This was a very popular novel of 1896, and is considered by many to be a literary classic. Theron Ware enters the scene as a small town Methodist Minister. He and his wife seem to be humble folk and settle into a small house near his church. Soon he meets a Catholic priest, an atheist physician, and a beautiful Irish lass. They make quite an impression on him. They are sophisticated, well educated, and quite worldly. Alas, they are such a strong influence on him that he starts playing the worldly role, and begins to look down on his job and his religion. He also finds himself strongly attracted to the lovely Celia Madden. I should mention that in those days the Irish were assigned to the caste of untouchables.

Theron acts as if he is now a man of the world, although he knows nothing of the literature, music, and philosophy discussed by others. He becomes a boring, mean minded buffoon. The book continues with his steady degradation, a preacher who has become a victim of that secular humanism that our current day fundamentalists complain so much about.

The novel provides an interesting view of religion and culture of the late 1800s. It was somewhat difficult for me to understand how such a seemingly pious man could turn into such a churlish fellow. Perhaps his upbringing was quite religiously strict, and he developed a strong reaction formation to it all.

I found this book on my father's bookshelf and brought it home to read. I'm not sure why I picked it--nothing about the title or description excited me too much, so it sat on my own bookshelf forgotten for several months. Finally, hurriedly getting ready for a vacation I needed a book to read and found Theron Ware. I loved it so much that I went right out and bought my own copy. I recommended it to my 21 year old son and he loved it too. One caution though, do NOT read the introduction first--it gives the entire plot away. Save it for after when you can savor the analysis.

IMHO, this novel can and should be included with the other American novels that we cram down the throats of high-schoolers: Moby Dick, Scarlet Letter, Huckleberry Finn, etc. This is the almost painfully realistic story of a preacher who discovers that there is another world outside his previously sheltered existence. For many of us, this sort of discovery is a happy and broadening experience. But in Ware's case, his new discoveries cause him to reject all the good things about his old life, and to build fantasy castles in the air of his imagination. In his increasingly desperate attempt to escape into a fantasy life, he leaves behind many of his values and ethical standards - not least his responsibilities to those he loves.

This book will hit a nerve for many readers - it did for me. It is easy for the reader to identify with Ware and realize only too late, as Ware did, that he is embarking on an illusory and self-destructive quest. Frederick constructed both the plot and the character of Ware perfectly, and this novel is worth everyone's time to read. You will keep thinking about it long after you have closed the book for the last time.

Blackwood wrote a lot, and some of it is mediocre, but there are two magnificent stories in this collection that every aficionado of classic ghost stories should have: "The Willows" and "The Wendigo." No other writer of supernatural fiction ever conveyed the horror of isolation in nature as well as Blackwood in these stories (at least to my knowledge). Enjoy

It's unfortunate that this collection of unequalled horror and suspense pieces goes by the name "ghost stories." In fact, there are almost no ghosts to be found in this book. Blackwood (1869-1951), who must rank as one of the greatest English language fiction writers ever, is also one of literature's best-kept secrets, a genius who exquisitely married mind-bending metaphysical revelation with unbearable suspense.

Calling these "ghost stories" is like calling Moby Dick a "fishing tale" or Les Miserables a "detective story" -- it simply doesn't begin to reveal the scope and depth of what is contained. It's hard to compare Blackwood with any other writer, because he was so unique. He was a major influence on H. P. Lovecraft, but was vastly more compelling, subtle and profound. You might think of him as Hermann Hesse meets a maturer version of H. P. Lovecraft.

The place to start in the collection is with Blackwood's hallmark stories, The Willows and The Wendigo. They could just as well be titled The Camping Trip From Hell and The Hunting Trip From Hell respectively, and I do mean Hell. Presumably the movie The Blair Witch Project drew its inspiration from those metaphysical shockers, in comparison to which The Blair Witch Project is just a romp in the woods (no pun intended!).

