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However, if Mr. Reid feels the binding is causing him concern, I suggest he contact the publisher. I have had my book (I get an advance) for a while now and have not noticed any cause for concern, and my copy has been extensively looked through by a lot of people. This printer generally turns out a very superior product, and I know that the publisher was excited by this book and would not have scrimped on the binding. Perhaps Mr. Reid simply somehow received a defective copy.
I urge Mr. Reid to call Specialty to resolve the issue. In the meantime, I hope you enjoy reading it and looking at all the great photos Tony managed to find for it.
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Edward Allen takes us through the functions of a building without going into traditional architectural theory. This book is more concerned with the needs that buildings must fulfill, and how we can fulfull them. He discusses water, waste, heat, ventilation, lighting, accoustics, energy, structure, and more, first by explaining each particular concept, and then by examining how problems can be solved with the knowledge of those concepts.
While this isn't a book on theory, neither is it a wholly practical book. That is, it won't equip you with the skills to go and build a house. But it will open your eyes to the various elements of buildings and building construction and you may think "Aha!" the next time you look at a building and observe a strange structural or design detail. You don't have to be an architecture freak to enjoy the book either. You just need to be curious.
This book sticks to the basics of what a building is all about. This is not a book about design princples and concepts (old or modern); the book stresses the practical nature of building construction/design and the interface with human beings and the environment.
Excellent book for students, architecture professors, practicing architects, builders and people just wanting to know more about the principles of architecture.
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I'll have no half-way house, but aye be where/ Extremes meet; it's the only way I ken/ To dodge the cursed conceit of bein' rich/ That damns the vast majority of men.
That's Abbey for you, and he has a helluva great time out there where extremes meet. Is there any other way to live?
Eric Ambler wrote Journey into Fear during this period of relative calm. Ambler, as well as most Europeans, expected a replay of the trench warfare of WWI. Hitler's unexpected blitzkrieg across Belgium, Holland, and France was yet to come.
As with his previous story, A Coffin for Dimitrios (1939), the setting begins in Istanbul and we again briefly meet Colonel Haki, head of the Turkish secret police. Mr. Graham, a naval ordnance engineer for an English armament manufacturer, has been assisting Turkey with plans for modernizing their naval vessels. The project was tiring and Graham is anxious to return home. But German agents have other plans.
Journey into Fear would have worked effectively as a Hitchcock thriller involving a common man in an uncommon situation (and undoubtedly Ambler's stories influenced Hitchcock). Graham is unprepared to play the role of an assassin's target. He is just an engineer doing his job. His efforts to escape are often ineffective and even amateurish, but would we readers have done differently? We share his frustration and fear at his inability to prevent the noose from tightening.
For those new to Eric Ambler, I would recommend beginning with A Coffin for Dimitrios (also titled The Mask of Dimitrios) and to be followed by Journey into Fear. Both are good stories. I would rate A Coffin for Dimitrios slightly higher.
Journey into Fear was made into movie in 1942, produced by Orson Welles' Mercury company, directed by Norman Foster, and starred Joseph Cotton and Dolores Del Rio.
Peter Lorre, Sidney Greenstreet, and Zachary Scott starred in The Mask of Dimitrios in 1944. It was directed by Jean Negulesco.
Mr. Ambler has always had this problem. As Alfred Hitchcock noted in his introduction to Intrigue (an omnibus volume containing Journey into Fear, A Coffin for Dimitrios, Cause for Alarm and Background to Danger), "Perhaps this was the volume that brought Mr. Ambler to the attention of the public that make best-sellers. They had been singularly inattentive until its appearance -- I suppose only God knows why." He goes on to say, "They had not even heeded the critics, who had said, from the very first, that Mr. Ambler had given new life and fresh viewpoint to the art of the spy novel -- an art supposedly threadbare and certainly cliché-infested."
So what's new and different about Eric Ambler writing? His heroes are ordinary people with whom almost any reader can identify, which puts you in the middle of a turmoil of emotions. His bad guys are characteristic of those who did the type of dirty deeds described in the book. His angels on the sidelines are equally realistic to the historical context. The backgrounds, histories and plot lines are finely nuanced into the actual evolution of the areas and events described during that time. In a way, these books are like historical fiction, except they describe deceit and betrayal rather than love and affection. From a distance of over 60 years, we read these books today as a way to step back into the darkest days of the past and relive them vividly. You can almost see and feel a dark hand raised to strike you in the back as you read one of his book's later pages. In a way, these stories are like a more realistic version of what Dashiell Hammett wrote as applied to European espionage.
Since Mr. Ambler wrote, the thrillers have gotten much bigger in scope . . . and moved beyond reality. Usually, the future of the human race is at stake. The heroes make Superman look like a wimp in terms of their prowess and knowledge. There's usually a love interest who exceeds your vision of the ideal woman. Fast-paced violence and killing dominate most pages. There are lots of toys to describe and use in imaginative ways. The villains combine the worst faults of the 45 most undesirable people in world history and have gained enormous wealth and power while being totally crazy. The plot twists and turns like cruise missile every few seconds in unexpected directions. If you want a book like that, please do not read Mr. Ambler's work. You won't like it.
