of most of these poems (many seem to take place in winter).

One cannot show you enough here. Each section in this long poem makes you think of a different earlier poem and causes you to reflect upon that poem differently. What we learn throughout is made explicit in section 15: "And Shakespeare, who understood that the hard/facts he pillaged from Plutarch were prefigured in myths--the wellspring of history--". This is exactly what Christopher has given us--a veritable encyclopedia of information (factual, fantastical, mythological, historical), shaken up in his cupped hands, like the bones used to tell fortunes, and let fall to the table under Fate's guiding hand (simply peruse section 25 to get the idea). His is an art of resurfaced truth and rearrangement (he mines for Iron ore and can also seek it in the Pole Star).

This is my favorite of his works (although I did read the novel "Veronica" several times), and of his previous and subsequent work, this is by far the most even. I do also enjoy his first book, "On Tour with Rita"--and find it has poems that would work very nicely within the framework of "5 Degrees".

Nicholas Christopher is truthfully one of the most well-written and introspective poets of the 20th century. Anyone can find something in his poetry that they appreciate and value greatly. "Hibiscus Tea" is one of the most awe-inspiring and beautiful poems full of imagery I have ever read.

Put quite simply, this is the best book of poetry that I have ever seen. Christopher's verse is infinitely compelling and his scope so broad that every reader can take something away from a perusal of it. I would recommend this book to anyone and everyone.

The Know-It-Alls series of books by Christopher Nicholas and Mike Maydak are wonderful tools that we use in our second grade classrooms. They are well written with many useful facts and are on a level that can be easily understood by children. The synopsis at the end of each part of the book is great for helping the students research a particular topic. We have used the snake books, spider books and have now ordered butterflies and bugs. We can't wait to receive them. Thanks!

This book is a very informative. My son is only 3 1/2 years old and can tell you things about bugs that some adults don't even know. The books layout of pictures and short descriptions make it easy for a young child to understand and learn. The whole line of these books I would suggest for young children interested in science.

Awesome collection of 25 short stories and essays about soccer. My favorites were Stephen Baxter's "Clods," Tim Pears' "Ebony International" Nicholas Lezards' "The Beautiful Game," Steve Grant's "Casuals," Geoff Nicholson's "The Winning Side," Mark Morris's "The Shirt," and Mark Timlin's "Wonder Boy." That said, almost every story has something worthwhile about it, and for a soccer fan, this is a must read.

In Dr. Christopher White's Foreword to this terrific book, he writes that his uncle, the beloved late British artist Ardizzone (b.1900) drew constantly as a child, but took a proper job as a shipping clerk after completing his education. Ardizzone soon came into a small inheritance and, "encouraged by his wife but to the horror of his father," devoted the rest of his life to the passionate and dedicated work of painting, drawing, illustration, and, to a lesser but no less successful degree, print-making.

Ardizzone's work was recognized and valued early on. In his Preface Paul Coldwell writes accurately that Ardizzone "displays that rare talent, along with Tenniel and E.H. Shepard, of representing a vision of what it is to be a child that is as intense as the reality experienced." In 1941 Ardizzone was named official War Artist; he sent home incredible drawings from North Africa, Normandy, and Germany. He was the first British soldier to set foot in Denmark. In all, he submitted over 500 drawings, including over 400 watercolors. Some were prints, and are included here. This beautiful 'catalogue raisonne' (salmon pink endpapers, and many color plates) was published in conjunction with a traveling retrospective exhibition (England only) of Ardizzone's prints. The hundred or so etchings and lithographs have as their subjects lovers, dancers, children, boats, life drawing class, street scenes, public schools, the beach, pubs, prostitutes, wartime, Gloucestershire, Suffolk, plus 'various commissioned posters' (all in great color), menus, and more The images reflect his overriding optimism and acceptance of human frailty and foibles. He loved to dance, he got along well with people, he loved the world - and it shows. His images are most often generous and emotionally expressive, often a little humorous or moody, and gentle - without being weak in the least. Ardizzone is a tender and careful tour guide. A "sharp observer of life at all social levels," he "preferred the fat to the thin," (White, in the Foreword), was considerate of his subjects, and never objectified the powerless.

It's a terrific book, with a Foreword, a Preface, and Introduction, and a comprehensive and informative narrative (by cinematographer and art historian Dr Nicholas Ardizzone, the artist's son). There are over a hundred good illustrations, some in color, as well as several photographs of the genial and lovable Ardizzone. In addition, the gritty details of the art and craft of printmaking are included - a nice plus.

