How would I know, I have not received it, and I ordered it three months ago!

I got this, and I love it! The recipe's are delicous, the information is helpful and useful, and the pictures are sharp and clear. If you can cook at all, this is a MUST have.

As a professional chef and culinary instructor, I found this volume to be an excellent resource of American cuisine. The recipes are fairly basic, but the history behind regional culinary traditions is vast and informative. I recommend all the volumes in this series to chefs and home cooks very highly.

James Carville and Mary Matalin (with a rather large assist from Peter Knobler) take the reader behind the scenes of the Clinton and Bush 1992 Presidential campaigns.

The incredible behind-the-scenes details are great, and, as a Clinton supporter, it's nice to relive the highlights (Bush being followed by a guy in a chicken suit, Pat Buchanan). I don't know if Bush supporters will enjoy this book as much, although they might enjoy the Matalin sections.

The only sour note comes from Matalin herself, who refers to the Clinton campaign as "Clintonistas" and continually harps about the media's (alleged) distortions of Bush and his record, and genuinely, truly seems to despise Bill Clinton. By contrast, Carville is generous to the Bush campaign.

All in all, a political junkie's dream.

For anyone interested in how opposites attract and presidential campaigns are won or lost, "All's Fair" is one of those "must-read" books well worth the time spent in its somewhat long 478 pages.

With able assistance from Peter Knobler, America's favorite political odd couple of James Carville and Mary Matalin explain how they kept their relationship together while simultaneously working against each other's professional goals.

As you may recall, the Democratic Carville helped manage President Clinton's successful bid for the White House in 1992, while Republican Matalin was a major figure in the reelection campaign of President Bush. The two have since appeared frequently as commentators on NBC's "Meet the Press," and even in an antacid commercial

In this account, however, Carville and Matalin avoid most of the pitfalls of the typical partisan memoir by using an even-handed "he said/she said" approach that usually provides equal time for these two very different people. Although the subtitle is "Love, War, and Running for President," those looking for intimate, melodramatic details of their weird alliance will be disappointed. Both Carville and Matalin do an admirable job of maintaining their individual dignity and conjugal privacy. Indeed, 80 percent of "All's Fair" is about the difficult business of public life. Only 20 percent concerns their personal feelings. And yet, that 20 percent gives this story a human dimension often lacking in more conventional election histories.

This book makes several other things clear:

* Carville may be the more colorful and quotable media critic (he has very valid points about pack-journalism, polls, and press self-indulgence) but Matalin is far more astute and perceptive about how the editorial news-gathering process operates. She understands how reporters try to be fair; he jokes darkly about "feeding the Beast."

* Matalin tends to get bogged down in political minutiae. At least in the '92 race, Carville had a better gut instinct for how the average voter feels and thinks.

* Women still are not getting the freedom and respect they deserve in their careers. It's obvious that, at the office, Matalin had to deal with the stigma of her association with Carville to a much greater extent than Carville ever was questioned about Matalin. There is definitely an unfair double-standard in effect.

* Maybe the best chapters are those that cover "a day in the life" of each organization. It's there that you really get a sense of the fears and hopes all those civic-minded campaigners had as they struggled to sort out a daily flood of information overload.

* If this brilliant husband-and-wife team can ever agree on a candidate, watch out! He (or she) will win in a landslide.

James Carville and Mary Matalin are always entertaining to watch on television, no matter what they're talking about, so there was no way this book could have been anything less than massively entertaining. It works outstandingly on two different levels -- first of all, it's a blow by blow of the 1992 presidential election, with a lot of the background scuttlebutt and the inside information. You get a real sense of how disarrayed the Bush campaign was, how amazingly the Clintonistas got over some of their hassles. Secondly, though, it's a profoundly in-depth look at the way in which two people who supposedly could have nothing in common develop love, and in that sense it's very touching. James Carville's puppy-dog slavishness to Bill Clinton reads a little off-key now that Big Bill is coming to the end of his eight controversial years (Monica was still in the future when this book was written), but all in all this is a wonderful book.

