James Drake's previous biography of Rosa Ponselle (styled an "autobiography," but in fact written entirely by Drake), was an excellent book and, until this new offering, served as the only biogrqaphy of an artist many consider the greatest opera singer America has produced, and one of the greatest, of any nationality, of all time. Prof. Drake's new book on Ponselle is not merely a rehashing of his earlier effort, but in fact entirely supersedes it. Unorthodox in organization, it gives us a complete picture of Rosa Ponselle, both as artist and woman. Prof. Drake has given us one of the finest biographies of an opera singer ever written.

Each chapter in the book is divided into four sections. First, there is an introductory overview, by Drake, of the period of Ponselle's life covered in that chapter. Next comes "The Interview," which is a transcript of interviews Ponselle gave to various persons (including the author) in the later years of her life, again dealing with the period of her life covered by the chapter. Here, Ponselle herself speaks. Then follows an account by some other person closely associated with Ponselle, dealing with the same events - her manager, Libbie Miller; her secretary and longtime companion, Edith Prilik Sania; her husband, Carle Jackson; and a close friend, Lena Tambourini. Finally, there is "The Written Record," which looks at what was actually written about Ponselle at the time of the events in question - reviews, articles, interviews, etc.

The overall effect of this sequence is to give a full, well-rounded and sometimes conflicting account of Ponselle's life. Not infrequently, Ponselle's own spoken recollections will be contradicted either by the recollections of others or by the written record. Perhaps the most important contribution of this book is to scrutinize - and in part, explode - the "Cinderella" myth surrounding Ponselle's "discovery" by Caruso and her subsequent engagement by the Met. Edith Prilik Sania's account gives a fascinatingly different perspective on these events. (She was there when they happened.) Another example of a fresh and varied perspective is the account of Ponselle's relationship with her manager early in her operatic career, William Thorner. Ponselle always maintained that Thorner never gave her any voice lessons ("I wouldn't have let him touch my voice!"), contrary to his own claims, and she downplayed Thorner's role in her engagement by the Met. Ponselle's recollections were no doubt colored by her personal antipathy to Thorner. (She later sued him, and one gets the impression that she never forgave him for steering her to Columbia records, rather than to Victor, where she would have been able to record with Caruso). What the written record and Edith Prilik's recollections show, is that Thorner may in fact have given Ponselle some voice lessons (he was a well-known vocal instructor at the time), and he had a lot more to do with Ponselle's "discovery" than she later let on.

Perhaps the major difference between Prof. Drake's old book and the new one, is the extent to which this new book gives us an unblinking look at Ponselle's personal defects, only hinted at in the "autobiography." Ponselle was apparently a very high-strung, almost neurotic individual. She could be petty, mean, greedy, and very difficult to live with. (Admittedly, not uncommon caracter traits among opera singers generally.) She also had many positive qualities, including loyalty to her family (she supported most of them), and she obviously inspired considerable devotion in her friends.

What there is no dispute about by anyone in this book is Ponselle's greatness as a singer. Her magnificent voice, unique in its dark, voluptuous timbre, apparently conquered all who heard it, and her recordings, technically primitive though they are (and which Ponselle herself disliked), are her passport to operatic immortality. Prof. Drake's excellent new book gives us a good look at the life and career behind the indescribably beautiful sounds one hears from a Ponselle recording. "Rosa Ponselle: A Centenary Biography" is fully worthy of its glorious subject.

If Flaubert was in love with Emma Bovary, surely James Drake must be in love with Rosa Ponselle. He has made her live for us, just as Flaubert made Emma flesh and blood. For me, opera singers are made of glass; they shine, and they may even seem transparent, but rarely do they seem human. Through the clear, admiring eyes of James Drake, Rosa could be our next-door neighbor. The dignity of Drake's writing, his clear love and respect for his subject makes her life shimmer like crystal. This book one of the best of the summer

Biographies of the great opera singers are not plentiful. The truly good, well-written biographies are even more scarce. The biography of Rosa Ponselle by James Drake belongs in that handful of well-written and well-reseached biograhies that are not only readbale but are difficult to put down (to sleep). This is not a reprint of the earlier book written by Ponselle with Drake but is an entirely new volume drawing on interviews and documents that were either unavailable or suppressed by Ponselle in "A Singer's Life". Drake constructs his narrative judiciously and fairly giving us a complete (or, rather, as complete as possible) picture of one of the greatest sopranos of this century. In addition, it also provides fascinating glimpses of some of her colleagues such as Caruso (with whom she made her Met debut in 1918) and Martinelli as well as the rigors of making records during that era and the everyday workings of the Met. This is a fascinating volume that belongs in every opera lover's library. My only quibble is that Amadeus didn't include a CD with the book (as does Baskerville Publishers). No, not of Ponselle's recordings. Those who buy this book will find her complete recordings readily available on Romophone in superb sound. Rather, it would have been nice to have been able to listen to some of the interviews used throughout the book rather than just read them. Having met Ponselle, it was a delight talking to her and that comes through on the recorded interviews. Despite this small quibble, I can't recommend this book strongly enough. But, be forewarned, it's as hard to put down as a good Agatha Christie!

