Breece Pancake killed himself with a shotgun in Charlottesville, Virginia on Palm Sunday in 1979. He was 26 years old at the time and had just completed a graduate writing program at the University of Virginia. Four years later "The Stories of Breece D'J Pancake" was published, a collection of twelve stories that posthumously established his literary reputation as one of the finest short story writers in twentieth century American literature.

Pancake grew up in the hollows of West Virginia and each of the carefully wrought stories in this collection deals with the seemingly desperate lives of the working poor in that part of the country. They are remarkably crafted stories, written with a deep sense for the locale and the people from which they are drawn. They are also models of precision, the kind of stories that deserve to be read over and over, studied for the way in which they use foregrounding and the mundane details of everyday life--albeit everyday life that quietly screams with the desperation of poverty, deadening work, drinking, promiscuity, and brutality-to draw complex portraits of people who endure, even when endurance is no more than a substitute for hope. As he writes in "A Room Forever," the story of a tugboat mate spending New Year's Eve in an eight-dollar-a-night hotel room where he drinks cheap whiskey out of the bottle and eventually ends up with a teen-aged prostitute: "I stop in front of a bus station, look in on the waiting people, and think about all the places they are going. But I know they can't run away from it or drink their way out of it or die to get rid of it. It's always there."

The best of these stories are "Trilobites," "The Honored Dead," "Fox Hunters," and "In the Dry." But there really isn't a weak story in the bunch. Every story is captivating, every one an exemplar of what good short story writing should be. At the end, the only thing that disappoints, that leaves the reader discomforted, is the thought that Pancake died so young, that these are the only stories we have by a truly remarkable writer.

In this volume, the writer's surviving voice really hits home and stays there. Like that perfect song that stays in your head and carries you through the day, Breece Pancake's words and wisdom echoe through the reader's mind forever after reading them. In this life, there is always something around to remind of a Breece Pancake story. From the time weathered fossils in the creek beds to the rare West Virginia 120 m.p.h. strait stretches, after reading this volume I see Pancake everywhere, no matter where I am in the world. Like the trilobite preserved beneath the earth that hides it, these stories are a tangible (and for some reason widely unknown), history of a time and generation that, like the tragedy of Pancake's suicide, is destined to be repeated if ignored.

There are times when things come together in such a way that you know it's perfect. It can be a phrase of music, a blending of colors and sounds in film, or, in this case, the words of a story. This book tells stories that fall together in a timeless way, but are still firmly rooted in a specific place and time.

Having grown up in West Virginia, there were parts of these stories that spoke to me from a sort of "native" perspective. But more to it was the emotion that was the core, the skin and the stitching of each of these stories.

It's a good book to own. To read from when you feel like being taken to another place for a while. And to carry a piece of that place with you once you put the book down.

This is easily the best cookbook I've ever seen. Bold, assertive flavors without the trendy nonsense. I was going to puchase books on foods of India, Asia, and other torrid zones, but this one fills all my needs and is moron easy to boot? How's that for self-deprecating?

This book was the first cookbook I bought after the predictable Joy of Cooking. I bought it at Chris's Cambridge retaurant, The East Coast Grill- which is perhaps my favorite Boston eatery (and I've been to all the best in the area). I've gone on to buy several books concerned with Fusion Cooking, many of which just collect dust these days. I keep returning to this book. Of all my books (the collection has grown immensely since then) this has become one of the stained and ragged standards in the repertoire. The section on spice rubs is fantastic. The overall layout is simple and user friendly. The history and description is interesting while being concise. Anyone who spends a little time with this book will undoubtedly walk away with a broader appreciation of cuisine.

I have a collection of over 300 cookbooks and funny enough, end up using about 1/2 dozen on a regular basis. This is one of those must-have cookbooks. How it ever went out of print I don't know. The recipes are unique, interesting, use ingredients in unusual combinations, to great effect. Superb barbecue recipes and wonderful meat rubs. Can transform a Sunday roast into something very special, without a lot of work. Many of the recipes are quite easy to prepare and look elegant. I always get great compliments when I cook from this book.