Yet Blackwood is not difficult to follow or to begin to understand. His prose ceaselessly crackles with sublime, cumulative thrills on every page. A suggestion: Read Blackwood slowly, without distractions, so you can savor and ponder every line. You won't be disappointed, but be prepared to never look at the world quite the same again.

There are thirteen stories in this book, and while only four of them really stand out, they are all certainly worth reading. Don't let the title fool you, by the way. I can't give you any numbers-it's been a while since I've read some of the stories-but I would say that less than half of the stories are "ghost stories," at least in the traditional sense. One of the stories-"Max Hensig"-isn't even about the supernatural, neither "The Willows" or "The Wendigo"-which most people seem to consider his best works-involve ghosts. The four stories I think really shine, by the way, are "The Willows," "The Wendigo," "The Listener," and "Max Hensig." If you want to know what they're about, you'll have to read them, but I will say that "The Listener" is the only ghost story of the four. Although King, Lovecraft, and Blackwood are all "horror" writers, fans of the first two should realise that Blackwood's style is completely different. He builds horror through suspense, not blood and gore, an art that modern horror writers seem to have lost (actually, King has shown that he can write horror without blood (although he does include a lot of it in most of his books), and Lovecraft is such a lousy writer that I can't actually remember if he uses it to any great extent. To be honest, I used those two because they were the only "modern" horror writers I could think of. Although Lovecraft isn't really that modern.)

This work by Dr. Kibler reveals the history of this family, their life style, the impact that the members of the family had on southern society during that time period, and the impact of that time period on the family.

As an ancestor of the Hardy family he so elequently describes, I thank Dr. Kibler for the efforts he relentlessly pursued in order to reveal the life of this southern family.

Additionally, I thank the reviewers - all of you, pro and con - that have taken the time to extend their personal thoughts and feelings about Dr. Kibler's work.

I assure each and everyone one of you that the ancestors of this proud Southern family are alive and well, and that the history of the Hardy family is a Southern history that ALL of us share that reside here in the deep south. It will always remain a vital part of this family, and of this culture, through all time.

My children are well aware of their heritage, and are filled with pride to be personally related to the family that lived and survived in this historical, colorful past. My brother and sister, both residents of South Carolina, are just as proud.

God bless all of you.

Allen Key Hardy

James Kibler does a masterful job of relating the story of a South Carolina family and their home on the Tyger River. Not only does Kibler tell a compelling story, he conveys the uniquely Southern question of the property ownership. 'Do you own land or does the land own you?' In the South, one does not just own property. He does not simply possess a piece of real estate. The land has prior claim and possesses its owner. In turn, the owner of record becomes its custodian and responsible for all that came before him.
In Massachusetts, when Bob Villa fixes up an old house, he is simply fixing up on old house. In Atlanta, (unlike the real South) they fix up an old house and call it 'property rehabilitation,' just another investment. But outside the metro-monstrosity, to rescue an ancestral home is to rescue history itself. To work in its gardens and find an occasional arrowhead or musket ball is to experience a piece of life. To salvage the work of a long ago carpenter (even though you cannot immortalize him) is to save his efforts and art for the future to enjoy. Saving someone's refuge from history is to become a part of history yourself, yet another tale that must be rescued from the condos and strip malls.
Unlike the rest of America's empire, the South remains conscious of its history. We cannot ignore what we tread on every day. We live our lives up to our necks in the results of history. In turn, there is no greater honor than to be a part of our history and its land. If Yankee legions could not destroy the land and its story, then modern corporations and termites haven't got a prayer. Here we do not measure history with years; we measure history with lots, acres, family and true Christian friends.

