Short and sweet, this book will give you the confidence needed to successfully repair your Subaru! Not only did I use this book as a 'reference guide' I went ahead and read it like a text book to learn EVERYTHING about my 1984 GL wagon. This book also enabled me to do big jobs from replacing engines and clutches, to swapping out drive trains. All with NO prier knowledge! Now that I got a '93 Loyale, I will be picking up the updated version. Remember: ALWAYS go with Haynes. Chilton's manuals are TERRIBLE.

In this unofficial treatise for the homeschooling movement, John Holt, longtime private school teacher, maintains that the traditional classroom model no longer works and may, in fact, ruin kids for learning. He exhorts parents to challenge the conventional wisdom and be their children's teachers. You don't need to be a homeschooler to benefit from Holt's books; you simply need to care about children and education and to have uttered, if only once, "There's got to be a better way."

If you will only read one book on education, make it this one. In this book Holt makes a convincing case for homeschooling, explains how to go about it and shares some of his wonderful insights about learning. The book is filled with real life stories of homeschoolers, which makes everything much more tangible.

A wonderful book about teaching young children the basics; reading, writing and math. Where "How Children Learn" and "How Children Fail" developed a philosophy of education, this volumn details how Mr. Holt put his philosophy to work in the classroom. Full of descriptions of actual exercises you can try with kids, either in school or at home, that encourage learning without sacrificing creativity or future problem solving abilities. If you're looking for more theory on education, pass this one up for now. But if you're ready to apply some of the insights of a brilliant thinker and observer of children, read this book, and be prepared to take notes.

This book is commendable for its conception but is flawed in its premise and execution. The problem is there are too many fingers in the pie. I would have liked to read about one historian's perspective on all the films reviewed. Instead, each film was addressed and compared to historical recollections by a different author. There is no uniformity of thought or perspective. For instance, I am sure that if Stephen Ambrose had reviewed TORA! TORA! TORA! he may have seen that film in a much more favorable light than did Akira Iriye. One can speculate to infinitum. It is possible to find and read countless books on a given historical topic. The point I am making is that each author has the ability to bring different perspectives or interpretations of historical record that may result in different conclusions of events or more importantly ideas. If you were to ask an auditorium full of historians what was the most important factor contributing to the start of the Civil War I am sure you may get at least five good answers. Perhaps the idea that a film conveys is more important than the accuracy of each step that led to that idea. I think that SPARTACUS is an important film not as a representation of a historical record but for the idea that the inherent rights of human beings to live free is a notion worth dying for. Kirk Douglas as SPARTACUS stated something to the effect that he would never stand by and see two men battle and die just for the amusement of other men. There is something very noble about that statement and to the visuals on the screen that precipitated that assertion. To touch a chord of emotion from the audience is really the magic of the cinema. I never once ever thought that the purpose of the cinema was to teach history. For the audience the main purpose of the cinema is to be entertained and if you take it a few more steps perhaps come away with an idea or spark of imagination. That's the beauty of the cinema.

This is a very interesting and useful book but I don't exactly like the overall point of view that it takes on motion pictures. It takes many historically based films and critiques them by comparing what is on the screen to actual historical events. Each chapter is devoted to one film (in most instances) and is critiqued by a different authority. The one constant that I see running throughout this book is that history does not make for good motion pictures if you are gazing through the eyes of the historian. That disturbs me. Motion pictures are a business as well a legitimate art form. If a historically based movie gets your interest as well as entertains you then perhaps that movie has fulfilled its purpose. The movie is the catalyst. It is up to you to dig up the history book and see what was recorded. And if you dig up a second history book it is very possible that those same events may be recorded slightly different. I liked the critique by Sean Wilentz on "THE BUCCANEER: Two Films" where he states that they stand somewhere in between fact and fiction. Akira Iriye is too critical of TORA! TORA! TORA! When you recall that particular motion picture, that's the one that stands out as a film that tried to get all the facts correct. Americans and Japanese respective of their home countries directed it. Iriye's criticism is almost ludicrous trying to state that inflections in the voices of some of the actors actually distorted the true meaning of their words. In light of PEARL HARBOR (2001) Akira Iriye is way off mark. Marshall De Bruhl's words about THE ALAMO are redundant and superficial. THE ALAMO was John Wayne's screen fulfillment of the legend. THE ALAMO is a great American film and it perpetuates that legend till this day. I liked what Stephen E. Ambrose had to say about THE LONGEST DAY. Ambrose recognizes that half the duality of filmmaking is a business. His approach and comments are very insightful and well written. As seen by James H. McPerson GLORY comes off best. It deserves it. "PAST IMPERFECT" is a good book but I just wish there were more input from the filmmakers.