If there was ever a series that EVERYBODY gets excited about, it's Alan Moore and Neil Gaiman's Miracleman. The first 10 issues are a very entertaining spy story, reworking the title character's origins in classic Moore fashion. The art is a little spotty, unfortunately, and the story suffers for a couple of issues in Book 2: The Red King Syndrome. Olympus is the payoff. Moore and Totleben were made to make comics together, as evidenced by their acclaimed run with Steve Bissette on Swamp Thing, and this is the best work either of them has ever done, and perhaps ever will do, with the super-hero genre. This book is abou 150 pages of the most heartbreakingly beautiful comic art you will ever see in your life; Totleben's baroque line art impressively manages to save Moore's purple prose from caving under its own weight, and Moore has Totleben draw some of the most compelling characters and moving scenes in any medium, all while decorating it with beautifully poetic language. There's a reason that everyone gushes about this series, and Olympus is that reason.

The Miracleman (Marvelman in the UK) collections are quit interesting, and what's more, offer a terrific deconstruction of the "superhero ideal". This ideal was later explored in his SUPREME series (the first volume) though MIRACLEMAN nonetheless offered a serious approach and proved quite groundbreaking in gaining intellectual readership and redefining literature that was once, long ago, referred to "funny books". The several collections are all worth a read though the later books (when Moore handed the reins to Neil Gaiman; this was Gaiman's first comic work) as well BOOK 3: OLYMPUS have the best and most picturesque, expressive artwork.

I discovered Alan Moore in my college days, and since then I have been overwhelmed at wealth and back calogue of his work; the man is quite simply very prolific -- with the exception of a couple creations or what are simply uninteresting series, we are lucky to have his work. Moore's writing has been compared to the works of others and yet I feel that Moore is often the most solid of any comics writer, hands down. His style is mysterious, magical, and at times disturbing, though always intelligent.

Alan Moore is probably the best writer to work in the comics medium, and this is his greatest story. If you enjoyed Kingdom Come, this is a must read, the paralells (not that Kingdom come is a rip-off) are striking. These comics are so amazing, there's really no excuse for them being out of print. Even if you have to pay several hundred dollars to collect this series, it's worth it.

Though the delightful The Patchwork Girl Of Oz (1913) may be the overall favorite of dedicated Oz enthusiasts, L. Frank Baum's The Scarecrow Of Oz (1915) is very likely his greatest Oz novel, as its story is warmly and enthusiastically told, moves forward superbly, and the only padding found within its pages is the straw that stuffs the Scarecrow's body.

Baum wanted to transfer characters Trot (real name: Mayre Griffith) and her much older guardian, Captain Bill, of his non-Oz titles The Sea Fairies (1911) and Sky Island (1912), into Oz permanently, and they are the apparent stars of the book until the Scarecrow is introduced on its 173rd page. Though Trot, like Betsy Bobbin before her, is almost identical to Dorothy Gale in manner and appearance and would in later volumes largely fade into a pale replica of her, Baum here allows Trot to command the narrative and display a number of admirable, heartening qualities. Perennial lost boy Button - Bright (real name: Saladin Paracelsus de Lambertine Evagne von Smith), who is discovered buried face down in a small mountain of popped corn, is also a key player.

Caught in a monstrous whirlpool that appears out of nowhere while sailing on calm American ocean waters, Trot and Captain Bill awaken in a strangely lit underwater grotto. Though the narrow, claustrophobically confining passage they are obligated to enter and follow does not lead them directly to Oz, it does lead them to another of Baum's fairytale kingdoms. As in previous titles, readers may question whether Trot and Captain Bill have died and passed into the afterlife; certainly their early travails have a purgatory - like quality. In a hilarious episode, the twosome find themselves trapped on a small, lush island with the most cantankerous man living, who complains that the trees are too green, the water "dreadfully wet," and that the sun, which unpleasantly "shines in the daytime," is useless, because "it disappears just as soon as it begins to get dark." This "little old man of the island" is in exile, and certainly seems to occupy his own tiny circle in hell.

