It seems the most popular budget classical music label, Naxos, not only makes most of the Western musical output available at very reasonable prices (no top stars who demand absurd fees make this possible), but it has also issued three very nice boxed sets of recordings on cassettes and CDs (I have the latter) that together give you a quick, fairly accurate, and quite enjoyable survey of three major topics. Perry Keenlyside's (NA 314412) is on three tapes or CDs and more or less delivers what the title promises in about 3 hours and 40 minutes. The text is considerately divided into sections--"Mozart, the child prodigy," "January 1762, the first journeys," "Paris and London, 1763-4," and so on--with tracking cues for each section. The narration and quotations from letters and journals of the time are accompanied by the appropriate music drawn from the bottomless Naxos catalogue. Nigel Anthony is the narrator, aided by Paul Rhys (Mozart), Edward de Souza (Leopold Mozart), with David Timson and Anna Patrick in "other parts." I have not seen the original books to see how much of an abridgment this is, if at all, but that is immaterial. The voices are personable, the information digestible, the whole project very worth while, especially at the price. My only objection to the Naxos recordings of books in the low recording level that makes it a bit difficult to hear on a walkman set up on (say) a noisy train. But this should offer no problem to home hearing or even in your car. These sets are really perfect listening for long trips.

Those planning on working from home will find this an important guide which goes beyond most home office handbooks to focus on cost-effective methods for setting up the home office. From adding phone lines and Internet access to purchasing fax machines and considering video conferencing equipment, Outfitting Your Home Business For Much Less is packed with tips on various purchasing options.

Amelia Edwards' The Phantom Coach (1-899562-82-6) is edited by Richard Dalby and gathers her best Victorian-era ghost stories under one cover. This satisfying collection proves the ghost story can have many themes and settings and still prove refreshingly different from tale to tale. This is the first to gather all her supernatural works under one cover.

Psychological research has veered away from qualitative design, often because the methodologies have been misunderstood. Dr. Camic and his colleagues offer us a great deal in this book. Chapters talk about both attitude and strategies. Some are familiar methods, others are newer. It is an essential book for students and researchers, and I hope it will bring more psychologists back to qualitative work.

In detailing the largest and most significant research study of its type (i.e. The MacArthur Study of Mental Disorder and Violence), Rethinking Risk Assessment describes what is surely to become the seminal work in the area violence and mental illness. The authors point to the methodological flaws in many earlier studies that failed to establish clear links between mental illness and violence. It moves beyond previous studies to point to a clear link between serious mental illness and an increased risk of violence.

Although based upon a North American population (i.e. with its higher societal rates of violence generally) the size of the study, and the relationships it demonstrates suggest that this work has significant implications for other jurisdictions. The book illustrates tools clinicians can use to assist with identification of those with higher for risk of violence.

Although actuarial methods do not offer a panacea for problems associated with risk prediction, they nevertheless provide pointers for increasing the precision with which such assessments can be made. Monahan et. al. acknowledge the limitations of such methods, and point to the complexity of clinical risk assessment for violence potential. The authors also point to the broader contextual, and problematic issues associated with false positives and negatives, in terms of prediction.

Armed with the information contained within this text, clinical staff will have a thorough grounding in the most up to date evidence in the field. This should provide a solid foundation from which staff can approach the complex issue of considering risk assessment generally.

Actually, this book is excellent for people who are not only thinking about becoming self-employed but who are already self-employed and want to understand better the mentality transition from being an employee to being a business owner. Paul and Sarah Edwards are engaging. They present the information sincerely, thoroughly and realistically without spoiling the dream. In fact, their own passion for self-employment and enthusiasm for helping others to be successful in their own business is evident throughout. I enjoyed this audio book because it addresses what books on the mechanics of operating a business leave out - that is the kind of mindset, the fears and ability to overcome them required to be a successful business owner. As a business owner, one tends to be isolated and does not have a boss to go to for advice and guidance. Paul and Sarah Edwards are an excellent coaching team. Rich with instructions, insights, examples and exercises for self-employed people to develop themselves as their own leaders, I found this book extremely valuable. I have listened to it several times already and with each listen, I glean more golden nuggets!

If you design steel members and connections this book is an absolute necessity. It contains the standard AISC member properties, as well as standard specifications for connections. Most importantly, Vol I includes the complete LRFD design specification(s) (1993) along with 500 pages of detailed notes carefully explaining each section of the LRFD design method. I found the notes and design examples very useful, thorough and easy to follow in actual practice. AISC of course provides the same extensive design charts that were used in ASD, as well as expanded appendices for design practice and commentary for this "new" method. The only drawback is the typical supplement of errata for this printing.

Aptly edited by the collective efforts of T.M. Charles-Edwards, Morfydd M. Owen, and Paul Russell, The Welsh King And His Court is a massive compendium of essays filled with meticulous discourse of the Welsh royal household and the governmental roles of those officers charged with upkeep of horses, sleeping quarters, meals, etc. Primary source texts are presented in English translation, and the essays are written at a college reading level. The Welsh King And His Court is a scholarly text that combines deep thought with multi-level analysis of historical politics. An intriguing and recommended historical study, with a very helpful glossary, abbreviation list and index.

