This has just the sort of thing nurses need to write care plans. The information is clear and succinct. However, volume 2 is needed, and unavailable. It is frustrating!

J.M. Barrie entitled his book "Peter Pan and Wendy" because it was not only about the boy who never grew up but also about the girl who indulged him in his childishness. The relationship between the two children was apparently intended to be a sarcastic parody on the relationship between the immature father - Mr Darling -and the syrupy mother. We all recognize the character of the man who won't grow up and many women sigh and say, "I have three children - and my husband makes four." However what is not so obvious is that many women partly encourage their men to stay in this emotionally crippled role. For instance, there is the strange habit of women washing men's clothes for them. Anyone who can't operate a washing machine shouldn't be let loose in the family car but women persist in treating men as if they are incapable of organising their personal belongings and men cooperate in this. The husband of a friend of mine will say to his wife, "I don't know where my red jumper is." She puts aside the highly intellectual work she's doing, goes to the cupboard and says, "There's your red jumper - under the green one where I put it (after I washed and dried it)" They have a very happy marriage - unlike my own where I refused to do that sort of thing. I think the reality is that people feel good being treated as a baby some of the time. Men like being fussed over and having unnecessary things done for them. Women like to feel protected, at least some of the time. Both sexes like to act childishly at times, the classic behaviour of adults feeding each other food off their own spoons being a very obvious sign of two people falling in love. It seems that Barrie touched on something that runs quite deep through adult romances. What is interesting is that children don't notice any of that nor the rather snide and sarcastic way that Barrie regards the whole issue. Instead they love the magic of the imaginary island and the idea of being able to fly and all the wild and woolly characters. They love the fun of it all and they ignore the issues of who should grow up and when. Good on them, I say!

If you're live in or are academically interested in the Greatest Town On Earth, this is a good book. It's a collection of studies and essays that well illustrate how we became the City we are today. Thoughtful, somewhat balanced, but unafraid of being controversial, it's a solid read.

Ace AVG and Ninth Air Force pilot James H. Howard was born in Canton province, China, of American parents. Smitten by a recruiter's pitch for naval pilots while studying at Pomona College, he enlisted, and successfully became a naval pilot. Enjoying this life, but eager for combat and promotion, he was swept away again when a very different call for pilots arose. This time the recruitment was for Chennault's American Volunteer Group, later known as the Flying Tigers.

This relatively recent addition to the few AVG pilot autobiographies gives a candid, first-hand account of the group and its missions, methods and pilots. Howard describes his days with the AVG, from its problem-ridden start to its transformation into an effective fighting force. Fans will appreciate the description of famous AVG missions and pilots. Following the disbanding of that group, Howard then fought with the Ninth Air Force, stationed in Britain. This is a bonus for readers, who are given the view from both Southeast Asia and Europe. The European portion often becomes a tiresome, blow-by-blow story of aerial gunfighting, however.

Though this is an autobiography, Howard is not excessively self-centred, and the narrative is not simply a dry listing of his life's accomplishments. A fair amount of the book is impersonal, and relates the routines of military life, or historical information. The writing is intelligent and reasonably objective, and Howard apparently has had a longstanding interest in history. He has included quotes from military luminaries and fellow pilots in order to support his views, to recount aerial actians, or to relate wartime moods in various locales. This unique opportunity is the result of the book's recent publication, and it adds considerable flavour.

As a military autobiography, Roar of the Tiger is clearly written and informative. As it is about performing military duties in service of country, readers should not expect relationships or introspection as with other memoirs. Roar of the Tiger is primarily for those interested in fighter pilots of the period and the challenges they faced.

Many Orthodox scholars such as Fr. Jack Sparks, Bishop KALLISTOS Ware, & Fr. Constantine Nasr. It was overviewed by such Orthodox authorities as Fr. Thomas Hopko, Fr. Stanley Harakas, and bishops representing virtually every Orthodox diocese in North America. I find this Study Bible very useful in introducing people to Orthodoxy through the Holy Scriptures as well as a wonderful companion for every Orthodox Christian. I believe that any Orthodox family could benefit from having this Study Bible in their home.

There are wonderful notes on nearly all the verses of the New Testament, giving the interpretation of the Orthodox Church on the Holy Scriptures. It also includes a lectionary, chapters on "How to Read the Bible," and "Introducing the Orthodox Church," and wonderful articles are interspersed throughout the Bible on such topics as "Confession," "The Four 'Orders' in Church Government," and "The Transfiguration." The pages are also graced by the presence of beautiful icons.

