This is a most excellent book that, while written in the 1970's, offers some real serious discussions concerning the growth of american civilization. The discoveries of the last two decades in the Americas make this book an absolute gem! No where else have I seen such a well thoughtout and well documented study into the mysteries of the American Peoples. Honestly, this book is pure GOLD! I read my copy in two days! I couldn't put it down!

It's too bad this book is out of print! Fox presents some incredibly fascinating theories about how early civilizations before this flood/cataclysm could have interacted with one another despite oceans and great distances. Especially interesting are Fox's ideas on how this cataclysm could have destroyed goddess (earth) worship, thus making it possible for patriarchal social structures to become predominant. Fox's theories make a huge amount of sense to me from a comparitive anthropological, religious/mythological, etc. point of view. Although its probably impossible to ever discover the truths to prove these theories, Fox brought together in this book an interesting collection of pieces to this puzzle, and actually made it quite entertaining. I don't have enough of a background in the disciplines covered in this book to know how far-out or sound these theories are, however reading this book has definitely made me want to learn more.

This is not another semi-psychotic analysis of the technical aspects of the golf swing. Golffirmations goes straight to the very heart of the game. It's a wise and warm reflection on
the game's fascinations, frustrations and fellowship. It offers, in equal doses, bits of history, doses of hilarity, and the high-five hallelujahs that keep us on the course. O'Neill may not have won a major but he's certainly written one. Great idea for Father's Day.

In a category filled with books about the technical aspects of the golf swing, O'Neill's book goes straight to the very heart of the game. Golffirmations is a wise and warm rumination on the diabolical pleasures of the game, its endless frustrations, fascinations and fellowship. Wonderfully written, breezy and full of bounce. O'Neill hasn't won a major but he's written one. Great Father's Day gift.

Like all Loeb Classics, this edition is presented with the ancient greek text on the left page, and its english translation on the right, giving students of classical greek an easy cross-reference. The translations are easy to read and not too difficult to comprehend, while still at the same time accurately rendered (unlike many Loeb translations, which are frequently too literal a translation to be readable).

But what makes this book of keen interest is not the attention paid to Hesiod's Theogony and Works & Days, nor the anonymous "Homeric" Hymns, but rather to its meticulous compedium of the lesser-known works it presents. Especially, for those works for which no complete version has survived, only fragments and occassional (later) commentaries.

In this volume you discover a wonderful epic poem called The Catalogue of Women and Eoie, of which only about half survives scattered among a hundred or so fragments. You also discover The Shield of Hercules, which some attribute to Hesiod. But most fascinating of all are the fragments of the Epic Cycle, poems written as a sort of "history" of the Greek people, of which the two great works by Homer (The Iliad and The Odyssey) were the most well-known and the only ones to survive intact. As far as I know, this is the only volume in english which gathers all of these fragments together and attempts to sort them out in some kind of order; for those interested in the ancient epics, this alone makes the edition worth the price.

This book is a sobering reminder of just how much has been lost over the centuries, of just how little actually has survived. Sadly, this is now probably the closest anyone will ever get to being able to read The Cypriad or The Melampodia again, and that's a shame.

Sometimes when consulting the Loeb Library for a translation of a greek text one finds a version wildly different than the original. This volume of the Loeb niether betrays the text, nor translates with arcane vocabulary (e.g. thou, thee, etc.). All in all, a very useful tool.

