Peter really gets to the point of self-differentiation with his newest book. Personal branding is a topic the author knows well and shares with the reader the essential how to's. The topic is timely as well as easy to follow. This is a MUST HAVE book on how to MARKET. It should be the only book you read on Marketing.

Whether you are an independent professional interested in marketing your identity and services, or someone who is interested in improving their perceived worth at home or work, The Personal Branding Phenomenon is an invaluable tool.

Montoya points out clearly in his book how you can use your own strengths and identity traits to promote, improve, and shape a Personal Brand.

And it makes sense.

I can see how harnessing the power behind Personal Branding will be an awesome way to position myself to increase my freelance career and move up the corporate ladder at work.

As a manager, I can see how Branding can help my employees and make them more successful.

It's organic. It's natural. It's great.

Also, the book is very well written. It has great examples and comparisons that give readers an even better understanding of the philosophy.

This is a must read for small business owners.

It's a great book and well worth the money.

Not being one trained in marketing, I hoped Peter Montoya's book would guide me in developing a marketing strategy for my small business. It did much more than that. I now see how every area of my life influences my personal brand whether I am aware of the principles and insights in Peter's book or not. It has inspired me to take action.

I expected a serious book such as this to be work to read but it entertained me throughout. I particularly enjoyed the insight into why the personal brand of a person like Martha Stewart is vulnerable to revelations inconsistent with their image.

This omnibus edition of all the Lord Peter Wimsey short stories consists of the stories from _Hangman's Holiday_, _In the Teeth of the Evidence_, _Lord Peter Views the Body_, and _Striding Folly_ (the final 3 stories of _Lord Peter_), those of _Striding Folly_ being the most difficult to get outside the omnibus edition. See reviews of the individual collections if you want a more detailed discussion of the contents. If you get the omnibus _Lord Peter_, be aware that it contains the complete text of _Lord Peter Views the Body_, while HH and Teeth contain non-Wimsey stories that are worth having. If you're interested in an unabridged audio version, check out those for the individual volumes that have been cannibalized for the omnibus edition; Ian Carmichael has narrated unabridged recordings of most of the short stories, with the exception (so far) of a few that turn on visual clues given in the text.

I find the 2 stories from Teeth uninteresting, but those from HH are enjoyable. The stories from _Lord Peter Views the Body_ all predate the events of _Strong Poison_ - that is, they occur years before Lord Peter met Harriet Vane. In fact, some occur within two years of the end of WWI, such as "The Vindictive Story of the Footsteps That Ran", set in June 1921. For the most part, most of my favorite Lord Peter short stories fall into this group, with the exception of "The Undignified Melodrama of the Bone of Contention", an enormous (and to me, tedious) novella wherein the will of a recently deceased old reprobate was deliberately designed to create bad blood between his sons. Apart from that, we have such gems as the Attenbury diamond case, mentioned in later years as having started Lord Peter on his hobby of detection, a case featuring Lord St. George as a child staying in the Piccadilly flat (and featuring the first appearance of Bill Rumm, who later appeared in _Strong Poison_). We even have "The Fascinating Problem of Uncle Meleager's Will", wherein Lady Mary persuades her brother to help a friend with Red politics find her uncle's missing will. (It's much more entertaining than Hercule Poirot's only foray into a case of this kind, and more sophisticated than Jane Marple's only such case - Uncle Meleager had a wicked sense of humor.)

Harriet Vane appears only in the last two stories, both from _Striding Folly_: "The Haunted Policeman" and "Talboys", neither involving murder and both set after the events of _Thrones, Dominations_.

Each story is self-contained, but there is progression.
Lord Peter himself, and most of the other characters are self-efacingly described in a very endearing way.
The plot twists are mostly "high-brow" and often quite technical. Especially impressive the the female author of her time period so astutely describes such stereotypically manly things such as motorcycle enthusiasts, smoking-room society, poker playing, etc.

This book has a selection of short Lord Peter stories that are as entertaining as always, but the reason to buy it is the glimpse it offers of Harriet and Peter as parents. The final story takes place at Talboys, and it centers around the Wimseys' domestic life. Lord Peter's eldest does not disappoint in his spirit or his intelligence, and Peter and Harriet fulfill all expectations as they lovingly handle their children.

Peter Spier certainly deserves all the praise he has received for this lovely book. Still, I have to admit to feeling heartbroken -- even at my age -- by the pictures of the doomed animals for whom there is no space on board, watching the Ark forlornly as the waters rise around them.