I do have a few minor problems with this Bible. Some is left to be desired in the Book of Psalms, largely because the Septuagint, the Old Testament of the Orthodox Church, was not used. (Of course, this is about to be resolved because the same group of people is currently working on the Old Testament Orthodox Study Bible using the entire Septuagint text.) It was also disappointing to see that in the Morning and Evening prayers in the back, there is no mention of the Virgin Mary. However, the notes and articles throughout the Study Bible clearly explain the emphasis which is put on the Virgin Mary in the Orthodox Church.

I would highly recommend owning this Study Bible, and I don't feel that it deserves a lot of the harsh criticism it has gotten. They did an excellent job!

This book does a good job in providing commentary notes on Bibilcal passages with an Easern Orthodox viewpoint. The right amount of information is given. It assumes the reader has no or very little knowledge so as not to confuse potential readers, including new converts, curiosity seekers, or cradle Orthodox who have never really studied their faith.

It is filled with iconograpgy throughout and the end of the book has special sections in regards to Orthodox views, prayers, and doctrines. It is done in an easy fomat to spark one for further study and research.

This study Bible should be in any serious Bible students libarary regardless of religion. The views of the East have been often neglected by the West and the East has a rich tradition the West can learn and enjoy.

Up until this century it was taboo to put commentary into a Bible for fear that folk would take the notes and interpretations as if they were part of the Bible itself. Well, they were right! However, now everyone and his brother puts footnotes and explanations in their texts of the Scriptures, so now the Orthodox do as well. This is not THE Orthodox Study Bible (as reviewer Matt asserts above - and, yes Matt, you are nit-picking!), nor does it pretend to be. The articles and notes are intended to help elucidate the Scriptures and provide some introductory articles on Orthodox topics, but this is not a full-blown Bible commentary, nor a course in New Testament theology. The complaints of the critics tend to be essentially that it isn't enough. Well, then they need to write a multi-volume commentary to suit their needs. However, for the average layperson who's lucky to crack open the Bible occasionally, this fits the bill just fine. Remember, there is no "official" Orthodox translation of the Bible except for the original Greek. Thus, the NKJV is one of the better texts and the footnotes are there to make occasional comments as to translation problems and errors. No, they don't cover all the issues, but as I said before, to do that you would need a multi-volume Orthodox commentary that takes up half your bookshelf. Hopefully, at some future date, such a work will be undertaken. For now, this is a modest and well-needed starting point. +Fr. William Christ

I had long heard of Henry James and his short novella, The Turn of the Screw and decided to read it, thinking that at only 88 pages long, it would not take more than one evening. Three evenings later, I finished the text and I must admit slightly confused. I had to reread the ending several times to truly understand what had happened. Thankfully, I had the critical edition, which included several essays on the story, one in particular by Edmund White which profoundly changed my opinion of the story.
A simple ghost story on the face of it, but in reality a pre-Freudian tale of sexual repression. Narrated by an unnamed governess who ventures to a country house to take charge of two young orphaned children, it soon becomes a tale of ghosts, mysteries and secrets. Always alluded to and never talked about at face value, the governess becomes convinces that the ghosts are after the children and she alone can save them. But are there really ghosts? The reader must go beyond the plot and carefully read the language...all the language. James writes like no other author I have ever read. The best word to describe it is "dense". With almost no dialogue, the narrator can spend pages describing her thoughts and feelings, yet these are so "coded" as to decipher her real meaning takes much concentration on the part of the reader. I know that James himself thought the story an amusement only, but the critical essays I read after the book deeply impressed me that the story has hidden depths which make it all the more interesting.
I would recommend this novella to anyone with the patience to read it thoroughly and with an open mind as to its meaning. I would strongly recommend the critical edition which helps the reader better understand the story's meaning and importance in literature.

Henry James is one of my favorite authors and this novella is one of my favorite books. It's a ghost story, it's horror, it's suspense, but what set it head and shoulders above most ghost/horror/suspense stories is the fact that it's strictly psychological.

A young governess secures a position at what appears to be a lovely English manor house and she soon discovers that nothing is what is seems and things are definitely not as they should be.

James has a highly stylized way of writing and he loved using long, convoluted sentences, even when saying something quite simple. Some readers might find this a litle jarring, but for me it only adds to the atmosphere of the book.

Over the years there has been much speculation about the meaning of this story, especially the enigmatic ending. I know what I think, but I won't give anything away here. Read The Turn of the Screw yourself and be prepared for a scary evening of surprises and perhaps even a sleepless night.

This book begins with the retelling of a sinister tale from thepast. A young woman in Victorian England secures a job as governessto two orphan children. As she arrives at her new post, she feels uneasy even though all seems well and the future looks bright. Despite attempts at optimism, the presence of evil continues until the governess begins to experience regular and terrifying sightings. The horror rapidly grows when the reason behind these visitations is realized.

