As a boy, my father (a sculptor) bought me this book for my birthday. As an adult composer and percussionist, it is still one of my most cherished music-related books and it would make a great coffee table book for anyone (especially musicians!) who wants something truly out of the ordinary.

I have also used it for teaching: a few years ago I taught at the Walden School for young composers in New Hampshire and taught a class for kids where they built some of the simpler instruments in the book such as the Funnelodeon and the Copper Maracas. They also built Whirly Tubes out of long pieces of light blue swimming pool tubing. Of course, the kids had a great time and some even said it was their favorite class. Therefore, I think this book would be useful for music teachers who teach children and want to try something fun.

Many of the instruments in this book can be built using items found at hardware stores. Many of the more complex instruments are reminiscent of instruments built by the American composer Harry Partch and are also similar to discontinued (yet amazing!) instruments made by the J. C. Deagan company at the beginning of the twentieth century.

This book would make a great gift for anyone curious about different tunings and for someone who wants to try them out on an acoustic instruments, for percussionists, composers, wind players, string players, or even retired folks who have a little extra time and like working with their hands. There are mostly percussion instruments, but also some stringed and wind instruments as well. The directions, photos and diagrams are clear, and overall, this book is just a lot of fun to have around.

A very useful and practical handbook for beginning instrument builders such as I. The book is organized into six sections; wood, wood and metal, metal, skin, plastic, and glass. Mostly percussion designs, but also includes a few simple string instruments and an organ pipe. Instructions and designs for 50 instruments, some traditional but mostly original variations by the authors. Also includes frequency charts, some discussion of just intonation, a great bibliography for further reading and a list of suppliers for things like gourds and bamboo.

The movement of the text through the reasoning of why teams relocate and the economic impact they inflict on their stomping grounds is an enjoyable and wonderful read for armchair economists and sports enthusiasts.

The section describing the econometric model which can be used to determine the next baseball expansion team was fascinating. I can't believe that Akron, Ohio will be a major league city soon!

The author has created an endearing character who has real-life concerns of size and self-acceptance. The book is about sunflowers and families, but it is really a tool to help children appreciate their own unique abilities and perspectives. Sunflower Sal is an unpretentious child who loves her family, her life and the large sunflowers she plants yearly. She learns to love her size, as well. By accepting that some things come naturally to her, she gives up her struggle and "thinks big". Her contribution is heart warming, and very like Sal herself.

Sal is a big girl in search of her special talents. She admires her grandmother's quilting abilities and tries to quilt herself, but is dissatisfied with the results. With supportive encouragement from her family, Sal pursues her gift of planting sunflower seeds, and is beautifully rewarded at harvest time. A great book to promote positive self-esteem (especially in girls). Warm, lovely illustrations.

Having read VINCENT VAN GOGH AND THE PAINTERS OF THE PETIT BOULEVARD, I regret I did not get to the exhibt in Saint Louis or Frankfurt where it closed in September 2001. This lovely book was created as an exhibition catalogue, but one does not need to have seen the exhibition to benefit from reading the informative essays or looking at copies of beautiful works by Van Gogh, Gauguin and other memebers of the self-styled "Petit Boulevard" artists group.

Essays on topics related to the subject are preceded by text written by the editor and exhibit curator, Cornelia Homberg, ("Vincent van Gogh's Avant-Garde Strategies"). Homberg suggests the 'petit boulevard' was both an avant garde artistic movement following the Impressionists and an actual commercial location in Paris at the end of the 19th Century. The Exhibit featured works by members of the avant garde group (Van Gogh, Gauguin, Seurat, Signac, Pissaro, Toulous-Latrec, Anquetin, Bernard and others "petit" artists).

Homberg challenges the notion that Vincent van Gogh always worked alone and that his art was a "one-off" as other critics have suggested. She says Van Gogh was a member of an artists colony located in the vicinity rue Lepic where he lived with his brother Theo (Montmartre area), that he may have coined the phrase "Petit Boulevard" (he discussed it with Theo in their letters following his removal to Arles), and he saw himself as a leader of this innovative group (which he hoped to bring to Arles as a "brotherhood" of artists).

