where to begin? this volume is absolutely packed full of excellent essays on the Trinity. divided into different sections (the Biblical witness; the Patristic witness; Systematic issues; Preaching the Trinity), this volume covers more ground than any other edition that i have come across, and combined with the absolutely stellar level of scholarship from all disciplines, the reader is in for a certain treat.
i have a few minor complaints, though. first, that there is no analysis of the FILIOQUE, and connected with this, that there is (as far as i could tell) no real voice for the Eastern Orthodox approach. finally, it seems as though modern defenses of the social model of the Trinity aren't given anything like a fair hearing.
but there is so much that is good in this book! the analysis of augustine's Trinitarian theology is (thank God) a breath of fresh air, and the same can be said for the analysis given here of the Cappadocian formulation. the high point of the book, for me, was van beeck's 'Trinitarian Theology as Participation', which gave a view of all existence and the universe in its totality as saturated in the Trinity.
an excellent book, i highly recommend it.

This is my favorite opera guide and general reference. It contains brief biographies of the composers, detailed but not overly long synopsis of the plot, given act by act, a brief overview of the performance history, a critical appraisal of the opera itself, and a very thoughtful discography demonstrating excellent musical taste. The work is presented alphabetically by composer, and chronologically by work for each composer. The writing style is clear, advanced but not pedantic, and should be accessible to beginners as well as to opera buffs. As if this weren't enough, there are historic photographs of key performances throughout the years.

The vision of opera is open-minded and broad. Porgy and Bess is here. So is Gilbert and Sullivan. When an opera exists in different manuscript versions, such as Verdi's Don Carlo or Simon Boccanegra, all variations are discussed.

Since opera is somewhat expensive to collect, listeners will want to have some guidance as to which recordings to purchase. Here the Viking Guide is particularly good. Many of the suggested recordings are selected by Alan Blyth, author of Opera on Record and Opera on CD (both very highly recommended, by the way), as well as long time reviewer for Gramophone magazine. I don't always rank recordings exactly as Blyth does, but I find his taste to be the most reliable of any of the critics whom I follow.

This volume was originally published in 1993, but is now very hard to find. The publishers have printed an abridged version under the Penguin Guide series. I understand they are also coming out with a CD-ROM version of the full Viking Guide. I can safely recommend both these alternative versions as well as my trusty hardcover version.

There are other valuable opera guides. The series published by Norton of the Metropolitan Opera Guide to Recorded Opera and to Opera Plots is excellent. But for a single volume reference work, nothing surpasses the Viking Guide. Amanda Holden and her team have done a splendid job.

Very highly recommended.

Love em' or hate em', Aerosmith deserves its' props. Walk This Way is a rags to riches to rags to riches tale of rock n' roll excess, and if you were alive in the 70's, their music was probably a part of the soundtrack to your life. The book is funny, brutally honest, pensive, and sad - sometimes all at once. Its anecdote-city as Stephen Tyler, Joe Perry and the boys lay it out - drug addiction, groupies, management & record company tales of woe (& triumph). It's an unlikely story really, especially the way the band has risen back to prominence in the 1990's. Are all of these stories true? Who cares? I read it all in one sitting on a Sunday and wished I had left some for the week ahead. Proceed immediately to the check out bin...

This is essential reading for any Aerosmith fan. Even if you hate reading, I gurantee that once you pick this book up, you will not be able to put it down. I've read it through three times, and plan on reading it again soon. Even if you think you know everything about Aerosmith, you will find out once you read this book that you were very wrong. You'll confirm things you've always suspected, learn many things you didn't know before, including some things you probably wish you didn't know. Speaking of that, people who have said that this book is in bad taste, and that it is wrong for Aerosmith to bare their souls like this and tell what really happened in their lifetime, well, you do not understand this book. This is the AUTOBIOGRAPHY of Aerosmith, UNCENSORED, not some edited kiddie show bullcrap. This is the real deal, don't wanna read about the drugs, women, and all that between tales of how the albums were made, then don't read the damn book! This is a story of human triumph, that should inspire us all, knowing that no matter how bad things get, we can always come out better than we were before. That's not saying that you should smoke dope or whatever because Aerosmith said they did it in this book and then they went out and sold 50 million albums, but apply it to your own situation. Fact is, if you love Aerosmith, then you should own this book!

