Extremely readable story of how Tom Jones and Harvey Schmidt came to write "The Fantasticks," the longest-running musical in history. Full of interesting back-stage stories and details on how the famous songs and lines came to be written. It's about the show, but it's also about the people who made it happen. It's a little portrait of life among theatre people and beatniks in late 1950s Greenwich Village.

There are many reasons America has fallen in love with this play. The most obvious being the story. It is a play bringing simple innocence into a seemingly scandelous love affair. It is a heart-warming musical not quickly to be forgotten. Yet, what i love most about the play is who Luisa is and can be made to be. Her monologue preceeding "Much More" has served me well in audition after audition and this play will go on as a classic in musical theatres everywhere. A must-read for play lovers.

Once again R.C. Harvey has laid bare the skeletal structure of what makes comics a truly great medium of personal expression and artistic accomplishment. His insightful and often poignant anecdotes help bring the casual comics reader to a level of deeper appreciation and reverence for what many people regard as "kids stuff".

Most touching is his examination of George Herriman in Chapter 10. His ability so see beyond the surface "gags" and expose the boundless themes of love and pain truly make Herriman the metaphysical poet that Harvey titles him. Harvey's own observations are particualrly powerful and coalesque into not just an observation on the art of the funnies or the medium of comics in general, but serve as a reminder that all art is a personel expression and that these "comics" can be a bridge to a deeper understanding of human nature and American society.

I WAS FORTUNATE ENOUGH TO HAVE SPENT MOST OF MY MARINE CORPS WITH BOB BOARDMAN AND I CAN TELL YOU THAT HE WAS GREAT MARINE AND HIS STORY IS VERY WELL REASEARCHED AND ABSOLUTELY TRUE D I BAHDE

I teach a philosophy of Mind and Body course and my students will use this as the text for the Tai Chi class they must take as a co-requisite for my philosophy course. The author, a Ph.D. in physics, offers clear examples of what Tai Chi looks like but wisely refraines from trying to teach a full course in Tai Chi. He offers a sustained discussion of the philosophy behind Tai Chi, what it is and what it is not. It is not exciting reading but purposeful and organized. It will prove helpful for my students and anyone wishing an introduction to Tai Chi.

This is THE book. It's absolutely fantastic. I have read many books on Tai Chi, and own quite a few, but this is the one I am always coming back to, again and again. When practicing Tai Chi, when reading other books on the subject, and sometimes even in the shower after a day's practice, Robert Chuckrow's words come back into my mind, broadening and deepening my understanding of this great art. Many books claim to present Tai Chi Chuan in a manner "accessible to Westerners", but only this one truly delivers. Dr. Chuckrow's presentation is sober, encompassing, and respectful of the philosophy of Tai Chi Chuan. He is open-minded and fair, despite the fact that some of his experience are beyond his ability to explain. A Doctor of Physics and a Tai Chi instructor, Robert Chuckrow truly finds new ways to elucidate stances, double-weighting, and alignment, and never in all the book does he cease to be a person one can relate to, just another Tai Chi player sharing his (vast) experiences for the reader's benefit. The chapter on being a student is the jewel of the book. It really gives the reader pointers and references for actual, everyday relating to a teacher. It helps the reader understand his/her own practice from a broader, more realistic perspective. I strongly recommend this book to everyone who already practices Tai Chi and to all who are wondering if Tai Chi is for them. It is a rare pleasure to find, among the many books on this subject, one which is so well-balanced, down-to-earth, and complete.

Detailed descriptions of concepts and terms and explanations of difficult concepts are what set this book apart from other T'ai Chi books. The author has researched thoroughly and writes well and clearly. Covers among other subjects, breathing, stances, eating, alignment, ch'i, warm ups, stretching, how to be a good student as well as push hands and the CMC form. This is not an all inclusive list. I would place this near the top of the list of internal martial arts books. This could easily function as a textbook for a college course on T'ai Chi. I don't agree with everything in it, but I could always be wrong. :) Buy it, you won't be sorry.

Hard-core comics nerds might be familiar with the writing of Robert C. Harvey through his eloquent and interesting columns in The Comics Journal magazine. That style carries over well to this book. His commentary is refreshingly brief, preferring instead to let the work of a century's worth of creative genius speak for itself.

Rather than give us a straightforward, linear (hence boring) history of comics, Harvey treats them as the masterpieces of art they are--just as there are various fine art "movements" (Surrealism, Cubism, etc.) the same holds true for the comic strip. Harvey divides comic-strip history into five such movements--the formative years, standardization of genres, the adventure strip, the gag strip, and the socially conscious strips of today.

