Behind W. C. Fields's public mask there was a human face, and James Curtis reveals it completely in this sterling biography. Many show-business stories about Fields have become legendary (often perpetuated by the comedian himself), and author Curtis has taken great care to show how much truth there was to the legend. For the first time we can read WHY Fields encountered so much trouble when he tangled with (or was victimized by) producers, doctors, women, and others he turned into comic targets.

Every facet of Fields's career, from boy juggler to international vaudevillian to movie star to radio comedian, is covered commendably. Curtis's research is extraordinary: there are innumerable quotes from Fields's personal and professional contemporaries, and far more detail than is customary about Fields's private life, including the full story of his medical setback of the 1930s.

If you're looking for a solid, engrossing biography, look no further than "W. C. Fields: A Biography" by James Curtis.

The most famous quote by W. C. Fields is, "Any man who hates dogs and children can't be all bad." The trouble is, it wasn't said by him. It was said about him by, of all things, an anthropologist who was studying the motion picture industry. And it was not close to true about Fields. Among the many pleasing revelations in _W. C. Fields: A Biography_ (Knopf) by James Curtis is that Fields was not inimical to children. Oh, he didn't like dogs very much, but he owned a few and didn't put up objections against the species. And he didn't like Baby Leroy, the child co-star most associated with him. The [child] was terrified by Fields's appearance and could burst into tears at any scene, and it does seem to be true that Fields spiked the nipper's orange juice with gin to make him more a trouper. But throughout Fields's life he was partial to children. Will Rogers's son remembered Fields as a guest for dinner, both because he took time to talk to the boy, and because he juggled the brand new imported glass plates for his entertainment; his mother was not as well pleased. Watching kids at an Indian reservation play ball, he saw them using a wad of tape for a ball and a stick for a bat; he had an Indian pal buy full equipment, but warned, "If you tell a soul I did this, ...I'll never supply you with any more booze." He ingratiated himself to young Freddie Bartholomew, who played David Copperfield as a boy, by asking, "Tell me, son, are you a midget or am I overgrown?"

The stories about Fields and children are scattered throughout this large and detailed volume. It might be that they were a reaction against his own childhood, but that childhood was not as bad as he liked to make it seem. He early discovered he had a genius for juggling, and began imitating the comic tramp juggler acts he would see on the vaudeville circuit. He began talking more during the performances, conquering a stammer and forming a habit of ad libs that was to be a blessing and a curse throughout his career. He did less juggling as he worked in more legitimate theater, like the Ziegfeld Follies in which he performed from 1915 - 1925. He concentrated on sketches that emphasized physical comedy and his perpetual warfare against inanimate objects, like the family car, twisted pool cues and floppy golf clubs. Such performances were incorporated into his films, the best of which often were only excuses for a series of sketches. He had done some silent films, but worked in Hollywood full time starting when he was all of fifty-one years old. He had strong friendships, but a terrible marriage. His death at age 66 in 1946 was hastened by the alcohol he loved; he had drunk very moderately while his juggling act depended on superb coordination. His intake became legendary, and a part of his persona, and a recurrent joke that he himself enjoyed. He did not, though, play drunks on screen, however much the characters imbibed, and he was ashamed of those who let alcohol degrade their film work.

This is a thorough and engrossing biography of an American character who still matters. Not only are there detailed descriptions of life on the theatrical road and the difficulties of motion picture production in the 1940s, but there are insights into many of the characters with whom Fields worked. Memorable among these is Edgar Bergen, a shy and reticent man, who used his wooden alter ego, Charlie McCarthy to insult others and fight battles. The famous Fields - McCarthy radio duels are here shown to be surprisingly personal. There have been few Hollywood performers who have deliberately perverting such American ideals as industriousness and generosity; screen comics now may be tasteless, but they are not subversive. Fields risked pushing his audience away with all manner of not just exaggerated shortcomings but also vices, and allowed his comic creations to be held inseparable from his own personality. There is no one else who could have put the holiday advertisement in _Variety_, as he did in 1928: "Happy New Year to almost everybody."

