I found "From Ashby to Andersonville" a particulary moving and interesting book. The experiences of the civil war private who wrote the original diary encompass a remarkable amount of the war, both East and West. The tale told is rich in the real human drama of that life in all its day to day trials and tribulations and occasional joys. Editor Ron Watson keeps the reader oriented by insightful forwards to each chapter establishing the context of the place and time. From it I have a much better sense of the ebb and flow of that great war. Few books do I plan to re-read, but this is one of those.

Few books have captured my interest and emotion as this one...a young man tells his personal tale of the Civil War ~ revealing his code of ethics, bravery, love of country, and the horrors of war. The editor provides an excellent backdrop with well-researched, newly-revealed historical data about the war. A MUST read!

Insightful account of one young soldier's Civil War experience. His experiences as a prisoner were riveting and heartbreaking....you believed you were alongside of him. Editor did a wonderful job of including historical context. It was terrific!

For more than 20 years, I relied on Schickel for guidance when determining which films to see; also, for gaining a better understanding of the films I had seen. In this volume, he provides interviews with eight great directors: Hitchcock, Capra, Minimill, Cukor, Hawks, Wellman, Vidor, and Walsh. In recent weeks, I have also read Robert J. Emery's two The Directors (Take One and Take Two) and Bogdanovich's Who the Devil Made It which also offer interviews and conversations with various great directors. Don't worry about duplications; that is, what Cukor, Hawks, Hitchcock, Walsh, and Wellman have to say. Bogdanovich, Emery, and Schickel have different questions to ask, different nuances of film making to explore, and approach the directors from quite different perspectives. The responses they obtain from the same directors differ. For that reason, I strongly urge fellow film buffs to purchase all of these volumes. The order in which they are read is unimportant.

What differentiates Schickel from Bogdanovich and Emery is the fact that, for many years, he wrote film reviews for Time magazine and thus had an immense audience with which to share his opinions about more than a thousand films. Also, he is the author of more than 20 books about film making which include biographies of Marlon Brando, Cary Brando, and James Cagney. Over the years, he has earned and richly deserves his reputation as one of the most thoughtful and knowledgeable of film authorities. In this volume, he interacts with eight of the greatest film directors. At no time does he seem intimidated by them nor does he ever disrupt the flow of information exchanged with self-serving observations. He guides each director into subject areas which are probably of great interest to most film buffs but he also allows each director to ramble, digress, etc. when reminiscing or when sharing specific opinions about films and actors with whom they were associated. Sure, there is some delicious gossip. And yes, some insights not otherwise available. However, for the most part, Schickel sets up various subjects and then allows each director (many of them a personal friend) to proceed wherever he may wish, at whatever pace he may prefer. His brilliant orchestration of responses ensures their scope and depth. That is to say, he did not merely turn on the recorder and then let each of the eight take it from there. On his reader's behalf, Schickel remains actively involved, indeed engaged in the exchange of information but at no time is intrusive. Within its genre, this is indeed a "classic."

This film critic's survey of eight of Hollywood's finest directors and their works uses the interview process to explore the work of American filmmakers over the last decades. Hitchcock, Capra, Cuckor and others share their achievements in a revealing set of interviews covering special challenges and observations.

This is the review of a partisan: George Hitchcock was my de facto faculty advisor (the actual faculty advisor, a perfectly nice man, was rather disengaged from my standpoint) during my undergraduate years in the early 1970s. I nevertheless post my enthusiastic endorsement of "Another Shore," a surrealistic response to the Cold War novels of the period. You want moral ambiguity? Forget John LeCarre--the nameless protagonist of "Another Shore" has it all over LeCarre's principals. I particularly remember a scene late in the book, as the narrator walks along--well, another shore:

"At first the sea was a sparkling blue, but as the sun rose it gradually turned to a milky white. The change is doubtless due to the presence of minute algae in the waves. The water itself was quite warm. A number of times during the day I stopped to wade in it and observed its texture closely. In the afternoon its surface became wrunkled with a diamond-shaped pattern like that of alligator or snake skin. It was definitely abrasive to the touch and was shot through with veins and capillaries of some lighter liquid. I tried cutting it with my pen-knife, but after each stroke the veins would come together as before. This peculiar structure gives it great cohesiveness, and may account for the complete absence of any surf..."

It's been over a dozen years since I saw George Hitchcock last. He'd be 86 now if, as I hope, he's among us still. If he's not, "Another Shore" nevertheless deserves to survive us all.