I have read the Motley Crue book, and was so surprised at how decadent that group was, until I read WALK THIS WAY. Aerosmith makes Motley Crue look like a bunch of choir boys and saints. I love Aerosmith's music and was very happy to see them rise to the top once again. The book travels with the band from their humble beginnings in New Hampshire to their rise to the top of the mountain till the drugs and alcohol had them all crash and lose it all. The book ends with the release of the NINE LIVES Cd. With this book we get straight from the band members themselves the stories behind writing the hit songs, all the internal conflicts that destroyed the band, all the drug use, girlfriends, everything is covered here in this book with no one being protected. No names have changed. This book will keep you hooked as you go from one story to the next. While some of the members have different recollections of some of the events, they are not that far off and you get to whole inside look into the greatest american band their has ever been. So I suggest that if you like reading about the bands you dig, you go out and get this book. You will not be disappointed

"By becoming a monster, one learns what it is to be human"

I'm probably the only person who bought this book with no intention of using it as it was meant to be used--as a role-playing guide to the "Vampire: The Masquerade" game. I don't play role-playing games--I even have an aversion to games in general (mostly video ones)--but I really love vampires, so I had to buy this book. Probably the thing I like the most about it is all of the beautiful black-and-white drawings inside. They really get the imagination juices flowing.

The beginning part of the book is basically an introduction to VtM, familiarizing the reader with the basic rules, its Gothic-Punk setting, vocabulary, and tips on effective storytelling. Then it goes deeper into dice rolling, character creation, and bloodlines. This latter part is my favorite in the book, describing the attributes and abilities of the seven clans of the Camarilla: Brujah, Nosferatu, Tremere, Ventrue, Gangrel, Toreador, and Malkavian. (But if you really want further insight into these clans, then I'd highly recommend any--or all--of the Clanbooks.) There is also a character sheet at the end of the book you can Xerox, as well as an example story to further help players.

I think I've read this thing about half a dozen times (though not usually from front to back), and it takes about that many times to thoroughly comprehend and memorize all of the above--rules, guidelines, etc.--without having to refer to the book all the time (unless you're a fast learner). If you enjoy role-playing games--or if you're like me and just like anything vampire-oriented--then I highly recommend this book. It's well worth your time and money.

Vampire is a very interesting game. When I was in 4th Grade me and my friends used to make up games in our heads but something was lacking a cohesive setting. By the time I was in 7th Grade we decided to buy an RPG book, just to get the gist of things. We ended up buing Vampire, and I must say it is great! I've bought 40 other books by White-Wolf in the last few years.

This game is a modern game in the Modern World, not a D&D type of Fantasy. Vampires are real in this game, they live in all the major cities, they pull the strings of politics. They hide from Humanity though, because they fear discovery. Yet they have to interact with humans, because as Vampires they eternally need blood to survive and even more to power their dark powers.

Vampires are arranged into clans, 13 to be exact all created by Ancient founders. These clans are divided into three groups. The first is the Camarilla, most obsessed with secrecy and having 7 of the Vampire clans. The next is the Sabbat, a group of Vampires who believe they should rule humanity and arch-Rivals of the Camarilla. They only consist of two clans but their are other clan members who have decided to join. Finally their are 4 Independent clans who try to avoid keeping any alligence to anyone.

The Rules of this game are simple as well. All a person needs is a copy of the sheets, a pencil and maybe ten 10-sided dice. The rule system is rather simple and the game doesn't revolve around pointless hours of combat but story purposes. This adds more enjoyment to the game, if your interested in weaving a story.

The Vampire game is a good introduction to White-Wolf RPG's and it is not only an interesting play, it is an interesting read as well. I have bought many books just to read them, and even if you don't have a group, their is a huge online community.

Though any true player of White Wolf games already knows this, I think it needs to be said: Vampire is not a hack-and-slash kill-everything game. It's a serious, adult game which takes roleplaying to a level that other games barely touch. Vampire: the Masquerade is about personal horror. It's about what it means to be unliving, and the struggle that these denizens of the night face. In that light, White Wolf has done a beautiful job revising the game. The revisions are in every aspect, from systems to storyline. This edition outdoes its predecessor all-around, though this was a good game to begin with. I think that any White Wolf player, and perhaps any player of any roleplaying game, will appreciate the detail that the authors have gone to in this game. They continually focus on rich story and character material over heavy rules. The rules themselves are simple enough that you only need this one, large-print book to play; but the game unfolds as you buy supplement books. The game is what you make it, and this is an excellent place to start for anyone wanting to play White Wolf games. Vampire is easy to learn, particularly in the revised edition, and no matter what your level of expertise in the material, the game is enjoyable. A bit of warning, though: this is a game for mature players. I don't recommend it for young or immature people, or for teenagers with overbearing parents. That aside, enjoy.