We learn some things that may seem surprising at first, but on reflection are perfectly logical. First, even the most talented 'toonists weren't perfect--we see the strips in their original form--pasteovers, glue stains, pencil marks, and blobs of white-out litter the work. It's akin to seeing an X-ray of a painting by a Renaissance master--even Leonardo and Michaelangelo made corrections, sometimes painting over whole figures.

Second, the supposed decline of the quality of comics (and the rise of artistically bankrupt strips like "Dilbert") isn't the fault of the artists or the syndicates. (Despite sentiments to the contrary by "Calvin and Hobbes" cartoonist Bill Watterson, whose scathing diatribe against modern comics is reprinted in the book). Paper shortages during the Second World War, Harvey tells us, forced editors to cut the size of newspaper pages to save newsprint, which in turn shrank the comic strip. The advent of television immediately afterward forced newspapers to stick to the wartime standard permanently--and they have shrunk even more since. Such developments spelled the end of the lavishly drawn adventure-continuity strips (the detail could no longer be seen) and paved the way for strips like "Peanuts". Harvey doesn't talk about the role of the computer in perhaps reversing this trend, which is one of this book's few flaws.

Harvey, like other fans, pleads for the acceptance of comics as a "legitimate" art form, but does so without attributing to them any more significance than they deserve. No obtuse Freudian interpretations about what the comics "mean"--to Harvey, they are a unique form of art, driven as much by commerce as aesthetics. They are a throwaway medium for the general public, but as he shows us, that's more than OK.

Curated, with helpful annotations, by a leading expert, this is a beautifully produced exhibition catalog of the original art for American comic strips since 1896. Especially wonderful is the reproduction of cartoon originals in full color (not just black and white line art) so that preliminary blue pencil drawings, glue stains, and pasted-over changes are all clearly visible. (Copyright © by Roy R. Behrens from Ballast Quarterly Review, Vol. 14, No. 3, Spring 1999.)

At the time of William Harvey writing this book he was laughed at and riduculed for his beliefs of circulation of the blood. The people at this time were so intwined with Galenic medicine that there was no way Harvey could have been right with his discovery. If you want to see how the thinking was with this subject at this time of civilizations then this book will be wonderful. If you just want some basic history of medicine then this book will be outstanding to you. I highly recommend it.

A modern reader of Harvey's most famous and important work, "On the Motion of the Heart and Blood in Animals," cannot help but be amazed at the methodical, precise way he goes about demonstrating his thesis. His method is not purely "scientific" in the sense we know it today, but it does represent a great step toward the scientific method. Harvey himself would disagree on this point--he viewed the then-current crop of scientific theorists (Descartes, Bacon, et al.) with disdain. He considered himself a philosopher, and judging by his remarkable adherence to Aristotelian principles, one might be willing to grant him that. History, of course, has judged him to be a scientist and a physician, however, and we have learned to think of him exclusively in those terms. Not that this is a negative or even largely incorrect judgement; it just fails to take into account the full extent of William Harvey the man, and his motivations for inquiry. I think the only proper way to view him is as a transition point between Aristotelian natural philosophy and the scientific method. This book is a remarkable document because it is both a crucial turning point in the history of ideas and proof that those ideas were not so far apart as we have been led to believe.

Overall a good book, because it covers most topics related to planning and budgeting.

Some chapters need serious updating. For instance Chapter 32: "Computer applications in Budgeting, 'Microcomputer' Overview and needs assessment.." is totally out of date with respect to software applications in budgeting (Who still uses the term "Microcomputer" ?.
I have found this to be unnacceptable for a book with this price tag.

As a new financial manager I was searching for a book which will show me to prepare a budget and understand a budget process. No doubt understanding budget is the most immportant role in this field and this book I found was most helpful. I strongly recommend this to all finaltial professionals.

When I first set out to read this book, I was dubious. I barely remembered having heard of his most famous strips, Terry and the Pirates & Steve Canyon. However, once I picked up this book, I found it hard to put down! It kept me interested with highly informative interviews, select comic strip excerpts and more. I was intrigued by Milton Caniff's innovative style in cartooning, from his insistence on authenticity to his cinematic scene style. The man was an incredible cartoonist and a born patriot, incorporating both in his strips. Some interview compilations tend to be repetative, but the editor's choices of interviews are different in style and information, making the reader anxious to read the next one. If there are some points repeated, the reader hardly notices! Definitely a book to read whether you are an avid comic strip fan or an aspiring cartoonist! I find myself wanting to read reprints of his strips and feel like I missed out by being born in the wrong era and not witnessing them first hand.

