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A great deal of the book is devoted to Middle-Earth and J.R.R. Tolkien's works. There are the creepily reptilian dragons, spiders chasing hobbits, the majestic Elves, several different incarnations of the Balrog and its battle with Gandalf, the black-armored and evil Morgoth, the dwarves dining in Bilbo Baggins' hole, a misty Treebeard, Smaug asleep on his glowing gold, the Dark Tower of Mordor with a hissing Fell Beast in front of it... all sorts of goodies. The pictures come from book covers, book illustrations, game boxes, and so forth.
But Howe's artwork is not just for "Rings" and Middle-Earth. Oh no. There are sketches (uncolored) and previously unpublished artwork. There are illustrations from picture books like "Jack and the Beanstalk," "Rip Van Winkle," Howe's fascination with armor and Arthuriana, which includes lots of solid horses, armor, and sword-wielding knights; his illustrations for books by Anne McCaffrey, Robin Hobb, Charles de Lint, Guy Gavriel Kay, Jan Siegel, Margaret Weis, a compilation of Merlin-related stories, and much more.
Howe's artwork has a lot of variety, and many of them look almost like photographs. While you can tell that they're paintings, they're frozen in one second, often in the middle of an action scene. So you almost expect them to start moving. He uses light and shadow expertly, such as in the pic where we see Smaug on his gold -- under his wings, the golden reflection of his treasure is lighting up his face and scales. Or when he is shown attacking Laketown, where everything is dark and shadowy except the fire.
When the "Lord of the Rings" movie trilogy was given the go-ahead, Howe (along with Alan Lee, ) was hired by filmmaker Peter Jackson to help with the sets and landscaping and other designs. Now Jackson has written a foreword to this book, in which he talks about what a fan he is of Howe's artwork (and was, even before the movies!), and how his artwork served as a guide of sorts to how certain things should look. (Such as Ian McKellen's "Gandalf" look, which was based on Howe's famed picture of the wise old wiz) And the afterword was by fellow artist and friend Alan Lee, who describes how they met in New Zealand in 1998, starting work on the movies, and praises Howe for his energy and skill.
This is a fantastic read for fans of J.R.R. Tolkien's works, not to mention people who enjoy good artwork and fantasy/SF pictures. A lush, fantastical book of dragons, halflings, Elves and suits of armor. Marvelous.
This book shows you a collection of the art of John Howe, a well-known artist of fantasy art, and someone who designed a lot of visual aspects in the Lord of the rings movies. It contains lots of artwork that has to do with the work of J.R.R. Tolkien, but also some of Howes other work with various subjects.
I can really recommend this almost everybody,because it's just fun to have this for the pretty pictures. The impressive things are not only the detail, the design and the colorscheme, but also the fact that the work really seem to show a certain greatness and movement. They make you believe that those moments were keymoments in the history of some other world.
This a MUST-HAVE.
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Additionally the opening section of the volume answers a series of fundamental questions (e.g., What is the "Silver Age"?) and tells you want to pay attention to if you are new to collecting (cover variants, issue condition, etc.). There is also a Photo Grading Guide and Guide to Defects that will help you grade your comics, along with a system for maintaining an inventory of your collection. Each two page spread includes one small comic book cover in the upper right hand corner of the right page, which give you glimpses of both classic issues of Batman and forgotten titles like "Gold Key Spotlight" featuring Tom, Dick and Harriet. Consequently this is a solid volume that can be used to keep track of what you have and what you need to track down: already I have been using it to make a list of issues I need to pick up because stories begin in comic books I am collecting but then get continued in some title I pass on. At 800 pages this might be a bit much to tote around to Comic Book shows and conventions, but the alternative is copying all this information into some other format.
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Jackson's theory of social identity situates itself somewhere in between (or decidedly outside of) recent academic debates about culture and identity. His notion of performative social identity works through and against Pierre Bordieu's habitus, Michel Foucault's discourse analysis, and Judith Butler's performativity. Jackson's field research--involving interviews with both long-time and new residents of the neighborhood--uncovers a community in which black people move between socioeconomic echelons, building and maintaining both complex social networks and complex notions of what constitutes blackness.
Harlemworld is a refreshing and extraordinary addition to a growing discourse on identity and everyday life in America. Jackson's fascinating prose allows Harlemworld and its readers to navigate a complex field of theoretical formulations with grace. It will easily get added onto sociology, anthropology and cultural studies reading lists, as it makes possible new and interesting readings of race and class in this country.
Living history as many of the places described in the book remain, but written from a perspective long lost.
Doble's Journal documents his search for gold specifically in the Pine Grove, Jackson areas. One could take this journal and retrace Doble's steps to find the best areas to prospect.
I definitly would add this one to my prospecting reference library.
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"So y'all listen up, 'cause I'm gonna tell you the guaranteed, gold plated, ninety-nine-point-nice percent truth about John Henry."
Then, enjoy the inimitable riffs of B.B. King, as he and his guitar (presumably "Lucille") sing out with the pure, clear, authenticity of the blues: "My name is John Henry. I'm a born natural man. I was born one morning with a hammer in my hand . . . " This is collector material.
John Henry's triumph defends the dignity and perseverance of human labor against the encroaching machine. In its own small way, with a low-tech assist from the aural majesty of Washington and King, this volume preserves and extends the pleasures of the written page.
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