If you want to taste, touch, smell, see and hear evil from close range and move through fear to defeat it, Mr. Ambler's your man.
On to Journey into Fear. Many people rate Journey into Fear to be one of the greatest novels of physical terror and a chilling treat. Almost everyone agrees that it is one of Mr. Ambler's best novels.
The book opens with the engineer Graham boarding a ship, the Sestri Levante, along with 9 other passengers in Turkey during December 1939. Safely in his cabin, he muses on his injured hand, which "throbbed and ached abominably" from being grazed by a bullet the night before. Alone, he realizes that he has "discovered the fear of death."
He then remembers the events that led up to the hectic last 24 hours. He has been in Turkey to help England's ally prepare its defenses against potential invasion. Foreign agents have been assigned to kill him so that the defenses will not be completed before an attack occurs. The assassin shoots at him when he returns to his hotel room from an evening at a night club, and just nicks him. Colonel Haki (of A Coffin for Dimitrios) takes charge of Graham, and arranges for him to leave by ship to avoid another attempt. Air flights have been suspended due to an earthquake, and the train is too hard to guard. The colonel vouches for all of the passengers. Graham reluctantly agrees.
As the boat sails off, Graham recognizes the tenth passenger as the assassin assigned to kill him, Banat. Seized by terror and knowing he's trapped aboard the ship, he tries everything he can think of to save his life. Will his best be enough?
For those who like stories involving the psychology of chilling terror, this book will be a delight. For those who want nonstop action, this book will be boring.
Mr. Ambler has provided us with an in-depth look at the psychology of killers and their prey that reminds one of the famous short story, "The Most Dangerous Game." As Colonel Haki notes, "The real killer is not a mere brute. He may be quite sensitive." Colonel Haki's theory is that killers have "an idee fixe about the father whom they identify . . . with their own [weakness]. When they kill, they are killing their own weakness." The hunted can crash about in the underbrush and merely draw the killer, or learn to control fear and think out a solution. Ambler is clearly interested in the subject of whether the rational mind will win out over the abnormally compulsive one. Along the way, Graham also learns a great deal about himself, a sort of self analysis through terror.
In addition, Graham is introduced to Mademoiselle Josette in the night club, and must from then decide how he will deal with the temptations she presents to him as a married man. This subplot greatly strengthens the story rather than being a distraction from it.
After you finish this impressive story, please think about when you have been terrified. What did you learn from that experience? Does this story add to your understanding of what one needs to do when terribly frightened?
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"A series of increasingly paranormal events leads a character (here one Harry Eskrine) to discover that an elder god (here one evil Medicine Man) is about to return and take over/destroy the world. As time runs out a team of sorts (here a well meaning doctor and a contemporary Medicine Man) is formed to try and stop the beast's return, but they are late getting to the pass and our hero (Harry) must do personal battle with the hellish entity to save the world."
It's a formula that works beautifully, no matter which elder god monster Masterton decides to pull from the shadows of fictional legend. That Masterton has a sense of humor about all this hogwash is a bonus, making The Manitou (and others) both scary AND funny. Highly recommended.
Karen Tandy visits her old boyfriend Harry Erskine, occult mavin and low-budget tarot reader to wealthy old ladies, because of a unique problem she's developed - a tumor on her neck, which to all intents and purposes appears to be a fetus. The doctors seem unable to remove it, and Harry starts experiencing paranormal disturbances after Karen comes to him for help. He, and a few initially skeptical doctors, reluctantly come to the conclusion that Karen Tandy is harboring the fetus of a powerful centuries-old medicine man about to be reborn - whose birth would first claim the life of Karen, and after, the entire white race, with his vengeful sorcery. What's modern science to do, against such a supernatural adversary? Why, fight fire with fire, of course - get another medicine man.
It's absolutely amazing that this piece works, but it's really great. Masterton never cracks a smile (until the very end), playing the situation up for real and sucking you into it so you believe it. The characters are fabulous, especially Karen, Harry - who appeared in the semi-sequel, The Djinn - and John Singing Rock, the rival medicine man to the rescue.
Masterton's stories almost always end on a lighter note, with the deliberate inclusion of a solution that is almost a joke, but the technique works because he's cluing his audience in to the fact that he realizes how silly it all is - he just wanted to show you he could make you believe it - and the concluding laughter he provokes is welcome and sympathetic, not denigrating the finely written novel at all.
The all-star movie made from this book in the late-'70s is worth a look. It's a faithful adaptation, though it doesn't work quite as well as the book due to some severe special effects deficits and a crummy musical score.
Dennis R. Jenkins has been doing a terrific job with his book on the development of The National Space Transportation System, SPACE SHUTTLE. HYPERSONIC is a must have for every space library. I can't wait to get a copy of X-15 PHOTO DIARY by the same authors, a collection of several hundred photos that didn't fit in this book.