When you're both a student of history and a movie buff, as I am, it can be difficult to sit and watch a film that presumes to have an accurate historical context without fighting the urge to evaluate it and pick holes in it. And I'm not the only one. This is a collection of analytical essays, most of high quality, by experts (not all of them historians) analyzing and critiquing individual films: Stephen Jay Gould on _Jurassic Park,_ Antonia Fraser on _Anne of the Thousand Days,_ Thomas Fleming on _1776,_ Dee Brown on _Fort Apache,_ William Manchester on _Young Winston,_ and numerous others. Sticking to those films about which I have some knowledge of the historical events they claim to portray, most are right on the money. James McPherson, commenting on _Glory,_ points out that while the context and general atmosphere are very well done, and the costuming and so on are exact, there are still deliberate historical errors for the sake of drama; none of the soldiers in Col. Shaw's 54th Massachusetts were ex-slaves, for instance, all of them having been recruited from among the state's free black population. And Catherine Clinton does an excellent job taking the wind out of _Gone with the Wind_'s mythical sails. There's a great deal of good information and criticism here and it's a compliment to say that nearly any of these essays will start an argument.

In this, her fifth book in the Plantagenet series, Jean Plaidy, renowned writer of historical fiction also known to her devoted fans as Victoria Holt, tackles the two most powerful women of the early thirteenth century, Isabella of Angouleme, the Dowager Queen of England, and Blanche, the Dowager Queen of France.

The heartbreakingly beautiful and sensual Isabella, a woman with little motherly instincts, had been married to King John of England, the most depraved, dissolute, and evil tyrant ever to rule over England, when she was just a child of twelve. John had been the youngest son of Eleanor of Aquitaine and King Henry II of England. Unfortunately, he did not follow in the footsteps of his father in terms of his ability to govern his widespread kingdom. When John died a mysterious death, both Isabella and England were freed from his tyranny, and his and Isabella's eldest son, though a mere boy of nine at the time, became King Henry III of England. Isabella was now the Dowager Queen of England.

Meanwhile, across the English Channel in France, Blanche, the granddaughter of Eleanor of Aquitaine and King Henry II of England, had married Louis VIII of France. Her grandmother, Eleanor of Aquitaine, had handpicked her for that explicit purpose, as Eleanor had sensed in Blanche one such as she, a person with the wit and drive to be a strong queen. The marriage of Blanche and Louis had been a happy one, until an untimely death took Louis, who had been a well-meaning, though weak, king. Their handsome son, Louis, would become King Louis IX of France at the age of twelve. The beautiful Blanche, a virtuous and regal woman, was now the Dowager Queen of France.

When Isabella and Blanche would meet, it was clear that neither woman had much love for the other. When King John of England died, Isabella remarried Count Hugh of Lusignan, the man to whom she had originally been betrothed a lifetime ago, before King John had abducted her and made her his child bride. The fact that Joanna, her daughter with John, was now betrothed to Hugh did not deter Isabella from her determination to marry her first love. So, in addition to being the Dowager Queen of England, Isabella became a Countess through her marriage to Hugh, who was a vassal of France.

This was an untenable situation for Isabella, who despised Blanche and refused to give her and her son the homage that they were due. Isabella ruled her husband Hugh through her ability to provide many amorous and sensuous delights, causing him to commit many grave errors in judgment that were to cause much disharmony in his life. Isabella was single-minded in her determination to cause Blanche as much trouble as possible. She plotted and intrigued against the French crown and no perfidy was too great, encouraging her son, Henry, to try to regain the lands that his father, King John, had recklessly lost to the French. Blanche, however, was not oblivious to Isabella's hatred of her and, being a clever woman, made the necessary moves to keep her in check. One day, however, Isabella went too far and attempted the ultimate act of treason. It was an act that was to cause the tempestuous Isabella of Angouleme to come to an ignominious end.

