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These stories are very good on the whole. There area few poor tales by Howard's standards, and the one with a vampiric queen is a big let-down considering its potential. But there are a few classics - such as 'Wings in the Night', a superbly-drawn story with excellent characterisation and narrative action. The personage of Soloman Kane is very interesting and truly three-dimensional. Just a shame that Robert E. Howard didn't get to use him more often in his writings.


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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!

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Still and all, I do highly recommend ONE WHO WALKED ALONE. It's a fairly good read, and does give a great deal of insight into the strange life of Robert Ervin Howard.



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Please take time to appreciate sly Lovecraft references, e.g. "the Necronomicon in the original Greek translation" (as opposed to the Latin translation). Lovecraft and Howard are described in GURPS Who's Who 1 & 2 (respectively), including their long-distance friendship, if you're interested.
"The Voice of El-Lil" - The narrator meets a man who once found the lost city of Eridu - founded by refugees from the fall of Old Eridu in Sumeria, 4000 years ago. He still can't bear the sound of gongs, which bring back the memory of the temple of El-Lil.
"The Cairn on the Headland" - Style: 1st-person flashback/present, where the flashback is one of Howard's takes on Clontarf, the battle that ended the Dark Ages by breaking the back of the sea-rovers. Why was a great cairn raised on the battle-plain, when the rovers couldn't stay to bury their dead? And why, ever after, was it worth a man's life to carry holly within a mile of Grimmin's Headland?
"Casonetto's Last Song" - Casonetto, the great tenor, ordered the destruction of all his recordings before his execution - save one, which he arranged to have mailed to the narrator, who exposed his murderous cult to the authorities. What song has he sent to the man responsible for his death?
"The Cobra in the Dream", "The Dream Snake" - These stories, while different, each have at their core a poor devil tormented by a recurring nightmare, in which a snake comes closer and closer to killing him with each repetition of the dream. In the end, the victim fears that his next dream will bring his death - so that he at last confides in the narrator (a different person in each story).
"Dig Me No Grave" - "...I shall need none." Such were the final words of the will of John Grimlan, which he handed to Conrad, his executor, with instructions for Conrad to carry out even if Grimlan later weakened and tried to countermand his orders. Now Conrad has asked Kirowan (in his first appearance, and who is narrating) to accompany him as he carries out Grimlan's request.
"The Haunter of the Ring" - Evelyn Gordon's ex-suitor finally sent a belated wedding present - and now she's tried 3 times to kill her husband, with no memory of doing so. Not that there could be any connection...
"Dermod's Bane" - Kirowan, the narrator, was advised to seek out Galway, in the hope that the salt sea or Ireland itself might ease his grief at his sister's death. To this day, the great tree known as Dermod's Bane marks the spot where his ancestor killed his great enemy...
"King of the Forgotten People" - The forgotten people in this instance are human, for once - a pleasure city built for Genghis Khan, rediscovered by a scientist seeking a place to conduct research without pesky restrictions about safety, live subjects, and the like. Unfortunately, Barlow didn't reckon with his wife; despite their bad marriage, she felt duty-bound to send Brill on an expedition to discover Barlow's fate. (The story centers around Brill, although it's one of the few in this volume written in 3rd person.)
"The Children of the Night" - Style: 1st-person flashback/present. Kirowan appears in passing; the narrator is also that of 'Haunter of the Ring'. If you like this one, check out "The Shadow Kingdom" (a Kull story) with its debased snake-people.
"The Hyena" - The narrator, a tenderfoot in Africa, isn't very bright - he can't quite reason from A to B to C, as Tey would have put it. A) A local chief quarreled with a widely respected fetish-man, B) the chief was killed by a hyena, and C) everyone is now terrified of the fetish-man...
"People of the Black Coast" - Style: narrated by a man whose fiancee was flying him from Manila to Guam - only to crash on an unknown island of steep cliffs and echoing silence. Deserted? You wish...
"The Fire of Asshurbanipal" - If you're going to go looking for treasure in lost cities, take my advice: don't pick one that got a special mention in the Necronomicon.


I'm inclined to believe that Robert E. Howard, along with other pulp writers, are the inspiration for many films of decades later, up to this day... This book is a collection of such influences: adventure in the wilderness; quests for old tombs in eerie places; ancient horrors reborn; and tough guys - plenty of them, ready to punch, smite and shoot their ways through hordes of mean enemies.
On a side note, when you pick this book, try ignoring the fact that it's filled with racist undertones. If you leave that aside, I believe you'll have great fun. For this book has the essence of adventure.

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Theoretically, this book justfies its being called a handbook, but on the mathematical front, it stands absolutely nowhere. There are little or no examples used in the text even though the author touches base on the advanced topics sometimes. Any fixed income practioner, including me, will tell you that ONE JUST CANNOT LEARN FIXED INCOME CONCEPTS WITHOUT GRASPING THE MATH BEHIND THEM, and this book scores poorly in the quantitative analysis. Fixed income securities are extremely sensitive to interest rate fluctuations, and hence, it would be only sensible to present atleast a few chapters trying to explore the concepts used in the modeling of interest rates. But this book doesn't do that. There is little quantitative discussion about duration and convexity, two of the most important risk-measurement tools for bonds.
Since it is called a handbook, I don't see any reason why the author should hold back advanced concepts from the readers. Conversely, since this book doesn't attempt to teach all the concepts to its readers, it should not be called a handbook. This problem is actually common to all the Fabozzi books. Either his math is weak, or he is just busy making money writing a handbook on every possible fixed income security. It's only a shame that a capable and learned individual like him should do such a sloppy job.
I would recommend books by Bruce Tuckman, Garbade, or Horne for more advanced and intelligent discussions on fixed income securities and interest rates rather than this book. One really need not waste money on this book. Theory on Fixed Income instruments is widely available from Federal Reserve publications, which are almost always free. Put your money only where it will produce fixed & positive returns - Fixed Income 101.



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