As in Sky Island, readers are given excellent expository information about Button - Bright; this is important, because Button - Bright, when appearing later in the Oz chronicle, was often portrayed as an annoying idiot with a tabula rasa for a mind ("Some folks think I'm stupid. I guess I am," he goes so far to say in Sky Island). However, in the Scarecrow Of Oz, Baum explains Button - Bright to his audience in almost Zen - like terms. Button - Bright is "almost as destitute of nerves as the Scarecrow...nothing ever astonished him much; nothing ever worried him or made him unhappy. Good fortune or bad fortune he accepted with a quiet smile, never complaining, whatever happened." Is Button - Bright a young wandering Buddha? Button - Bright, who has an exceptionally hardy appetite, is enthralled by both the beauties of nature and of happenstance. A junior lord of unforeseen contingency, an open meadow, a hedge of berry bushes, or a fluttering butterfly is all that is necessary to send him dashing off blissfully into spatial oblivion. In the Scarecrow Of Oz, Button - Bright, who lives purely in the moment, seems to possess the secret of happiness, if no longer his magical umbrella, and makes a perfect counterpoint to the more responsible, rational Trot.

The Scarecrow Of Oz is also one of the several Baum - composed Oz titles that concerns itself with witches. One of the book's three main antagonists, Blinkie, who, like the Wicked Witch in the first book, has but a single good eye, is a traditional European folklore witch: she is old, wrinkled, eccentric, power hungry, toadying, and spiteful. Interestingly, as in medieval drawings, Blinkie and her fellow witches ride their broomsticks with the brush portion forward. Baum even raises the possibility of witch burning, though, as bad luck may have it, it is the easily consumed Scarecrow and not Blinkie that is eventually tied to a stake and threatened with fire. Baum counters Blinkie with Gibson Girl look - alike sorceress Glinda the Good, who, the opposite of the witch in every way, is lovingly described: "No one knows her age, but all can see who beautiful and stately she is...her hair is like red gold and finer than the finest silken strands. Her eyes are blue as the sky and always frank and smiling. Her cheeks are the envy of peach-blows and her mouth is enticing as a rosebud. Glinda is tall and wears splendid gowns that trail behind her as she walks. She wears no jewels, for her beauty would shame them." Strangely enough, illustrator John R. Neill consistently portrays Baum's sorceress supreme wearing an unusual headdress conspicuously crowned with what looks like a cross between a healthy, long-stemmed, large-capped mushroom and a vigorous phallus.

Here more than in any of other Oz title, the Scarecrow shines, as he rightly should, though the novel is more than half over before he makes his appearance. Baum tended to dilute even his most popular characters over the course of the series, and in too many Baum titles the Scarecrow is depicted as little more than the Tin Woodman's "heterosexual life partner," though of course the Scarecrow bills and coos with the Patchwork Girl as well as with best friend Nick Chopper. The Scarecrow, sent by Glinda to rescue Trot and her cohorts from an evil king, is certainly the hero of the book: "As a conqueror I'm a wonder," he says before single - handedly but futilely demanding that King Krewl abdicate his ill-gotten throne. Happily, the sometimes Christ-like Scarecrow survives both burning at the stake and drowning in a waterfall, but not without the help of less overconfident friends.

Gorgeously illustrated in both color and black and white, the Scarecrow Of Oz is excellent in every way and belongs at the very top of the multi - volume Oz heap.

In this delightful story, a young girl named Trot and her long-time friend, the one-legged sailor Cap'n Bill, are drawn into an adventure that takes them to the magical land of Oz. Readers who are familiar with the works of L. Frank Baum will recognize these two characters from two previous novels that are set outside of Oz, The Sea Fairies and Sky Island. While it is not necessary to have read these two works prior to reading this book, the three novels taken together outline the close relationship of this optimistic and courageous young girl and her pragmatic companion, the worldly retired sailor who lost his leg at sea.

The plot is familiar to readers of other Oz books. Mortals from the outside world get hopelessly lost, but retaining their determination and good will, they move forward until they find themselves in the fairy land of Oz. All along the way Trot and Cap'n Bill meet fantastic beings and explore strange countries which the author creates with a joy and imagination that seem boundless. On this trip they meet and become fast friends with a strange flying creature called the Ork, who, although featherless, is equipped with a propeller as well as four wings. Together the three of them continue on to the Land of Mo where they inexplicably come across another beloved Baum character, Button-Bright, a boy who is unflappable and prone to getting lost. These four next find themselves in a remote and inaccessible corner of the land of Oz called Jinxland. Here they fall victim to the cruel plots of King Krewl and the magic spells of the witch Blinkie. Discovering their plight, the Scarecrow of Oz decides to go to their rescue. But what can a man of straw do to fight a corrupt king and an evil witch? Find out for yourself and enjoy every minute of it by reading this wonderful book.