I checked this book out from the library, and now I have to buy it because my son keeps asking for the "hamburger book". It has lots of pictures for the little ones to understand and both simple and complex wording for kids in different language learning stages. My son is so proud that he can say "epiglotis" and tell you what it is! This book certainly answers the question "where does poop come from?" in a child-friendly way.

Every reader knows of authors who were all the rage when they were alive and publishing, only to be forgotten or relegated to obscurity upon their death, if not before. They disappear for decades or generations, admired or consulted by those few who read in specialized fields; or they are the subject of intermittent articles in this or that journal. Thanks to the Internet they can be seen shimmering, a sort of astral projection, on web sites and list-serves with spotty attendances. In these venues situated on rural roads in the republic of letters they are argued with, championed, held up as the acme of what's misbegotten, or pegged as simply typical of a period. For fans, bitter consolation lies in their man or woman being reviled, as such shrill attention does indicate that the core of the oeuvre has not ceased to be dynamic, and perhaps threatening.

Occasionally authors have risen from the dust of library shelves, which is the closest we can now get to witnessing the Phoenix. These rescued figures become the product of cottage industries, but a well-timed nod from hollywood can escalate their reputations and swell their audience. Many of the latest literary finds are those whose work means something quite particular to current audiences - at times, but not in all cases, a retro chic - comprising enthusiasts, popular authors in a position to repay literary debts, scholars who have revisited past figures in search of their postmodern 'nowness,' and because of groundswells of curiosity from disparate parts. There is a lovely unpredictability in the resurgence of these artists which fosters hope in those whose favourite choice has not yet bounced back into the limelight. (In an attempt at a shove back onto the stage, see my Amazon review of Lewis' _Rude Assignment_.)

It is unlikely that Wyndham Lewis will ever again receive the attention, negative or positive, that his paintings and writings garnered during his lifetime, yet if any critical work of recent years could restore his dented reputation and, more fruitfully, bring his ideas back into view for a fresh examination, then it is this book by Paul Edwards.

In his combination of literary analysis and art criticism Edwards writes with economy, clarity, intelligence and sensitivity about Lewis' paintings, drawings, short fictions, novels and a mass of philosophically-minded and politically generated essays and speculative works. One realizes that Lewis, perhaps the most probing Modernist in the anglo-united statesian family, left no major concern of the 20th century ignored, even if only to swipe at it with pen and brush. It is to Edwards' credit that he maintains a focus on his subject's wide-ranging thoughts and positions, especially as they are transformed with the passing of time and as events, historical and personal, transform Lewis.

Certain aspects of this book call for special commendation: the examination of _Tarr_, Lewis' first novel; the analyses of _Time and Western Man_ , the central non-fiction work of Lewis' writings, and of _The Human Age_, his last fiction; and the constant engagement with the art works. Art criticism is often written in an abstract and coded way, and academic criticism is often larded with unnecessary polysyllabic constructions, but a key benefit of Edwards' style is that one can argue with his conclusions or suggested interpretations because he has made himself understood. There is no dancing with words, or playfulness in a deconstructionist sense, to obscure his points.

In the aftermath of this book it was instructive, in a disappointing way, to read a review by irish novelist John Banville of _The Crisis of Reason: European Thought, 1848-1914_, written by J.W. Burrow, which appeared in _The New York Review of Books_ (October 4, 2001, pp.38-40). On p.40 Banville responds to what Burrow says about Nietzsche:

"[...] There is a study to be made of the influence on modernism of Nietzsche's thinking, which is insufficiently acknowledged even by the most philosophically-minded of the modernists - it is hard to recall, for instance, a single mention of Nietzsche's name anywhere in Eliot's prose criticism."

Banville is mistaken when he says Nietzsche was not regarded sufficiently by "the most philosophically-minded" modernists, for as Edwards makes plain throughout his almost 600-page book (not a page too long), Lewis engaged Nietzsche in a constant debate (and dealt with many others as well). Pointing out this error on Banville's part is not meant to cast a slur against him; it merely shows how far Lewis has sunk below the critical horizon.

The book's layout is very good. In most cases, when art work is discussed the painting or drawing is at hand without needless flipping through the book. While as a rule footnotes are preferable, in this instance the use of endnotes is justified.

This book has given far greater pleasure than many others recently. For those unfamiliar with Lewis it is an excellent primer; for those just stepping into his sea of words it is an invaluable guide; and for those who are well acquainted with Lewis' concerns and motifs there is much to deliberate on, and hopefully respond to, in Edwards' original findings and his engagement with other critics.

Paul Edwards deserves more laurels than he is likely to get for writing about an artist who is underrated, over-scorned, difficult, and not very likely to experience a surge in popular appreciation. He also merits praise for writing in a direct manner, tackling the contentious aspects of Lewis' life and works head on, for his generally even-handed treatment of others who write on Lewis, and the zest underlying every sentence. His discerning enthusiasm will urge a reader to read Lewis' books again, or for a first time. Not many academics or critics achieve that notable goal.