I read "motogrrl"s review, and share the sentiments. Born in 1947, I read "Gordo" with gusto for as long as it was in print. Arriola's aesthetic style is still unparalleled. Do I remember strips entirely without dialogue? I think so! What I really would like to enjoy and review is the ENTIRE collection of all syndicated "Gordo" strips---so what if it amounts to 20 volumes? What does it take to get all of "Gordo" published? A plea? A complaint? This is a plaintive plea! Please!! WE WILL BUY IT!

Like so many others here, I remember Gordo fondly from a very young age. The bright colors on Sunday appealed to me. So did the combinations of adult themes and animal themes. Gus Arriola was the first person in my life to bring home to me that life is life, animal or human.

The cartoonist has a great sense of humor and a unique drawing style. The book is essentially the story of the life of Gus Arriola, which is an interesting one, interspersed with many, many samples of his cartoons, both daily and Sunday. So this book has to be taken as a biography rather than as a compendium of the cartoonist's work.

This story of the life of Gus and Mary Frances Arriola is a nice one, full of laughter and good friends and fulfilling work. It is also very, very good to relive some of the cartoon moments that are also provided. No, this book is not the complete works of Gordo, and I would like to see that happen someday soon. But in its own right, it's a great book.

If you like cartoons and have an interest in cartoonists, you should have fun with this one.

As a kid, I looked forward to every Sunday paper's new and amazing /Gordo/ color strip. Gus Arriola's sense of style, his humor, his clean and accurate technique... those were great strips. I was heartbroken when he decided to retire.

But here we are with a brand new collection of strips, including some of my favorite stories, along with a biography of the cartoonist and a truly fascinating look at the evolution of Gordo, from /campesino/ to tour guide, from stereotype to the cultural envoy who gently and gracefully gave many of us north of the border our first exposure to Mexican customs and traditions. And there's no lack of attention to all the other characters that populated Gordo's world -- Tehuana Mama, the Poet, Juan Pablo Jones, Panchito, the Widow Gonzales, Mary Frances... and the wonderful animals (Poosy Gato was always my favorite).

I would only have been happier if there'd been more color strips -- in fact, more strips, period. I'd adore to see a complete collection through all the years of /Gordo/, though it'd probably take up multiple volumes. Still, until and unless that ever comes along, /Accidental Ambassador Gordo/ is a fine sop to my nostalgia. /Gordo/ truly belongs among the great comic strips of all time; this is a dandy introduction for those unfamiliar with it.

And don't miss the "Beans weeth Cheese" recipe! ;)

This book is useful in that it lists all of Nostradamus's prophecies and that's what I wanted. A cross-index by what Nostradamus actually SAID as opposed to what the interpreter THOUGHT would have been nice (i.e. how many prophecies referred to "the great one" (Jackie Gleason?)). However, I perceive no rhyme or reason as to how it is determined that this prophecy relates to WW II, that one relates to the 18th century, another one relates to the future, at that one over there relates to something in Nostradamus's own time. The words "clearly" and "obvious" are used with far too little justification. Single terms ("great one," "eagle", etc.) are identified as different parties in different prophecies. No pattern of literal or symbolic is evident. No hint as to why one prophecy talks about individuals while another one discusses nations. Quite honestly, the space that was used in printing the original French phrases (which were pretty much useless to me, anyway) could have been put to better discussion of the interpretations. If you're interested in Nostradamus in a casual way, like I am, this is a place to start, I guess, but it's certainly not of much use for any serious study.

Actually, for the text itself, I give it four stars, while I only give the commentary two.

First, Nostradamus-- I'll admit that I'm more or less uninterested in the prophecy side of the verses. I was interested in reading them for their historical value. As such, it's a great read. Through the verses, you get a look at the period's preoccupations-- who is named pope, the future of France, alchemy, and the desire to distinguish prophecy from astrology. Nostradamus has had an enduring impact on writing since he put his prophecies on paper, and you can trace that legacy here from the original verses.

The commentary-- Henry C. Robert's interpretation taught me more about World War II than anything else-- he seemed determined to prove that a disproportionate number of the verses referred to the second World War. Probably unsurprising, given that he first wrote his interpretations in 1947. However, he stretched so hard to fit the words to his ideas, that it unfortunately made me suspect his translation. I also could have done with more of an effort for establishing on what basis he was assigning some of the meanings (explanation of period symbolism, the alchemical references, etc.).

If I get a chance to buy another translation version and compare, I probably will.

I thought I was buying a biographical if not auto- biographical text on Nostradamus. It turns out that this is a compilation of quotations by Nostradamus with interpretation and translation into English.