The Books of Wonder edition has recreated the original first edition with all its twelve color plates, over 100 black and white illustrations, and a full color dust jacket by John R. Neill. It also includes a three page essay by Peter Glassman that discusses this work as it fits into the writings of the author, L. Frank Baum. This is a must-read for Oz aficionados and a joy to anyone interested in children's fiction.

"The Scarecrow of Oz" is a great book to have on your bookshelf with the rest of the Oz books in the series. You'll love the Ork and his friends, Pon the gardener's boy and Princess Gloria.

This is a nice addition to the currently available literature on the Apollo program. For those who are unfamiliar with Alan Bean's work, it is more impressionistic, rather than focusing on complete, detailed accuracy. Those who watched "From the Earth to the Moon" and expect the same kind of art may be disappointed. However, Bean's work adds another layer to the basic photographs we've already seen, incorporating the sense of grandeur and "magnificent desolation" that the astronauts were able to experience. Chaikin's text does not add anything that was not already covered in his book, so don't purchase this text to find out new facts about Apollo. DO purchase this book for the paintings. It makes you want to own a Bean original!

I have read all of the Apollo astronauts' accounts of their journeys, and this book adds something different. Alan Bean gives a unique view of the United States' greatest adventure. His paintings renewed my excitement for our space program. The narratives that go with the paintings are genuine and speak to every American. This book will inspire young people to be proud of our space achievements--a quality that both the news media and our politicians sorely lack these days. Bean's love of the space program is displayed by the colors and settings of his works. Many times, Bean reminds us that Apollo was an act of all of America, not just the astronauts. From a space enthusiast's point of view, we need more books like this!

With the descent of the lunar lander Intrepid, Apollo 12 astronaut Bean became the fourth man to walk on the moon. Since his retirement from NASA in 1981, Bean has devoted himself to his realist paintings; this handsome volume allows him to display both his artistic skills and his orbital experience, reproducing dozens of Bean's paintings of lunar surfaces, moonwalks, astronaut gear and so on, alongside a blow-by-blow narrative of Apollo 12, which Chaikin (The National Air and Space Museum Book of Aviation and Space Flight) has written very much from Bean's perspective. Chaikin and Bean describe the thrills and setbacks on the latter's path from naval aviator to astronaut, his first view of the blue-and-white Earth from 293,000 miles and the technical problems of making sure an American flag stays up on the moon. Final chapters track Bean's adventures with the paint and canvas he took up in 1974 ("Flying skills are so much like painting skills, it's amazing"), the exploits and close calls of other astronauts and Bean's hopes for his art and for space exploration. Short paragraphs in which Bean explains his pictures' subjects and techniques alternate with the longer segments of narrative; this format can make the whole book seem scattered, though the images, and the anecdotes, retain undeniable power. The meticulously detailed paintings themselves add warmth and a mid-19th-century softness to the photos and equipment on which many of them are based.

Alan Moorehead was a war correspondent who covered most of the 3-year desert campaign in North Africa in World War II. Therefore, he saw the war at first hand, sometimes coming under fire himself (usually from aircraft), sometimes getting lost in the vast desert, sometimes missing key events because his reporter's intuition led him astray. Although he was not usually on the front line, he did manage to get into towns within hours of their liberation. He had interviews with the general staff of the (British and U.S.) armies and a good grasp on the overall strategic vision of the campaign, from the Allies' point of view.

The writing quality is top-notch, especially descriptions of the burnt out and fought-over towns and countryside. You get a good flavour for the conditions the troops fought in and for the bravery and resilience shown by the soldiers. There are a number of very interesting sidelights to the action, highlighting the difficulties encountered in trying to report the war.

Unfortunately, there are a number of quibbles that detract from a 5-star rating. This book is not a "definitive" history of the war - it was written too soon and from a purely Allied point of view. It is undoubtedly biased - he constantly makes excuses for the Allied generals' failings to deliver a knock-out blow to the Axis, especially blaming the long supply line from England (neglecting the fact that half of the Axis' supplies were sunk in the Mediterranean). He refuses to admit the Allied forces were consistently outgeneralled by Rommell, blaming the British training and internal organisation instead, first claiming the generals could not change it (bureaucratic inertia), then applauding Montgomery for changing it quickly. There's distracting (and long) digressions from the front, especially a trip through India and a vacation to the U.S. While the politics of Indian independence are interesting in their own right, they are complex and require an historical context so they couldn't be developed properly. Finally, there is no background material - the author assumes at least a passing knowledge of the people and politics of the day, so it might be frustrating for a beginner. The maps are generally quite good, however, so geographical mastery of the area is not necessary.