Yes, that's how the story goes, but perhaps parents might want to decide in advance how to respond if their child asks anxious questions about what will happen to the animals left outside.

This book won Peter Spier the coveted Caldecott Medal for the best illustrated children's book in 1978. Most Caldecott Medal winners enhance the story with illustrations. But a few transcend the written material by becoming the story. Noah's Ark is of the latter category.

The book opens with a scene of brutal war on the left hand page. On the right hand page is the image of Noah tending to his agricultural tasks. The words at the bottom of the page say simply, " . . . But Noah found grace in the eyes of the Lord." Next, there is a translation of a Dutch poem written by Jacobus Revins that tells the briefest outline of the Noah saga. The rest of the book until the last page is wordless. The final page shows Noah after the flood tending to his agriculture with the words, " . . . and he planted a vineyard."

The illustrations provide nonverbal stories about Noah. You see the enormous task it was to build an ark, the difficulties of rounding up all the animals, the even greater challenges of taking care of them during the flood on the ark, and the process of returning to the land as the waters receded. By using only illustrations, you and your child have some latitude as to how you wish to interpret the story. You can be very literal, or you can be more poetic. A lot depends on how sensitive your child is. I can remember feeling frightened as a young child to realize that God could choose to destroy virtually all life on Earth.

The illustrations are brilliant for portraying perspective. The ark is made to appear enormous. Yet there are some illustrations during the flood where the ark is clearly tiny in the context of the worldwide ocean.

There are a lot of stories within the story. For example, the sequence where the dove is released and brings back a sprig of leaves from dry land is quite interesting. Many themes are carried out in a number of ways as well, including the notion of being a loyal servant. You can have many wonderful discussions about why God directed Noah to act as he did, and what the lessons are for today.

The colors and use of pen to fill in details are quite rewarding, as are the delicate individual watercolor images within thoughtfully planned out compositions. Noah has a benign and spiritual appeal in these representations that make him seem like someone you would want to spend time with. Rather than seeing him as remote and hard to understand, your child will probably appreciate Noah as a version of a friendly, supportive grandfather. The promise for the future is wonderfully captured by a gorgeous rainbow at the end. The overall feeling of these cartoons is not unlike the work of Walt Disney's studio animators during the 1930s.

One potential way to enjoy this book even more is to write out your own version of the story, as dictated by your youngster. As she or he matures, you can write new versions that your youngster creates. He or she will probably enjoy seeing these in the future, as a wonderful momento of growing up.

Another interesting alternative is to take another well-known story, and to create a totally illustrated version with no words.

Get to the heart of any important story, in order to grasp all of its meaning.

My 4-year-old son was completely smitten with this book the first time we read it. He loved to look at all the details; the illustrations are wonderful. The book beaufully portrays God's vengeance and God's ultimate love. What struck me was the accuracy of the biblical story that so many of today's Noah's Ark books overlook or twist: - the length of time the flood waters took to receed - enough time for the animals to procreate (especially the bunnies!); - that God chose Noah, not that Noah was some sort of savior who, on his own, saved mankind; - the depravity of humanity (a city on fire); - the mess and smell of animal waste and the hard work to care for the animals - it shows Noah shoveling manure.

I strongly recommend Peter Spier's "Noah's Ark" for anyone who is interested in teaching children biblical truths so often secularized in today's world and also for the beautiful illustrations and details.

Hogg's book was one of many 'Gothic' doppelganger novels produced at the time, as editor Cuddon makes clear in his introduction. What sets 'Sinner' apart is the fierce, unforgiving, saturnine, phlegmatic, terse, Biblical, paganistic, ugly beauty of the vocabulary and phraseology (Hogg was a shepherd and a poet), suited to a narrative lashed with hate, murder, bigotry and terror, whose sheer violence connects it with another shocking Gothic one-off, Lautreamont's 'Maldoror'; the way the 'double' theme of the novel is embedded not just in the plot, but in the rich formal patterning, from character groupings to the religiously and politically divided Scotland of its setting; and the wide literary adventurousness as a whole which, in its proliferation of stories, framing devices, and self-reflexivity create a labyrinthine, elusive, very modern text.