I have taught Calculus at the University level for well over 20 years now. When I first arrived, the school had already adopted the 1st edition of Anton's Calculus, and the school (and myself) have liked it so much that we have stuck with Anton for 20 years, until 2000. For some reason, the Math Department has decided to change to Stewart's book. Let me tell you, Anton's book is most certainly the best. The examples actually explain the concept, the concepts are explained coherently in words before the mathematics is presented, graphs are abundant where necessary, and the book eases students into Calculus. I have found that deficiencies in trigonometry plague students through the calculus sequence. Mr. Anton provides a thorough review in Appendix 1, which clears up the problems. Also, Chapter 1 is a review of Algebra and Coordinate Geometry. This gets students into a mental framework necessary to learn Limits (Chap 2), Differentiation (Chaps 3-4), Integration (Chaps 5-6), Logs and Exponential Functions (Chap7), etc. My ONLY complaint about this book is the way Anton leaves logs and the number e out until Chap 7. Students are expected to learn it all at once, where I feel it would be better distributed throughout the exercise sets. But, again, that is my ONLY complaint. IF YOU WANT YOUR STUDENTS TO BE SUCCESSFUL IN CALCULUS, CHOOSE THIS TEXT. It truly beats the pants off Stewart's book!

I took my undergraduate calculus sequence from Salas & Hille's text and thought it was quite good at the time, but I think Anton's book is clearly the best I've ever seen for the beginning student who really desires a clear understanding of calculus. The mutivariable calculus is especially well presented, and it is crucial that the students understand this material for their future work in mathematics. Anton really makes a strong effort to help students understand calculus. Anton rules!

I used this book during my two Calculus courses at college. Usually not studying at home during the whole semester meant that I had to sit down and study half the book 2 days before each final exam.

I found that to be quite easy a task with this book. Anton has written a high-density volume, that nevertheless does not bring a student (or anyone else, for that matter) to his knees trying to figure out all this math. Every chapter is clear and comprehensive, and the examples are very well set, giving the reader a sense of understanding every single line. The unsolved exercises at the end of each chapter are gradually increasing in difficulty, giving the solver a solid grounding on the material covered in the chapter.

Overall, one of the best college books I have ever used, not implying that it could not be used by anyone interested in calculus simply for delving deeply into its wonderful realms.

Although the "Dummies" title implies a "Beginner" book, this book falls into the "Beginner to Intermediate Developer" range. This is a good book for Visual Basic developers who want to make the conversion to C# or for the beginner. Like all Dummies series, there are ample examples and the author does a great job of explaining the C# language. Windows forms are covered in Chapter 17 and 18 but there is no discussion about Web development or using C# with Active Server Pages (ASP).

Starting in Chapter 6 (Collecting Data - The Class and the Array) there are several really annoying errors, for example, on page 105 the author uses "for (int i = 0; i < 11; i++)" to iterate thru a 10 element array. In the section below this (Array bounds checking), the author uses exactly the same code and says this will fail. The first code should be "for (int i = 0; i < 10; i++)". These errors are scattered through out the book. Still this is a good book and I would highly recommend it.

I bought "C# for Dummies" for myself and "C# and Game Programming" for my son.

This book is a MUST for absolute beginners. It contains more code examples than any of the other ten C# books combined (I own the O'Reilly and Wrox books also). Furthermore, the Visual Studio IDE bonus chapter (on the CD in pdf format) is worth the price of the book itself. The principle strengths of this book are the disciplined coding techniques modeled by the author, the excellent inline documentation techniques modeled by the author and how this book is strictly focused on C# basics (not ASP.NET, Web Services, ADO.NET, etc.). Get this book if you want to learn C# well in a very short time.

Amazon sent me this by mistake. What I really wanted was the NEW Penguin Opera Guide, which is vastly superior with twice as many pages and higher quality paper with lots of B&W photographs. It also weighs a ton compared to this lightweight. Make sure you get the new edition, unless you want something lightweight to take with you to the opera. What is here, however, is fine, just not nearly as complete as the new edition.

Let's put it simple. If it is not in Viking, you have to do quite specialized research to find it.

In this book, it feels like Levon Helm is honestly trying to tell the real story of The Band, without prettying it up too much or casting too many aspersions. The overwhelming feeling I had when reading this book is that he feels there's too much Robertson -- and maybe too much Helm -- in the popular vision of The Band, and he seems to be making a conscious effort to ensure that Rick Danko, Garth Hudson, and especially Richard Manuel get their fair share of the credit.