Apparently the reader from Pickens,South Carolina who gave a review entitled "Blind, reactionary, racist drivel," which was posted 7 February, 1999, has sadly confused the names of authors James Kibler & James Kilgo. While on holiday in Charleston, South Carolina last year, I had the pleasure of attending a meeting of the South Carolina Poetry Society, in which Kibler read from the chapter entitled "Captain Dick," from "Our Fathers' Fields." One thing I could not help but notice was how after the meeting, those in attendance (particularly all five of the blacks in the audience)expressed relief to Kibler of the fact that his book is not caught up with racial pandering, which is a rather strange fascination of some other authors who have written books with regards to their questionable interpretation of history in South Carolina. Indeed, it is most refreshing to read a book like this which does not have such an agenda, with contrast to a number of books lately written by authors defaming the character South (particularly South Carolina). Thank goodness that Jim Kibler at least had the fortitude of using the most accurate documentation in writing this Southern classic. No wonder Shelby Foote is looking forward to presenting Kibler with the award of "Best Southern Non-fiction Book of the Year," this April.

The large number of exercises covered are well explained in a step-by step fashion. I just wish the models were not so wimpy looking! Good book for beginners or intermediate exercisers.
Use it in combination with a book showing in detail which muscles are targeted

I enjoyed and really learned from this book. Concise descriptions, depictions and definitions of...body mechanics... as well as some exercises and excellent background information. Explicit description of "good form" for excercise that I haven't seen in many books & magazines. Although some might consider this a "beginners" book, there is a lot of stuff many of the old-timers in the gym could learn...

If you feel totally clueless whenever you step into the strength-training section of a gym, then "Muscle Mechanics" is the book for you. For many bodybuilding and fitness novices, learning the proper form or way to lift, pull, or push bars, pulleys, or other gadgets that are commonly found on a gym floor can be a task itself. Without the assistance of a personal trainer, which can be an expensive investment, weight training can be very difficult, if not hard for most.

Unlike many other books on the market, "Muscle Mechanics" is a perfect companion to those who want to really get into the move of things. Using photographs, and easy-to-read type, the book surpasses many professionally written books by top name fitness gurus because. In plain English, this book is similar to a "Dummies" or "Complete Idiot's" guide to weight-resistance exercises. Although I am much more of a pro when it comes to training, this book was helpful in helping me learn several exercises that I was not performing correctly. Overall, the book's design, setup, and price are all added pluses when it came to me in purchasing it.

So, if you're looking for a simple, yet thorough book on weight training, this book is the right choice.

A biography of the undefeated champ, from his somewhat hard childhood and attempts
to break into baseball, to his boxing career after the army, to his retirement and the life of Reilly that followed. It's written in an almost fictionalized style - quotes from scenes in Rocky's life come from interviews, doubtless, but as exact quotes they must be taken with a large grain of salt. Skehan doesn't judge, nor is he critical; he merely reports, without skepticism. The picture that emerges is an ambiguous one. The Rock was obviously a tightfisted cheapskate, sometimes to the point of criminality (cheating pay phones, defrauding an insurance company for ten grand). He had strange ideas about money; not trusting banks, he'd squirrel away large chunks of cash. He had all sorts of business deals, shady and otherwise, that he enacted without so much as a signature or IOU. Many of Rocky's friends insist he was staunchly loyal, but his long-time trainer Al Columbo's estrangement, his lifelong argument with another friend over a probably imagined forty bucks, and his failure to help out the boxer he hospitalized all belie this picture. The consensus is that Rocky was pretty much the all-time greatest; since he faced the champions of his time when they were nearing 40, this is disputable, and the book should state that. Certainly, Skehan blatantly glosses over serious flaws in Rocky's character, such as soliciting prostitutes, leaving his wife and daughter for long stretches, cutting short vacations with them, etc. In all this is a thorough, interesting, easy to read bio, but it could stand to show a few more warts than it does. He was a great champion; we don't need to think he was a saint, too.

