james didn't stretch his stories too far, and he didn't have to. he knew how much could be done with subtle changes. the stories here are written traditionally, but somehow varies. excelolent at details, with an excellent writing style. the stories develops nicely, never flawed.

To my mind, this is the ultimate ghost story collection by the ultimate ghost story writer. Every story in this book is a masterpiece of M.R. James' art -- these are classics of their genre. If you like British Edwardian ghost stories, track this book down and read it -- it's the perfect companion for a dark night by the fire.

Protecting The American Homeland: A Preliminary Analysis is a methodical and highly serious account, collaboratively written by a team of Brooking scholars (Michael E. O'Hanlon; Peter R. Orszag; Ivo H. Daalder; I. M. Destler; David L. Gunter; Robert E. Litan; James B. Steinberg), laying out a four-tiered plan to support the efforts of the Bush administration and Congress to ensure America's security from terrorists... Offering suggestions such as increasing federal spending on homeland security to ... and then upgrading the authority of the director of the Office of Homeland Security rather than create a new superagency, Protecting The American Homeland is a well-thought out and welcome contribution to the current national dialogue as it offers an important perspective for our post-911 national security needs.

Hosking and Wallis have succeeded in their book to give a complete overview of the methodology for doing a regional frequency analysis with estimation methods based on L-Moments. They have subdivided the methodology in 4 parts: screening data (using the Wilks discordancy measure), formation of homogeneous regions (using grouping methods with fine tuning by a heterogeneity measure), and selection and estimation of a regional frequency distribution (using a goodness-of-fit measure). In all 4 steps the L-Moments of the available data sets are used for parameter estimation and for deciding on discordancy, heterogeneity and goodness-of-fit. H&W have shown (in their 1980 to 1996 papers and summarizing it in this book) that the approach works well and that it is robust against intersite dependence (certainly present between neighboring sites), robust against small heterogeneity between the sites, and robust against a possible misspecification of the regional distribution. Two large case studies show the methodology in practice. This book will be appreciated by hydrologists and civil engineers in general, because the whole RFA-methodology is contained in one single book (224 pages) added with lots of references for the interested reader. I am sure that H&W may expect quite a number of citations to this work in the near future (they will have mine...)!

To all,

This book is diary with much detailed about the life of a 42 year old (pretty old back then) Surgeon (1st Lt...thus a acting assistant surgeon) in the Army of the Potomac in 1862 to 1863. A very interesting story is when his is captured by CSA forces in battle. A CSA soldiers also comes up to him (he is looking for wounded) and tried to shoot him at point blank range. A misfire saved his life. Later, R.E. Lee returns his personal item and lets him return to Yankee lines.

A bit slow at times for for history buffs or reenactors (I play a Union Surgeon in the ACWA.org), then a grand book indeed.

Sincerely,

I remain your humble servant, Major Arthur Henrick.

The better book you have

In The Weird Tale, Joshi analyses the work of half a dozen writers whose influence on the modern supernatural horror story is either incalculable (Lovecraft, James and possibly Bierce) or else not nearly large enough (Blackwood, Machen, Dunsany). Joshi's central theoretical tenet is that weird fiction is an inherently philosophical mode, since it offers writers the chance to remake the world according to their own rules. H P Lovecraft is the prime example, possessing a coherent and thoroughly worked out philosophy which colours and powers all his best work. Much the same applies to Blackwood, though his mystical and sometimes sentimental author's personality was the polar opposite of Lovecraft's. Similarly, Machen's mysticism (whenever he could keep off his Anglo-Catholic hobbyhorse for long enough), Bierce's misanthropy and Dunsany's unique and complex blend of anti-modernism and ultra-Olympian cynicism all provide Joshi with a lens through which to see their work in its most rewarding light. The only writer for whom Joshi displays little enthusiasm is M R James, primarily because his work never goes beyond the ghastly-revenant plot - however inventively James may manage it at times. Joshi is miraculously well-read, has a sharp eye for the best among frequently voluminous works, and is even honest enough to say when he's talking from prejudice rather than analysis. The Weird Tale brings genuine literary criticism to bear on a genre where literary and critical standards have been debased to a condition rather worse than that of science fiction, and is of vast help in pointing out the works to whose quality writers (and readers) of supernatural fiction could aspire.

I carried a Revised English Bible with me through all three years of seminary; and constantly compared it to the Greek and Hebrew texts. Although it is not the most precise, literal translation (here I would lean towards the New Revised Standard because of my personal dislike for the scholarship behind the New American Standard), the sense of language and poetry in the REB is far superior to any reliable translation. For this reason, the REB is the translation that I read from the pulpit.

