The novel Wingman:The circle War by Mack Maloney in my opinion is a vey sosphisticated book. Ithink that the novel has a good plot and the author uses literary elements.The basic plot had an ace fighter pilot Hawk Hunter, who was fighting to keep the spirit of his country alive.After hearing a report of Russian SAMs deep in the Bad Lands,Hunter would have to stop the Russians plan to win the war. Hunter goes on solo missions to find and destroy the Russian SAMs. Once hes in to deep to call for backup, Hawk finds himself waging a one man war.Teh setting of this book is the ruins of America and the Bad Lands from North Dakota to Texas. The main character is Hawk Hunter who is a fighter pilot fighting whats left of the war. Some of the key literary elements of the novel are imagery and suspense. There are many examples of these two elements. Two of them are found on pages 145 and 107. These elements helped make the book interesting and helped make the basic ides clear. I would basically keep the novel the way it is. The only change I would make is to put more personification into the book. this in my favor would give the book more suspense and imagery.

This book is the best book I've read in a long time. I usally don't like to read but ever sinse I read the first book,and this book it's great. I love the F-16 fighting falcon,and sinse it is the main plane that Hunter uses is really thrilling. I am looking forward of collecting,and reading the whole series. It is full of thrilling moments that are enjoyable to read DON'T STOP WRITING THESE BOOKS. THEY ARE AWSOME,YOUR THE MAN MACK!

This was a wonderful sequel to the first Wingman, and I can't wait to see what happens to Hawk Hunter in the next book

There are two movie adaptations of "The Winslow Boy" available, recently starring Jeremy Northam (1999), and anciently starring Robert Donat (1948). But neither is an adequate substitute for the real thing, the full text by Terence Rattigan. In 1988, PBS broadcast a superb production of the full text, starring Ian Richardson and Emma Thompson, but it has not, unfortunately, been transferred to video.

The play concerns a public battle against the government, waged by a father to vindicate his son, expelled from a naval academy for cashing a stolen money order. Although the crusade is exciting, the play is most interesting in what it reveals about the people intimately involved: the members of the Winslow family, their close friends and their lawyer. The resulting insights and realism are among the story's chief virtues.

At first reading, the play may seem a straightforward tale of innocence versus injustice. But on closer inspection, one finds that the boy's innocence is never proved, and that some in the family deny or doubt it. Moreover, even if he is innocent, the harm to members of the family and to the country from pursuing the case might be greater than the harm from letting it drop. Such uncertainty is frustrating, but life is like that. Crusades are often launched for ends whose worth is unclear. The play is wise to develop this point.

Moreover, the actions and motives of crusaders may be a mixture of good and bad. This may make them harder to join, but certainly interesting and instructive to watch. One admires the boldness, determination and persistence of the father, Arthur Winslow, without whose initiative the crusade would not exist. Yet he is rather a sourpuss, often dominating or humiliating others. His daughter and indispensable lieutenant, Kate, is the most attractive member of the family, bright and realistic but emotionally withheld and often blinded by partisanship. Sir Robert Morton, the celebrated advocate who represents the Winslow boy is a supercilious, cold fish, and a brilliant (unscrupulous?) forensic champion. All three make substantial sacrifices for the sake of their crusade.

The author is a master of surprise and reversal. Much of the dramatic excitement comes when esteemed characters behave badly, or disregarded characters greatly please. Perhaps the most beautiful moment in the play is a marriage proposal to Kate by Desmond Curry, an old family friend whom she rather disdains (and the reader discounts). And the mother, Grace Winslow, whose views have been generally ignored, finally makes a powerful case that the crusade, out of pride and stubbornness, is destroying her husband and family for a son who is uninterested in the result.

Another excellence of the play is its treatment of controversy. On the questions as to whether the crusade is justified and worthwhile, for the family and for the country, the author impartially assigns plausible arguments to the various sides, from the characters, the newspapers they quote, or the proceedings they attend.

An outstanding play, with plenty of food for the intellect, the heart and the soul.

The book shows the defficenceis of England before WW1.

Overall it is the most boring book i have ever read.

I enjoyed this play immensely and I also enjoyed the David Mamet film as well--a film that I thought was engrossing and a more than satisfying character study.

I liked how the play speaks of something that we sometimes give little regard to in today's society---the importance of and honor in a good and stable reputation. It was very enlightening to read this tale of a family (especially the father) who was in service of maintaining their son's dignity and place in society.