Although this book is short, its impact is nevertheless profound. The story's setting is surrealistic, leaving many factors open to speculation and debate. The end is chilling and mysterious at the same time. The enigmatic nature of the story adds to the mystery and terror and this book is sure not to disappoint any reader looking for a haunting and unforgettable story.

Set in upstate New York in colonial times, Cooper here tells the story of the stolid colonial scout Hawkeye, nee Natty Bumppo (don't ask), who, with his two Indian companions Chingachgook (the Big Snake) and his son Uncas (apparently newly come to manhood), stumble on a party of British soldiers conducting two fair maidens to their father, the commander of British Fort William Henry during the French and Indian War. Under the watchful eyes of the young British officer who has the girls in his charge and led by a Huron scout, Magua, the party appears, to the indomitable Hawkeye, to be at greater risk than they realize as they trek through the wilderness toward the safety of the girls' father's garrison. And, indeed, Hawkeye's judgement is soon proved right as the scout Magua treacherously betrays the hapless girls in repayment, it seems, for a stint of corporal punishment inflicted on him previously by their absent parent. Since the Hurons, Magua's native tribe, are culturally akin to the Iroquois who are the herditary enemies of the Algonquin Delawares, from whom Chingachgook and his son hail and among whom Hawkeye has made his home and friendships, a natural antagonism has arisen almost at once between Hawkeye's party and the Huron and this proves salutary, when danger finally strikes. The tale quickly becomes a matter of flight and pursuit through thickly overgrown primeval forests, over rough mountains and across broad open lakes as the beleagured travelers first elude and then flee the dreaded Iroquois (allies of the French) who have joined the renegade Huron in an effort to seize the two girls. After a brief respite within the safety of William Henry however, the tables are once again turned as Magua's perfidy puts the girls once more at risk. And now the story shifts to a manic pursuit of the fleeing Magua who means to carry off his human prey in order to finally have his revenge on the girls' father, on the British and on the Europeans, generally, whose presence in his native country he blames (not altogether unjustifiably) for his myriad travails. Written in the fine tradition of the 19th century romance (which, of course, is what this book is), Cooper picked up where Sir Walter Scott (the venerable founder of this novelistic tradition) left off, creating a rich historical tale of adventure, nobility and marvelously sketched characters set against a brilliantly detailed natural landscape. If his characters are less keenly drawn than Scott's they are no less memorable for, in the quiet nobility of the scout Hawkeye lies the strong, silent hero of the wilderness which has become the archetypical protagonist in our own American westerns. And the Indians, Chingachgook and Uncas, are the very prototypes of the noble savage, so much used and over-used today. This is a tale of action first and foremost without much plot but so well told that you barely notice, as our heroes flee and pursue their enemies in turn until the very quickness of the prose seems to mirror and embody the speed of the action. Nor is this book only to be read for its rapid-fire rendition of flight and pursuit, for it touches the reader on another level as well, as the bold young Uncas moves out ahead of his comrades to place himself at risk for the others and the woman he loves. Although we never see Uncas at anything but a distance and never get to know the man he is supposed to be, he is yet a symbol of that people of whom he is the last chiefly descendant, the Delaware Mohicans. Nobly born into the finest of Mohican bloodlines, Uncas faces his final trial with heroic energy and resolve in order to defeat the nefarious and twisted Magua. Yet this struggle is also the final footnote in the story of a people, marking the closing chapter for all those Indians who, with the Mohicans, have seen, in Cooper's own words, the morning of their nation and the inevitable nightfall which must follow. -- Stuart W. Mirsky (mirsky@ix.netcom.com