The scholarly articles and footnotes in the Oxford edition are top-notch; although they have a decidedly Anglican flavor in places they are generally ecumenical and quite informative. If you were to only have one study Bible, this is the one I would recommend.

I carried a Revised English Bible with me through all three years of seminary; and constantly compared it to the Greek and Hebrew texts. Although it is not the most precise, literal translation (here I would lean towards the New Revised Standard because of my personal dislike for the scholarship behind the New American Standard), the sense of language and poetry in the REB is far superior to any reliable translation. For this reason, the REB is the translation that I read from the pulpit.

The scholarly articles and footnotes in the Oxford edition are top-notch; although they have a decidedly Anglican flavor in places they are generally ecumenical and quite informative. If you were to only have one study Bible, this is the one I would recommend.

The 200 pages of prefatory articles form a really good introduction to contemporary Biblical scholarship. Twenty scholars offer such titles as "The Social World of the New Testament," "Torah and Covenant," "The Contributions of Archaeology," "The Dead Sea Scrolls and Other Jewish Literature." Each book from Genesis to Revelation has a compact introduction and the chapters are usefully annotated. The translation is perhaps the clearest rendering of the Bible into English ever accomplished. There are 14 wonderful maps (based on the Oxford Bible Atlas) with an index to all place names in the Bible. There is a condensed concordance of people, places and themes. This is a marvelous rendering of faith into words that deserves a place in every library. I notice many of the reviews refer to its "liberal bias" which misrepresents the triumph that is this work. To denounce "liberalism" in this way defends ignorance. To read the Oxford Study Bible is like studying the Bible at a great seminary with brilliant professors offering great lectures employing state-of-the-art scholarship.

The version of this classic I read was a translation into modern English by Nevill Coghill. As you can see above, I awarded Chaucer (and the translation) five stars; but I do have a criticism. This translation (and many other publications of Chaucer) do not contain the two prose tales ("The Tale of Melibee" and "The Parson's Tale"). These are rarely read and I understand the publisher's and the translator's desire to keep the book to a managable size. Still, that should be the readers decision and no one else's. I had to go to the University library and get a complete copy in order to read those sections. As I mentioned, this copy is a translation into modern English. However, I do recommend that readers take a look at the Middle English version, at least of the Prologue. Many years ago, when I was in high school, my teacher had the entire class memorize the first part of the Prologue in the original Middle English. Almost forty years later, I still know it. I am always stunned at how beautiful, fluid, and melodic the poetry is, even if you don't understand the words. Twenty-nine pilgrims meet in the Tabard Inn in Southwark on their way to Canterbury. The host suggests that the pilgrims tell four stories each in order to shorten the trip (the work is incomplete in that only twenty-four stories are told). The tales are linked by narrative exchanges and each tale is presented in the manner and style of the character providing the story. This book was a major influence on literature. In fact, the development of the "short story" format owes much to these tales. All of the elements needed in a successful short story are present: flow of diction and freedom from artifice, faultless technical details and lightness of touch, and a graphic style which propels the story. In poetry, Chaucer introduced into English what will become known as rime royal (seven-line stanza riming ababbcc), the eight-line stanza (riming ababbcbc), and the heroic couplet. His poetry is noted for being melodious and fluid and has influenced a great many later poets. He has a remarkable talent for imagery and description. With respect to humor, which often receives the most negative responses from a certain group of readers (as witnessed by some of the comments below), there are at least three types: good humor which produces a laugh and is unexpected and unpredictable (for example, the description of the Prioress in the Prologue), satire (for example, the Wife of Bath's confession in the Prologue to her tale), and course humor, which is always meant to keep with the salty character of the teller of the tale or with the gross character of the tale itself. I am really stunned at the comments of the reviewer from London (of June 21, 1999). He/she clearly has no idea of the influence of the work nor on the reasons why Chaucer chose to present the humor the way he has. T. Keene of May 17 gave the work only three stars, presumably because it was once banned in Lake City, Florida. (Does that mean it would get fewer stars if it hadn't been banned?) Perhaps our London reviewer will be more comfortable moving to Lake City! Another reviewer suggested that "The Canterbury Tales" was only a classic because it had been around a long time. No! Chaucer's own contemporaries (for example, Gower, Lydgate, and Hoccleve) acknowledged his genius. My goodness, even science fiction books acknowledge the Tales (for example, Dan Simmons' "Hyperion," which won the 1990 Hugo Award for best science fiction novel of the year, is based on the Tales). These brief entries are too short to review all of the tales. Let me just descibe the first two. Other readers might consider reviewing the other tales in later responses. In "The Knight's Tale," the Theban cousins Palamon and Arcite, while prisoners of the King of Athens (Theseus), fall in love with Emelyn, sister of Hippolyta and sister-in-law to Theseus. Their rivalry for Emelyn destroys their friendship. They compete for her in a tournament with different Greek gods supporting the two combatants. Arcite, supported by Mars, wins but soon dies from a fall from his horse (due to the intervention of Venus and Saturn). Both Palamon and Emelyn mourn Arcite, after which they are united. It is the basis of "The Two Noble Kinsmen" by Fletcher and Shakespeare. "The Miller's Tale" is a ribald tale about a husband, the carpenter John, who is deceived by the scholar Nicholas and the carpenter's wife Alison that a second flood is due. In this tale, a prospective lover is deceived into kissing a lady in an unusual location. And, recalling the response from our reviewer from London, apparently this Tale should not be read by people from London (or Lake City)!