This biography is a pretty good straightforward report of Marciano's life. The author develops an intimate portrait of the champ, warts and all, through interviews with friends and acquaintances. We get to know what it was like to interact face to face with Marciano. In one sense, it's refreshing to get unanalyzed picture of a subject. But sometimes I wish author delved deeper. My only criticism is that the author doesn't really add any value to the subject, Rocky Marciano. The book lacks psychological insights into Marciano's personality. The author gives a report on the Rock's actions but doesn't penetrate into what made him tick. At several points, the author acknowledges that some of Rock's actions were a mystery to him. But one would expect after writing a book on the guy the author could provide some answers. I understand I'm contradicting myself here but my judgment oscillates between enjoying the straightforward, unadulterated portrait and the need to understand the subject in some deeper sense.

Everett M. Skehan did a comprehensive, thoroughly professional biography on a great champion long deserving such attention. Rocky Marciano's soft spoken demeanor prompted him to stay away from media opportunities and let his fists do the talking for him. His incredible record of 49 consecutive professional victories with 43 knockouts serves as a glittering testimonial to his skills.

With his quiet demeanor, often to the point of preferring to stay in the background, Marciano would more than likely led an unobtrusive life in his native Brockton, Massachusetts and never missed the publicity had it not been for the fact that he was endowed with a rock hard body and the kind of stamina that brings back memories of boxing's only 3 time champion of the thirties, Hammering Henry Armstrong. Marciano had the shortest reach of any heavyweight titlist, but made up for it with a swarming style that smothered opponents, along with a solid punch that eliminated them.

Skehan's life reveals a major point of irony in life, the relativity of great talents. Marciano had one of the solidest constitutions of any fighter in ring history, possessing awesome power, yet, when he sought to pursue his first love as a boy growing up, baseball, by trying out for the Chicago Cubs s a catcher, he was thwarted. Marciano had the same kind of stolid, stocky build as all-time catching great Yogi Berra of the Yankees. When he tried out for the Cubs, however, he was rejected for not having a strong enough throwing arm. The short term loss proved to be his long term gain since, unless he had ability to rise to the level of a Berra and become a Hall of Famer, Marciano's accomplshments would have diminished compared to his boxing achievements as one of the greatest heavyweight champions of all time.

Marciano was a tireless worker, as this biography reveals. He was able to resist temptation in his determination to reach the top of the fight game in a career that spanned less than a decade, from 1948 to his retirement in 1955 with his celebrated 9th round knockout of Archie Moore, the world light heavyweight champion. Even while on his honeymoon in Miami Beach, Marciano would faithfully rise each morning to do his roadwork on the hotel golf course. On occasions when temptation beckoned and a beautiful woman would be available, Marciano bypassed the momentary pleasure to stay in shape during his fight career. As a result, when he did retire Marciano loaded up on calories and tasted delights of the flesh in rapid scale fashion, seeking to make up for lost time.

While understanding the reason behind Muhammad Ali's "I am the greatest" media campaign, which he acknowledged with the words, "He's trying to build a gate," he also let it be known that he did not appreciate such public relations tactics. He was a quieter sort and such a demeanor was inconsistent with his being and perhaps his understanding.

Skehan also carves out interesting sketches of Marciano's trainer Charlie Goldman and his manager Al Weill. Marciano revered the respected veteran trainer Goldman. He could not abide Weill, particularly when the manager wanted to sack Marciano's life long Brockton friend Allie Colombo. The fiercely loyal Marciano insisted that Colombo be kept on the payroll as a managerial and training assistant.

Sometimes unfairly glossed over and ignored, sometimes unfairly given more credit than he deserves, Howard Phillips (H.P.) Lovecraft's gothic horror novels and stories set a new standard for American horror literature and, most likely, influenced horror writers the world over. That he is the master of setting, scene, and utter creepiness there is no doubt, but many will debate the effectiveness of his "Out of Time" creatures as genuine fright-inducers versus just plain strange and weird... whatevers.