Set in upstate New York in colonial times, Cooper here tells the story of the stolid colonial scout Hawkeye, nee Natty Bumppo (don't ask), who, with his two Indian companions Chingachgook (the Big Snake) and his son Uncas (apparently newly come to manhood), stumble on a party of British soldiers conducting two fair maidens to their father, the commander of British Fort William Henry during the French and Indian War. Under the watchful eyes of the young British officer who has the girls in his charge and led by a Huron scout, Magua, the party appears, to the indomitable Hawkeye, to be at greater risk than they realize as they trek through the wilderness toward the safety of the girls' father's garrison. And, indeed, Hawkeye's judgement is soon proved right as the scout Magua treacherously betrays the hapless girls in repayment, it seems, for a stint of corporal punishment inflicted on him previously by their absent parent. Since the Hurons, Magua's native tribe, are culturally akin to the Iroquois who are the herditary enemies of the Algonquin Delawares, from whom Chingachgook and his son hail and among whom Hawkeye has made his home and friendships, a natural antagonism has arisen almost at once between Hawkeye's party and the Huron and this proves salutary, when danger finally strikes. The tale quickly becomes a matter of flight and pursuit through thickly overgrown primeval forests, over rough mountains and across broad open lakes as the beleagured travelers first elude and then flee the dreaded Iroquois (allies of the French) who have joined the renegade Huron in an effort to seize the two girls. After a brief respite within the safety of William Henry however, the tables are once again turned as Magua's perfidy puts the girls once more at risk. And now the story shifts to a manic pursuit of the fleeing Magua who means to carry off his human prey in order to finally have his revenge on the girls' father, on the British and on the Europeans, generally, whose presence in his native country he blames (not altogether unjustifiably) for his myriad travails. Written in the fine tradition of the 19th century romance (which, of course, is what this book is), Cooper picked up where Sir Walter Scott (the venerable founder of this particular novelistic tradition) left off, creating a rich historical tale of adventure, nobility and marvelously sketched characters set against a brilliantly detailed natural landscape. If his characters are less keenly drawn than Scott's they are no less memorable for, in the quiet nobility of the scout Hawkeye lies the strong, silent hero of the wilderness which was to become the archetypical protagonist of the American western. And the Indians, Chingachgook and Uncas, are the very prototypes of the noble savage, so much used and over-used today. This is a tale of action first and foremost without much plot but so well told that you barely notice, as our heroes flee and pursue their enemies in turn until the very quickness of the prose seems to mirror and embody the speed of the action. Nor is this book only to be read for its rapid-fire rendition of flight and pursuit, for it touches the reader on another level as well, as the bold young Uncas moves out ahead of his comrades to place himself at risk for the others and the woman he loves. Although we never see Uncas at anything but a distance and never get to know the man he is supposed to be, he is yet a symbol of that people of whom he is the last chiefly descendant, the Delaware Mohicans. Nobly born into the finest of Mohican bloodlines, Uncas faces his final trial with heroic energy and resolve in order to defeat the nefarious and twisted Magua. Yet this struggle is also the final footnote in the story of a people, marking the closing chapter for all those Indians who, with the Mohicans, have seen, in Cooper's words, the morning of their nation and the inevitable nightfall which must follow. The book is a bit short on characterization and plotting and the prose is heavy for modern tastes, but the action is richly visualized in the flow of the narrative and the images are compelling. In the end, despite its flaws, this book of Cooper's is, in fact, the classic we have been told it is. -- S. W. Mirsky

Set in upstate New York in colonial times, Cooper here tells the tale of the stolid colonial scout Hawkeye, nee Natty Bumppo (don't ask), who, with his two Indian companions Chingachgook (the Big Snake) and his son Uncas (apparently newly come to manhood), stumble on a party of British soldiers conducting two fair maidens to their father, the commander of British Fort William Henry during the French and Indian War. Under the watchful eyes of the young British officer who has the girls in his charge and led by a Huron scout, Magua, the party appears, to the indomitable Hawkeye, to be at greater risk than they realize as they trek through the wilderness toward the safety of the girls' father's garrison. And, indeed, Hawkeye's judgement is soon proved right as the scout Magua treacherously betrays the hapless girls in repayment, it seems, for a stint of corporal punishment inflicted on him previously by their absent parent. Since the Hurons, Magua's native tribe, are culturally akin to the Iroquois who are the herditary enemies of the Algonquin Delawares, from whom Chingachgook and his son hail and among whom Hawkeye has made his home and friendships, a natural antagonism arises almost at once between Hawkeye's party and the Huron and this proves salutary, when danger finally strikes. The tale quickly becomes a matter of flight and pursuit through thickly overgrown primeval forests, over rough mountains and across broad open lakes as the beleagured travelers first elude and then flee the dreaded Iroquois (allies of the French) who have joined the renegade Huron in an effort to seize the two girls. After a brief respite within the safety of William Henry however, the tables are once again turned as Magua's perfidy puts the girls once more at risk. And now the story shifts to a manic pursuit of the fleeing Magua who means to carry off his human prey in order to finally have his revenge on the girls' father, on the British and on the Europeans, generally, whose presence in his native country he blames (not altogether unjustifiably) for his myriad travails. Written in the fine tradition of the 19th century romance (which, of course, is what this book is), Cooper picked up where Sir Walter Scott (the venerable founder of this novelistic tradition) left off, creating a rich historical tale of adventure, nobility and marvelously sketched characters set against a brilliantly detailed natural landscape. If his characters are less keenly drawn than Scott's they are no less memorable for, in the quiet nobility of the scout Hawkeye lies the strong, silent hero of the wilderness which has become the archetypical protagonist in our own American westerns. And the Indians, Chingachgook and Uncas, are the very prototypes of the noble savage, so much used, and over-used, today. This is a tale of action first and foremost without much plot but so well told that you barely notice, as our heroes flee and pursue their enemies in turn -- until the very quickness of the prose seems to mirror and embody the speed of the action. Nor is this book only to be read for its rapid-fire rendition of flight and pursuit, for it touches the reader on another level as well, as the bold young Uncas moves out ahead of his comrades to place himself at risk for the others and the woman he loves. Although we never see Uncas at anything but a distance and never get to know the man he is supposed to be, he is yet a symbol of that people of whom he is the last chiefly descendant, the Delaware Mohicans. Nobly born into the finest of Mohican bloodlines, Uncas faces his final trial with heroic energy and resolve in order to defeat the nefarious and twisted Magua. Yet this struggle is also the final footnote in the story of a people, marking the closing chapter for all those Indians who, with the Mohicans, have, in Cooper's own words, seen the morning of their nation and the inevitable nightfall which must follow. If you give this book a chance and bear with some of the heavy nineteenth century prose, it will prove out in the end. An exciting and worthwhile read.

