I love this book. We see a snake in the woods, and take note of as many characteristics as we can, then look it up later to learn more about it. Same with frogs, toads, lizards, skinks! The actual information provided for each reptile is slim but very interesting. This is a great book to have if you spend any time in the wild in Virginia.

I've had and used this book since it came out in 1980. I always recommend it to all of the classes and seminars I give on reptiles and amphibians and to all of the people who ask for a good field guide because, for the size and cost, there are none better for this part of the country. Well worth the money if a handy, accurate, well-done field guide with great photos and range maps is what you want.

I could not review the book because I have not seen or read it. In any case the cover and the title appear to be very good for particularly employers who may want high productivity from their employees and also for the employees who more often want more responsibility and advancements either in their present posts or to higher ones. The prints (electronic)appear reader-friendly.

"Building effective technical training: How to develop hard skills within organizations" by Rothwell and Benkowski is intended for any worker who must apply devices (such as PC's, software) that "govern them and their work", engineers and workers who apply special knowledge in manufacturing settings, and MIS professionals who apply knowledge in high-tech companies. The organization of the book is logical walking the reader through the contents of this resource. Their "Lessons Learned" chapter (Part V) is particularly well done. The added bonus of a CD-ROM and Appendices (specifically IV) enhance an already highly useable text making it easier for those of us who straddle both the practitioner and academic worlds.

William Whalen provides a very straightforward and easy to read explanation of Freemasonry and its relation to Christianity without the alarmist hype so often found in books of this genre.

The book focusses on the Craft as practiced in America, but also touches upon the English and Grand Orient Lodges. He reviews the Blue Lodge Degrees (Entered Apprentice, Fellow Craft, and Master Mason)with just the right amount of detail -- neither glossing over, nor bogging down with the needless repetition often found in "exposes." (The full rituals are readily available from Masonic sources.)

He explains the history of the Blue Lodge, the Scottish and York Rites, the Shrine, Prince Hall Lodges, and other Allied Masonic Organizations. For the most part, he lets Masonry speak for itself; not only does he cite Masonic sources that claim Masonry as a religion of itself, but includes Masonic defenses of its compatibility with Christianity (and other religions).

In his chapter "Catholic Attitudes toward the Lodge," Mr. Whalen presents the objections of the Catholic Church to Freemasonry as consistently taught for nearly three hundred years. Freemasonry represents a belief system that is at best indifferent toward Christianity, and the unique plan of salvation revealed by Jesus Christ.

He also explains the confusion that resulted in the 1970s, after a Cannon Law revision removed the explicit reference to Freemasonry and its penalty of excommunication for Catholics who joined the Lodge. Many Catholics apparently became Masons during this time under the mistaken impression that Church Teaching had changed. (Rome has since clarified this misunderstanding.)

Whalen devotes a chapter to the Protestant and Eastern Orthodox criticisms of Freemasonry, which are virtually identical to the Catholic position.

In his closing chapter "The Christian and the Lodge," the author explores reasons for the decline of Freemasonry in our society, and insists that while "Christians must respect the decision of others to affiliate with the lodge,...[many] have come to realize that the Great Architect of the Universe is not the God Jesus taught them to call Our Father."

William Whalen gives an excellent description and history of freemasonry. Today when some might question what all the fuss is between Christianity and freemasonry, this book explains in extremely understanding detail. William Whalen tells everything from the secret "blood oaths" freemasons take to why freemasons vowed not to let the "enemy," the Catholic Church, continue succeeding in providing health care through Catholic Hospitals. A great book for understanding how egregiously mislead people are into believing freemasonry is just another fraternal organization. Exposes the evil of freemasonry at its most basic, as well as advanced levels.

I am a student of Graduate School, and my major is Adaptive Control. I consider this book very good book for me, especially because it summarizes and covers most of the basic concept and method about control engineering, which I sometimes forget. So, by having this book now, I can anytime find and reread the part I have forgotten. Of course, it will be better if you also accompany this book with others books which explain more detil about control.