Judging by the way this book reads, it seems that it's largely composed of verbal reminiscences by Helm, later pieced together by Davis and embellished with accounts from other interested parties. This can make for confusing reading -- you have to either be alert to changes of voice or be willing to back up and remind yourself who said this or that. It also leads to some apparent "mood swings" on Helm's part -- it is clear that there are certain things about the history of The Band that still make him angry. His attitude toward Robbie Robertson is a case in point: the guitarist is "Robbie" throughout most of the book, becomes "Robertson" when Helm is talking about business/publishing quarrels and the whole "Last Waltz" situation, and then turns back into "Robbie" when Helm is discussing less loaded issues or reminiscing about the good times.

It's also very clear that Helm feels guilt as well as grief about Richard Manuel. The story begins with Manuel's death and then goes back to the beginning, and several times alludes to warning signs of Manuel's emotional instability that Helm seems to feel they should have caught. The final comment by Helm on Manuel's death sounds more like someone trying to think of a reason for the tragedy, rather than saying what he honestly believes happened. That segment sounds like a reflection of Helm's enduring wish to make sense of his friend's death, rather than a seriously-offered explanation for why it happened.

Even Robbie Robertson does not get the raking one might expect, given the long-standing bad blood between the two. Helm is pretty scathing about how "The Last Waltz" turned out, and he is not impressed that Robertson went along with the label's tendency to make Robertson the "star" of The Band and everyone else "sidemen" (the group's distaste for that term having already been established.) But in a number of instances it is clear that in retrospect Helm doesn't feel Robertson was intentionally trying to hurt anyone else, and he does not attempt to diminish Robertson's role in the group (although he takes a pin to the notion that Robbie was the only one writing the songs.) Is this objective truth? I have no idea, but in a music industry in which Paul McCartney does not own the rights to his own songs, it certainly seems possible that more than one person deserved credit for the songs of The Band.

Another factor in this book's favour is the fact that it is fun to read. Yes, its structure can be confusing. And yes, Helm is folksy. And he certainly does not go into the sex and drugs aspect of the story. (He does mention so many car crashes that it seems incredible that Manuel lived as long as he did, and nobody else got killed either.) But between them the two authors have gathered up dozens of crudely funny quips from Ronnie Hawkins (who comes off sounding like your most embarrassing but lovable uncle with a few drinks aboard) and Helm's account of Rick Danko and the deer, and his own accidental gunshot wound, are priceless. Some of Helm's ways of expressing himself are also pretty funny -- for example, his off-hand description of a road manager he didn't care for ("He was OK, but you wouldn't send him for the ammunition.") And you can tell he honestly loved the group and his bandmates, which is probably part of the reason there are still things he can't discuss dispassionately -- this is not a picture of a reserved or dispassionate man.

Is this the "real truth" about The Band? I don't know. I suspect even the men who were there would have different answers to that question. But it reads like one man's attempt at honesty, as well as a heartfelt tribute to the people he loved and the days they shared. It's not, to me, a bitter tale, but it is certainly bittersweet.

This book tells a story of a band. Not of all the lager than life exploits of a rock'n'roll freakshow, but a band. Levon mentions some adventures here and there, but the story revolves around the creation, life, demise, and rebirth of probably the greatest band in rock history. Some unfortunate istances took place amongst band members, and they caused some bitter dissention, however, the book is honest and interesting. The best musical book I have ever read

Levon Helms story of the band is more american history than just a rock and roll war story . he spins a tale that takes you to the delta and all over our world . he is the best rock and roll drummer in the world , i know because he is my drummer , im dad nud of the last hombres featuring levon helm

This book documents the friendship and political careers of two of the Confederacy's most important statesmen. Davis does a nice job of providing historical detail while also weaving a readable story. However, at times, the prose is too informal and almost needlessly dramatic. Moreover, much of the history is quite derivative, as I learned very little new information about the men in question or the political tenets of the Confederacy. His previous book, "A Government of Our Own," is a much better historical treatment.