Hugh Gaitskell was leader of the British Labour Party from 1955 till his tragic premature death in 1963. That period, in which Labour was continuously in opposition, was marked by internal strife between Right and Left within Labour's ranks, on such issues as nuclear disarmament, with Gaitskell representing the pro-Nato, Atlanticist wing of British social democracy.
Brivati's book is a model biography: balanced, historically-informed, and original. It portrays Gaitskell as a politician of immovable convictions about the proper end-state of a good society, and fewer fixed ideas about the means to achieve them. Most important, it relates Gaitskell's ideas to the changes in western society that have taken place since his death, and tries to assess his historical significance. And it compares him with his obvious successor, Tony Blair, who succeeded where Gaitskell failed in getting Labour to jettison its historic commitment to public ownership. Brivati sympathetically portrays Gaitskell's revisionism, which was 30 years ahead of its time; his irrevocable commitment to the values of western liberal democracy, an instinct that led to his courageous and historically vindicated stand opposing unilateral nuclear disarmament; and his insights into the political implications of what was then known as the Common Market. But Brivati also makes a telling point that Gaitskell's belief in equality and indicative planning has been rendered largely irrelevant by modern economic developments. There are still aspects of Gaitskell's political judgement that are timeless strengths and that stand out from this book. Brivati comments, "Gaitskell's revisionism offered a process of asking of each institution and relationship in our society: What is it for? Who [sic] does it benefit? Should it be changed?" That process of interrogation is an essential one for a healthy democracy, even if Gaitskell's criteria for answering those questions have been superseded by events. Moreover, Gaitskell, so far from his image of a dry technocrat, was a man of passion combined with a critical intellect. Though the collectivist ideology that informed his egalitarian principles has now (as Brivati again rightly comments) slipped into history, the wish for a more tolerant and gentle society has not. To that extent, Brivati's book is an inspiring as well as a scholarly and informative read.

Hugh Gaitskell is largely a forgotten presence in the Labour Party of today but as Brian Brivati (intentionally or otherwise) manages to convey to the reader, this neglect may have something to do with the fact that this former British Labour Party leader had a style and a substance that has rarely been seen since. Although clearly not as sympathetic towards his subject as Gaitskell's earlier biographer, Philip Williams, he still leaves us with an impression of a man who was much misunderstood and maligned by many at the time in his own party.

Hugh Gaitskell was a passionate orator who for much of his life, struggled with the twin impulses to on the one side conceal that passion in favour of reason and sense, and on the other, to realize that that same passion could be useful as a political weapon to disarm his opponents not just in his own party but also beyond in the Conservative and Liberal parties of his day. For much of his short political life, Brivati contends that when the former wasn't predominating, the latter could appear to disastrous party political consequences. The dispute over 'specs and false teeth' around the time of Gaitskell's one and only budget points to the stubbornness of a futile passion for the Atlanticist policies of the post war Attlee Government over what could have been a more reasonable accommodation with Nye Bevan as the Minister for Health and powerful ex-officio leader of the Left. Gaitskell then went on to foolishly support the expulsion of Nye Bevan for his controversial attempts to foist a left wing direction on the opposition when Labour left office in 1951. Brivati shows us that the always deeply complex and fascinating Gaitskell was at his most ineffective when his drive for what was 'reasonable' could become a 'passion' not justifiable by the facts that at other times he could be equally passionate to elicit both from himself and others.

However, another more effective and controlled passion dominates his years as leader of the Labour Party afte! r 1955. See in particular, Brivati's account of the 1956 Suez crisis, the defense debates/ of 1960-61 and the famous Common Market speech of 1962. These controversies contain some of Gaitskell's finest and most brilliant speeches, and with the proper access to the video and sound recordings, this would be self-evident to anyone who listened.

Brian Brivati has written a biography from the perspective of someone who likes distance from his subject - he wasn't born until two years after Gaitskell died. The ultimate achievement of this biography is that it is finely balanced between the 'hero' of Philip Williams'' richly documented 1978 biography, and the villain of Michael Foot's biography of his 'hero' Nye Bevan. Unlike Brivati, both Williams and Foot had the fortune or misfortune to have known Gaitskell personally. Where these two had been inspired to write dramatically diverse but equally passionate accounts, Brivati 's sense of balance leads him to weave a careful line in and around the two sides to Gaitskell's reputation - both then and subsequently. He therefore succeeds in dropping by at both camps. Unfortunately. this approach is likely to be infuriating to the supporters of both left and right for its seeming willingness to play the part of appreciative guest at both houses and to then show that what was offered was far from being the poisoned chalice that each side would like to claim of the other. As an admirer of Gaitskell to the point where I once lobbied hard to meet his first major biographer, Philip Williams, I have to admit to sharing in that infuriation whilst also rejoicing that by the end, the side Brivati chooses to leave us with, veers more conclusively towards the 'hero'. In the final analysis, it is his interpretation of the depressing years for the Labour Party subsequent to Gaitskell's death in 1963 which become their own justification for why it is still hard for some people to move beyond their fascination with Gaitskell's style, democratic socialist beliefs and rare ! sense of integrity. Brian Brivati is no less caught and trapped than Philip Williams and Michael Foot once were.....