Reading "Trilby" is like listening to a lively, friendly raconteur taking you into his confidence. All the characters are interesting and lovable despite their faults. Ultimately, du Maurier even has a soft spot for Svengali. Sentimental, yes...but effervescent and with a broad tolerance for life and human weaknesses. It's a fun, memorable read and easy to see why it was a huge hit of the 1890's.

The book which put "Svengali" into the English language. I had heard of this book long ago, of course, though i can't remember whether it was first from learning about Svengali or finding out that du Maurier was Daphne du Maurier's father. But i had never read it. In a way i'm glad i didn't, becuase that has given me the opportunity to read it now, for the first time. It has taken me a little longer than i might have expected, but was well worth the time. The story of the tragic Trilby, who cannot sing a note to save her life, and how she is moulded into the singer who takes Europe by storm, by the evil (?)(i'm not sure) musician Svengali, who uses mesmerism of some kind to play her as an instrument. The story is told from the persepective of three Englishmen who lived in Paris during the time Trilby was an artists' model, before she fell under Svengali's spell. The three, Taffy, the Laird, and Little Billee, who was her fiancé at one point, briefly, are artists, of a sort; they love Trilby for herself, and are devastated when she is removed from them by events. Naturally, they are shocked by her reappearance in the world of Culture. But they are delighted at the possibility of renewing her acquaintance.

I could wish that du Maurier had not been so cute with his French as "spoken" by the English. I could wish that there is less French altogether, as it does slow down the reading ~ perhaps one reason "Trilby" isn't read any more (is it?). It does generate an atmosphere, though, and you begin to know what Western Europe was like in the middle years of two centuries ago. This edition, Dover, has over a hundred illustrations by du Maurier, who had made his name as a cartoonist for Punch. They are lovely, and add immeasurably to the book.

I have to disagree with the reviewer who commented that this novel is at best a curiosity and that it deserved to fade into obscurity. I read this in a course on 19th century novels and fell in love with du Maurier's writings and his drawings. He uses such wonderful devices to flavor the text and in many ways this satirical view of the aesthetic movement informs the period as much as Oscar Wilde's work does. That the work has some anti-Semitic sentiment it is no more worrisome than anything in Shakespeare (meaning that you must take the work as a work in a period of time). The character types are common enough and the message of the story is timeless--I'll leave the discernment of the message to the reader. Reading this was like uncovering your grandad's favorite toy in the attic and realizing it was still fun to play with today.

Once again we have not one connection or document to prove the reasoning behind this book. I have some access to verifing things in this book and I have come up with NOTHING. Gee what a surprise. Once again we have the banter starting again at least with the chronicals there was documentation proving it. Try again Pete Brewton, Peter Brewton maybe you can find something. Great piece of fiction and probably the best lies I have seen in a long time... As far as the rating can I put up negative stars. no.. oh well thanks anyway..

In comparison to George Bush (not Dubya) Clinton looks like a choir boy!! Everybody should read this book. Pete Brewton outdid himself! Extremely informative and well researched.

This is one of the two most important books published in this country this century. The other is "Dark Alliance" by Gary Webb. Brewton is a journalist par excellence. He makes the goose-steppers at the New York Times, LA Times and Washington Post look like the complacent wimps they really are. Yes, Virginia, the S&L "crisis" was a $160 billion ripoff by the mob, the CIA and George Bush and Sons. Read it and weep, America!

This is the second in the Inspector Felse series. Unfortunately Ellis Peters has written pages that are full of descriptions of emotional trauma and "angst" of the protagonists as well as waxing lyrical with metaphysical insights. There is no doubt that characters need to be 3-dimensional, as well as scenes and situations to have reality and flavour, but Ellis Peters seems to have over-done it. Readers can skim through some of the more esoteric paragraphs without losing the thread. Despite this, the book does have suspense, a good plot and enough action to hook in the reader and, of course, a surprise ending. Having read it, I don't really want to read it again.