I'm currently taking a Feedback Control Theory course at the undergrad level, and I think this book is an excellent exposition of classical control theory. Our text for the course is Feedback Control of Dynamic Systems, written by people from Stanford. Schaum's Outline actually has more *theory* than the textbook we are using. It eliminates all of the frills and pretty colored diagrams in favor of exposing everything an undergraduate would have trouble with. And for those people who think the emphasis is only on problem solving, this "Outline" has more mathematical proof than the book from Stanford I just mentioned! I highly recommend using this book to get off on the right foot in control systems, whether you are an engineer just learning the material or an undergraduate; it solidifies the foundations of the theory so that practical problems will come more easily. Also, it is a practical book as well.

I only bought this book after I went through undegraduate control and digital control classes. And after getting very fragmented knowledge of these disciplines, this book was very good in helping me sort it out. Yes, if you don't know a thing about control theory or don't have basic math background, it probably is hard to grasp without any other sourses. But if you have some basic understanding of the subject, then it is a very good review and reference for the classical control theory. I used this book for review before taking a PhD preliminary exam in controls, and it helped a lot. Now I am using it for the same reason for the job I just started. I like the way it describes digital control theory in parallel with the continuous-time controls, which is the best way to understand the discrete-time tools, instead of taking a whole other class starting from scratch. Constant examples to illustrate the theory are very good, so are the excersises. Mind you, this book doesn't go into details like some 800pp. volumes but it doesn't leave out anything important either. I highly recommend this book to undegrad and grad students, as well as a reference for the engineers.

It is rare to find a book such as Joe Gould's Secret and even rarer still that through reading it, one would fall in love with such a irritating, grubby, vile little man as Gould. But love it was - certainly not at first sight but as I began to learn his history and then finally his secret, my heart just gave way.

Joe Gould was a well known "vagrant" in New York's Greenwhich Village during the early and mid 1900's. During his years as a bohemian in New York he met many people, some famous (such as ee cummings and Ezra Pound) and many more equally interesting yet unknown people. Through his many friends and detractors he drew the attention of a young reporter, Joseph Mitchell, who interviewed him for a piece in the New Yorker.

The book contains the two pieces that Joseph Mitchell wrote for the New Yorker about Joe Gould and his unpublished work, rumored to be ten times larger than the bible (over 10 million words), The Oral History. The more I read the more I craved to know more about Joe Gould and his life.

I highly recommend this book as it is a true snapshot into the life of someone who deserves to be known. Joseph Mitchell truly captured the feel of New York and inner workings of Joe Gould and his crazy life.

Apparently, 11 dime-store composition books that make up a nearly 150,000-word diary (part of his Oral History)are quietly tucked away within NYU's archives in NYC - I can't wait to get a look at them as well!

Live on Joe Gould!

Joseph Mitchell was a legendary, and legendarily eccentric, writer for The New Yorker. Disparate things fascinated him: the Fulton Fish Market, gypsies, bums in the Bowery, New York's architecture, the men who worked the Hudson River. Mitchell would immerse himself in the lives of the people who held his attention, and during the 1940s and 1950s he turned out a series of New Yorker stories that are unique in American literary nonfiction.

"Joe Gould's Secret," the book, is an anthology of two New Yorker pieces. The first, "Professor Seagull," ran in the magazine in 1942. The second, "Joe Gould's Secret" (the article) ran in two parts in 1964. The first was an affectionate profile of a Harvard-educated down-and-outer named, of course, Joe Gould, who was a well-known and much-tolerated bum in Greenwich Village. The second piece expanded on the first, again portraying Mr. Gould, but also detailing the strange story of Mr. Gould's "Oral History of Our Times."

Joe Mitchell turns his acute eye for detail (and his remarkable patience) on Joe Gould, and writes with grace and humor. Mr. Mitchell had an acute ear, as well, and let's Mr. Gould speak for himself for page after page. The pieces in this book are exquisitely crafted, and all the more poignant for Joe Mitchell's secret: Not long after publishing the last word on Joe Gould, Mr. Mitchell ceased publishing. He came to The New Yorker every day, and claimed to be working on a long piece year after year, but never ushered a word of it into print. To my knowledge, no one knows (or at least no one has said) what the piece was to be, and why Mr. Mitchell could not seem to finish it.

An extraordinary book by an extraordinary writer.

