The curry recipes in this book are simply exquisite. My favorite is the Tikka masala, which is a rich and creamy suace with a little bite. My fiance was absolutely blown away by it and asked me to cook it twice in the same week. If you have a food processor and a store near you, these recipes will all be easy to prepare. This is one of my two cooking bibles along with Thai Home Cooking by Robert Carmack. If you have any inclination of making Indian curries, and want to do so as good or better than a gourmet chef, this is the perfect book for you.

I've always been a fan of curries, but have never been able to cook a really good curry. I've had this book for two years now and can say that since using it I've never had a failure.

The recipes are very clearly laid out and easy to follow. The instructions and ingredients are sufficient without being over done. The book is extremely well illustrated with many bright and attractive photos of ingredients, cooking steps and finished meals.

As for the acid test. The food tastes and looks great. I am now asked to cook curries by friends and family, and have had several requests for recipes. This book is now my favorite cooking book, and I believe should be on the shelves of any would be curry cook.

I recommend it highly

American Impressionists and Realists were farther apart in time than they were in what they painted. In fact, with both groups their art grew out of training in Paris; liking for modern French painting; and building an American art that would support American nationalism by faith in the future, the present, and the good old days. They both went outdoors, to the growing system of parks and places for holiday outings, as in Impressionist William Merritt Chase's brightly colored "Prospect Park, Brooklyn," with its Gustave Caillebotte-type compressed backgrounds, exaggeratedly converging spaces, and splayed foregrounds; and in the rugged "Central Park in winter," where Realist William Glackens painted sharply contrasting light and dark side by side and wavily-formed lively children into vigorously brushworked snowy chill. Both groups chose personally meaningful, over nationally significant, places to paint, as in Impressionist Childe Hassam's "Late afternoon, New York: winter" brilliantly light-touched and delicately paint-stitched in one overall tone and Realist Robert Henri's energetically darker-toned "Street scene with snow." Or historical landscapes, such as "Gloucester harbor" through Impressionist Willard Metcalf's dazzlingly wide-banded high-key color for bright summer sun-lighted skies and under Realist John Sloan's late afternoon powerful glow, low sun-cast strong shadows, and storm clouds over Fauvist-type intensely colored and heavily pigmented industrial cranes and wharves. In fact, they both tended to be city painters, as in Childe Hassam's "Rainy day, Boston," with its "Church of St-Philippe-du-Roule" plunging perspective, empty central foreground, masterly controlled narrow tonal palette, and two streets panoramically joined; and in "Bleeker and Carmine Streets" by Impressionist George Luks, as the intersection for overcrowded immigrant slums, ramshackled cold-water flats, and boardinghouses in heavy impastos and somber palette. Both were also aware of how nature was part of doing business in the city, as in the hothouse flower sales of Childe Hassam's lightly brushed "At the florist" and John Sloan's gritty, realistically colored, and vigorously brushed "Easter eve." Both groups were concerned, too, over how industrialization was changing American life, but with Impressionist J Alden Weir's Willimantic Linen Company's "Factory village" naturally fitting as a picturesque river valley industry in the middle of lushly fresh fields while George Luks hunched his driver over the reins to a horse-drawn "Butcher cart" on a slushily dark Manhattan street. Both cared about how people fit into the changing American life so they likewise went in for portraits, as in William Merritt Chase's "James McNeill Whistler," with the sitter's style of broadly applied paint, low-key palette, and thin washes; and in Robert Henri's "George Luks," with the sitter's coarsely provocative painting style of crudely bold slashing strokes and richly dark colors. Both groups had similar concerns about how people were interacting with each other, as in the children playing at Childe Hassam's privileged "Lake for miniature yachts" under the gaze of near-by adults and at John Sloan's "Backyards, Greenwich Village" around the beckoning responsibilities of hanging laundry. Or as in adult time out, with the music of the James Whistler-type sobre paletted "At the piano" by Impressionist Theodore Robinson and of the Honore Daumier- and Francisco Goya-type exaggeratedly expressive "Spielers" shown frenetically dancing by George Luks. Or with a French-styled drawing viewers into the woman in black's box as a figure leaves the upper left corner box in Impressionist Mary Cassatt's "At the opera" and up along with craning spectators at the acrobat inching along the tightrope in "Hammerstein's roof garden" by William Glackens. Or with a surprising sympathy for the performer passed down from Jean-Antoine Watteau's "Gilles" to William Merritt Chase's hunchbacked jester pouring a bracing drink and John Sloan's harshly lit clown making up. So authors H Barbara Weinberg et al's book, with its gorgeously illustrated and nicely organized text, trailblazes looking at the similarities in the art by the 26 artists participating in the New York Metropolitan Museum of Art's traveling exhibition on AMERICAN IMPRESSIONISM AND REALISM.

With this little gem of a cookbook, you will establish your reputation as an outstanding curry chef. The quick-to-execute, gheeless recipes are virtually foolproof. (Go easy on the chilis and the cayenne, however.) I have tried for years to make Indian food and always failed. Now I'm so proud of myself I want to show off my beautiful meals at every opportunity. And I don't particularly like to cook. The mushroom curry and the chicken Dahnsak are to die for!

