John Fielder is one of America's greatest living photographers, and he brings his love of the Colorado wilderness to this book. His re-shoots of Jacksons 19th century photographs are both beautiful and thought-provoking.... the photographs make it worthwhile.

On the other hand, the text is a different story. Reading a text-only version of this book, one might conclude that the title is a misprint, and that the book should really be called "Colorado 1970 - 2000." Fielder roamed across Colorado capturing the changes in places like Kremmling, Denver, and Ouray, but the text never tells us anything about these places, or why they changed, or why we should care. Instead we get chapters about oil shale and the Forest Service.

Ahem. If I wanted to read about the relationship between Forest Service bureaucrats and small Western towns, I would have bought a book called "The Relationship Between the Forest Service and Small Western Towns." My book is called "Colorado 1870 - 2000." That is what I want to read about.

It's true that oil shale schemes, government agencies, and others have played a role in shaping Colorado in the past 30 years. But before that there were events like the Silver Crash of 1893, the City Beautiful movement, the Depression, World War II, and Urban Renewal. You won't read about those in this book.

The pictures are beautiful, and the text is well-written (if misplaced and unwanted). Just don't expect to learn much about the places you are looking at- except that they are very pretty.

This book is one of the most spectacular that I have seen. John Fielder has catpured Colorado's true beauty in his photos. I would recommend this book to anyone, especially people who have never been to Colorado. I'm from colorado myself, and I never knew that Colorado had such beauty tucked away. The difference in the age span of the pictures truely amazing. Some places have changed so much, but some are left untouched...still pure.

John Fielder has recreated photographs of Colorado that were taken 100 years ago by William Henry Jackson. It's fun to see the changes that have taken place over time. Some change is good, some bad. Fielder even went to the trouble of making sure that the same or similar items, such as trains, automobiles, even people, were in the images that he captured. It's an expensive book, but it's worth the money in my opinion.

This is not quite as good as 1 or 2, but it is still excellent! Shakespeare grabs us with the dispute between Henry VI and York. While it seems to end peacefully it does not, and the war goes on! York's death in 1.4 is another landmark in Shakespeare's writing. The scene (2.5) where Henry finds true terror is horror, sorrow, and yet beauty and yet another moving part of the play. (The son that hath killed his father and the father that hath killed his son.) The war pauses in disaster for Henry and some comic relief is offered. But the horror starts all over again when Edward IV and Warwick have a falling out. The war starts over again, and the King of France gets involved! The scene where King Henry VI is reinstated is a scene of beauty and hope. While all of this is happening, Shakespeare carefully prepares the monstrously satanic character of Richard III. From here, the play just gets more and more bloody. A final moment of horror is offered when the eventual Richard III proudly compares himself to the one who betrayed Christ. In part 4 "Richard III," the real terror begins!

This was one of Shakespeare's earliest plays. (possibly his third) Yet, there is nothing to indicate he was only starting out. Right away he grabs our attention with the funeral of King Henry V. Henry V's brothers Bedford and Gloucester help us to see the virtues and strengths of the deceased king. The Bishop of Winchester is well drawn as a comical villain who plots and plans, but never succeeds in doing any real damage. (Not until the next play anyway.) Talbot is memorable as the selfless hero of the play. York is memorable as the hero who defeats Joan of Arc. King Henry VI himself is interesting. First we see him as a helpless infant. By the third act, we see that he has both strengths and weaknesses. He makes the mistake of dividing the command between the rivals Somerset and York. But also, we see that he does not tolerate treason or neglect of duty. There are also many memorable scenes. The garden scene that foreshadows the War of the Roses is well drawn. The scene where York comforts his dying uncle is tragic beauty. Bedford's death in 3.2 has almost a divine tone. The death of Talbot and his son is very lamentable. York's sudden rise to power is captivating. Perhaps Shakespeare's greatest achievement in this play is that he simultaneously shows us England's war with France and the dissension with England itself.

AN EYE FOR THE COAST: THE MARITIME AND MONHEGAN ISLAND PHOTOGRAPHS OF ERIC HUDSON is a work (and a labor of love by its editors)which will be primarily of interest to specialists, including those interested in small ship design and in the history of maritime New England at the turn of the century. The books consists of roughly 100 glass-plate photographs of boats, fisherfolk and shoreline scenes taken along the Massachusetts Coast and on Monhegan Island off the coast of Maine between l890 and l920. Clearly, Hudson intended to create a photographic record in his plates, and for the most part, that's what the viewer gets. While much of the subject matter is interesting and informative (the extended, businesslike captions are well done), only a few of the pictures have a significant artistic quotient. Unfortunately, the quality of the reproductions in this book is not very good, and many of the images are grey, washed out or lacking in contrast. This may be attributable in part to the poor condition of the original plates and also to the failure of the publisher to use a coated stock. For an example of a similar work with much better photographs and superb reproductions, see A PACIFIC LEGACY: A CENTURY OF MARITIME PHOTOGRAPHY 1850-1950 published in l991. Although they are represented in a number of museum collections, I am not familiar with Hudson's paintings. However, one example reproduced in color on the back cover of AN EYE FOR THE COAST suggests that he may have been a far better painter than he was a photographer. For another review of this book with a different perspective, see page 58 of the January, l999 issue of ANTIQUES Magazine.