Reading anything by Joseph Mitchell is a goldmine of pleasure and "Joe Gould's Secret" is no different: a fascinating profile of a well-known Greenwich Village eccentric. Joe Gould was, for upwards of thirty-five years, a homeless dropout living from day to day on his wits and handouts from any sympathetic ear, whether friends or strangers. The two parts of the book, headed Professor Seagull, and Joe Gould's Secret, first appeared in the New Yorker in 1942 and 1964.The son of a medical practitioner, Harvard-educated Gould arrived in New York in 1916 and soon dismissed all thought of holding down a steady job when he had a flash of inspiration to write what he called "An Oral History of Our Times". He decided any form of regular employment would be detrimental to his thinking. Over many years, Gould would add daily to this work "in progress" ("about a dozen times as long as the bible") even when badly hung over; loading his fountain pen in the Village post office, scribbling in grubby, dog-eared school exercise books in parks, doorways, cafeterias, Bowery flophouses, subway trains and in public libraries, some of these hangouts also serving as places to doss - alternatives to the floor of an artist friend's studio or a subway station. 270 filled notebooks had been stored in numerous drops for safekeeping until the work was completed. When a publisher friend of Mitchell asked to see the material, with a view to publishing a book of selections, an indignant Gould declared that the material would either be published in its entirety or "not at all".

Mitchell, intrigued by the "Oral History" idea, wrote a compassionate profile of Gould showing much patience and sensitivity in his dealings with his subject with whom he spent an inordinate amount of time. Scruffy in appearance, wearing cast-offs, often unwashed for days at a time, all the time dogged by "homelessness, hunger and hangovers", ("I'm the foremost authority in the U.S.A. on the subject of doing without") Gould's norm was to hang around bars and diners in the Village cadging food, money and drinks from friends, visiting tourists and other regular contributors to the "Joe Gould Fund". He survived on a diet of fresh-air, dog-ends, strong black coffee, fried egg sandwiches and bottles of diner-bar ketchup supped off a plate. ("the only grub I know that's free of charge") Once asked what made him as he is today, Gould answered it was all down to a strong distaste for material possessions, Harvard, and years on end of bad living on cheap booze and grub "beating the living hell out of my insides".

Things took a turn for the better for Gould when a secret benefactor, informed of Gould's plight and worsening health, paid for his room and board at a cheap hotel for upwards of three years. When the subsidy was suddenly cut-off without explanation, however, Gould reverted to the flophouses in the Bowery that were handy for the Village. Thereafter, Gould moved rapidly in a downward spiral. He died in 1957 whereupon Mitchell, who knew as much as anyone about the "Oral History", was persuaded to join a Committee set up to organise the collection of the mass of scattered material that made up "An Oral History of Our Times".

If you enjoy "Joe Gould's Secret", read also "McSorley's Wonderful Saloon", a marvellous collection of profiles of old-time New York characters in a New York that is no longer. Both these books are among my all-time favourites.

I'm not sure how to feel about this book. While reading it, I really could not become absorbed by Conrad's dense prose, though, while occasionaly eloquent, is very thick, and, well, British. But now that I am finished with it, I can not get the images the novella invokes out of my head. The conquest of Africa by the Imperialist on the surface, and the corruption of man's very morality underneath. The story is deceptively simple, merely a man working for an Ivory trading company, ominously called "The Company", going up the Congo river to meet up with Kurtz, the archetype of Western Imperialism. During this trip, we are shown the inner workings of man and his heart of darkness. The novella is not perfect though. Conrad's condemnation of Imperialism is uneven. Yes, the only discernable cause of Kurtz's descent into evil and madness is the imperialist ethic of master-slave, and it is fairly clear that Marlowe (conrad) is condemning that ethic, but at the same time, he doesn't work very hard to elevate the view of the African natives any higher in the esteem of his western readers. Anyway, as the novella is only about 100 pages, it is something that can be read in a day. Invest an afternoon in it, and decide for yourself.

Heart of Darkness is a novella that really needs to be read more than just once to fully appreciate Conrad's style of writing. The story is an account of one man's simultaneous journey into the darkness of a river as well as into the shadows of a madman's mind. There is a very brilliant flow of foreshadowing that Conrad brings to his writing that provides the reader with accounts of the time period and the horrible events to come. Through Conrad's illuminating writing style we slowly see how the narrator begins to understand the madness or darkness that surrounds him.

