I have loved the narnia books all my life and found this new book very interesting because it told me about the authors childhood which made me feel that I knew him. The book is also a great romantic story about his friendship and then marriage to the author Joy Gresham.

As an avid reader since childhood of the Chronicles of Narnia, I was thrilled to read this wonderful biography of C. S. Lewis. The author paints a detailed picture of his privileged childhood in Belfast, Ireland, followed by unhappy years at English boarding schools.
I enjoyed reading about his many years at Oxford Univeristy, first as a brilliant student and later as a professor. His touching romance with American author Joy Gresham and her tragic death touched my heart.
This is a wonderful book and I recommend it to adults and young people. Cathy Gustavson, retired professor

The author John A. Murray really wrote a work of love on movies and their southwest location (California, Nevada, Utah, Arizona, Colorado, New Mexico and Texas). From such diverse films such as High Plains Drifter; Leaving Las Vegas; Sergeant Rutledge; Thelma & Louise; Jerimah Johnson; Easy Rider; and Tender Mercies. If you travel through parts of the Southwest (including the mystical ones) then your journey's will be a bit more enjoyable having been to the spot where Clark Cable, Montgomery Clift and Marylin Monroe created the Misfits! My trips have been more interesting! Cheers!

Movie lovers and afficionados of the western genre films...this book is for you. Author, John Murray packs each page with photos and movie stills of films that were shot in the American southwest. Along with recognizable movie scenes from classics and contemporary films are tidbits and information on the filmmakers, the actors and the locations. Cinema Southwest is a joy to read and you will pick this book up again and again.

I have a good few whisk(e)y books, mostly on Scotch. This is by far the most well written - its an excellent read. In addition, if you happen to have some whiskey to hand, its informative and adds to the pleasure of sipping the whiskey. I even agree with the author on the delights of Green Spot and Jameson 1780. Only two whiskeys missing from this 1997 book - Downes no. 9, and Maher's Special Whiskey, both blended by traditional pub blenders in Waterford. Don't hesitate - buy it.

I received my edition from the chief distiller in Cooley Distillery while doing an operations project in college. Anyway, I wasn't much of a whiskey fan before that but when I gor this book my whole outlook on the "water of life" changed. From start to finish its expertly put together. He gives a grading in verbal terms (not the usual out of ten rubbish) to each whiskey and tells of the strong and and not so strong characteristics of each whiskey. Murray gives excellent background information on the distilleries and the history of the different brands. Its hard not to love whiskey after reading this book especially when Murray has such a poetic passion for the stuff. Maybe you still won't like the taste of whiskey after this but you'll certainly have a greater sense of what you are drinking id you decide to do so. Anyway, maybe it's enough to know there is more than just taste to a bottle which is enough to read this book. Top Stuff.

Murray Sidman is undoubtedly one of the most influencial of the applied behavior analysts. In Coercion and its Fallout, he provides the most in-depth discussion yet regarding the unanticipated and unfortunate side effects of the use of aversive stimuli (punishers). While I might have a bit of a disagreement with him regarding the way punishers are defined (not in terms of the stimuli's effect on behavior), the arguments are persuasive. This is a must read for anyone designing behavior change procedures.

This book is too good not to have a review, so here it comes. It containes a great amount of information about positive reinforcement vs punishment, how these two principles effect laboratory rats as well as us humans, like students, criminals, children, employees, soldiers. It even explains how the Nazis were able to control the Jews in the concentration camps.

If you struggle with these questions, either from a philosophical point of view or in real life, for example when bringing up your child (or even your dog!)or trying to make your employees work harder - this is a great book for you. To me it's as exciting as a good novel. It's not hard to read, but contains so much information that you can't digest it all at once. It's a book to go back to many times.

But the best thing about this book is that, without delivering all the final answers, it makes you think about the frequent use of coercion and punishment in the human society and if there are better ways.

Another book much in the same spirit is Karen Pryors "Don't shoot the dog", also highly recommended.

This book is a clear and thorough analysis of one of the worst shortcomings of contemporary politics, democratic or tyrannical: the transformation of the public sphere into a mere show, a spectacle for audiences, not for citizens. Substance is always constricted by the spectacle. Hard, evident truths can not be expressed for fear of enraging the audience. Irrelevant debates obscure the issues our societies should be discussing. Politics as spectacle is what explains the kind of political leaderships, enmities and controversies that exist. Murray Edelman is very good at telling some of the hard truths I mentioned, one of the most important being that new political leaders, right from the start of their careers, have to follow the rules of politics as spectacle, otherwise, their careers get to nothing and they are unable to accomplish anything anyway, talented and brave as they may be. Politics as spectacle is the cause that a whole nation is for years focused on the sexual errands of a President, while other important things are happening to that very nation, with seldom anybody pointing at the real issues. Politics as spectacle is the cause that a crazy Marxist with a pipe and a ski mask marches around a nation (Mexico) with supporters who know nothing about the issues in discussion.