Deleuze has long apprehended the *Critique of Judgement* as that rarest of philosophical achievements, a work of hoary old age whose radical and "deeply romantic"(xi) precepts are somberly misunderstood by students, most of whom pass it off as a clunky, fossilized curio of old-school aesthetic theory. As argued in this text, however, Kant's project is sensible (one might even say consummated) only in the light of this penultimate work, the keys to which are well worth questing for: "What is in question is how certain phenomena which come to define the Beautiful give an autonomous supplementary dimension to the inner sense of time, a power of free reflection to the imagination, an infinite conceptual power to the understanding.... It is a terrible struggle between imagination and reason, and also between understanding and the inner sense, a struggle whose episodes are the two forms of the Sublime, and then Genius. It is a tempest in the depths of a chasm opened up in the subject. The faculties confront one another, each stretched to its own limit, and find their accord in a fundamental discord: a discordant accord is the great discovery of the *Critique of Judgement*, the final Kantian reversal...the source of time"(xii-xiii).

Radically, Deleuze follows De Quincey's *The Last days of Emmanuel Kant* by casting the later Kant as a grizzly King Lear of sorts, exiled from his "reasonable" philosophical kingdom and stepping precariously to a mad song of Romantic apperception. Hamlet's "time out of joint" becomes the unhinged temporality of movement subordinated and conditioned by time, or the Borgesian "labyrinth which is composed of a single straight line, and which is indivisible, incessant." While Rimbaud's "I is another" becomes the form under which the I affects the ego, or the mind affecting itself, an interiorized temporality that constantly divides us from ourselves, "a giddiness, an oscillation which constitutes time"(ix). Kafka's "The Good is what the Law says" reminds us that there is nothing to "know" in the law, simply that it *is*, and that we only come across this "ism" through action and execution, by which we must deduce the Good. Finally, Rimbaud's "disorder of all the senses" becomes that autopoetic civil war of the faculties pushing themselves to act and cooperate in unique and unprecedented ways, leading one faculty to an achievement or realization it would never have had on its own, pushing the known boundaries of genius and creativity, onward to mutation.

This is a "brief" treatise whose length should not be underestimated. As always, Deleuze's exegetical style is diamond-sharp, tracing an analytical razorline through the architectontic reversals of Kant's ever-burgeoning spiritual maturity, from the brilliant technician and moral demiurge of the first two critiques, to the wild, discordant Kant of old age.

For those uncomfortable with Deleuze's controversial approach to Nietzsche and Spinoza, this volume is much more Kantian than Deleuzian. But its originalities are impossible to deny, its exegetical precision a godsend. Deleuze's extraordinary personality is stamped on every page, while the unchained spirit of the later Kant shines provocatively through. This treatise should be special-ordered for all university courses on Kant's philosophy. It is an outstanding 20th-century reaction to a now misappropriated philosophical visionary, the grandeur of whose final work is too often obscured by the first two Critiques, which are merely its prologue or conceptual training-ground.

This is a slim volume, unusual because it operates at a very general level across all three of Kant's Critiques instead of the more usual focus on a single Critique. Deleuze's aim is architectonic: to show how the three Critiques fit together to form a coherent whole. This is a valuable undertaking since it's very easy to get lost in the Kantian thickets, which are arguably the densest in all of Western philosophy.

Deleuze organizes the three Critiques around the core notion of faculties and the objects over which they legislate. For example, understanding legislates in the faculty of knowledge, while reason operates over the faculty of desire; taken individually, the study of each makes up the content of the first two of Kant's celebrated Critiques. Their respective functions are shown by Deleuze to culminate in the third Critique (i.e. *Critique of Pure Judgement*), wherein the notion of "ends", both moral and cognitive, reach synthetic fulfillment. Hence, it is in the third Critique, instead of the first two, in which the capstone of Kant's Copernican revolution is reached. Here in the arena of art and aesthetics, no faculty legislates, nor are generic objects present. Rather aesthetic judgement involves the faculties and imagination in a kind of free play aimed at some type of overall harmony. Rather than knowledge, which can only be phenomenal, culture represents humankind's highest achievement and its measurement; and the highway into 19th century Romanticism opens.