Across the heath to war I fare
The great green heath so broad and bare
For there, where the splendid trumpets blare and thunder
There is my house, my house the green turf under.

Such is the closing stanza of Maggie Tressider's personal translation of "Where the Splendid Trumpets Blow", made when she first began learning her concert repetoire. Contraltos, as her friend and colleague Tom Lovell is wont to say in his more sour moods, are liable to find themselves expected to sing a lot of Mahler.

Sharing the driving en route to a concert in Liverpool, Maggie hits a patch of slick clay at forty, and the last thing she's aware of is her own voice, lamenting "My God, what have I done, I've killed Tom." Even upon awakening in the Royal Hospital in Comerbourne after nearly dying in surgery, and being assured that Tom escaped with only a mild concussion, Maggie is filled with a foreboding shaken loose by the shock of the accident. Her surgeon, a great admirer of her music, persuades her to confide in him, as one artist to another who wishes to keep his work from being wasted. She's haunted by the feeling, too foggy to be quite a memory, that at some time, she failed someone so badly that he died.

Her surgeon (meaning to tactfully steer her onto a therapist's couch), suggests, "Suppose someone else, someone who makes a job of that kind of thing, took over the stone-turning for you?" And Maggie grasps the idea with both hands - and gets him to put her in touch with a good private detective.

Enter Francis Killian, a battered Korean War veteran, who mostly takes on impersonal investigations involving lots of paper: research for writers, tracing witnesses, searching records for lost details. Noting that Maggie always speaks of her victim as 'he', Francis begins combing through her past for the great turning points of her life, and looking for any young men she might have associated with before immersing herself completely in her concert career. Her serious study began with Dr. Paul Fredericks; as one of his star pupils, she accompanied some of his twice-yearly European tours ('Freddy's Circus'). And on her last such trip, there was one difference: Bernarda Eliot Felse, rather than Freddy's sister, served as chaperone.

Enter Bunty Felse and her husband Inspector George Felse. Bunty had noticed a change in Maggie on the trip, turning her back on everything in life but music. And one troublesome young cellist, Robert 'Robin' Aylwin, walked out on the Circus in Austria - left the hotel, the Goldener Hirsch, and never returned. A hotel in a little town at the exact center of a lot of illegal activity along several borders, including another of George's missing person cases. And George, as a professional stone-turner who *hates* loose ends, suggests a little vacation, to see if Francis flips over the right stone to answer everyone's questions.

Did Maggie have anything to do with Robin's fate? Or could he himself have flipped over the wrong rock one summer night, and turned up something deadly?

Bunty has a larger role in this volume than in some of the cases set earlier in the Felse marriage. Their son, Dominic 'and his Tossa' are away in Yugoslavia (possibly _The Piper on the Mountain_) and don't enter into the story. Maggie Tressider, the woman with an archangel's voice whose face carries more force than any photograph can convey, dominates the story, however. After her ranks Francis, who's being forced to feel again after so much digging through her emotional history, looking for someone who could have made her feel so guilty. The supporting players are also very well drawn: surgeon Gilbert Rice; Friedl, an otherwise beautiful woman cursed with a harelip, one of the family who runs the hotel; and who can forget the platoons of drunken Austrian wedding guests infesting the hotel late in the story, getting in *everyone's* way as a search is undertaken. :)

I like romances, I like mysteries, I like the combination of the two. This is both mystery and romance, light on the romance, even light on the mystery until you're drawn in and trapped. Ellis Peters's description and prose move the story along unobtrusively yet with no stalls. A touch above the usual.