Finally, THE definative biography of one of the most revered figures ever to appear on an American stage or before a movie camera. While there've been almost two dozen books about Fields published already, ( mostly filmographies, quote books, picture books or screenplays, ) this collection is essential for several important reasons. First of all, it's one of the best books about a film personality ever written. Head and shoulders above Simon Louvish's sluggish "Man On The Flying Trapeze", more ambitious than Ronald J. Fields' collection of letters and radio scripts: "W.C. Fields By Himself," on a literary par with Robert Lewis Taylor's brilliant "W.C. Fields: His Follies And Fortunes," ( but without that author's fictional flights of fancy, ) James Curtis turns out to be the ideal biographer of the iconoclastic comedian. Setting the record straight regarding volumes of Fieldsian apocrypha, the legend remains intact whilst the enigmatic man behind it emerges for perhaps the first time in print. Full of nostalgia, fascinating revelations about Fields' working methods and creative approach to filmmaking, scandalous professional behavior, revealing personal data, heretofore unsuspected alliances, ( it comes as no surprise that Fields was a fan and drinking pal of his tempermental soulmate, H.L. Mencken ) and many, many wonderful anecdotes. The ideal book to curl up with on a winter's eve, ( when it ain't a fit night out for man nor beast, ) with the necessary pitcher-full of your favorite "snake bite remedy," as Fields would say. ( He'd also recommend you always carry a small snake... ) A worthy tribute to a giant of American comedy. ***** 5 stars, easy.

This book is written so well I have read it many times. It is set in the depression era and brings you to that time with laughter and tears. Billy C. CLark describes small town living along the Big Sandy River which was once the cities life. I think people of all ages would love this heart felt book.

If you are looking for a meaty and engaging review of Baptist thought for the past four centuries, avoid this book. It is a dry and boring compiliation of various essays that put you to sleep. In fact, as a Baptist myself, I found it not representative of our faith except for the more liberal/heady fringe. Mild or conservative Baptists should not even think about buying it. Bottom line: Save it for the classroom critique.

In an era where no one seems to know their spiritual ancestors, this is a much needed work. It complements sourcebooks like Lumpkin's _Baptist Confessions of Faith_ by excerpting theological works by major Baptist (and related baptists) theologians over the centuries. While I am disappointed at the neglect of 2 17th C. Baptists of major importance, Richard Overton and Gerrard Winstanley, overall I think this was one of the most inclusive collections. I am known to disagree with the interpretation of E. Y. Mullins held by one of the editors, Curtis W. Freeman, and, for that reason, wish that a different selection had been made of Mullins' work. Likewise, in addition to the Martin Luther King, Jr.'s "Letter from a Birmingham City Jail," which is reprinted in many places, I would like to have seen some other selections from King. Since there is a tendency for white Christians to "tame" King, excerpting the portion of _Where Do We Go From Here?_ which analyzes the strengths and weaknesses of "Black Power," might have awakened many to the radical nature of King's thought. A selection from his posthumously published _The Trumpet of Conscience_ might also have been useful in that regard. Still, caveats aside, this is an excellent collection and, with the exception of Mullins, the editors' introductory remarks are usually excellent in helping beginners to interpret baptist theologians with whom they are not familiar. This "reader" should become a textbook for courses with titles like "Baptist Theologians in Historical Perspective," and should find its way to church libraries and pastor's shelves as an essential reference. One of the editors, James McClendon, himself a very creative baptist theologian, unfortunately died in 2000. Hopefully Freeman or Velloso da Silva (now Velloso Ewell) will take up the challenge of the next step: Convincing a publisher to reprint some of the major works of these baptist thinkers in full. That way, readers of this volume who get excited by one or more of these "roots" can explore it further without spending months in the "rare book" sections of major theological libraries.

In a time when being a baptist (the small "b" is no accident) is left to those who have no historical understanding of baptist roots, this book is a breath of fresh air. Don't let the scholarly leanings of this volume get in the way - it is a straightforward account of the baptist heritage and its meaning and impact on contemporary theological thought. From the separation of church and state to the autonomy of the local church this is a helpful guide in navigating the current milieu of confused understanding which equates being baptist with being a member of the religious right or the politically correct. This third way charted by Freeman, McClendon, et al, will resonate with anyone seeking a better way to understand church history, present and future.

This book is a great view of Andrew Jackson and his place in national history.