Summing up, Edelman has written a very good argument about how politics is the construction of a big spectacle in which every actor plays its role. One very interesting point brought up by Edelmann is that ethnic and religious conflicts are usually the result of manipulative politics by skilled but immoral politicians. That is, if those potential conflicts have nothing to give to political leaders, most likely they will not erupt, but will be solved in time. I think this book is a must read for anybody interested in knowing how contemporary politics (and, I would say, politics in all yimes) are constructed. Once you know the truth, you will be far harder to deceive.

Normative theories of democracy presume political process to be more or less rational. However, we have accumulated so much evidence to the contrary that perhaps the time has come to view these basic assumptions in a critical light and - to get rid of them. If mass democracy is a spectacle, as Guy Debord put it, why not make this the point of departure for our analysis?..

I was both delighted and a bit frustrated to find that somebody else (Murray Edelman) has done this already, obstructing somewhat my plans for that matter. And yet it is a brilliant book, crisp and clear, both simple and persuading, making complex issues .

The idea is elaborated thoroughly. Political spectacle is the logic that stands behind the construction and use of political leaders and political enemies, that elevates this or that political 'problem' in the spotlight.

Political problems are the constructs of existing ideologies and political language. The main characteristic of political problem is that it is not to be solved (e.g. unemployment). It is a narrative that is used for mass arousal. This explains why substance is always eagerly sacrificed for drama, raising support for political leaders but also creating a huge gap between political agenda, everyday experience and personal well-being. Political apathy is, according to Murray, the silent resistance of citizens to the imposing rhetoric of political leaders, struggling over irrelevant issues.

Political leaders are constructed and employed by the political spectacle. They have to act in the environment with so much structural and actual constraints that there is not much they can do. The only criteria for selection of political leaders these days also seems to be not their administrative talents, but their ability to compromise and deceive. A person with clear political message could never become a political leader, because he would lack vagueness necessary to attract various groups of voters.

The existing bureaucratic system is so complex and so much involved with various interest groups and industries that putting together a coherent policy is practically out of reach for any political leaders. The impotence of political leaders makes them desperate to substitute tough stance for tough action, enemies for adversaries and opponents, foreign affairs for domestic policy. They start to look for enemies abroad, small enough to be incapable of retaliation.

Forget inner-city ghettoes and gun laws - let's bomb Belgrade, Yugoslavia ( or Baghdad, Iraq, or Grozny, Chechnya, or whatever). There is nothing like this in a book of course - it features strictly theoretic approach and, by the way, it way published well back in 1988, when the power structure was much more stable thanks to Cold war long-term threat, the PR 'trick of the century'.

This was a very enjoyable book to read. The author leads you through the various ways and reasons to edit your work.

As I read the first chapter, I wished for a more compact version of these points, sort of a Cliff Notes approach. But Mr. Murray's expanded approach was certainly more enjoyable and personal.

Although the book is perhaps targeted to a more experienced writer, I underlined many points that I will refer to for help. A beginner might be over-whelmed with all the great techniques on revision, but just the first two chapters alone will yield a dramatic pay-back for his efforts.

The book is interspersed with interviews with other authors and their responses to the author's questions also provide useful information, and add credibility to his points.

"The Craft of Revision" captures the subject of the book. You'll learn more about revising your copy than you probably can use for a long time.

I highly recommend this book.

John Dunbar
Sugar Land, TX

Murray is a real writing teacher, full of voice. He practices what he preaches. Craft of revision is a must read for any student of writing.

After reading Murray's book, even the most skeptical reader will be tempted to take up the craft of writing - at least as a hobby! At the same time, Murray teaches important attitudes, skills, and techniques involved in writing a variety of genres and in getting published, so the book also appeals to those interested in writing professionally.

Murray's appeal to such a diverse audience begins with his development of an intimate relationship with the reader in the introduction entitled "Why I Write." The reader can easily imagine having a cup of coffee with Murray while he shares the story of his birth as a writer and what motivates him to continue his writing life.