This book, however, is one of Lovecraft's rare pieces of nonfiction - a scholarly survey on the history of supernatural horror throughout literature. Obviously well-researched and excruciatingly well-written, it makes a fine resource for anyone interested in this subject, although its obvious fault is that it covers nothing beyond 1927 - and doesn't touch nearly enough on Lovecraft's own work. For a reference resource on post-1930s horror literature (and television, and film, which became important mediums after this volume was written), check out Stephen King's Danse Macabre.

This book makes a good investment for scholars interested in Lovecraft or horror, and is written in a way that makes it accessible for those who don't need a lot of scholarly language to entertain them. Beware - Lovecraft's well-documented anti-Semitism comes through at several points in this book, but it never presents a problem if you can appreciate his work as an entity separate from his abysmal beliefs about this subject (like you could, say, with T.S. Eliot.)

Bottom line: a worthwhile investment.

This essay was written by Lovecraft for a friend's magazine. According to the introduction, Lovecraft took three years to research his project, read numerous works, and write the paper. Also according to the introduction, Lovecraft was a very slow reader. If this is true, he must have devoted quite a bit of time to his research. It leads me to believe that all the books mentioned were all the books he read. What did he miss?

This essay is part explanation of what horror is and a reading list of the discerning horror reader. He gives a good definition and then shows you how other readers fit this definition. He arranges this piece to show you the progression of horror from its beginnings in folklore to modern times (which would have been the 1920s). He mentions quite a few, but not all get the coverage that the great ones get. For instance, Poe gets and whole chapter and Hawthorne and Bierce receive a good bit of coverage.

If you are not a reader of Lovecraft, it may take you a minute to acclimatize yourself with his style of writing. The fan of Cthulu will easily slip into the flow of words.

Lovecraft never really covers anyone he truly doesn't like. He does criticize some writers, but there is no in depth writing against someone. This work is primarily positive. I would recommend getting this for the reading list alone.

Yes, do not doubt it. In this thin booklet reprinted by Dover you will find a fine and most pleasant reading on the history of the most reknown and famed names that built up the literature of Horror, by the hand of the celebrated and controversial master of Cosmic or Materialist Terror, Howard Phillips Lovecraft, to whom some regard as the successor of Edgar A. Poe in North American horror-tales tradition. This short essay of his is one of his most commendable titles, even recommended by many of those who consider him a "second-rate" author. This booklet will make you to think otherwise. If you are interested in learning easily and pleasantly about this kind of literature-genre, do not doubt it, buy this one right now.

In a word - boring. In two? Boring and dull. Not particularily interesting, not particularily insightful. Blah, blah, blah - it never seems to end. My friend's mother must have been high on crack to recommend this to me. Several hours of my life I'll never get back. I'm a bright guy, PhD, well read, enjoy camping and the outdoors - not as shallow as this review might suggest - but honestly, this book [stink].

This is a hard book to sum up in a few words. Fascinating and compelling, yes; heartbreaking, often; hair-raising sometimes; exasperating, occasionally. Mostly, it is a vivid reminder of what it is to be still very young, naive, and adventuresome. It's also a book that's very hard to put down.

The reader, of course, knows from the start that Everett Ruess disappears at the age of 21 while on a walkabout somewhere near the Colorado River, in the remote 1930s wilderness of southern Utah. Gifted, bright, and almost painfully sensitive, he writes letters home that are sweetly poignant, thoughtful, opinionated, and rapturously descriptive of the natural environment he loves. Starting at the age of 16, while still a high school student in Hollywood, California, he journeys to Carmel, Arizona, and the Sierras. Leaving UCLA after one unhappy semester, he returns to the Four Corners region of Arizona and drifts northward into Utah where he follows the Escalante down to the Colorado and then vanishes.