Roses are Red, Patterson's latest in the Alex Cross series, is typical nail-biting suspense. Great characters, great thrills, great mystery...... until the end! For those who have never read an Alex Cross novel, I would imagine the ending to be a kick in the teeth because it leaves so much open and unresolved. But for those who are Cross fans be prepared for the most outlandish and completely unexpected thing that could ever happen. As an aspiring writer myself, I found the shocking ending too overboard and implausible that I was angry and disturbed for hours after finishing the book. On top of the fact that Alex Cross has to suffer another horrifying tragedy ( which he has had many) the ending leaves you hanging in such a way that your emotions are completely fried. Normally, I applaud this. But in this case, Patterson simply went too far. The killer's true identity is, to put it mildly, ludicrous. To go any further would reveal the identity, and despite the fact that I would love to save Cross fans some heartache, I do think people should read the novel just to get that angered feeling. Because it will make you appreciate a plausible and satisfying surprise ending. Once again.. kudos to Patterson for the plot. It IS good. But the ending.... good grief.

Roses Are Red is a book full of murder,suspense,shock,and surprise. IT is by the author James Patterson he has a very interesting and creative mind to have come up with something like this. It was published in 2000 by Warner Books. I thought that this book had a very shocking conclusion which made me want to read Patterson's next book "Violets are Blue" I would suggest this book to someone brave enough to handle the gore, patient enough to handle the suspense, and mature enough to understand. This is a great book for someone wanting to be scared, it gave me nighttmares, but that's not a bad thing.
The story starts with a man name Alex Cross. He work's as a detective in Washington DC. At first everything is perfect, until an FBI agent and friend of Alex's comes to his house to tell him some news. "This is particularly bad Alex. This one has really struck a nerve." There had been a bank robbery earlier and not just a bank robbery, but a murder also. The robbers were split up. Some were sent to the bank, and the others were sent to the bank manager's house. The manager's wife and kids were held hostage. They weren't to die as long as the manager got the robbers the money and the robbers were out of there at exactly ten after eight. The robbers were just a few seconds late. All of the victims, dead.
These shootings/bank robberies kept going on. One by one various banks in the DC area were being robbed and innocent people being held hostage. Some killed, in some bank robberies the people lived. It never had a pattern, never had clues, the only thing the FBI and detectives knew was that the whole thing robberies and murders were being planned by someone named the mastermind. Meanwhile at the FBI headquarters, Alex and a team of workers, one of which was Betsey Cavalierre who was in charge and whom Alex had a crush on, were working day and night to crack this case. The mastermind performed another stunt by hiring workers to hijack a bus from the metrohartford, a big insurance company, and steal money using the hostages. This shook up everbody.
Detective Cross and Agent Cavalierre did find out a couple of things. 1. The mastermind was hiring new crews for every case and killing all of them. 2. One of the hijackers on the metrohartford bus was Brian MacDougal. He told the agents that the mastermind was checked into a mental hospital. 3. The mastermind had a sick mind. Alex Cross and a buddy detective of his went to work at the hospital for a couple of days just to see if they could catch the mastermind. They had a few people that stuck out, but most of all Frederick Szabo. Alex followed him one day and made an amazing discovery. Alex also found out that you can misjudge someone.(most of the time you think they are bad but turn out to be good...)
I would encourage you right now to get off of the internet and read this book. Maybe buy it off of Amazon or something. This book will let you know that you never know what is going to happen. It is full of suspense, but don't worry suspense can be a good thing. Alex does not only have work problems, but he also has some home problems too. You can learn about holding on and never letting go of something. IF you work at it you will succeed. I am asking you to please read this book, I am sure you will enjoy it as much as I did. So I leave you with this quote from the book:"I see you Detective Cross. I see you, but you don't have a clue who I am. I could walk up and touch you." "You're part of it now. Be extremely careful Detective Cross."