Toombs and Stephen examplify the problems within the Confederate
government. These incredibly close friends of the strong Georgia delegation were powerful national political figures whose bitterness over personal issues, Toombs, and Stephens' strict constitutional views undermined the Davis administration. Stephens never seriously worked with the dominating Davis and was later opposed to the administration over constitutional issues in the face of bigger war emergencies. Toombs loses the opportunity to become the first President by his bellicose enthusiams for the office coupled with drink which lowers his place in the new government and raises Stephens' star. Excellent description of both men including Toombs rise as Secretary of State, his anti-Davis stance and his mercurial and short military career. The author also covers the end of the era of both men including Stephens' attempts to rewite history in a light more favorable to him then his actions were in reality. These two powerful men and closest of friends could not see the big picture of the war seeking their narrow views in spite of the war effort. Together with Governor Brown of Georgia, they represented a crisis of independence within the Confederacy that no doubt contributed to the fall of the Confederate government.

What a delightful little book! And frankly, I don't often use the term "delightful" in a book review. *The Union That Shaped the Confederacy* is a swiftly-paced, lightly written work that details the friendship of a pair of Georgians - Robert Toombs and "Little Alec," Alexander Stephens.

It is very important to know exactly what you are not getting with this book. You will not get a standard biographical treatment of Stephens and Toombs, and author Davis makes this abundantly clear from the outset. You will not receive great insights into the minds and thinking of these two men, but will come to appreciate the antebellum, war-time, and post-bellum periods of American history as these two men saw it.

William C. Davis does not attempt to make his subjects either heroes or villains on the Confederacy's stage. They were what they were - friends who for the most part held similar political beliefs, worked for the same ends, and became, as the war progressed, more and more bitterly opposed to the administration of Jefferson F. Davis.

Because of the nature of the work, the reader receives a slice of Civil War-era history from a perspective he or she would not likely get. Along the way, one receives insights into the functioning (and dysfunction) of the Confederacy's Executive Branch, as well as the building of the "loyal opposition" to Davis's administration. We see the strengths and weaknesses of these two prominent Georgians, as they struggled to establish a new nation out of the old.

Davis's writing style is loose and fast, and almost reads as if a good friend is telling a story of another pair of friends. To some, this may be distracting, but I found it to be just part of the story. *The Union That Shaped the Confederacy* can be read quickly, with a great sense of satisfaction. This book comes highly recommended.

I must admit when I first read this book I was a 20 year old Led Zeppelin worshipper. Therefore, I treated every word of this book like it was manna from Heaven. However, now that I am older and wiser I can see that this book is a whole lotta nothing. Richard Cole, Zeppelin's ex-road manager and an all around despicable person is responsible(in cohoots with Stephen Davis) for most of what's in this book.

My theory is Cole, who finally managed to get out of his Italian jail cell, was broke and needed to finance his cocaine habit. So he sells his soul to Stephen Davis in exchange for the most sordid, sleazy details of his life w/Zeppelin that he can remember(and exaggerate).

Don't get me wrong, nobody will ever mistake Page, Plant etc. for the Vienna boys choir. However, this book is such a transparent attempt at money making that you don't really get an accurate picture of the band.

If your idea of great TV is "Jerry Springer" then this is your kinda book. Otherwise forget it.

Hammer of the Gods is a very enthralling read. It leans more towards the touring career of Led Zeppelin rather than the recording sessions. The account of Zeppelin's wild back-stage antics is fascinating, revealing the band as heavy-drinking womanizers. John Bonham's maniacal partying and Jimmy Page's underage lover are just two of the many unglamourous subjects detailed in this well-written book.
Perhaps even more interesting are the exploits of Zeppelin's 2 managers: Richard Cole and Peter Grant. Both intimidating men who never hesitated to resort to violence in order to swing proceedings in the band's favour. The accounts of their dealings make this book worth reading alone.

An awesome book. Stephen Davis's unauthorized biography of the 70's biggest rock band displays both his wonderful storytelling style (and ability to fudge the truth) and just how great and weird a band Led Zep was. After reading this book, you'll get the picture why Zeppelin still to this day has an unmatched aura of chaos and mystery that is genuine and not cheesy in the way that many current bands try to project a fake and corny image (i.e. Metallica). Even Robert Plant has said the book has done much to enhance the band's legacy. One flaw of the latest edition of "Hammer" is that the new chapter takes away from the books previous ending (the classic Plant quote that ends the Live-Aid chapter). Still, this book covers all the bases from the inspiration for their songs ("Trampled Underfoot" was a takeoff of Stevie Wonder's "Superstition") to the infamous hijinx and backstage debauchery (a drunken Bonzo taking the mike at a Deep Purple concert and announcing to the audience that the guitarist "can't play for %#@!") that made Zep the nightmare of inn keepers around the globe.