Hogg's novel is about 150 years ahead of its time. Published in 1824, the work has everything readers of post-modern novels could ask for, including clustered narratives, self-reflexive point-of-view, unreliable narrators, unsympathetic-protagonist, etc. Hogg is engaging in a highly playful exercise, yet at the same time the novel can be read as an entirely chilling depiction of what may happen to the human psyche when it is given absolutely free-reign. The story takes place in Scotland in the early 18th century, a time of political and religious foment. It chiefly concerns the religious "progress" of Robert Wingham. Robert's mother is a religious enthusiast who has left the household of her husband, George Colwan, laird of Dalcastle, because he does not meet her stringent standards of pious behavior. Before she leaves, she delivers a son, whom Colwan names after him and names him his sole heir. A year after she has left she delivers another son, Robert, whom the editor-narrator who first tells the story is too polite to say is illegitimate, but it's evident by all appearances and intimations that Robert is the son of Lady Colwan and the Reverend Wringhim, a dour, intolerant, "self-conceited pedagogue," who is the polar opposite of the easy-going laird. Reverend Wingham undertakes the instruction of young Robert and eventually adopts him. Robert, like his father, is a cold fish, who abhors the presence of women and anything else that he thinks will lead him to sin. Young George, on the other hand is naturally open and fun-loving, engaging in the "normal" activities young men of the time preferred. This attitude piques the ire of Robert, who sees any activity that is not directly related to religion as frivolous. He starts showing up uninvited whenever and wherever George and his friends get together. When they try to play tennis, Robert stands in George's way and interferes with the game. The same thing happens when they play a rugby-like game on a field outside Edinburgh. Even after George loses patience and punches Robert , the younger brother keeps on insinuating himself, uninvited, every time George and his friends meet. When the Reverend Wingham learns that his precious boy has been roughed up, he incites his conservative faction to retaliate against the liberals with which George and his friends are in league. A full scale riot ensues, reminiscent of the opening scene of Romeo and Juliet. Neither the editor nor Wingham ever give full assent to the fantastic elements in the story. Events are depicted in as realistic a light as possible, which lends weight to the storyline and keeps things from drifting off into never-never land.

Everything about this novel "works." The editor's framing narrative subverts Wingham's "confession" narrative at just the right points, so the subversion actually adds to the solidity and texture of the work as a whole and adds to its plausibility. The comic characters are wonderfully depicted (including Hogg himself, who puts in an appearance as an unhelpful clod who's too busy observing sheep at a local fair to assist the editor and his party when they want to dig up Wingham's grave). Wingham's descent into fanaticism and his subsequent psychological disintegration is handled as well as it possibly could be. It is also a perfectly drawn cautionary tale about the pitfalls of antinomian religious beliefs. Hogg describes for the reader a splendid representation of just where the path of predestination can lead a susceptible mind. That's where the comparison's to Crime and Punishment evolve. Wringhim, like Roskolnikov, considers himself above the common rung of humanity. Unlike Rodyan, however, Robert never does discover the full import of his megalomaniacal doctrine until it is entirely too late. Readers might be interested to note that Hogg's novel had a direct influence on Stephenson' s Jekyll and Hyde and on Wilde's Picture of Dorian Gray. Hogg was considered by his contemporaries to be something of a rustic genius, and the poetic successor to Robert Burns. He was known as the Ettrick Shepherd, because he did earn his livelihood from raising sheep and was entirely self taught. He was a friend of Sir Walter Scott. He's still highly revered in his home country. If more readers become familiar with this one-of-a-kind book, he will be revered more universally. It really is that brilliant a novel.

James Hogg's "Private Memoirs and Confessions of a Justified Sinner" is a claustrophobic, terrifying spectacle of a novel. First published anonymously in 1824, the novel centers around the manuscript of an obscure Scottish Laird who lived in the late 17th and early 18th centuries. Robert Wringhim is a well-educated, but illegitimate child of the Laird of Dalcastle. He leaves the estate to live with his mother, also estranged from the estate. Raised by his adopted father, a zealous Calvinist preacher, Robert grows to despise his biological family. When, on his 18th birthday, God reveals through the preacher, that Robert is one of the elect, the true action of the novel begins.

The novel has an unusual and provocative structure: an editorial recounting of the story envelops the text of Robert Wringhim's actual 'memoirs and confessions'. The novel's temporal structure hinges on the 1707 Act of Union which annexed Scotland to England, forming Great Britain. With the editorial apparatus (and its debt to an oral tradition), and Robert's first person manuscript, Hogg seems to question the methods by which history is written and passed down. Several versions of Robert's story, from himself, his contemporaries, and the 'editor' who lives over 100 years after the events gives a startling, disturbingly incoherent vision of history.