Therefore, I recommend this book as a personal snapshot of the attitudes and actions of the Allied armies in the desert campaigns of WWII. As such, it is clearly biased, but the quality of the writing and the descriptions overcomes this difficulty.

If you are interested in the War in North Africa this is the read for you. It is absorbing and well written with a flow of a correspondent who is constantly moving to different parts of the front. I love and would recommend anything by Moorehead, but this is still a special book because he lived most of it. It is not however a history of the war. There are large chunks of the war that are not written about, time frames where whole battles are not directly refered to. That is because Moorehead was not there to cover the war. That does not detract from the flavour and action of the book. Moorehead is great in, among other areas,

* his description of the British Campaign against Italy in Ethiopia
* his descrption of the early days of the war and also the Australian role in the war against Vichy France in Syria and then its role to nip a coup and Nazi support for Iraq, firmly in the bud
* his description of the ebb and flow of battle that confused both sides, but ultimately was most boldly exploited by the Germans. The swirl of dust and whole lines of transport and tanks wondering either into or out of battle can almost be tasted.
* the seldom written about race to Tunis at the end of the book, the sudden rush across Algeria and then bogged down fighting in Tunisia; tough battle that tested the Americans for the first time and one where, despite the public image, was still largely British in effort.

The book is also of note in that halfway through Moorehead leaves the front for India and covers the Scripp's mission on Indian Independence at the height of the Japanese invasion. I know of really few descriptions of the positions of all the major parties in debating future of India: Gandhi with his unrealistic notion of "sating the violence of the Japanese invader with the blood of pacifist Indians who merely submit to the bayonets;" Ali Jinnah's willingness to send millions of Muslim troops to support the British if Britain would grant defacto status of the Muslim homeland of Pakistan. Somewhere between the two was the ever boxing clever Nehru. Moorhead met all these men and interviewed them in detail.

Moorehead also relates the loss of other correspondents in the fighting. The constant weariness and grind of the campaign that had Britain in the fighting for more than 3 years is apparent and there is a heartrending description of a British Tommy experiencing too much of the constant slogging and pounding of battle and not caring, in desperation, leads a forlorn attack in what was obviously a case of suicide.

This is one of the best books on WWII and war that I have ever read... and I may have read over 1000 since my early teens.

Moorehead's first person account of the African Desert Campaign is top-flight. He captures the moment as he experiences it. I feel I am sitting right beside him as he describes events and his reactions to them. Could this man write! I carry this book in my briefcase and whip it out whenever I have a few minutes to spare. I am always rewarded.

In this round of Swamp Thing installments from Alan Moore (original issues #43-50, which includes the double-size anniversary issue), plot elements that had been developing for a year or more finally come to fruition. That would be a battle even bigger than good vs. evil in the final story of this collection, fittingly titled "The End." Here we see the full apotheosis of Alan Moore's groundbreaking work with comic horror writing, a defunct style that he courageously made hip again at the time. And although the Swamp Thing series was thematically unlike anything else DC was doing at the time, Moore still ties Swampy's saga into the greater DC universe. John Constantine and a collection of minor and obscure characters associated with magic and sorcery help in the great battle for the universe. Meanwhile Swamp Thing allies himself with the heaviest hitters in DC's stable of occult characters, including Spectre, Etrigan (The Demon), Phantom Stranger, Dr. Fate, and the very suave Deadman. There is also a flawless crossover with the then-current Crisis on Infinite Earths epic, surely one of the great endeavors ever undertaken by a comics company.

One very interesting aspect of Moore's plotlines during this period is how Swamp Thing himself often falls into the background of the stories, as the focus is on the horrors around him, and he makes dramatic Lone Ranger-like appearances to save the day. Even in "The End" Swampy is a minor presence, action-wise, then defeats the force of darkness simply by reasoning with it rather than fighting. In this collection's first tale, "Windfall," Swamp Thing only appears on one page, and the focus of the story is a psychedelic fruit that grew on his back. During this period of the series, things were changing artistically, as regular artists Stephen Bissette and John Totleben were often overworked or unavailable. Here Stan Woch and Ron Randall really make their presence felt, especially in the most tremendous story of this stretch, "The Parliament of Trees." This concept is surely inspired by Tolkein, and in turn I bet that Woch and Randall's visual creations were an influence on the producers of the recent "Two Towers" film. By the end of this collection Moore and his great team of artistic collaborators continue to teach us about the deep roots of the Swamp Thing character, and he's not yet done learning himself.