Finally, there is a list of autobiographies (diaries, memoirs) written by Edward Ardizzone, and a bibliography that Dr Ardizzone compiled as part of the work of his doctoral thesis. You can take that list and read for months, if you choose to.

This is a beautiful book. It was compiled and assembled by a team of Ardizzone devotees - a labor of love as well as scholarship. Aside from being a guide to Edward Ardizzone's prints, it's a terrific value, because along with the images you get insightful and informative commentary, and a sense of the man - that money really can't buy.

Elmo is asleep with his stuffed dalmation and dreaming that he, Zoey, Grover, and Tele are all firefighters. With Zoey at the wheel, the adorable Sesame Street monsters hurry off to fight a fire and rescue Cookie Monster, Oscar, and some kittens.

My toddler loves fire trucks and Sesame Street, so I bought this book without even really looking at it. It exceeded my expectations by far. On each page there are at least 2 or 3 flaps to lift, which is more than you'll find in most "lift the flap" books. The illustrations are wonderful and detailed, the story is humorous throughout, and it's not a bit scary, even during the rescue scenes.

This book is a wonderfull display of british artwork, it is also extremely informative and a trully usefull and pleasurable book to have. I can not recomend it highly enough.

I recommend this book to anyone who works with computers and telephones. It has enough technical detail to be interesting to an engineer, and yet is still very readable by, say, linguists and phoneticians. I've read the chapters on interactive voice response and basic telephony more than once; in fact, this is the only book I know of with reasonable introductions to those subjects.

Nicholas Christopher has done it again. He has created an intriguing tale, well drawn characters and a wonderful vacation from reality - all of which make for a fabulous, can't put it down kind of read.

This book follows Franklin Flyer, named after the train he was on that crashed when he was a newborn, from 1939 through to the later years in his life. From New York City to Europe and back. Each chapter is a year in Franklin's life and each year brings new and interesting characters and exploits.

The first chapter introduces you to Franklin and quickly sucks you in, giving you some enigmatic thoughts to keep in mind while reading the book. Christopher once again delves into the topics of fate, destiny and luck and manages to wrap up each and every question and plot line that he introduces Franklin and the reader to. While not as spellbinding as his previous novels, Veronica and A Trip to the Stars, Franklin Flyer is certainly worth reading and enjoying.

At one point in the picaresque journey of Nicholas Christopher's Franklin Flyer, he takes a job creating heroes for pulp-fiction magazines of the Depression era. This is perfectly appropriate because Flyer himself eventually becomes such a heroic figure himself, working as a spy for the OSS during World War II, when he's not becoming a tycoon, inventing a paint-mixing machine, engaging in hand-to-hand combat, dabbling in Ancient Egyptian mysticism, or looking for a mysterious woman in a photograph--all the while keeping a firm hold on his yellow fedora (yes, that fedora--the one on the front cover).

Christopher's fast-paced tongue-in-cheek homage to the genre is 180 degrees from his previous novel, the long, languid, "A Trip to the Stars," and maybe it doesn't measure up to that masterpiece.

But it's definitely a fun, provocative read, and it will keep you out of mischief for a couple of days.

My husband and I both really enjoyed this book (i.e. it will appeal to both men and women). It's a nice change of pace from the same-old, same-old. Great characters and an episodic plot as incredible, quick-paced, and satisfying as the pulp comics that Franklin gets his start in. Good and evil are pretty black and white here, but Christopher's ultimate outlook on life seems as sunny as Franklin's yellow fedora.

I do not feel Marlowe's "Faustus" is quite as good as his "Massacre at Paris" or "Edward II," but I still consider it an outstanding play. "Faustus" is very true to life in that many people can not stay behind the 'this far and no further point.' The opening is quite chilling as Faustus decides that the legitimate knowledge of this world is not good enough and he immediately decides to cross into forbidden territory even at the expense of his soul. To this day, I never have forgotten the chills I felt in 2.1 when Faustus signs the unholy contract. It is interesting that even after Faustus signs the contract, that he is presented with several oppurtunities to escape his fate: "Faustus, repent; yet God will pity thee" (2.2.12). But he can not give up the fruits of the contract. (His powers, having Mephostophilis at his command, etc.) After the chilling tension of the first 2 acts, Marlowe releases the tension for the next two acts by having Faustus perform several practical jokes (of an evil nature to be sure), but nevertheless it offers a release of tension while at the same time we can see how malignant Faustus has become. I once read that many people feel the 3rd and 4th act are way too silly and that they drag the play down. But I don't think this is the case at all. I can not help but think Marlowe was trying to point out that in all honesty, there was a worthless aspect of the fruits Faustus sold his soul for. Furthermore, Acts 3 and 4 help us to see the mentally disturbed side of Christopher Marlowe himself. In 5.1, Faustus has 1 final chance to avoid his fate, but he resolves himself to damnation after enjoying Helen of Troy. If I were a betting man I would be willing to wage that Marlowe is pointing out that sex is an ultimate driving force. To this day, I have never been able to forget the final soliloquy of despair in 5.2 followed by the demons carrying Faustus off to hell. Marlowe himself dedicated much of his life to blasphemy, and I can not help but feel he was coming to terms with the church and starting to realize he better cut it out or else. Not only is this an excellent play, but it also helps us to take a look at Marlowe himself.