This novel is great for its wranglings with the problems of reconciling money with morality, and religion with the law. Hogg's primary concern is with the religious issue of antinomianism - the notion that God's elect are free from the dictates of human law. Robert's election and subsequent relationship with the wildly mysterious, fantastically rendered Gil-Martin put antinomianism to the harshest test.

"The Private Memoirs and Confessions of a Justified Sinner" is a rather short novel which I recommend highly. It is an entertaining historical, religious, psychological rollercoaster. Its blend of sublimely dark humor and social comment is a high achievement in any century.

Henry James, The Aspern Papers (Laurel, 1888)

One of James' shortest novels, and one of his least-known, The Aspern Papers is a (supposedly based on a true) story about a young biographer of famed poet Jeffrey Aspern (based, depending on to whom you talk, on either Browning or Keats) who contrives to get his hands on the love letters Aspern wrote to a mistress by presenting himself at the now-ancient mistress' Italian villa and passing himself off as a wealthy traveller and author looking for lodging. The mistress lives with her spinster niece, whose age is never given (one assumes mid-forties, a few years older than the narrator), and the two are impoverished. Things go as planned until the narrator finds himself starting to like the niece a bit more than he bargained for.

The novel runs a bit over a hundred pages, which makes it an excellent introduction to James' extremely dry wit; it's much lighter-weight than the ponderous tomes he's known for. The prose here has an agility which is absent from works such as The Bostonians or The Wings of the Dove, but still manages to convey emotion quite well with only a few words and a gesture. The novel's last pages are a triumph of minimal writing, and probably deserve closer scrutiny than the works of James' that are normally assinged in English classes around the globe.

Oddly, the one major failing of this novel is that James abandons the minimalism every once in a while, and his characters go overboard with hysterical crying and the like so common to Victorian literature. In a book that's otherwise so controlled, these episodes-- never longer than a few sentences-- seem absurd more than anything; perfectly composed people suddenly collapse into tears as if shot with pepper spray, and then within the space of a paragraph are back to their cool, collected selves once again. These intrusions are minimal, and while they detract from the scenes in which they're placed, the novel overall is still a worthy one. If you've been turned off by James through exposure to one of those million-page drawing room comedies, you may want to give him another try with this. *** 1/2

"The Aspern papers" is a surprisingly short, sexy and suspenseful novel. It will completely change your opinion of Henry James; he shows himself to be an master of suspense and well played out drama instead of the ambiguous pussyfooting plodder that most people think him to be. There is a definite touch of evil in this novella. It takes place in a stuffy interior world dominated by an old sinister woman in a green shade. The narrator's intentions are quite amoral and evil. The narration is deftly created through sure touches of insecurity and self pity. The trick of the unreliable narrator is used to great effect. And at no point does it seem anything other than a seamless and effective method of narration.

Such is his facility with the essentials of theatre - concentrated narrative action; lengthy, dramatic scenes of dialogue; vivid characterisation; pointed use of interior space, exits and entrances, and the revealing image - you wonder why James failed as a playwright.

Of course, there is a defining element of James' art that is impossible in the theatre - narration. The nameless narrator of 'The Aspern Papers' is one of the greatest monsters in James' teeming gallery of inglorious masculinity - the editor of a revered American literary poet, who tries to wheedle important documents from a celebrated lover, the now-decrepit Juliana, by installing himself as a lodger, and flattering her aging spinster niece. Like most James heroes, who treat life like a selfish game, he has no idea what emotional havoc he is wreaking on the woman.

The tale has all the drive and tantalising delay of a crime story - the hero is both detective and criminal, and the suspenseful climax suggests what a great genre writer James could have been. As with Stendhal, just as exciting are the intricate, agonising dialogues between the narrator and the niece, each wildly misunderstanding the other.

But if 'Aspern' is a crime story, than the the criminal is of the order of Freddie Montgomery in Banville's 'The Book of Evidence', a brilliant, charming, frighteningly amoral man, whose check of social scruples is dicarded with shocking ease. His seemingly over-detailed account is full of gaps, self-defence, self-pity, evasion, vagueness, misremembering, disarming honesty and wild misinterpreations of others' characters and motives. He is a man who can't see beyond his own narrow goal, behind whom we always sense an unseen, all-seeing eye.