Byron's poems don't seem to seek to make any statements. Unlike his Romantic contemporaries Keats, Coleride, and Wordsworth, (even Shelley, to some extent) Byron puts forth no idealogy as to what poetry should be. Instead, he relies on certain aspects of that Romantic idealogy, such as frequent parallels between the state of man and the state of nature... however, with few excceptions, this fails to create unique insights, comments, or even descriptions in his writings. What results is florid, wordy, rhyming travel writing, often promoting British or macho ideals. This edition receives a low grade because it fails to lead me to any better of an impression of a poet that has obviously been influential and looked on as an esteemed figure for so many years. This book can be read as an interesting historical document, and, perhaps most importantly, as Romantic poetry falls out of favor, Byron's poetry as collected within helps to explain the reason why.

I've been reading this book over the past few days, and already Byron has become one of my dozen or so favorite poets. The third canto of "Childe Harold's Pilgrimage" is just brilliant, and many of his shorter poems are unforgettable once read.

But in the process of reading I have come across one problem with the editing of Wolfson and Manning - a problem of notes. All they provide in that way is a short introduction-like essay to each poem in the back of the book, that discusses the history of the poem a little, its reception, and some of its themes. But there are no notes to individual passages, as there are in the other Penguin Classics volume of "Don Juan." Where this becomes a big problem is when Byron quotes a foreign language such as Italian, as he does fairly often - although the editors provide translations for the foreign language epigraphs to the poems, they have none for any foreign language quotations that occur in his notes. Thus the point Byron is trying to make is sometimes lost on a modern reader who doesn't know Greek, or Italian, or whatever.

The poems included in this volume are [long poems in capitals, short poems in quotation marks]: "A Fragment," "To Woman," "The Cornelian," "To Caroline," ENGLISH BARDS AND SCOTCH REVIEWERS, "Lines to Mr. Hodgson," "Maid of Athens, ere we part," "Written after Swimming from Sestos to Abydos," "To Thyrza," CHILDE HAROLD'S PILGRIMAGE: Cantos 1-4, "An Ode to the Framers of the Liberty Bill," "Lines to a Lady Weeping," THE WALTZ, "Remember Thee! Remember Thee," THE GIAOUR, THE BRIDE OF ABYDOS, THE CORSAIR, "Ode to Napoleon Buonaparte," "Stanzas for Music," "She walks in beauty," LARA, "The Destruction of Sennacherib," "Napoleon's Farewell," "From the French," THE SIEGE OF CORINTH, "When we two parted," "Fare thee well," "Prometheus," THE PRISONER OF CHILLON, "Darkness," "Epistle to Augusta," "Lines," MANFRED, "So, we'll go no more a roving," "Epistle from Mr. Murray to Dr. Polidori," BEPPO, "Epistle to Mr. Murray," MAZEPPA, "Stanzas to the Po," "The Isles of Greece," "Francesca of Rimini," "Stanzas," SARDANAPALUS, "Who kill'd John Keats?," THE BLUES, THE VISION OF JUDGEMENT, and "On This Day I Complete My Thirty-Sixth Year."

A legend in his own lifetime, Lord Byron stamped contemporary Western culture with the mark of his dark imagination, and his poetry has lost none of its iconoclastic power today. Without a doubt, this is the finest single-volume edition of Byron currently available. By omitting the rambling satirical romp "Don Juan" (widely available separately), editors Wolfson and Manning leave themselves enough space to provide a truly representative selection of Byron's greatest works. Jerome McGann's "Oxford Authors" volume is a strong competitor, and benefits from superior notes, but only this Penguin collection offers unabridged texts of the three Oriental Tales with which Byron followed "The Giaour"-"The Bride of Abydos," "The Corsair," and "Lara"-all of which are thrilling narratives, and indispensable for tracing the development of that towering figure of English Romanticism, the Byronic Hero. Thus, this edition presents (for the first time in one volume) a complete portrait of the Byronic Hero in his many guises, from vampire ("The Giaour") to pirate ("The Corsair") to necromancer ("Manfred") to fallen angel ("Cain"). Furthermore, Wolfson and Manning supply the complete text of "Childe Harold's Pilgrimage" (the work that established Byron's reputation in his own lifetime), along with many other rousing verse romances, including "The Siege of Corinth," "The Prisoner of Chillon," and "Mazeppa," as well as a generous selection of Byron's most arresting shorter poems, such as "The Destruction of Sennacherib," "Promethus," and the nightmarish, end-of-the-world fantasy, "Darkness." Fans of Byron's ironic mode will welcome the inclusion of three of his satirical works; however, the strength of this volume rests on the fact that it presents Byron at his most Byronic. These are his most sublime creations-the works that defined the Romanticism movement-and to read them is to discover anew why he is still ranked, throughout the world, as the greatest English-language writer after Shakespeare.