Lets face it, Alan Moore is God's gift to the comic book reader. His stories are so intense, so cerebral, so completely real that I guarantee if you give any of his books to a non-comic fan they will never look at you like you're a childish freak again.
Swamp Thing was his first real American hit and its easy to see why: the tales age like a fine wine and you can use any issue as a jumping on point without becoming the least bit confused.

A Murder of Crows lures you in gently with three stand-alone stories that are reminiscent of Tales From the Crypt, but scarier because they are the quiet kind of horror that gradually build to frightening heights. From there you're launched headfirst into the muck of the massive 'Crisis' crossover DC used in the '80s to clean out its proverbial junk room of convoluted plots and multiple Supermans (There were somewhere in the neighborhood of 5 at the time), only your mind is not in the least bit boggled. Moore keeps things tidy (Plotwise anyway, some of this stuff is not for the squeamish) and the characters to a minimum so you always know what's going on with who and where. The depth he is able to go into as he bounces you from South American cults to British seances to Under-World War III will amaze you. For those Hellblazer fans out there, John Constantine's presence provides some serious magic of the non-Harry Potter variety as well as some wonderfully snarky commentary to lift the gloom a little.

You'll smirk, you'll cringe, you'll shudder and squirm.

You won't have a read you'll have an experience.

In "Murder of Crows", the Swamp Thing graduates from one dimensional 'monster that was once a man' to a world-saving elemental with Alan Moore's signature mix of horror and mysticism. This is the climax to the Swamp Thing's quest for truth and who and what he really is. Along the way he crosses tormented ghosts, a serial killer, a crossover from 'Crisis on Infinite Earths' and most of the magical heavyweights in the DC Universe. I would recommend starting earlier in the run (beginning w/ 'Saga of the Swamp Thing'), but if you want only one peak, this is the one to get. Even if horror is not your bag, if you enjoyed 'Crisis' this is a must have. The ending may leave you wondering if you crossed over into 'Crisis', but the journey is vintage Moore. Outstanding!

This is a collection of Alan Moore's first Swamp Thing stories, and are amongst the first comics to be published for adult readers by a major comics publisher. The stories do lack the sophistication and literary merit of Moore's best works. And, of course, Moore's ingenious reinterpretation of the character's history will mean nothing to those who had not been fans of Swamp Thing before Moore took over, but unlike most collections of comics about a popular character, this is irrelevant. These stories work well on their own as brilliant entries into the horror genre and can be enjoyed by readers of such authors as Clive Barker.

The illustrations by such artists as Steve Bissette, John Totleben and Rick Veitch are still masterpieces and remain superior to most of the artists who are popular today. Unfortunately, the art in this collection suffers from changes in printing techniques since the stories' original publication, leaving the colours a bit too bright and garish in contrast to the moody story and artwork. However, it is difficult and expensive to get the originals so this is something one can live with.

This is where it all begins. When the first story in this collection ("The Anatomy Lesson") was published, the industry and fandom was completely blown away. Alan Moore took a throw-away character (the Swamp Thing) and a forgotten villain (Jason Woodrue, the Floronic Man) and founded an entire genre of comics that had been long forgotten (or at least neglected) since the 50s or so.

DC's Vertigo line, the Sandman series, and very likely, Watchmen all would have likely never happened without the series of comics reprinted here. There is some truly frightening material in here that is unlike most comic fare aimed at younger readers (or at least sanitized for younger minds), but the writing was revolutionary for its time and holds up well today. The artwork maintains the high standards of excellence Moore establishes. The partnership of Alan Moore and Stephen Bissette is one of those magical pairings that occurs so infrequently in comic history (I compare it to Stan Lee and Jack Kirby on the Fantastic Four, Chris Claremont and John Byrne on X-Men, and Marv Wolfman and George Perez on Teen Titans). This is truly a treasure to add to your collection.