What a book! James Patterson is one of my favorite authors, and I have not read a bad book by him. Some are not up to par with his better books, Kiss the Girls and Along Came a Spider, but how can anyone top those two? Roses are Red comes close, however.

Alex Cross, our favorite detective-hero has his heart broken, fixed, and only to be broken once more. And to complicate matters he is involved in a horrid manhunt for a man called the Mastermind. Patterson has created some fairly creepy characters, Gary Soneji, Casanova, Mr. Smith, The Weasel, all smart pyschopaths who were in the end outwitted by Alex Cross. But the Mastermind tops them all with his sheer brilliance. Cross finds himself three steps behind and when he thinks he's gotten somewhere, the next chapter reveals stunning new information to prove otherwise. Don't bother trying to figure out who the Mastermind is; that's impossible. But I will let you in on a little secret, any Patterson loyalist or a Patterson reader of the first time will be absolutely tounge-tied when they read the last sentence. I know I was.

Author Stephen Carter, in real life a black professor at Yale law school, is a talented writer with a knack for drawing the reader in by adding interesting plot twists at critical points in his novel. I found intriguing the manner in which the author crafted a work of fiction from the kinds of headlines we all have seen. And, the perspective his main characters offer on what it feels like to be black in upper middle class America is thought provoking.

The book is filled with rich portraits, but noticeably absent is any character with a sense of humor. Is the humorlessness intended to be a commentary on the black condition in America? Or is it a reflection of the legal community in general, and the legal academic community in particular? These questions were answered to me in the "Author's Note" at the end of the book. Carter says there, in effect, "You might read this book and think Yale law school is a horrible place, that today's law stuents are horrible people, and that our legal system is horribly flawed, but don't worry...this is a work of fiction". Frankly, I thought this was a cowardly way for a member of the legal establishment to try to avoid accountability for a work that makes an undeniable statement on the extent to which our legal institutions rob people of their humanity. I defy anyone to read the brilliant indictment of modern law students with which Carter opens Chapter 9 and to then accept at face value the closing apologia in which he says that he treasures and respects his students.

Bottom line: I'm glad I read it.

Although black influence may be discerned in many strands of modern popular culture, from sports to stand-up comedy, from music to fashion and movies, one couldn't say that this has also been the case for fiction. Professor Carter's book is a welcome first step in populating a compelling plot-driven narrative with characters we haven't heard from before (or at least, not to my knowledge). In "The Emperor of Ocean Park" black university graduates with high-powered jobs and all sorts of material comforts are resolutely center-stage. In Philip Roth's "The Human Stain", the main character must resign his blackness to achieve success and power in the academical world. Carter's characters never resign their race to be successful in the white man's world. The main voice is Talcott Garland's. He is a lawyer in his forties, a professor of law in an ivy-league-ish university, which in spite of Carter's denial in a post-scriptum is a straigth forward rendition of Yale Law School, where the author teaches. Garland is a complex man, not a cypher, surely a cut above the generic "cut-and-paste" renditions typical of modern popular fiction. He is slightly overweight, not very likeable (he is aloof and emotionally remote), very much his father's son. The father, the eponymous "Emperor of Ocean Park", is Oliver Garland, known in the book as "The Judge", a composite of Associate Justice Clarence Thomas, Judge Robert Bork and famous intellectual Thomas Sowell. A moderately conservative civil rights lawyer, he is appointed to a federal judgeship in the District of Columbia Appelate Court where he moves increasingly to the right. In the Reagan era he is nominated to the Supreme Court, but he must withdraw his candidacy when certain sordid associations become known to the public. He then joins a Washington D.C. firm as counsel and rakes in fat fees as a very popular public speaker. The Judge has shaped his children sometimes in ways he didn't mean to. The first born, Addison, is a rebel who refuses to be subject to his fathers very exacting standards of emotional self-control. His daughter, Mariah, the cleverest of all, has withdrawn from intellectual life to become wife of a rich white banker and mother of a large brood. Talcott has fled the rough and tumble of political life to become a tenured professor, and is stuck with Kimberley, a woman he adores, although she doesn't love him and may be cheating on him. A third daughter, Abby, died long ago, run over by a car that then fled the scene of the accident. This death is the catalyst of all that happens afterwards. The Judge is dead at the beginning of the book, and Talcott is quickly assailed by all sorts of shady figures who are looking for the Judge's arrangements. Talcott has no idea of what this means, and he struggles till the book's very end to find the arrangements and keep himself and his family alive. There is a complex chess problem (whose relevance is perhaps less clearly conveyed than the author intended) and several sub-plots to keep the reader occupied. Those thinking about buying the book should not be dissuaded by its heft. The book is a page turner and it has the right mixture of plot, action and rumination to keep the reader interested. It is also evidence that a book may be compelling without a single overtly sexual set-piece, without unnecessary profanity and without obsessive concern by fashionable slang or luxury good brands. This book will still be readable in fifty years without a special dictionary.