In his essay entitled "The Cultural Geography of the Petit Boulevard" Richard Thomas describes the material dimensions of the place and time within which the "petit boulevard" artists worked. He describes the "off-off-Broadway/Bourbon Street" atmosphere of the bohemian artistic community -- a proletarian territory dominated by factories, caberets, taverns, le circque, brothels, and other down scale establishments (Chat Noir, Molin Rouge) where 'decadent iconograpy' was born. He says artists such as Toulouse Latrec, Steinlin, Willith, and others developed commercial prints depicting this mileau.

In the third essay, Elizabeth Childs describes the escape of Gauguin and Seurat to Pont Aven and Van Gogh to Arles following their Paris adventures. Here the artists hoped to reconnect with the timeless cycles of nature and leave the crass, commercial, class-ridden city behind. Childs says once Gauguin reached Pont Aven, the Celtic Catholic nature of Brittany spurred Gauguin to develop a medieval stain-glass cloisonnist style of art. She contrasts Gauguin's work with Van Gogh's 'rural' art which he based on a love of Japanese prints (by Hiroshege and others) and what he fancied to be Japanese culture, as well as the Barbizon style which included Daumier and Millet. In the last essay, John House discusses landscapes by Van Gogh (who influenced by his Dutch predecessor Rembrandt and the French Millet) as well as other artists of the period including Gauguin.

The book is filled beautiful reproductions of the paintings and other works included in the Exhibit (prints and photographs of the various items of art, the people involved, and the places they lived and worked). Sadly, one would have to do quite a bit of traveling to recapitulate the Exhibit, and then the synergistic effect would be missing. On the other hand, the book is a solid testament to the art that followed Impressionism. Although I had seen many of the paintings in their home museums (National Gallery, Chicago Art Institute, D'Orsay, Van Gogh Museum, etc.) I had not seen some of the works in private hands, nor the photographs of the period. This book is a valuable addition to my collection.

The Impressionist movement never really impressed me until I went and experienced this exhibit. This book is a great companion to the exhibit, going into much greater detail than the audio tour did, but can be equally appreciated (as a stand alone art history text) if you couldn't make it to St. Louis. I would recommend this book to anyone who is looking for information on some of the lesser known impressionists (those of the Petit Boulevard), as well as information on this brief period in van Gogh's life.

Begun in 1993 and taking place over the Labor Day weekend, The Maui Writers Conference is a well respected annual conclave in which writers and publishing industry professionals meet together to enhance their skills and understandings of the writing process. Word By Word: An Inspirational Look At The Craft Of Writing is drawn from conference participants and is a compilation of transcribed presentations made during the first six years of the event. Such luminaries as Richard Paul Evans, Terry Brooks, Ernest J. Gaines, Elizabeth George, Julie Garwood, David Guterson, Mitch Albom, Tony Hillerman, Ron Howard, Susan Isaacs, Barry Kemp, Ridley Pearson, Nicholas Sparks, Dave Berry and many others offer their wit, wisdom and experience in all phases of writing and publishing. Word By Word is an informative, occasionally inspiring, always practical "how to" anthology that is very highly recommended to writers of fiction, nonfiction, film and television scripts, and anyone who has ever wanted to set pen to paper and effectively record their ideas and stories for posterity.

If you can't make it to the Maui Writers conference (the Cannes of the literary world), here's the creme de la creme distilled into one book; if you're a writer, make this your new journal. From Elmore Leonard to Ron Howard to dozens of top names in fiction, non-fiction, screenwriting, the reader gets behind the art, the science and the magic of craft from masters. Explored in quick, easy to relate-to chapters by author, this book is inspiration for the pocket or bedside table -- read one piece each night before you dream, authors. A new must for any serious writer today.

Dr. Norman Jones a leading intellectual in the history of early modern Britain and the author of such titles as Faith by Statute: Parliament and the Settlement of Religion, God and the
Moneylenders. Usury and Law in Early Modern England, most recently The English Reformation: Religion and Cultural Adaptation includes The Birth of the Elizabethan Age.
England in the 1560s to his growing corpus of work. In this comprehensive account of one of England's most historically fascinating decades, Jones attempts to present the reader with a vivid, down to earth account of the 1560s from the point of view of the people who lived during the time. Jones proves his scholarly versatility in this account by not limiting it to just the religious, political, cultural, or social aspects of the time but by necessity crosses each one and ties them together in order to depict this tumultuous time in England.