This is a well-written and interesting work of historical fiction, revolving around two women who wielded a great deal of influence in early thirteenth century England and France. Replete with historical detail, the author paints a living picture of the political intrigues of the day. Historical figures are made three dimensional, adding a vibrancy to this enjoyable book, which those who love historical fiction of this period should enjoy.

This is a wonderful book! it is part of the plantagenet series and as the rest is beautifully written and full of historical information. Highly reccomended!

Waimea summer is a wonderful novel that teaches you a lot about segregation in old hawaii. I recomend it to people who have interests in hawaii and want to learn about its history.

The novel is about a segregation in hawaii many years ago. I recommend it to people who want to find out what hawaii was like many years ago. The book teaches you a lot.

John R. Holt, When We Dead Awaken (Bantam, 1990)

It may be stretching it a bit to stick John Holt's wonderful first novel into my ongoing re-reads of 1980s horror novels, since it was published in 1990. Indulge me for a few minutes, though, because When We Dead Awaken was one of the finest horror novels published during the decade, even if Bantam missed the cutoff by a few months. Holt's novel still has the feel of eighties horror; it's still wrapped up in old legends and ghosties/ghoulies/long-leggetie beasties that go bump in the night instead of taking the decidedly ecological turn that has been the basis of much of the horror fiction of the past fifteen years. It's gloriously awash in excess (without hitting the pitch that splatterpunk would only a year or so later), while the language used to convey it is minimal, almost journalistic. You know, eighties horror fiction. Holt was deserving of being among the decade's great lights with this novel, but for whatever reason you care to blame, it never made a huge splash. Lack of advertising dollar by the publisher is usually a good punching bag. We'll go with that one.

Holt's novel takes another old, almost-forgotten legend revived by the upswing in popularity of Dungeons and Dragons, the revenant, and puts a savage spin on it. By legend, the revenant is the avenging ghost of someone against whom a great wrong was committed, let loose upon the earth to achieve vengeance. Such is the case here, except the great wrong to the ghost in question is all in his mind. What happens when your revenant is insane? Very bad things.

The story centers around a family-owned motorcycle sales and repair shop in Florida. One of the members of the family, Billy, a mechanic in the repair shop, went nuts a year before the story opens and killed his wife and child before dying himself (the story is intentionally vague in the beginning as to whether Billy's death was suicide, accident, or murder; it's revealed later on). Billy, never the nicest person to be around, has gotten a whole lot worse after death. He's had a year to do nothing but lie around and nurture his hatred for those who he thinks wronged him over the years. And when something brings him back to the point where his consciousness can affect things in the living world, there's going to be some trouble.

The plot, the action, and the delivery are nothing special, though Holt throws in a few twists and turns that are unpredictable (layering them, quite cleverly, right under the predictable ones). Those aren't the reason this book deserves to still be around in a hundred years. What really makes this thing tick is the development of the characters and Holt's mastery at revealing the right details at the right times. Why is Billy nuts? And why, when his kid is the only thing in the world he cares about, would he suddenly decide to go on a bloody rampage that specifically targets his own family? Why is there such a love/hate relationship between Billy and is brother? The reader will be asking all the right questions by the end of the first chapter, and Holt knows exactly how long to let them drag on in order not only to heighten the reader's pleasure when the answers are finally revealed, but to highlight the depth and complexity of his own creations.

An excellent book. Hard to find these days, but well worth tracking down for the horror fan. Holt deserves a far wider audience than he's got. ****

Even to the very end, you think you know, and then you don't. That's how this book reads. It is very captivating, a page-turner that you don't want to put down. It is about a family cursed, cursed by sins of the past, and perhaps a fierce soul from the past who just won't die.

Make sure you have a few hours to put into this one before you start. You won't want to stop until you finish! The ending is superb!

How difficult is it to attempt something very imposing at later years? Holt writes of this experience of taking up the cello at fifty and his resultant joys and journey.

A lifelong student, Holt is his own person. Learning from himself and his world, and everything in them that will help him achieve. He makes good points about fear and disappointment building barriers to improvement. The battle between competing voices of critique and edification, of between differing interests, e.g. Holt's musician vs. writer.