I recommend this particular version of the novella because it contains a variety of essays, which discusses some of the main issues in the reading and historical information. Issues like racism and colonialism are discussed throughout many essays. It also contains essays on the movie inspired by the book Apocalypse Now, which is set against the background of the Vietnam War. I recommend reading Heart of Darkness and then viewing Apocalypse Now, especially in DVD format which contains an interesting directors commentary.

English majors are justly fond of Conrad, who packs his stories with subtlety, symbolism, parallels, and rich imagery. "Heart of Darkness" is a brief and strangely absorbing read. Its plot is simple enough on the surface, about a sailor who guides a steamer up the Congo in search of a vaunted ivory trader. But beneath the surface, in a palpable atmosphere of unease, lie the book's complicated themes. This isn't just a condemnation of European activity in Africa, but a glimpse at the evil within every man. In some ways this book is a precursor to "Lord of the Flies" and other twentieth century books of despair, and yet Conrad does not leave the reader without hope. In skilful, mystical passages about light and dark, black and white, tall and short, jungle and sepulchre, Conrad gives us much food for thought about the nature of humankind and the possibilities for both good and evil. I see this book more as a warning than a simple cry of despair - though it pays ample attention to "the horror" of it all.

This book is recommended for Ph.D. Qualification Exam, MEAM, University of Michigan

The evidence Sobran presents makes it hopelessly clear that judging from the evidence available to us, de Vere wrote the works of "Shakespeare". Skepticism that a rural burgher could have written such cosmopolitan plays doesn't sit well with today's egalitarian spirits, but then this is but one sliver of Sobran's comprehensive argument, which finds its conclusive strength in the sheer accumulation of clues all pointing in one direction. We will most likely never know the details of the arrangement between de Vere and "Shakspere", but this does not belie the powerful case Sobran makes itself. The works of Shakespeare are among humankind's greatest achievements, but they were not written by the workaday actor from Stratford. Sobran convinces us of this in a concise, entertaining, and masterly piece of work. He is right that if de Vere's authorship were finally accepted, then Shakespearean studies would be inestimably enriched by our finally being able to connect the works with an author whose life actually corresponds with them -- something Shakespearean scholars are unique in forgoing out of mere discomfort with the classist air of denying Shakspere's authorship. This is, really, something of a shame.

Joseph Sobran has written an elegant and persuasive condensation of the case for Edward de Vere's authorship of the Shakespeare canon, updating the previous efforts of passionate and intelligent students of the Shakespeare question such as Charlton Ogburn Junior, Bernard M. Ward and John Thomas Looney.

The book deserve five stars for cogently and persuasively presenting a much-maligned theory which counts among its recent adherents such intellectual lights as Derek Jacoby, Michael York, John Gilgud, Mortimer Adler and Supreme Court Justices Blackmun, Powell and Stevens.

As other reviewers have noted, it does not matter so much whether Sobran's arguments are correct -- this reader finds many of them persuasive -- as that the subject itself warrants serious and sustained attention. At present champions of the orthodox Shakespeare retain their intellectual monopoly within higher education primarily by means of excluding non-specialists such as Sobran from the debate over the Shakespeare question and vociferously denying, against a host of contrary evidence, that the subject even exists.

On the contrary, anyone who cares for the future of literary studies should acquaint themselves with the arguments made in this book. Not all of them are, in my opinion, equally valid. But that is no cause to ignore or belittle Mr. Sobran for tackling an important question which (sorry) ain't going to disappear just because a few powerful Shakespeare industry insiders insist on feeling threatened by it rather than seeing it as one of the greatest boons which could befall a shrinking intellectual discipline.

"Shakespeare" has never been more interesting or more real than he is in this book.

For readers in search of a compact, intelligent, entertaining introduction to the authorship question -- a question which is only now, after many years of suppression and neglect, beginning to come into its prime as one of the great questions of our day -- this book is a great place to begin.

Roger Stritmatter

I had never even heard of the Earl of Oxford before picking up the book. I likend the authorship question to fantasies like 'Where is Elvis' and 'Roswell, New Mexico.' Sobran presents a good deal of circumstantial evidence for Oxford. History records little circumstantial evidence for Shakspere, other than he shares the same name with the bard and he was an actor in some of these plays. Ghost writers are common. As a nobleman, Oxford had two reasons to stay quiet. 1) It was beneath his dignity to write plays 2) He could more easily satire his court friends (and enemies) with anonymity.