If there ever was a book that was badly advertised, this one is it. If we're to believe the cover and even the reviews on Amazon, it's just another book on Unix, when actually it's an essential Unix System V C libraries reference for C programmers. I haven't found anything remotely similar out there. I only bought it after flipping through the pages in a bookstore. It covers everything from file I/O through IPC. It contains tons of code that clearly show how to use each function. As it's a little dated, It doesn't cover pthreads or IPV6, but hopefully the author will make a second edition soon...and make sure that C programmers know that this book is what they're looking for!

This book isn't just a handy reference for programming in C in the UNIX environment; it's a useful reference for any C programmer. For example, the discussion of file I/O is very clear.

In my opinion, this is the best book on UNIX programming I have seen. If you already know C and want to learn how to program on the UNIX os, this is the book to get. This is what taught me. I usually always have this book with me. I even like the color!

Like most people, I own a stack of Stephen King books, and for some reason I've never gotten around to review the ones I liked best, which makes me sort of ashamed of myself, since I keep saying that the quality of King's writing is often underrated. This is not the usual Stephen King book, this one is actually pretty mellow, compared to Carrie, for example, (that was the first of his books I read, and I hadn't read anything that gory before), but it still has its share of scary stuff, like The Ten O' Clock people, and The Moving Finger (after I read that one I really felt kind of nervous about the bathroom sink for a few days). I only could't get through the essay at the end, Head Down, because I don't understand absolutely anything about baseball. My favorites were Dedication, The End of the Whole Mess, The Ten O'Clock people, The House on Maple Street, and Popsy (oddly funny if you think about it). I suppose hardcore fans of King's horror will be sort of confused by this book, but I think any lover of short stories, like me, is bound to enjoy it.

i like SK particularly as a short story writer. if he has a good story he never fails then. considering his other collections, this was not as inventive as the two previous. not as matheson-like as the first. this was a great collection. a bit mixed. the end of the whole mess and umney's last case seemed to be the most inventive ones. but his other horror stories were good too. there are even some crime stories here, they are actually pretty good. although SK delivers, his collection is all in all very readworthy, his writing style good, this collection marks the sad decline of SK. some of the stories are great, true. some of the stories, however, are only good in the hands of a master. and some of the stories are completely uninteresting. it's very enjoyable, but don't expect too much.

As an enormous fan of King, this book was warmly welcolmed in my arms. I wasn't dissapointed. As always, when it comes to King, I was sold. There's also a particular reason why I welcomed this book so much: In various books about King, I learned about many of those early and hard to find King stories, all the uncollected ones, and the rare ones. I was a bit sad about realizing that maybe I would never ever own these oddities. Then, finally, a new collection of King-stories showed up, mostly containing some of those old and hard to find stories. I was happy! And the book also featured a few new ones. Again, with Night Shift and Skeleton Crew, I liked all the stories, even the teleplay Sorry, Right Number (I haven't seen the adaptation yet), the Brooklyn August-poem and the Head Down-essay. I loved The Night Flier, The Moving Finger, Chattery Teeth, You Know They Got a Hell of a Band, Home Delivery, Crouch End, Rainy Season. My Pretty Pony really touched me. I don't know a hang about baseball (I am Danish, sorry!), but King makes it interesting. All I can say is that any true King fans must read this book. There's also a Sherlock Holmes-mystery involved. I only wished that King had included stories like The Cat from Hell, Man With a Belly, Pinfall, and some others of those hard to find. What about this story "The King Family and the Farting Cookie" that he wrote for his children some years ago? That could have been major fun to own that gem!

Somewhere in one of my many boxes of books I have a copy of a reprint of the original book by Celia Thaxter, "An Island Garden". I have written a review about this book for Amazon elsewhere, and said it wasn't very good (it isn't) and received many negative votes. My major complaint about the "other" book is that you cannot see the brush strokes in the paintings. The book obviously appeals to those who care not a whit about brush strokes.

Fans of Child Hassam--this is the book you want. No, it isn't the cute little book by Thaxter. The reproductions of Childe Hassam's paintings of Celia Thaxter's island in CHILD HASSAM: AN ISLAND GARDEN REVISITED are 100 times better--and you can see the brush strokes. I can't give this book five stars, because I collect art books know the reproductions could have been better. However, the reproductions in this book are head and shoulders above those in Thaxter's book. Not only that, David Curry has included much text about life on Thaxer's island and in her famous parlor.

If you are a fan of the American Impressionist Childe Hassam, you will appreciate knowing something about the artist, his work, his friends, and his relationship with Ms. Thaxter. Most of all, you will be able to see what he painted and get an idea of where you might locate some of the originals. They are still hanging in various places such as the Walter's Gallery in Baltimore and other esoteric locations.

This book provides an outstanding and comprehensive reference of Unix security and I hightly recommend it.

I was disappointed that this book provided very little by way of teaching techniques. A book like this needs to give more thought to attention getting and fun drills.

I play tennis and was hoping this book would help me to teach my son. Much of the information is very basic and would be useful only to a non-tennis playing parent. If you play tennis and want help in teaching your child, I doubt the book will offer any useful insights. The drills are not particularily helpful because they are geared to groups. This book will be useful only to the true novice parent-teacher

Mr. Kelley has done a wonderful job imparting his wisdom and expertise into this book. I found it very helpful teaching my son and daughter tennis. The book provided drills and techniques for the begining tennis player. The book also provided helpful hints which carry over into other sports as well. Thank You Mr. Kelley for this book which has made teaching tennis easier and more enjoyable.