All this is comforting and inspiring for the adult learner in each of us. Attempting to pick up the oboe in my fifties, having abandoned it at 14, understand much of what Holt communicates so well. However, his issues of tuning and fret memory are replaced for the double reedist by the ever trying reed dilemma.

I did not profit from the lengthy recall of his music past.

This touching and useful sharing of music growth will stimulate and inspire aspiring musicians of all levels. Learning to be a learner is a wonderful thematic gift of this work.

John Caldwell Holt, like Ivan Illych, was a long-time rebel educator who felt that the general public education system could sometimes do more harm than good when it comes to instilling in children a life-long love for learning. But in this particular book, Holt is sending a message to those in their golden years who think they've passed the prime of learning. Taking up the cello at an advanced age, then putting it down due to work and travel pressures, then taking it up again into his 50s and beyond, Holt wants to show by example that getting older doesn't mean you can't pursue your dreams.

Like Wayne Booth's book on the love of amateur cello playing, Holt's book shows how the pursuit of amateur cello playing is available to almost anyone with the drive to put in the requisite practice hours and gather with likeminded people to practice their craft.

If you put down your childhood instrument decades ago, or never picked one up in the first place, Holt can inspire you through his example to consider taking it up.

If you've regret giving up violin lessons back in sixth grade, think "if only I had stuck with it" when you hear Yo Yo Ma play, and you think fondly of the neglected instrument collecting dust in the attic, this book may be for you, providing a jump start to get you back into music. Holt is passionate about his cello, about music, about improving. He inspires courage -- the courage to start something new and work through the frustrations of being a older beginner (whose skills are surpassed by a Suzuki-trained child, no doubt). Holt dives in to his instrument with a seriousness and commitment that I doubt most adult learners would have (hours of practice, playing in community orchestras) -- but it's an inspiring read, nonetheless.

Eliade presents an impressive collection of data from the religions and mythologies of an incredible number of different cultures, organized according to recurring themes: sky gods, agricultural goddesses, cycles of death and rebirth, and so on. It is an interesting resource for the student of comparative religion, but seems to lack a coherent interpretive framework. I'm left with unsatisfied curiosity to know what Eliade believed is to be learned from this collection of parallels. Perhaps his other writings provide more interpretation, but this book (although it contains many interesting "gems") seems incomplete as a stand-alone volume.

Eliade's place among scholars of religion is unequaled; even his detractors admit this. "Comparative Religion" exists as a scholarly discipline because of Eliade.

Essentially, this is a book about religious symbolism, covering an incredibly wide range of religious traditions. I think if you read this, agree or disagree, you will never look at religions the same way again.

Further, this is Eliade's most accessible and complete book.

I graduated with a religious studies degree from Yale University, and read this book in the first year after I graduated. I learned nearly as much from this book alone as I did from my undergraduate education. That is a strong statement, but I mean it.

Amidst the chaotic profusion of symbols, myths, rituals and mystical perspectives of the world's religious traditions, Eliade weaves a mandela-like portrait of humankind's incredibly vital relationship with the divine, spanning several thousand years. Not for the faint of heart, this monumental work provides important insight into the often confusing psychology of the primitive religious experience; an experience characterized by perspectives charged with meaning across broad fields of associative and interdependent symbolic realms.

Eliade bases his discoveries of common patterns in the global-religious-traditions upon a thematic theoretical framework. In this manner, he avoids the pitfalls latent in more common conceptions of religious experience that are defined by psychologically artificial categories created within perspectives that tend to be too narrow. Such commonly expressed and narrowly defined perspectives often stop short of understanding the limits of psychologically artificial, chronological, geographic and even ethnic categories; categories which humanity's important religious archetypes of divine experience have traditionally and absolutely transcended.

In this vein, Eliade's "Patterns in Comparative Religion" also provides important material for the interpretation of dreams. I think it is no mere coincidence that both primitive religious experience and the native realm of the unconscious both display a disturbing and important tendency to buck the rules of normality that our modern conscious minds so often wish to impose upon experience. It is from the creative associative milieu of dream symbolism that humanity's religious traditions have incessantly sprung and to which one must arguably return for the most fertile understanding of the 'primitive' divine experience.

Mircea Eliade's "Patterns in Comparative Religion" surely presented me with a formidable challenge, however, as with any important challenge to understanding that I have experienced, the rewards have far outweighed the difficulties encountered along the way.