"Dr. Faustus," the play by 16th century writer Christopher Marlowe, has been published as part of the Dover Thrift Edition series. The brief introduction to this version notes that the play was first published in 1604, and also discusses its relationship to a German text from 1587 known as the "Faustbuch." In his play Marlowe tells the story of the title character, a scholar who is "swollen with cunning." Faust dabbles in the dark arts of "magicians / And necromantic books," and literally makes a deal with the devil. These actions drive the tragedy forward.

This play is a curious mixture of Christian theology, tragedy, slapstick comedy, and colorful pageantry. It moves along fast, and contains some really beautiful and stately language.

"Dr. Faustus" is ultimately a cautionary tale about human pride and ambition. I must admit that in the end I find it less satisfying than some of the other great tragedies of the Elizabethan era, perhaps because this play relies less on universal human issues than on a culturally-bound theological contrivance. Still, it's a noteworthy play that, I believe, still holds relevance for contemporary audiences. ...

I, like many English majors, was assigned this play for my English Lit I class thinking it would be more of an exercise than anything else. I was pleasantly taken off guard. I was surprised about how well I could relate to or at least empathize with the character of Faustus, in a play written hundreds of years ago.
Marlowe has a great sense of style in his writing which was ahead of his time, rivialing Shakespeare historically though slightly predating him. He shows a great sense conflict and tension throughout the plot and characters who are very much architypical of the human condition; the quest for forbidden fruit, dealing with own's own need to conquer, lust for greed, exhibiting vanity (the other of the seven deadly sins make appearances) and so on. There is a religious undertone to the play which is easy enough to follow without having much knowledge of Christianity, this play is easy to enjoy without considering much of the religious dogma which was inserted as a guide for the audience of the time.
Perhaps what is most interesting about the play is Marlowe's use of black humor as the reader will find that there is much comic relief spread throughout the play (mostly through other characters mocking Faustus in ways unbeknowst to him, and you yourself may be laughing alongside of them.) Marlowe's style could arguably be seen as a significant influence on Monty Python and other British comedies going back as far as Shakespeare. The play is very much in the vein of what we might consider modern day 'British humor'; dark, often bleak, obsurd, hysterical.
Dr. Faustus doesn't take long to read, is highly entertaining, and you may even get something extra from it by examing your own moral tendencies. Without a doubt the best piece of literature I've read last semester.

...with an excellent accompanying text. The photos a generally well-presented and wonderfully-selected. The book as a whole presents to the reader a family that is at once normal and extraordinary, silly and stately, casual and imperial, joyful and tragic. Great for the coffee table.

Anastasia Author Peter Kurth has compiled one of the best books published on the last Russian imperial family. He summarized the life of Nicholas II and Alexandra of Russia and their children excellently. Stories from the old black and white pictures came alive with Peter Christopher's photographs on the relics of Imperial Russia. This book is already a classic

I've read about the last Russian tsar, Nicholas II, and his family for years, but I never felt like I really understood their lives and their lifestyle until I bought and read this book. The text is an interesting historical summation, but it doesn't reveal anything your average student of Russian history wouldn't already know. What is so special about this book is the pictures. Beautiful full-color photos of the magnificient palaces and locations frequented by the Russian royal family are displayed next to a comprehensive collection of historical photos from the era. In addition to the classic royal portraits you have probably seen, there are many candid photos of the family going about their daily life. Frequently, a historical picture is shown next to a gorgeous contemporary photograph of the same locale. For example, a black and white photograph of two of the Grand Duchess rowing past the "children's island" at Tsarkoe Selo is shown with a brilliantly colored picture of the same spot as it looks today. Thanks to these beautiful photographs, I have a whole new appreciation of the incredible luxury of the royal surroundings, and what a grand contrast it must have been to the lifestyle of the average Russian peasants.