When Alan Moore came to DC to write SWAMP THING, he had already made a name for himself in England with 2000 AD and his early works, including "V For Vendetta," "The Ballad of Halo Jones," "Marvelman" (later renamed "Miracleman" when published here in the States), and more. But it was his legendary work on the SWAMP THING series that broke him into the big time and made the name "Alan Moore" synonymous with "genius" amongst conic book fans.

SAGA OF THE SWAMP THING is a reprint of Moore's first story arc of the series (issues #20 through 27), the groundbreaking series that shook the entire comics industry. This was the first mainstream series to defy the archaic, outdated Comics Code (Marvel had done it earlier with Spider-man's drug issues, but this was the first series to abandon the Code completely); it was the first step towards "serious" mainstream comic books that catered more towards adults (and gave birth to DC's "Vertigo" line); it took an old has-been DC character that no one knew what to do with and breathed new life into him; and it also gave us a pair of wicked stories that are a sheer delight to read. Swamp Thing discovers his "true" origin in the saga of "The Anatomy Lesson," and he meets a horror from beyond death in "The Monkey King," while encountering several "minor" DC characters who had never been cast in the way they appeared in this series. (Moore's virtual re-writing of Etrigan the Demon sparked a new interest in the character, leading him to several spin-off books of his own.) And we mustn't forget the fantastic, haunting, beautiful, terrifying artowork of Steve Bissette and John Totleben, who made the pages fairly glow with life, as they turned the "swamp" world of the Swamp Thing into an eerie, beautiful, mysterious realm where life and death hide in every pool, waiting to spring out at you.

This book comprises the first half of an unforgettale comic book saga, laying the groundwork for a horrific tale that would cliax with a journey into Hell itself. When paired with the second reprint volume of the saga, "Love and Death," SAGA OF THE SWAMP THING shines as an early example of the genius of Alan Moore, the man who nearly single-handledly took the genre of mainstream comic books and turned it into a "serious" literary art form.

I received this book as a Christmas present and have really enjoyed it. It is a neat addition to any kitchen, as it offers some wonderful tips. I don't know how often I use this book, but if I remember to consult it, I generally find something that helps out while I'm cooking.

The day I got this book, my husband was making bread and wanted to know how to soften butter. I immediately grabbed this book, which answered our questions.

This book has tons of great information and creative ideas (Melt chocolate on your coffee burner! Use a condiment shaker filled with flour to lightly flour work surfaces! Wedge a wine cork below the handle of a lid so you can have something to grab onto without burning your hand!) Very useful and practical information.

Lots of useful tips, with illustrations.

I wish I could write as entertainingly as Alan Booth. This book will not disappoint you, especially if you like traveling and are fascinated with Japan. And if not, it's still a great read anyway.

The most brilliant thing about this book is that the author combines Japanese history into his narratives as he traces three historical figures and/or locations in Japan by foot. The way he makes the characteres he meets along the way of his journey come to life is outstanding. I really enjoy this book and wish that he had written others before he died. The only thing that bothered me somewhat and makes me feel unsympathetic towards him, however, is that he drank too much. But who am I to judge? This is a great book. Highly recommended.

Will some publisher PLEASE print a collection of Alan Booth's outstanding newspaper articles? These would be a wonderful complement to Looking for the Lost and Roads to Sata.

Looking for the Lost is an oddity. A book that I remember few details of, yet I remember with great vividness that I was moved by a intangible sadness that was always just over the next horizon of his journeys. Alan Booth was a writer of invincible good humor. Too much so to speak of his own impending death (though his newspaper writings about his trials with the Japanese medical system are classic). But the alert reader is constantly aware of an impending passing of life, seemingly inseparable from the passing of beauty in this country.

I was in Japan during the final years of Alan Booth's life here, pretty much in the same circles. It is my deep regret that I never took the trouble to make his acquaintance.

This is a facinating book. You get unusual and fresh perspectives on national/racial identity and the travel book. The story of how Alan Booth came to Japan, and his unique viewpoint as a foreigner who speaks the language, and knows as much or more about Japanese culture than many of the natives, is woven throughout his accounts of walking through different areas of the country. The way the people he meets view him, and the way he reacts and responds to them is often funny, and just as often instructive and meaningful. This a great book, and reveals much upon repeated readings. I only wish there more from him.