Is George Eliot the world's greatest novelist? There's certainly an argument to be made, based on her classics Middlemarch and Daniel Deronda, which feature characters as complex and vividly, bafflingly alive as those of Shakespeare.

Yet today she seems curiously unread and under-appreciated, certainly in comparison to her contemporary, Charles Dickens. This has long mystified me, but perhaps I've found the solution in Mill on the Floss.

Seemingly the best known of her books, Mill on the Floss is certainly the one most frequently taught in high schools and colleges. And it's probably enough to guarantee that most students forced through it or its Cliff Notes won't bother with her again.

Not that it's a bad book. If you like Eliot, you'll find plenty of her riveting, obsessive characterization and dramatic psychology here. But along with these come a fractured, frustrating structure, a dearth of narrative drive, and endless passages of phonetic, "naturalistic" rural accents. Not to mention an ending so out of left field it seems to belong to an entirely different story. Unlike Middlemarch and Daniel Deronda, or even early but more successful novels like Adam Bede, Mill on the Floss is work, and its rewards are more modest.

Mill on the Floss seems to rate the academic attention because of its autobiographical elements, perhaps for its dazzling heroine, rather than its overall quality. So don't let an underwhelmed response to this fascinating if flawed book keep you from the rest of her amazing work -- she might be the best novelist out there.

Few females were writing fiction in those days, but it says a good thing about Great Britain that most of them were British. Mary Ann Evans, the real name of "George Eliot", was an enlightened and socially conscious woman, who wrote a story about the Torvill family, from the standpoint of Maggie, a young girl with a sharp mind, struggling to be herself in a world which was hard for that kind of person. The central theme is perhaps her struggle between family loyalty and independent spirit, as revealed through her relationship with his beloved, but tough, brother. The book is long and evocative, painting with acuteness the social surroundings in which the story develops. And the development intertwines many messages and situations, always revealing Maggie's inner self. One important characteristic of the book is that it is difficult to classify, since it contains features of Romanticism and Realism; social narrative and a glimpse into what psyichological literature would be in the Twentieth century.

In THE MILL ON THE FLOSS George Eliot provides an insightful and intelligent story depicting rural Victorian society. Set in the parish of St. Ogg's, Maggie and Tom Tulliver endure childhood and young adulthood while experiencing the harsh realities of poverty, devotion, love, and societal reputation. I emphasized greatly with Maggie as I have experienced some of her own lived experiences. I truly loved every chapter of this book and didn't want it to end. It is indeed very rare that I have this type of reaction to a book. Although this book was published during the Victorian era, it's amazing how Eliot's prose flows virtually unobstructed. The reader is given a rare glimpse into rural life during the 19th century and is treated to how strictly structured society was then. I am now a fan of Eliot and look forward to reading her other novels.

Bottom line: THE MILL ON THE FLOSS is an excellent novel. Enjoy!

This book, by the editors of the Washington Post, does a good job of describing the events which led to the deadlocked 2000 Presidential election. In addition to detailing the paths which led to the deadlock, the book discusses all the post-election issues in a very readable format. Surprisingly, the books editors seem only slightly tilted towards Gore (especially considering it is the Washington Post, which is noted for its liberal bias), so no matter who you voted for, there is much to be found here for anyone with an interest in contemporary politics.