Jones begins in 1558 with the death of Queen Mary I and the tense but joyful celebration of a new monarch. This is the perfect place to begin not just because it gives the historical
background necessary for understanding the 1560s but Jones also importantly sets the mood and emotional tone that comprised the entire decade. The ambiguity, procrastination and the down
right refusal of Elizabeth to clearly determine religion, marry, and name a heir gave her the opportunity to "gain firm control over her realm, prevented a Catholic revolt or even her
excommunication until the end of the decade, and created the Puritan movement (19)." This political genius on the part of Elizabeth prevented war and preserved her power but left great
confusion particularly regarding religion and the social expectations of women, specifically the duties of a queen.

In his chapter on Protestant discontents with the Elizabethan settlement and its sister chapter on Catholicism, Jones paints the picture of the religious tensions and confusion of both groups with fine brush strokes. The main players in the continuing English Reformation process are introduced and given proper attention for the parts they played in either resisting or pushing for reform. Pithily he mentions and discusses the Protestant concerns with discipline and ecclesiastical government (53) and the hopes and schemes of the Catholics, essential for understanding the period.

In an inductive manner he recreates from original documents the colorful past, plentiful in intrigue in both senses of the word. In his chapter on royal marriage, the scandalous stories of Elizabeth's courtships and her love for the Earl of Leicester are featured along with Mary Queen of Scots' tragic love life and political manipulations.

By writing from the point of view of the prominent and not so prominent figures of the time, Jones clearly shows the reader all of the political, cultural, and intellectual aspects of what the poor wretches endured in Merry O' England. This book is not only a historical text about the 1560s, it reads like a soap opera giving the reader windows into the public and private lives of the people. The style of the author is similar to a novel in the sense that a particular person and string of thought is followed throughout the book. For instance, John Whythorne is mentioned early as predicting the trouble of a changed monarch, later about his religious convictions, he is a main character in Jones' chapter on marriage, and he appears in the chapters on family values, carpe diem, making a living, and the epilogue. This format is superior to a biography but with the
same emotional connection. Jones allows you to feel for the people mentioned in the stories; you can sympathize with their suffering, their confusion, and occasional rejoicing.

This book is not just for intellectuals and scholars interested in this period, but it can be of use for anyone interested in the complexities that are involved in cultural and religious adaptation. Beyond that, the way it tells the story of the English people is entertaining and as good for curling up with on a rainy day as it is an important historical interpretation by a leader in the field.

Kyle VanArsdol

I bought this book because I understood that a few of my ancestors were quoted in it; as a genealogist, I look for every mention of my ancestors possible! But this book brought home the staggering (to me, I never said I was smart) fact that not all conflict between settlers and Native Americans took place on the plains. Many, many conflicts took place right here in the midwest, in Ohio, Michigan, etc. And this book provides an excellent description of the people and events of this period of settlement. It adds a dimension to my research, and is an fascinating study.

"Bruce Coville's Alien Visitors" combines a wonderful blend of science fiction, fantasy, and alien stories all in one. It tells past, present and future stories of far away worlds and extraterestrial happenings right here on Earth. For example, you'l hear a story about a boy who gets a job at a local diner working the graveyard shift and ends up meeting some of the weirdest aliens in the galaxy. Or you'll hear about space pioneers who start a settlement on Mars only to find out that some mysterious virrus is turning them into the very aliens they are looking for. If you are in to science fiction or anything about alien life on other planets then this is most certainly the book for you!

Years ago, Richard Fenno introduced the idea of the 'congressional paradox'---a phenomenon explaining that although a majority of Americans distrust Congress as an institution, that negative sentiment, however, did not extend to individual attitudes about one's own congressional representative. In Congress as Public Enemy, Hibbing and Theiss-Morse investigate the causes of and the reasoning behind public disillusionment toward the United States' top legislative body. Along the way, the authors discover dissatisfaction with Congress comes not only from the viewpoint that Congress is overprofessionalized and coddled by the hands of special interests, but Americans contain a wide discontent for the legislative processes. Interestingly, the authors observe this finding as troublesome. Authors state, "People profess a devotion to democracy in the abstract but have little or no appreciation for what a practicing democracy invariably brings with it...People do not wish to see uncertainty conflicting opinions, long debate, competing interests, confusion, bargaining, and compromised, imperfect decisions. They want government to do its job quietly and efficiently...In short, we submit, they often seek a patently unrealistic form of democracy." (Pg. 147) I believe we must ask ourselves is this true discontent or misunderstanding? Can civic education increase appreciation for the process? Does this discontent toward the process extend to public perceptions of state legislatures? A well researched and written work! Strongly recommended for anyone interested in the study of political psychology.