He is the forerunner to a second modern anti-hero, 'Pale Fire''s Charles Kinbote, another literary editor whose devotion to his subject has become mad and murderous. In a Victorian age full of cant about the ennobling power of art, James asserts, disturbingly, the opposite - repeated exposure to sublime poetry (and the book is full of ironic references to religion and glorious war) has only made the narrator emotinally dead, unable to respond to the humanity of others. This 'portrait' of an aging muse, malevolent and concupiscent is a stark warning to literary idealisers, and a sad study of human decline, but should also be seen as a reflection of the narrator's own desires.

'Aspern' is incidentally THE great Venice story, its watery decay somehow seeping through the narrator's blind egotism.

Quite honestly this book was one that I found I could simply not put down. This book was beautifully written by one of the greatest authors of our time. The characters were very well devoloped, from Peter to Wendy to Starkey the pirate. The imagery was amazing and I did not need the illustrations to be able to see what was taking place. Parents, I encourage you to buy this book for your children and also for yourselves.
I must say that I cherished the book and enjoyed it far more than the Disney movie. Peter's conceit was among the funnier moments, along with his memory.

"How clever I am," he crowed raputerously, "oh the cleverness of me!"
It is humliliating to have to confess that this conceit of Peter was one of his most fascinating qualities. To put it with brutal frankness, there was never a cockier boy.
But for the moment Wendy was shocked. "You conceit," she exclaimed, with frightful sarcasm; "of course I did nothing!"
"You did a little," Peter said carelessly, and continued to dance.

The scene above was one of my favorites, for it is rare that Wendy was ever sarcastic in any way.
In any case, this book is a marvelous lesson for children (and teenagers such as I) who fear growing up. So long as you are pure of heart, Peter will be there and you shan't ever grow up. Not really.

I read this book just this year when my Language Arts teacher told us to read a book that had "good ideas". I've seen and loved the Disney version of this classic and wanted to read it. This book is so funny and enjoyable! It is about the adventure the Darling children (Wendy, John, and Michael) have when Peter Pan show up one day in their nursery room looking for his shadow. He takes them away to Neverland and they have all sorts of wonderful adventures. This is a great book for all ages! Enjoy!

Peter Pan is among my favorite children's tales. This a particularly lovely version because it's unabridged and has beautiful illustrations. In this version, the story and characters take on a rich quality that is missing in the Disney and other shorter version. Nonetheless, I think the the original version of the story is better appreciated by teens and adults. For young children, some of the shortened versions work better. As your own Peter Pans start to grow up, hand them a copy of this book. Maybe they'll learn to fly in their imaginations for at least a little while longer!

To whoever is interested in Freuds "Civilization and It's Discontents" I SAY READ IT! An excellent book which depicts civilization for what it is. In this book Freud discussed a varity of topics such as religion, sex, happiness and human suffering (listed in no particular order). I think that the entire purpose of the book was to show humans that civilization is not any better than times before it occured. We tend to think of ourselves better than pre-civilized times however, nothing has changed because reality is constant. Human nature is focused on beauty, instinct and will.

I would have to definitely say that this is one read that has helped change my perception on reality, as well as give me deeper insight. Although one must be patient with Freud (his writing can, at times, rather sleep inducing), this book can open up a great deal of understanding about current literature and film. My essay I wrote for school comparing Civilization and it's Discontents and Fight Club recieved an A, and I have also been able to identify similarities from here in books such as Brave New World and Island both by Aldous Huxley.

I must say this is a recommended read that you should definitely look into!

Freud's Civilization and its Discontents could arguably be one of the most compelling books you will ever encounter, if read properly. The problematic posed by Freud is a fundamental one. Freud argues that the demands of civilization and demands of our instincts are out of sync. He posits that humans are haunted by an assortment of powerful unconscious needs. These hardcore "needs" range from sexual fulfillment to a release of aggression. These primal needs for sexual fulfillment and aggressions were once the tools we used to survive. With the dawning of a new age, we no longer need to use these tools. We turn inwards. See, juxtaposed and interconnected is the other side of the coin, is civilization - a phenomenon that inhibits these primal drives. But we need civilization to give us a different sense of security. It is a catch-22. Throughout the ages, then the constant tug of war between these two forces has caused ruptures in our history was the tension is expressed in frustration.