This book recounts the nation's closest election with fascinating detail. The authors' genuine style of storyweaving lends the impression that the fly on the wall must have had a Washington Post tape-recorder implanted in it's wing. Deadlock was not at all like re-reading the same old newspaper articles again; this book casts a fresh look at the dramatic strategy game that took place in Florida. I enjoyed it as a self-professed political junkie and my husband found it equally readable as a historical account of remarkable events.

Two things struck me while reading this book, the first is that I doubt there is a book out there that is truly balanced and not somewhat biased. The second thing was that Gore really got the shaft, not so much by the recount wars, but by the election official that came up with the Butterfly Ballot. In the history of the USA this decision ranks up there with new Coke and the XFL, what a mistake. As far as the reporting in the book it was not bad for a review of all the articles they had in the paper, but it did not really dig into the particular issues very deeply. I wanted more detail and behind the scenes with both the candidates. I also wanted more details on the court cases; I felt like the sky-high overview of the issues of the cases did not do such an important issue justice.

In reading the book I think a little bit of a democratic bias comes out, just a little, but enough to notice. I also thought it interesting that they had far more details of the Gore group then the Bush camp, it follows the perception that the Post is somewhat liberal in its views. The book is an overview that came out almost 10 minutes after Gore hung up the phone on the second concession call so there are a few more details out now that they did not get in the book. Overall it is a good effort and a readable book, but not the end all be all on the subject.

First book was good. well.....Now they (or Mayne himself) is/are not moving foward. repetitious schemes with minimal ideas. Graphics drowned in mindless Form-z models and renderings. Mighty Thom Mayne has lost his creativity.

One of the few architecture books at the brick and mortor bookstore that isn't sealed shut with shrink wrap. After I flipped through it I immediately bought it through amazon. It is designed by Cranbrook design superstar Lorraine Wild, the design perfectly represents what Morphosis is about. I take it from the other reviewers that they only looked at the images and did not read anything at all because they did not "get it". Their work is delivered as a cyberpunk novel outtake, the setting an industrial dance club with torture devices. There is a wonderful surreal short story that acts as a sort of guide to viewing the work as well. I am not an architect but this is inspirational enough for me to spend half a decade in school to become one. Reminds me of the Jean Tinguely book published in the early 70's (with sketch overlays) and a similar design philosophy as Low/Tek

Being an architecture student, I constantly refer to many books, and Morphosis is one of my favourite contemporary architecture firm. This is really a thick and quite a heavy book. Its a compilation of many of Morphosis' work. Their "Best Of.." volume. This marvelous edition is divided into 2 parts. The first part consist of many colourful computer generated views, elevations, plans and 3D computer models etc of their buildings. The 3D models give a good visual understanding of their complicated but exciting buildings. The second part consist of essays by Thom Mayne. The thing about Morphosis is Mayne's writing is clear. He states his intention and theories clearly without getting out of the subject of architecture much. He talks about the difference between a project and a building which is a very good way of looking at architecture today. The graphics and writing provide a very clear understanding of their buildings. The bottom line is, if you like Morphosis, you'll love this book among your collection.

I took the author to long to get to the point. She went all around in circles to get to the point

This is the first Brother Cadfael I have been talked into reading, and I loved it. The characters are compelling and touching and the perpetrator of the crime is understood by the Benedictine monks, and, thus, the reader. It's the mystery that sucks you in, but it's the character development and the way the author tells of Medieval life that are the value here, I think. At the end, I teared up a bit. I'm anxious to read more about Brother Cadfael and his colleagues!

I found this (unabridged audio) book at the library - knew nothing about the series or the author. What a pleasant surprise! Very well written, a meticulously crafted story that gently unfolds in a way that engages you from the start without any bumps or discrepancies, using a language and style that seem to come from the very times that it describes. Written with an obvious affection for the characters portrayed. And Stephen Thorne's narration is equally masterful. My recent joy at discovering that there are at least 17 other books in the series had my daughters rolling their eyes like crazy in the bookstore. Can't wait to read more!