Although this is the fourth volume of the new edition of WJ's correspondence, in a way it is really the first, and would be a good place for a reader desiring a more intimate acquaintance with William James and his world to start. Volumes 1-3 were devoted to the letters to and from his equally famous novelist brother -- an appealing idea and one probably calculated to increase interest and sales, but perhaps questionable on more fundamental grounds. Be that as it may, as a reading experience Volume 4 can scarcely be recommended too highly. William James is probably one of the most lovable letter writers ever to set pen to paper. In these letters every sentence comes alive and breathes.

James possessed to a high degree qualities of attention, powers of observation, and an adorable desire to render experience vividly. It is a cliche to say that "a world comes alive" in pages like these, but that is the feeling I have when, for example, I read a letter written from Dresden to Oliver Wendell Holmes, Jr. on May 15, 1868: "Wendell of my entrails! At the momentous point where the last sheet ends I was interrupted by the buxom maid calling me to tea and through various causes have not got back till now. As I sit by the open window waiting for my bkfst. and look out on the line of Droschkies drawn up on the side of the dohna Platz, and see the coachmen, red faced, red collared, & blue coated with varnished hats, sitting in a variety of indolent attitudes upon their boxes, one of them looking in upon me and probably wondering what the devil I am, When I see the big sky with a monstrous white cloud battening and bulging up from behind the houses into the blue, with a uniform coppery film drawn over cloud & blue which makes one anticipate a soaking day, when I see the houses opposite with their balconies & windows filled with flowers & greenery -- ha! on the topmost balcony of one stands a maiden, black jaketted, red petticoated, fair and slim under the striped awning leaning her elbow on the rail and her peach like chin upon her rosy finger tips -- Of whom thinkest thou, maiden, up there aloft? here, *here!* beats that human heart for wh. in the drunkenness of the morning hour thy being vaguely longs, & tremulously, but recklessly and wickedly posits elsewhere, over those distant housetops which thou regardest..."

This jocular yet earnest mood is perhaps the most pervasive one in these letters. Yet we also get glimpses into the deep and suicidal depressions he fought during his early years. Several of the letters in this volume blossom into fascinating six- or seven-page ruminations on some of the deepest questions of philosophy and religion, for these are the years in which James, "swamped in an empirical philosophy," won through to a view of the world that found room for consciousness, will, and spirit. It is in his letters to (and from) Holmes, the physician Henry Bowditch, and his bosom friend Tom Ward that we feel most intensely James's mind and heart grappling with the ideas he cares most deeply about.

But James is not always mulling over deep principles. At eighteen years of age he briefly considered becoming a painter, and began studies to that end, so it is in his character to be fully alive to surface details of the scene about him. A commentary on cultural and political matters full of interesting judgments runs though these letters. Readers will also come to feel they know well every member of the James family. WJ's letters to his sister Alice are especially remarkable.

Though my initial reaction to the policy of extremely restrained annotation practiced by the editorial team was one of frustration, in the end I came to appreciate the free hand it gives us to reread letters more carefully and to feel ourselves into the wonderful and mysterious crannies of the inner life of a great human being. To this end, I recommend deferring the introduction by Giles Gunn until after they have concluded the letters. Professor Gunn (of UC Santa Barbara) has interesting and pertinent things to say -- especially about James's relation to his father, the Swedenborgian theologian Henry James, Sr., on whose work Gunn has written -- but there is nothing there that cannot wait until readers have first immersed themselves in the primary texts.

The volumes of this series are beautiful in their craftsmanship, and it is an aesthetic as well as intellectual delight to manipulate and peruse them. This volume would make an excellent gift for a bright high school senior or college freshman, since the problems of youth and of finding a vocation hold a special place here -- for anyone struggling with a chronic or debilitating illness (James is plagued with back and eye problems through most of these years) -- or indeed, for anyone who reads!