Oxford's experiences seem to reflect the experiences of the playwright in many cases. Numerous phrases from Oxford's private letters, appear again in Shakespeare's plays. Sobran offers better and more specific arguments than these. If I were a Shakespeare scholar, I would no doubt be angry at any probing book debunking the accepted theory, but this study is a well-made case for the Duke of Oxford.

It is a well known fact for those that know me that I am a tireless devotee of William F. Buckley. That's why it has come as a total shock to most that I am of a mixed opinion about THE REDHUNTER: A NOVEL BASED ON THE LIFE AND TIMES OF SENATOR JOE MCCARTHY. Buckley, it seems, has fallen into the same sort of traps that those who have attempted to write "real political fiction" have fallen into before him. The difficulty is, naturally, how does one write an exciting narrative and remain true to the historical fact? Too often Buckley seems to forget that he's writing a novel and proceeds to regail the poor reader with awfully constructed dialogue and atmosphere that attempts to give the story rather than tell the story (if you catch my meaning). Readers of the book will find themselves frequently saying, "nobody talks like this!" or "nobody thinks like that!" simply because Buckley has attempted to fit as much information about the late senator as is possible while neglecting to compensate with adequate character realism. There are however, many redeeming qualities that should be noted. First, just as Buckley promised during his interview with Charlie Rose on PBS, there is much in here that has been previously unreported about McCarthy. Supporters and detractors will find ample heretofor unknown tales. Second, is Buckley's uncanny attention to historical detail. And third, is the moving and sometimes shocking way Buckley writes about McCarthy the man and those around him (for those interested in the life of the late Roy Cohn this book is a must read). Do I recommend it? Insofar as I recommend Buckley in general, though with some caution. For those looking for a history about McCarthy I prefer Buckley's excellent MCCARTHY AND HIS ENEMIES (which he wrote with L. Brent Bozell) and for those looking for an example of Buckley's usually fine fiction I recommend any of his Blackford Oakes novels (of which SAVING THE QUEEN is probably the best). Happy reading!

The novelist can sometimes unfold truth before a reader's eyes in ways that a historian cannot. This is well known: Dickens' "Bleak House" was perhaps as much a critique of classical economics (a la Mill) as a novel, for example. Buckley's latest work is in that tradition. Rehabilitating Senator Joe McCarthy is a long-overdue labor. This novel painted a compelling picture of a three-dimensional hero, warts included, who lived a quintessinal American success story, until his fall. There is no doubt in my mind that certain elements in our society will view with disfavor a novel that seeks to humanize one of the all-time bogeymen of the Left. The objective reader will have to give careful thought to the thesis of this book, however. That thesis is that there was organized Communist penetration of our government, that their intentions were treasonous, and that McCarthy did right and good in exposing them. He went to excess, but his sins pale next to those of the Establishment types who ignored the threat, and who probably viewed it with sympathy. (Class haterd seeps from many of the characters in the book, both historical and fictional, for the upstart chicken farmer from Wisconsin who shook up their little world.) Political considerations aside, I read it in one day, staying up until the wee hours to finish it. This is a classic yarn, and a compelling page-turner. -Lloyd A. Conway

Fiction can sometimes be more revealing than a bare recital of fact. (One need only think of Dickens' novels and how he described 19th century England to see how this can be so.) Buckley's book accomplishes this with his portrait of Senator Joe McCarthy. The novel's subplot, involving the fictional Harry Boncteau (sp?), is compelling, and is woven nicely into the overall story. The McCarthy Buckley describes is ambitious, blind to some aspects of human nature, and prone to excess, but basically good, and, as we now know, right in his basic thesis: Communists had systematically penetrated American institutions, with subvursive intent. Art imitates life in Buckley's portrayal of the seething class hatred for McCarthy on the part of the Left/Establishment. It was/is part and parcel of their animus toward anyone who dared to expose the truth: Nixon, Chambers, and sepecially McCarthy. This novel, which I read in one sitting, finishing in the wee hours, is both compelling literature and thought-provoking in terms of it's ideas. Hopefully, with Soviet archives open and their records validating much of what he said, this book will become the basis for a reexamination of a controversial American life. -Lloyd A. Conway