Kant is a giant of Western philosophy. This book aids in an understanding of his overall undertaking.

All too often, bridge books present hands that look as if they were "set up." In order to get the right answer, you simply eliminate the "obvious" play. Not so in this book. Kelsey's hands look like those ordinary hands you might face in your local club or home game. Kelsey demonstrates that by thoroughly counting a hand (points, cards, tricks), a player can much more easily arrive at the killing defense. That's the major lesson in this book - counting, and Kelsey does a magnificent job of teaching it!

Kelsey's innovative approach to Bridge defence will have even the most skilled defender reading avidly. The problems and his approach to solving them are unique. The descriptions of the plays and options make entertaining reading in themselves and the experianced player is able to smile wrly on identifying their own common errors. A reference book that is great to read from cover to cover or just open at any page and try the hand. All players will come back to this book to be reminded what they have forgotten or find new ways to teach old dogs tricks.

Professor Mendelson's book on Auden's work from the 1940s to his death in 1973 is one of the best way to appreciate the poet's later poems, prose and librettos. "Later Auden" details that there was both a public and private interpretation of much of his work, including "The Rake's Progress" written for composer Igor Stravinsky, "Age of Anxiety", and "Thanksgiving for a Habitat". By all means, if Auden appeals to you, this is a necessary book.

For any one looking for an introduction to Wystan Auden's work, there is no better way than to pick up both Early Auden and Later Auden by Edward Mendelson. Both of these books help one understand some of the more obscure aspects of Auden's poetry, and in particular, to distinguish both the personal and public parts of his work. I pick up this book again and again. I also recommend it unreservedly to anyone looking to get acquainted with one of the 20th century's most important voices.

This second installment of the misadventures of Little Annie Fanny are excellent! The book features countless images of Annie's beautiful body. No one could resist this ultimate "dumb blonde" cartoon as it makes for hours and hours of fun and enjoyment. This is a must have of any collection!

This sequal is just as good as the first , same visual homur and style . Most recommended especialy if you enjoyed the previous book .

While working on an on-going university research project I have spent five years driving the back roads of India. This book has saved my sanity as well as my tires and axles. It is by far and away the most helpful road atlas available.

The maps are better than what most Indians have ever seen in their lives, which is exactly why travellers don't need it. If you are taking public transport around the country, you get plenty of information about how to go where from LP India or from information at train stations, bus stations and other travellers. It simply isn't worth the excess weight (in a rucksack). If on the other hand you are cycling or have your own motorized vehicle, this would be irreplacable (so be careful who you show it to).

This book is based upon the correspondence of two young writers, Carl Jacobi and the author Hugh B. Cave, both of whom were trying to earn a living by writing for the popular pulp magazine genre in the early 1930s. Through the use of reprinting portions of their correspondence, the reader is presented a poignant glimpse into the struggles of these young depression era writers as they try to find markets for their adventure, detective, and horror fiction. Changing markets, new editors, and magazine cancellations are all discussed along with how the pay rates fared from magazine to magazine. What type of fiction is selling to whom, what magazines are no longer accepting manuscripts, which editors were heavy-handed in rewrites and corrections to stories and similiar topics that affected their daily lives. All this is tied into the happenings of the Great Depression. Throughout the book Hugh Cave expands upon the contents of each letter with additional text discussing relavent matters and clarified the names, topics, and subjects discussed in his sixty-year-old correspondence with Jacobi.

A Must Have title for anyone interested in the pulp magazine genre!

Hugh B. Cave is the Grand Old Man of the Pulps, one of the last of the great authors who wrote for the marvelous all fiction magazines of the 1930's. Still an active writer, he saw his first story published in 1929. MAGAZINES I REMEMBER is a first hand account of those days, based on Cave's correspondence with fellow pulp writer Carl Jacobi, and enlivened by his modern commentary.