A lover of classical music, a reader of books, poet, writer, water colorist, and block print maker, he considers himself very much a misfit in a world of conformity, where people live lives of quiet desperation, pursuing material goals that make them unhappy and unfulfilled. Torn between his desire for companionship and his love of wilderness solitude, he appreciates warm and welcoming company wherever he happens upon it, and seeks it out when he can, sometimes introducing himself to established artists, such as photographers Edward Weston and Ansel Adams. During visits to the home of painter Maynard Dixon, in San Francisco, he is befriended and photographed by Dixon's wife, Dorothea Lange. One of these photographs eventually appears in a missing persons report in a publication of the Los Angeles Police Department.

It's easy to go on and on about this book. The letters provide such a rich psychological portrait of this young man, full of interesting contradictions and curious prophecies of his eventual fate. Meanwhile, there is the mystery of his disappearance and the various theories and speculation about what may have happened to him, which are also included by the book's author.

I am happy to recommend this book to anyone interested in the West, stories about coming of age and self-reliance, rhapsodic descriptions of nature, personal adventures, the desert, Native Americans, and unsolved mysteries. As companion volumes, I'd also suggest Edward Abbey's "Desert Solitaire" and Eliot Porter's excellent collection of photographs, "The Place No One Knew: Glen Canyon on the Colorado."

I throughly enjoyed this book.

Being from No. Az. I was able to comprehend, location wise, Everett's travels and understand his artistic descriptions. Well written in chronological fashion, Rusho challenges readers to speculate on Everett's demise w/o overburdening with his own opinions.

Buy this book and be ready; Everett's a fellow that I think we would all truly like to meet and would appreciate.

In my "real life" I am a classroom teacher who is working to establish collaborative study groups in two middle schools for the purpose of researching, examining, and improving teaching practice. Schools are organized to remain the same - not to change. This book has been invaluable in helping me understand the change process, things to consider when implementing change, and ideas for making change more palatable to teachers and administrators. I did not personally find it to be a "quick" read, but I found that the time I spent poring over the chapters paid real dividends.

Dr. Rogers is a brilliant sage whose lifelong quest for understanding how and why people adopt or deny innovation began, he tells me, on his family's farm in Iowa as a boy. At a young age he observed that some farmers were quick to adopt the latest innovations while many others were slower or even resistant to change. He also noticed that adoption didn't always equal success, nor did the refusal to change. So whether your gig is plowshares or computers or languages or healthcare or just about anything, you will find this book fascinating and illuminating. The book takes an "innovation" tour around the globe and through history with poignant examples of how new ways are diffused into societies. INC. magazine recently named this book as one of the 25 most important books written for understanding commerce. Ev is truly one of the wise men of today.

this is one of a kind book that researchers in sociology, psychology and business can use. great to be used in determining the audience impact, use of certain media, tools, ideas, etc. the model used is exactly an innovation that researchers can't resist in using. a new paradigm shift in research methodology. the book is full of illustrative stories to use in related literature of a study. E. Rogers is an excellent scholar. i give him a five star award for his innovation. From: Prof. Rudy P. Divino, DBA(cand)

In general this book is very interesting and informative, but it is a little hard to understand and is very confusing. I had to read pages over and over in order to understand them.

This is the book that started it all, written a century ago by a man as strange and dynamic as his story. Every fantastical image of a sunken paradise, or heated dispute about it's existence and location, all started with these pages.

The origin of all Atlantis-hype, this book similarly starts with the origin of the concept itself. Donnely includes a translation of Plato's story that all Atlantean research goes back too. This was the most interesting part of the book, just hearing the first account all discussion and contemplation aside. It is also the most integral part of the book, since out of it comes all of Donnely's extrapolation.

The basic point of the rest of the book is to try to show that 1) Atlantis could have existed and disappeared geologically ages ago, and then furthermore 2) to explain Atlantis's affect on the rest of human history. Here, his attempts are the most interesting, and, often, the most ridiculous. Generally speaking though, he does state his case scientifically, and in most cases, rather believably.

The only glaring faults are his mistranslation of the original Plato, placing Atlantis most likely in the wrong area, and how sometimes he takes some rather huge leaps to justify his points. But hey, he wrote it 100 years ago and still manages to produce an intriguing study into the Atlantean question, without the aids of more advanced technologies.