Freud is really informative when he posits that we turn this aggression inward. Perhaps it is how civilization has configured good and evil that is turning this mechanism out of sync. In an almost sado-masochistic move, the superego is now torturing the ego. It is the collision rather than the confluence that is ruining this forced marriage. I am not certain that Nietzsche really had this sort of impact on Freud but I am reminded of Dionysus and Apollo from The Birth of Tragedy.

Nietzsche was trying to convey a partnership between them more than a countering or perhaps better, a "healthy tension." To be human is to be stretched between these two domains. The Dionysian is the raw impulses, chaos, and absurdity of existence; the Apollonian is the ordering impulse that seeks order, the eternal (in logic, religion, or morality, etc.) and beauty. As a particular existence, we are comprised of the raw stuff that is life in its very heart. We are contradiction, passions, chaos; but we cannot live in this domain alone, because it is ugly, terrifying and absurd. Thus we are wont to make it beautiful, to create from it a habitable and beautiful world (and self). Without the Dionysian, there can be no Apollonian. Without Apollonian, life would not be bearable. Hopefully, Nietzsche (as does Freud) does not advocate a return to our "bestial natures." However, Nietzsche declares that it is better to be a Cesare Borgia than a Christian, for at least great things are possible with the raw power and nobility of the beast. The Christian, to him, is enfeeblement and brutalizes the nobility and power inherent in humankind. To be capable of greatness, one must be capable of evil and good. The Christian, however, esteems everything that is meek, pitiful and weak. Action is evil, the world is evil, and we must quietly await a better one. Nietzsche, and the existentialists, would resist any attempt to ascribe a "nature" which predetermines us. We are flux. We are change. We are in a constant state of becoming and there is no prior nature that determines what we will become.

Although Freud was a champion for the recognition of these primal urges, it cannot be said that he advocated a free for all. What is really powerful in Freud is that civilization is not seen to be purely an external thing and it has real consequences on the inside. Our superego - civilizations handmaiden on the inside - is now calling the shots. As we internalize what the external is telling us to do, how to act - like gnawing guilt it invades our psyche to the extent that no matter how we wish to transgress, we become and need the very thing that causes our frustration.

If you peg the most basic response to fight or flight, then civilization can be seen to have removed that which was causing all sorts of anxiety - as we no longer express and remove sexual needs and aggression "in the wild." Freud it could be argued is saying that the superego now attacks the ego denying out most elemental needs. Those needs though, because of the reconfiguration of civilization are suppressed. The two forces - the superego and the ego, instead of working together are working against each other. If perhaps there is a hope for a sense of a new humanism, that this might be the answer - finding a way for the superego to work with rather than against the ego, that is of course if you have bought in on the duality. The debate rages on.

Miguel Llora

Like my title says, I wish there is a two and a half star rating. I have read better skating books than this one, such as " Figure Skating For Dummies" and "The Essential Figure Skater". This book is too vague in some parts of the book and too much information in the other parts. Not a very good guide to figure skating. The pictures of famous figure skaters are the best parts of this book.

Having read this book through I was delighted to read such a well detailed and easy to read book without the usual complicated jargon. My children have read the book and enjoyed the pictures and diagrams and have said that what their Coaches have been saying to them has become much clearer.
Many thanks to Peter Morrissey and James Young for an excellent book.

I have at least a dozen technical figure skating books, and this one is by far the best one. You can see it right away, that it was written by professional COACHES, not SKATERS.

Irish writer Edna O'Brien's brief (179 page) biography of James Joyce was aimed at people like me who are curious about Joyce's life, but not curious enough to undertake Richard Ellman's definitive but massive biography. O'Brien venerates Joyce's writing, but recognizes the high cost to most everyone who had any contact with Joyce.

Although she argues (without convincing me) that Joyce was not a misogynist, she does not attempt to defend him from being viewed as a monster; instead, she answers her question "Do writers have to be such monsters in order to create? I believe that they do."

O'Brien provides interesting responses to Joyce's life and lifework. Hard-core Joyceans will already have processed Ellman's biography--regarded by some as the best biography of any writer ever written. The somewhat curious have a fine guide in O'Brien. Her book is generally readable, and I am inclined to trust her sense (as a novelist, as an Irish novelist) of what in Joyce's fiction is autobiographical.

The volume is an excellent match of biographer and subject, like Edmund White's biographical meditation on Marcel Proust that began the series of Penguin Brief Lives, a welcome antidote to the mountains of details that make so many biographies daunting.