But it's not just about him. With charming candor, Murray invites readers to explore the possibilities of a writing life for themselves. While encouraging us to overcome our fear of writing and to develop a writing discipline, Murray comes across as a combination fairy Godmother and Olympic training coach. His maternal tone urges us to give ourselves "permission to write" and provides comforting advice. Yet, like a coach, he also expects us to challenge ourselves, set goals, and stop making excuses for not writing.

The first few chapters of the book also focus on "cultivating a writing habit" and provide tips on self-motivation, attitude, subject matter, elements of voice and discovery through keeping an open mind.

Once he has his readers convinced of the personal joys and benefits of the craft and confident in their own potential as writers, Murray shifts the focus to teaching techniques for the specific genres of essay, fiction, and poetry. These chapters may easily be used as springboards for writing exercises that are non-intimidating and likely to produce exciting results.

In addition, Murray generously shares samples of his own early drafts with crossed-out lines, notes in the margins and detailed discussions of why he made the changes he made. Anyone who thinks that professional writers simply sit down, receive inspiration and then spontaneously produce masterpieces will learn a lesson from Murray about the energy and commitment involved in the craft of writing.

Every step of the way, Murray displays rigorous honesty about himself as a writer, about the joys and struggles of the writer's life and about what it takes to please a reading audience.

The book ends with a discussion of the revision process and the usefulness of sharing our writing with a community of others who take the craft seriously. These companions can help us stay motivated, provide feedback about what works, catch mistakes and provide inspiration.

If you are interested in a writing career, Murray's last chapters will also help you understand the relationship between writers and editors, how to plan a book and how to prepare a manuscript for publication.

However, you need not be a serious writer to enjoy this experience with Murray. He probably will convince you that you need to write at least for yourself, but even if you remain opposed to the idea, you are bound to feel a deeper understanding and appreciation of the writing process.

I devoured this text over last weekend, although I could have easily read it in just a day. The reason I didn't? I wanted to savour every morsel of wisdom in it.

Don Murray has done an excellent job of addressing some of the common concerns of aspiring writers and teachers of writers everywhere. We can all be writers, but we do not all chose to write. Why? And why not start now?

Murray reveals the fears we've held about writing (he goes through all the "writer's excuses" and dispels them one by one) and he helps us focus in on what really helps writers with tidbits from his own experiences as a writer and from a plethora of "published" writers' reflections.

He has one chapter on each of the three major forms of writing: essay, story and poem. Each of these felt loaded with valuable tips, examples, anecdotes and his overwhelming encouragement for those of us who still wish to write.

As a teacher, I loved how he peeled open his skull and let us peek in to see what goes on in his mind when he writes -- or revises -- or edits -- or just plays with a text, rehearsing it on his mind or on his computer. As a writer, I found myself itching to get back to my computer, back to some of the writing I had neglected.

His writing is straightforward but never boring. This is both a textbook and an inspiration tale. I plan on using it in the classes I teach, and as a kick-start for my own writing when it gets mired in the daily grind.

Reading about writing just doesn't get better than this!

I happened upon this book at a swap meet and purchased it on a whim. It was beautiful and I thought it would make a great "coffee table" book, if anything. I opened it and couldn't put it down! There are 4 "chapters", one for each season. I especially liked the section of the book describing Murray's favorite gardens. I can't tell you how many extra hours a week I've spent in my own garden because of this book. It worked, Elizabeth! Thank you.

I especially liked the "coverage" and photos of the inner-city urban gardens projects in Philadelphia. Ethiopian angels! This book looks at "sacred gardens", old and new, around the world. Also looks at labyrinths and the work of Findhorn and Perelandra, among other things. A beautiful book.

It should be noted first, that the look of this book may have spawned that primary & pastel coloured graphics look that culminated in those dodgy Culture Club-esque album covers of the 80's.

This is, however, not a bad thing. Remember that Bowie himself spawned Icehouse, Bauhaus (and therfore 'the fields of the nephilm'- a gothic embarrasment from the UK that mass cringing couldn't drive away)and a whole gamut of pass the sick, or make up, bag 'artistes'.

The photos were a revelation, in terms of size and quality, when first published and it must have been obvious to Eel-Pie (Publisher owned by Pete Townsend) that sad spotty but 'different' - i.e. couldn't score chics - schoolkids like myself were going to buy two copies at a time. One for perusing and dripping saliva on and the other for the bedroom wall. Some of us particularly sad types bought three, as some pages had 'crucial' snaps on either side.