Many people have commented on the detailed rendition on the specifics of middle class lives. The big surprise is that these lives are similar to those of their white counterparts. Middle class blacks are hard working achievers, sometimes hindered by emotional distance and obsessive self-pondering. Perhaps one key point is that this is not the middle class as such that we are regarding, but the upper-middle class, with their large townhouses in Washington D.C. ("the Gold Coast") and their summer places in the Vineyard and the Hamptons.

We should expect this book to be slaughtered in the movie version, with Denzel Washington as Talcott, Morgan Freeman as the Judge, Hale Berry as Kimberley and Angela Basset as Maxine. Gene Hackman would be a good Justice Worthington. Read the book before you see the inevitable movie. It will only spoil the fun if you do otherwise.

What an amazing debut novel from Stephen L. Carter! The story itself is a magnificent mystery. It's not your typical "whodunit". Instead, it is a wonderfully crafted, deeply intriguing story about a family wrapped around some judicial mischief at the highest level of our court system. Senior District Court Judge Oliver Garland has died leaving his son to unravel what the author refers to as "the arrangements." Judge Garland's daughter, Mariah, is suspicious of her father's death and suspects their Uncle Jack, known for his organized crime affiliations, is involved. Her younger brother, Tal, remains unconvinced until their father's funeral when Uncle Jack stresses his need to know of "the arrangements" Judge Garland left behind. The "arrangements", however, have nothing to do with burial or estate planning. They do have to do with digging into some earlier family tragedies, getting involved with some very unsavory underworld characters, and hints of even more crooked judges at the Supreme Court level.

There are many hints thrown in throughout the book, woven into the ongoing dialogue lead you to think you know exactly where the story is going. But Carter's crafty and imaginative twists of plot, however, frequently deceive you. There is also a subpart to the story that brings frequent reference to the game of chess, and more particularly to the relationship of a black pawn and a white pawn and the importance of the black pawn coming out on top. Read the book and see what you think of all these references and subtle pieces of symbolism. The fact that he can leave us pondering all that is strong evidence of talented writing.

This book is not a fast paced, 48-hour thriller, but takes place over several eventful months. I enjoyed the complexity of the plot and the very human characters Carter created. The Garlands and their extended families illustrate how dependent we are upon one another and how easy it is to succumb to temptations. I encourage you to join Tal as he investigates pivoting points in his father's life, uncovers the Judge's legacy, and, ultimately, finds "the arrangements". I predict that we will see many best sellers by Carter. At least let's hope so. Highly recommended!

I am a definite fan of the Alex Cross series and have been a Patterson fan for some time. I read THE JESTER and FOUR BLIND MICE over the same weekend and hands down, THE JESTER is the better storyline (actually, JESTER was a wonderful read). Perhaps the creative juices for the Cross novels has waned after so many but regardless, something is just not clicking like it used to. "ROSES" and "VIOLETS" were marginal books while 1ST TO DIE and 2ND TO DIE were just a notch above. It is my hope that Patterson will find the juices again...and soon.

FOUR BLIND MICE opens with Cross' long-time partner and friend, John Sampson, requesting Alex's help to investigate the murder conviction of one of Sampson's Army buddies. Ellis Cooper, Sampson's buddy, has been accused, tried and convicted of the murder of three women along with the bizarre arrangement and paintng of the bodies. Cooper has been sentenced to die by lethal injection; the execution is set to be administered in three short weeks and Sampson believes only his friend and supersleuth Cross can unravel the injustice befalling Cooper. As Cross begins his investigation, he runs into one stone wall after another but hasn't quite determined if those are Army walls (i.e. "we take care of our own") or something quite different. Although doggedly determined, Alex cannot crack the case and Ellis Cooper is executed. The one and only piece of evidence Cross has is the eyewitness account of a teenage boy who indicated he saw three men outside the home of the murder victims that night. However, Alex was never able to corroborate this statement.

As the story continues, Patterson introduces the reader to three very skillful and very sick assassins. Even before Cooper's execution, the reader knows these "THREE BLIND MICE" are responsible for the triple homicide. As time passes, the Mice continue their spree but it is definitely not for kicks. It appears there is a puppetmaster; one who has given the Mice their marching orders albeit mercenary orders at that. This portion of the story winds throughout the book until the end where it fizzles without much surprise or intrigue. The climax is satisfying but certainly not surprising.