As is almost consistently the case, the series of biographies produced under the collection of Penguin Lives has once again succeeded in providing a palatable doorway through which the hungry but busy reader can find the substance of an important if historically tough writer or artist. Edna O'Brien, herself an accomplished writer, here provides us with a fellow Irishman's view of the incredibly important writer James Joyce. Though most of us have at least read his 'Portrait of the Artist as a Young Man' and have seen plays and film adaptations of some of his other works, few of us feel we understand this complexly brilliant mind enough to say that approaching 'Ulysses' or 'Finnegan's Wake' would be easy reading. O'Brien gives us not only the chronology of Joyce's life, she also picks up on individual instances in his youth and manhood that served as fodder for his detailed novels of his Irish heritage. The writing is brisk, acerbic, challenging, and ultimately rewardingly educational. Finish this brief history and you most probably will run to the book shelf for another go at the master!

Biographies in this series are the perfect fun size. Light, but long enough to have a lot of real stuff in them, more than a mere introduction.

The very first sentence of this book invites you into Joyce with an imitation of his writing style, & after that Edna O'Brien shares generously & mellifluously her great understanding of the man, his life, & his work, drawing on scholarly commentary of his books & from the journals & letters of him & the people around him so that you know how they all felt about his life & their lives in themselves & for the purposes of this biography in relation to him. It's so well-written & so interesting -- what a life he had, crazy as he was, that -- I could hardly put it down. Edna O'Brien's great interest in him comes across truly.

Granted, this book is very long (the particular version I read exceeded 1,000 pages), but it is also very well written (what would you expect from Michener?) and fascinating.

It tells the history of Texas, including notable events like first exploration of that area by Cabeza de Vaca, the Texas Rebellion (the story of the Alamo is told) during which brave soldiers like Sam Houston fought the Mexican dictator Santa Anna, and the first discoveries of oil in that region.

This book will teach you some things about Texas. For instance: I, for one, did not know that for a brief period of time Texas was an independant nation recognized by, among others, the United States.

Don't confuse this for an impassive history lesson, because it is not. Michener makes it come alive with vivid characters and historical events.

Texas is like the Texas it describes, large, diverse, bold and beautiful. Michener has developed a masterpiece that might take the average reader awhile to "get into." (I delved into its 1000+ pages once a year ago and put it down, only to recently pick it up again) But, Texas is well worth the time and the effort. Texas traces the history of the state from its beginnings as a Mexico territory through its short stay as a independent state into its annexation into the United States, role in the civil war and beyond. Michener saturates the book with interesting people and places, puts you at the Alamo, San Jacinto and the battle of Vicksburg... you follow a cattle drive, live through a hurricane and do battle with Indians. His characters experience all the best and the worst that Texan history has to offer and see famous Texas patriots (Sam Houston, Davy Crockett) and infamous vilians (Santa Anna, Benito Garza, the Comanche Indians) at work and play. However, the best part of the book is its description of the "culture" of Texas, the way the reader is shown the influence of Spanish, Mexican, French,and German settlers, the influx of adverturers from Kentucky and Tennessee mixing with northern merchants, southern cotton growers and, of course, the various Indian tribes that occupied Texas. You learn to appreciate the diversity and the psyche that made Texas the place it is today. It is a delightful, adventuresome, wonderful book-- by the end, you may want to move there yourself.

As a first time Michener reader I have nothing to compare Texas to, but as a collector of "anything Texas," I am amazed. While America's current affair with memoirs grows, this is an excellent work of fiction to enjoy between diary pillaging. Texas reads with the believability of several family histories inter-connected with each other through Michener's "Texas history." The novel is so masterfully prepared that I found myself repeatedly glancing back at the "Fact and Fiction" section near the introduction making sure I had not fooled myself into believing Michener's Texas is fully real. I first purchased Texas in 1989 and kept putting off reading the 1300+ page book for shorter books and personal projects. I finished reading the novel in less time than I expected and as soon as my second copy arrives ( nearly destroyed my nine year old copy through wear and notes) I plan on reading it again. Note Michener's use of quotations throughout the text as he presents the story through the voice of Dr. Travis Barlow and the individual voices of the well developed Texans. Every section brings one closer, focusing not only on the entity of the Texas spirit, but also humanity and interconnections between all people and all histories.