In fairness, up until then in the UK (or at least Scotland) there were about 20 unofficial Bowie books that you could buy. All of which had little of written interest and shared the same newsprint qualiy black and whites. Face it, the photos were all that really mattered. As soon as I had parted with my pocket money, the cellophane wrapping was aibourne and my mums scissors were gummed up with cellotape as I added the latest installement to the 'installation (conversation?)piece' that was my bedroom 'collage'.

Once I had bought my third copy and actually started to read the thing (only joking, I read the second one before I cut it up) I realised that this was not going to be the same old cliche ridden sychophantic drivel that I was used to swallowing so gratefully. When you are a young teenager and your mates periodically want to beat you up 'cos you listen to a poof', it can be quite comforting having some hack confirm to you in print that 'the chamelion of rock' is actually the second coming in mascarra. Like, it says so there so it must be true!

How refreshing then, to read a book that praises and ridicules Bowie in fairly equal measure, even though it's obvious that Carr & Murray love 95% of the music they are critiquing. I didn't agree with all of their observations and conclusions, but neither I or the authors should mind about that. This was then, the first music publication that for me, made reading it feel like an adult pursuit. Just before I cut it up and used it to cover every inch of my bedroom.

Two more things, 1. If you buy a copy, you will need a bigger coffee table 2. I wish I had kept one.

The book is the size of a record album. Of all my Bowie books, it has held up the best (no pages falling out after all these years) and is as fresh, information-wise, as the day I purchased it. It contains giant size, full-color pictures of Bowie during many stages, up until about the late seventies. It comes complete with discography, and many pictures of international albums he has produced. It is THE definitive guide on Mr. Bowie.

Well,I had heard of this book before I saw it in a local bookstore,but I thought it wouldn`t be good,as the desert book "Western Horizon" was said to be better.
But I was wrong at this time. Already when I first looked inside it,I knew it would be amazingly suggestive for me. And I bought it. It was rather cheap for beeing such a book.
It features all kinds of deserted landscape from the US.
Some times,it doesn`t look much like desert,mostly in the Mojave,which the first chapter is about. Deserts are not at all lifeless places - in fact,it is full of wild palms,beautifull flowers and cacti with artistic shapes.
The second chapter treats the Sonoran Desert,and it,too,contains more of the diverse flora,especially the red cactus flowers.
In the third chapter,called Colorado Desert - Life on the Rocks,there are lots of such pictures too,but there is one special image that catches your attention immidiatley - pressure ridges in a salt pan,which looks like the finest crystals ever found!
The fourth chapter shows other kinds of desert. For you who like rocky deserts,this is something. It has fantastic sceneries from hundreds of feet high rocks,as well as a picture of dunes with white sand. That is the most lifeless of all deserts and the quietness is sometimes even frightening.
The fifth chapter is about The Great Basin Desert,and that is the largest desert of North America. Many pics in this chapter contains really fantastic views,and you`ll even find SNOW here!In a desert!Just amazin,isn`t it?Some of the most inspiring pictures are found here,and therefore,this is my favorite chapter. The special with those pictures are the mud formations at dusk.
The sixth chapter is "Painted Desert",which is also very inspiring,and here there are some pictures of the Colorado Plateau,which is fantastic rock formations where fossils of my favorite animals can be found (dinosaurs!). Many of the formations here are well-known from Western Movies. In this chapter,amazing pictures of Grand Canyon can be found as well.
I have now realized that this is my No.1 inspiration source for my animal stories. When I am drawing them,I am always looking at pictures of this book to find a suitable background for my dinosaurs. I am combining the best pictures. And then it is just to add the dinos. When I read this book,I pretend that I am trying to create a good dinosaur movie when looking at the pictures. It is incredibly inspiring,and ABSOLUTELY something for anyone who likes painting or look at landscapes.
You could spend (money) for "The Western Horizon" or (less) for this one. The choice is up to you. But I have made mine. Get inspired and save a lot of money by buying this one!

Jeff Gnass and John Murray have managed to convey with in the pages of this wonderful book the incredibly diverse and colorful landscapes that makeup the desert regions of the south western United States. Their photographic images are with out a doubt some of the best ever put to film. Tne text is entertaining as well with personal insights relating to visiting a particular area photographed. I never grow tired of looking at the images- they are as close as you can get without actually being there. Highly recommended for lovers of the desert regions or for those that would like to experience them but cannot get there.