The Canterbury Tales by Geoffrey Chaucer is one of the first great works of literature in the English language and are good reading for a number of reasons. They are written in "old English", however, and read like a foreign language for most of us. Barbara Cohen's adapted translation gives us four of the tales in contemporary English and therefore provides an excellent introduction to Chaucer's Canterbury Tales. Cohen's tales retain Chaucer's colorful insight into fourteenth century England including life as a knight, the horror of the plague, and the religous hypocrisy of the age. The illustrations by Trina Schart Hyman are vivid and tell a story all by themselves. I use Cohen's book as a supplement to teaching medieval history and literature to 7th and 8th graders.

In addition to its literary importance, Chaucer's Canterbury Tales are an enchanting reading experience. The Bantam Classic edition presents the tales in Modern English translation alongside the Middle English so that one can fully appreciate the tales as Chaucer composed them, or if you're just in the mood for a fun romp you can speedily read the translation. The tales themselves move at a quick pace, so beginners will probably enjoy the modern version much more.

The Canterbury Tales revolve around a group of 29 on a pilgrimage to Canterbury Cathedral to pay homage to the martyred St. Thomas a'Becket. The members of the pilgrimage come from all walks of life, including a Knight, Prioress, Merchant, Miller, the ever-entertaining Wife of Bath, and many others. The Canterbury Tales are the pilgrims' stories and each one reflects the individual character's personality beautifully. One can't help but feel a part of this lively group.

Whether you like a bawdy, raucous tale or a morally sound fable you will definitely find something entertaining in this book. I laughed out loud several times and found Chaucer's use of symbolism, wit, wisdom, and the glimpse into 14th Century life absolutely fascinating.

This text (or perhaps an earlier edition) was a lifeline for me for many years as a undergraduate and postgraduate student of psychology (with semester units in neurophysiology and neuroanatomy). It was completely perfect in that it covers the fundamentals of neuroscience in slightly more detail than one needs (unlike most textbooks which always seem to do everything in slightly less detail). Just like you always feel that you have to be clutching a calculator when you're studying physics, so you need this for any kind of neural science studying. It has clear, lavish pictures and everything is thorough and easy to understand.

And, oh boy, what a Book! You really feel that you've got something for your money. It's hefty, it's intellectual, and it looks damned good on the bookshelves. The paper is glossy, everything's set out well, and you feel good every time you refer to it.

When I was a student, my general principle was to BUY NO TEXTBOOKS, and this one was very expensive for me at the time, but it was worth it. Probably the most valuable book I had in all my 8 years of formal studying. It contained everything I needed in terms of information on this topic, and on the rare occasions when I had to go further into something, there were very useful references at the end of every chapter.

I strongly recommend it. You'll use it for years, and when it's time to move on, it'll be easy to sell.

I read this book in medical school. Although I would agree that it is probably to basic science oriented for a medical school neuroscience course, it was enjoyable, thorough, and inspirational. There are few books in my life that took as complex a topic as how the brain works and made it comprehensible. It is not a crib sheet for passing medical school exams. It is the first book I would recommend for anyone seriously interested in an understanding of the brain, sensory processes, etc... For anyone for whom a fundamental grounding in neuroscience is important this is the book.

This is a tremendous book. I've been using it for teaching since the 2nd edition. I don't know where or how Dr. Kandel (a brand-new Nobel winner) and his co-authors find the time to update this along with all the other writing and research they do, but it's great that they do. The illustrations have caught up to the computer age and are even better than before. The price is astonishing for a medical or graduate school textbook - really a great value.