If you have seen the silent film, Nanook of the North, you might recall that moment when the protagonist arrives in his splendid kayak (also the name of George Hitchcock's near legendary literary journal from 1964-1984), he gets out of the boat and then, from within the boat emerge his wife, two or three children and possibly a husky or two -- on that my memory is not clear. And Story Line Press' masterful collection (edited by Robert McDowell, Joseph Bednarik, & Mark Jarmon, with introduction by Phil Levine, "One-Man Boat: The George Hitchcock Reader" accomplishes a similar effect -- out of this collection emerges George the poet, the playright, the actor, the editor, the novelist, the short story stylist, the witness before the HUAC, and on the cover, George, the painter. This selection from a significant body of work should serve as ample introduction to the work of a man, extraordinary by anyone's standards. This collection stands as testimony to a life lived in dedication to ideas about art and the full expression of art as a daily enterprise rather than some caged rarefied entity. I would hope this book becomes required reading for any serious student of late 20th century literature from the West Coast. I'll close with a paraphrase of one of my favorite poems, "Lying Now in the New Grass" -- the poem is an invocation of rest -- it is sensual and surreal. In its final image the "plow of night" passes over the world. I can think of no other way to spend a restful afternoon/early evening than to sit quietly with the magic of this book, a cup or glass of a favorite beverage, resting in the kayak of this book, with the capable hands of a master at the oars, be he Nanook, be he George -- don't let anyone fool you, it only looks like a one man boat -- it is filled with multitudes.

George Hitchcock collaborates with himself, the painter called Jorge Hitchcock, to provide both poems and illustrations for this exquisite book. As a poet, Hitchcock combines sharp wit and form with a wonderful wild surrealist sensibility. His paintings evince a similar, terrific combination of precision and wacky insight. In his long life Hitchcock has been a legendary Bay Area political organizer, an actor, a playwright, the founder and editor of Kayak Press, and professor at the University of California. Through it all, he has been a good-humored observor of the passing scene, possessor of a rare west-coast combination of intelligence and insouciance. Buy this book, read it, treasure it, give it to your friends on their birthdays.

Peter Bogdanovich has written a book that is for the movie enthusiast. I suspect the general reader may find some of the interviewees obscure, and the topics technical. I feel that is their loss. For the student of film or film history, this is a treasure trove of information, ideas, experiences, and feelings about films taken from interviews with some of the most distinguished directors in movie history. The author's selection is not encyclopedic, but the directors' experience spans from the earliest years of silent film to the present. These men are not just informative, but their strong and distinctive personalities show in each interview, giving the sense that one has actually met and understood many of them. Some of the interviews are brief, or even very idiosyncratic, but the best are delightfully personal. This is a long book, but affords many pleasant evenings of good conversation. It also makes one want to go back and see the films again!

This is an incredible book that contains Bogdanovich's various interviews with some of Hollywood's greatest filmmakers. These are not detailed biographies however, they are an in-depth conversation about the filmmaker's films and his own feelings about them. While some go into the individual's past it is just so you can get an idea of the personality of the filmmaker. This is a must-have book. A good way to look at it is to read it through once and become familiar with all of the directors, some of whom may be new to you. Then as you view their films go back and read what they have to say. Though sometimes their comments are very brief, it's one of the few sources you'll find where the film-maker makes direct reference back to a film. And I don't know what it is about Bogdanovich but he always brings out gems of truth from those he interviews.

You can spend years going to film school, or you can read this book! Bogdanovich does a great job with this collection of interviews of great film directors. Not only does the book give you a good inside view of the craft of cinema, but it also acts as a history book of the film industry.

This book would be good for the serious indie director who has bet his/her credit cards on their dream or even the special person in your life who stays up until 4am watching the Turner Classic Movie channel.

There is something here for everyone as there is a wide range of directors who work in a wide range of styles. There isn't a genre that isn't touched in this book - from Hitchcock on Horror to Chuck Jones on cartoons. What's great is that Bogdanovich captures insight into directors that are no longer with us (like Fritz Lang who directed Metropolis). Since the directors tell their own stories, you don't get the Hollywood hype filter.

If you had to buy one book on film this year, this would be it!

George Baxt has carved out an interesting niche in the mystery world, from the gay-themed Pharaoh Love series to the Celebrity series, which takes names like Dorothy Parker, Humphrey Bogart, Bette Davis and, of course, Alfred Hitchcock, and weaves them into mystery plots as amateur detectives.

Because I like fictional versions of real people in my books, I was bound to come across Baxt at some point. For the most part, I can say I'm glad I did. His mysteries are usually entertaining and very funny, which works with an original character, like Pharaoh Love, or even with a character like Dorothy Parker, who you expect to be funny.

But here we have Alfred Hitchcock, who had a wicked on-set sense of humor. But Baxt's portrayal here seems false somehow - Hitch and his wife Alma become embroiled in a plot that seems to come directly from one of Hitchcock's movies. It's complex and wry and gives one the impression that everyone knows what's going on but the hero (a staple of several of Hitch's spy movies). Many people die throughout the story and Alma & Hitch giggle through it all as though they were Nick and Nora Charles. But that isn't the problem.

I'm okay with humorous mysteries. I'm okay with detectives who laugh in the face of death. But I'm afraid I wasn't prepared for Alfred Hitchcock laughing in the face of death. I suspect this is a failing of my own, but I didn't get the feeling that the characters were well-researched or portrayed effectively.

One thing I did like was the "Dain Curse"-like plotting that stretched the story over several years.