This edition of the Dialogues of Galileo Galilei includes mathematical solutions to the problems Galileo treats in plain language and an introduction describing a new cannon-ball experiment of the type used by Galileo that may be used to distinguish between the predictions of General Relativity and the editor's unified field theory. The Dialogues are then more interesting to the modern physics student, as it begins to resemble a review of contemporary mechanics in addition to being a grand old piece of history. Additional forwarding material by Albert Einstein and historical background by translator Stillman Drake make this edition a supurb introduction to the history of physics in which now the correct solutions may be read from the margins in modern physical notation. In addition, a number of illustrations have been added to illustrate old terminology for describing heavenly bodies and to provide portraits of Copernicus, Galileo, and his contemporaries Tycho and Kepler.

Rather than a straight biography, this excellently compiled volume of writings and photos (many reproduced here for the first time) is an eloquent tribute to a truly great artist who graced the stage of the Metropolitan during the not-too-distant past when "the Met" really did hold the standard of greatness. One very amusing photo taken in Pons' dressing room shows her entertaining a group of young students, one of which is an enthralled Bernie Schwartz (later known as Tony Curtis). Highly recommended.

This is Drake's latest Hammer's Slammers book. He does a pretty good job with it. Like many of his Slammer's books it seems to be composed of novellas. In this case it almost seems like three separate short stories that he either wrote as one larger story or wove together after the fact. He even repeats things in the second 'chapter' that seems to assume you didn't read the first. Overall it is an interesting story if not particularly deep. The focus is definitely on the action and not the politics in this one. The ending was a tad cheesy. If you like the Slammers you'll like this one as well.

David Drake's Paying The Piper presents a new 'Hammer's Slammers' novel centered around mercenaries and war. A young lieutenant finds himself in the middle of a hot war on an alien world in this story of war for pay.

This book is primarily for neurosurgeons and other medical professionals. Too technical for parents, educators, etc

I am an adult with hydro. and ever since reading The Shunt Book - I always recommend it to new parents or newly dx'd patients. I am an Executive Director of a non-profit group (National Hydrocephalus Foundation), and I can't think of a greater help to those who need it, besides what I can verbally provide to them. Many of us who have hydro. call this book "our bible."

For the clinician, Drs Drake and Sainte-Rose have produced a simple and easy to read book explaining the use of shunts, and the complications that arise from using them. It is handbook that will help the general practitioner who has patients with hydrocephalus, and is a must for neurosurgical trainees.

I had previously heard about defibrillation, but I was not sure bout how it really works. This book provides a clear, concise way to throughly explain defibrillation and how it works. It even has pictures to illustrate these facts, (as a picture speaks a thousand words). It will equip you with the knowledge and what to do with a defibrillator, if anyone were to collpase due to a cardiac arrest. A reccommended book, and it's sitting on my company's library, beside the defibrillator. :P

I got interested in this period of history after reading Parkman's masterful "France and England" series. Drake's book is the opposite -- dull, politically correct, completely lacking a sense of drama, written more with a view to securing tenure than increasing knowledge of this period. There's all the buzzwords -- indentity and gender and sexual politics, hints of Foucault and Derrida... an absolute waste of money. I pity his students. I pity the study of history. Morrison, Parkman, Freeman, Foote -- where are you when we need you?

Historian James Drake presents an intriguing thesis in this book. In his view, King Philip's War was a civil war that tore apart a highly integrated European-Indian society. On the face of it, this idea seems ludicrous, but Drake presents a very convincing case. Even if Drake does not win you over, you learn a lot about both colonial and Indian societies. Even the most ardent critics of the work must admit that Drakes presents some significant challenges to conventional thinking.

The problem is that Drake does not know how to write well. The book is dreadfully slow and dry, with little penchent for anything but the most academic trivia. If one stays awake, you will find some very fascinating insights mixed together with the horrendously slow treatise, but often, it's not worth it.

For fans of colonial history, it's a must. For anyone else, be warned: it will be a tough read.

This is a clearly written and thoughtful analysis of King Philip's War. While some may disagree with the author's characterization of the conflict as a "civil war," Drake effectively illuminates the important and complex connections that developed among the New England colonies and some Native American nations and how those connections helped to bring about the war.