Two very poignant subplots revolve around the love lives of Cross and Sampson, nothing really new for Alex but quite unconventional for Sampson. True to VIOLETS, Jamilla Hughes returns as Alex's love interest. And, as always and timeless, Alex still has Nana Mama to care for his three children including his infant son, Alex.

All-in-all, a decent book but I find myself waiting for the next great Cross book. Something in the spirit of KISS THE GIRLS. I haven't given up on Patterson and I certainly will continue to check out his newer "off-Cross" books. As I mentioned, I found the JESTER to be a fabulous read, a storyline and subject matter totally different to Patterson's norm. It's proof that Patterson has the skill yet it seems he has turned his efforts more into a Stephen King-like machine, pumping out one book after another. While this satisfies the volume requirement for fans, it is obvious that quality has taken a fairly staunch hit.

Worth the read but not his best.

The elite assassination team, The Three Blind Mice, knew they were the best, but realized while operating in the An Lao Valley that they also loved to kill. When they left the army, they hired themselves out as mercenaries and are now killing innocent people and framing people who served in Vietnam as the killers. They don't know who hired them or why the men were targeted but the money is too good to ask any questions.

Washington DC police detective Alex Cross becomes involved with the Three Blind Mice when his friend John Sampson asks him to help prove the innocence of Ellis Cooper who is waiting on death Row because he was convicted of the wanton slaughter of three women. Both Alex and Sampson are convinced after talking to Ellis and examining the evidence that he is innocent but no one will listen to them. Ellis dies and his two friends vow to find his killers and bring them to justice. As similar deaths occur across the country, The Three Blind Mice come to the attention of Alex and Sampson and when the two sides finally meet, only one will walk away.

James Patterson always delivers a fascinating, action-packed thriller and FOUR BLIND MICE is no exception. Readers familiar with the hero will find he has to use all his considerable skills to counter the deadly precision of his enemies. The plot is well constructed and the action holds up to scrutiny though some of the best scenes in the book occur in the protagonist's personal life. Anyone reading an Alex Cross novel can't help but want more of him.

Harriet Klausner

Alex Cross and John Sampson track down a gang of killers who execute with military precision...

James Patterson seems to be spending every waking minute writing. I'm too laz --- er, too busy right now to check, but I think that FOUR BLIND MICE is the third book he's had published this year. He has a strong trademark character with Alex Cross, and writes a number of "stand-alone" novels as well just to keep the mix varied. FOUR BLIND MICE is the latest --- and possibly the best --- installment of the Cross novels. It combines Patterson's trademark literary style --- short sentences and brief scenes which keep the narrative moving along --- while providing Cross with a change of scene from the standpoint of both geography and plot.

FOUR BLIND MICE begins with Cross being asked by his lifelong friend John Sampson to assist him in coming to the aid of Ellis Cooper, another old friend of Sampson's. Cooper, a sergeant in the U.S. Army, has been convicted of a triple homicide. The case was practically open-and-shut: there is DNA evidence; the murders were committed with Cooper's knife; and he was observed at the scene of the crime. The only exculpatory evidence which Cross and Sampson have is the eyewitness account of a young boy who lives next door to the home where the murders took place. His account: there were three men at the home at the time of the murder.

Patterson lets his reader know almost immediately that Cooper is being framed, and lets us know that the boy is correct: there are three murderers --- The Three Blind Mice --- who are highly trained killers in the midst of a murder spree for hire. While the identities of the killers are revealed early on to the reader, the question remains as to who is their shadowy, mysterious employer whose identity and motive is unknown even to the murderers. Cross and Sampson, through dogged, good old-fashioned police work, slowly learn for themselves what was revealed to the reader and find that the trail ultimately and unexpectedly leads back into Cross' own past, with possible repercussions for his future.

Patterson continues in FOUR BLIND MICE his practice of letting Cross and his supporting characters slowly evolve and develop. Cross makes a big change in his life in FOUR BLIND MICE and appears to be on the verge of making another. Sampson makes a totally unexpected change in his life as well. And as for Cross' family, well...they are as real as one can find in mystery fiction. Patterson's ever-evolving ability to balance Cross' professional and personal life as a backdrop to a suspenseful manhunt is ultimately responsible for the ongoing popularity of this series, which has translated, in turn, to success for his non-Cross novels as well. Patterson shows no sign of slowing down at this point, and his legion of fans --- large, and growing ever larger --- will undoubtedly continue to clamor for more.

--- Reviewed by Joe Hartlaub