Either way, it's a very interesting book, and whether you believe in Atlantis or not, I'm sure it will give you a lot to think about, which was indeed Donnely's purpose in the first place. I recommend it to any inquisitive mind.

This is the ultimate book on Atlantis. Well written (though hard to understand at times due to the 19th century grammar), well researched, and very informative. Required reading for anyone interesting in Atlantis. ...

This book is a collection of essays written by Michael Horton and a dozen other writers from diverse theological backgrounds. They critique heresies of the modern church in the light of the Scriptures with documentation of sources and devastating expose'. The book is much needed in a world where Benny Hinn (who is not even mentioned by the way since the book was issued before Hinn was a household name) claims he will raise the dead, Jimmy Swaggart was exposed as an adulterer, and the Word of Faith crisis advanced beyond critical mass to include Creflo Dollar's "send me money" theme.

The book, however, does suffer from one weakness: it implies that NEVER has anyone successfully used TV either locally or nationally to spread the gospel. While correctly noting that the TV can never replace the ecclesiastical church, the book seems overly negative towards TV and radio ministries. Other than that, a fine read.

THE AGONY OF DECEIT
WHAT SOME TV PREACHERS ARE REALLY TEACHING
EDITED BY MICHAEL HORTON

This extra-ordinary book goes to great lengths to teach what the Gospel is NOT and what the gospel IS. The editor, Michael Horton, apart from making significant contributions of his own, has gathered together contributors of considerable standing in the literary and Christian worlds. Their combined purpose is the exposing of the teachings of certain television evangelists with worldwide audiences numbering many millions.

It is plain from the text that, before commiting their opinions to writing, the contributors first attempted, by one-on-one counselling, to persuede the TV evangelists to reconsider their theological views in respect of the Gospel. When this failed they carefully analyzed the writings and broadcast sermons of the televangelists in the light of the Gospel as presented in the Bible. The contributors express alarm at what they consider false prophecy being propagated over the air waves, leading millions of believers to a gross misunderstanding of the Gospel of salvation in Jesus Christ with all its attendent consequences.

"The Agony of Deceit" equates the influence of televangelism with the harmful influence of the medieval church which preceded the Reformation led by Martin Luther, and which left countless millions of souls floundering for centuries in a kind of spiritual wilderness.

"The Agony of Deceit" questions whether or not television and evangelism can be equally yoked together. It warns about the nature of the television ministry leading to an atmosphere of alienation among Christians. It throws out a powerful challenge to the authodox church to get involved in television ministry to counter the message of the televangelists. And it calls for the setting up of a second Reformation which will lead believers back to a true understanding of the Gospel.

I was glad I read this book. It took me back to my Chtistian roots, refreshed my memory of the true Gospel, and alerted me to the dangers of false prophecy.

Submitted by Roger

This book, edited by Reformed tehologian Michael Horton (also writes three essays in the book), was published in 1990 before the rest of the Evangelical community started to speak out against teh dangers of "The Word Faith Movement." The principles in theology have not changed toward applying to what is heretical word-faith nonsense and orthodox theology.

The strength of this book is the many different experts who rage in the battle for Christological and theological orthodoxy. Each person handels topics he is most apt to address. Horton's introduction brilliantly sets the stage, "This book argues that the struggle for orthodoxy is the struggle for the authentic 'message of Jesus Christ'."

Other chapters of note is the late Walter Martin's chapter on the "little gods" doctrine often snuck in by faith teachers. This was Martin's last published essay (he died after writing the essay, but the book was not published until after his death).
Horton's "The TV Gospel" and Godfrey's "The TV Chruch are written very well and are clear and concise. C. Everett Koop's chapter on faith healing and God's sovereignty is also extremely well done.

For another well written work on the subject read "Christianity in Crisis" by Hank Hanagraff.