I was also taken by how this quest for honor taxes the family. My favorite scene in the play also begets my favorite line. The scene where the mother tells the father that he should let their son go on with his ife and not stigmatize him by this singular event is very honest and real. And when the mother says, "When he (their son) is grown, he won't thank you for it."-meaning the preservation of his reputation, I thought the whole idea and point of the story was driven home.

An excellent read indeed

Anyone curious about Weston or wanting to own a representative selection of his work should buy this book. This IS Weston. This is not a few selected prints of his on a single theme, this is a wide representation of the best of Weston's work. One will find for oneself that ALL of Weston's pictures are about passion, that's what makes a picture a Weston. Here in this book are beautifully reproduced plates of his finest images, every one exuding shape and energy, and exquisite composition, none just ordinary. There are images of factories, fields, sand, wood and also the human body, all of which have been captured in all its glory by Weston. He teaches us that there is energy, art and passion in an amazing number of ways. Don't miss this fine book.

It was a nude Weston's photo of Tina Modoti, layed down on a rural house floor, in México, that had put me on the trail of both. Since then I've been delighted with the sensibility and the astonishing "color" of the B&W photos of them, nudes bodies, "nude" nature, what ever... It was the first time, almost ten years ago.

Review Summary: Edward Weston was trained as a portrait photographer and expanded his vision to include many natural shapes, including seashells, nudes, vegetables, trees, landscapes, and eroded rocks. He also did a little industrial photography, where the forms he saw also revealed pure shapes of interest to him. These shapes usually had a modernist feel to them that brings to mind Plato's theory of forms, pure ideas behind what we see every day. This book is fine overview of all phases of Mr. Weston's career, and contains many interesting and valuable essays about his career. The book is improved by having over 80 images that had not been published before this volume. The 320 duotone images are on very fine paper and are extremely well reproduced. Many would have benefited from being printed in larger sizes. If you decide to own only one book of Edward Weston's work, I suggest you choose this one.

Viewer Caution: This book contains many nude images of women, men and children that would surpass what would allow the material to obtain an R rating as a motion picture.

Review: Edward Weston's photography reveals a personal fascination with form, shape and shadow that provide a unique vision into the natural world. He was especially intrigued to see how the shapes of one object or subject could complement another. For example, his female nudes are often posed outdoors in sand dunes or beach settings where the gentle curves play off of one another. Where he focuses on eroded rocks, each one combines with another to express the equivalent of an abstract sculpture, standing out exposed by the erosion around the harder rock that forms the image.

While his landscapes could be every bit as majestic as Ansel Adams's best work, Weston's tastes and interests developed mostly independent of the leading photographers of his time. That independence gave him a greater versatility as a photographer and a more personal style. Few would mistake his ability to locate the patterns within nature and human-made objects for the work of any other photographer. To me, the artist closest to his vision was Georgia O'Keeffe.

My favorite images from this book include: Ruth Shaw, a portrait, 1922; Armco Steel, 1922; Nude, 1925; Dancer, 1927; Chambered Nautilus, 1927; Cypress, Point Lobos, 1929; Bedpan, 1930; Pepper, 1930; Soil Erosion, Carmel Valley, 1932; Church at "E" Town, 1933; Nude, 1935 (first one); Bug Tracks in Sand, 1935; Whale Vertebrae, 1934; Dunes, Oceano, 1936; Nude Series of Charis, Oceano, 1936; Zabriskie Point, 1937; Tree, Lake Tenaya, 1937; Point Lobos, 1940; Dillard King, Monteagle, Tennessee, 1941; Civilian Defense, 1941; and Nude, 1945.

While you look at these works, you will imagine that Edward Weston is at your side . . . pointing out details that you might not have noticed. His photography always has that character of being a reflection of his eye, rather than what the casual observer would naturally see. Both realities have equal validity, but your mind and eye will prefer Weston's.

In the biographical material, you will learn about his weakness for changing partners and how that helped to provide his muse. Many of the models for his female nudes are his lovers (including his second wife, Charis) and his nudes of children are of his son. His passion for Tina Modotti brought him to Mexico and helped draw his attention to many fascinating scenes.

After you finish enjoying this work, I suggest that you think about what inspires you. What would you be happiest and most proud being remembered for as your source of inspiration? How can you express yourself in more personal ways that show your most inner self?

May your passion inspire the goodness in others!

A very thorough and dependable guide to foods and spices, complete with preparation how-to's and recipes. A great system of cross referencing saves time and beautifully detailed photos make this a must-have book.

This book is a complete compilation of ingredients and food we eat. I borrowed this book from the library with the intention of knowing names of food I usually purchased but do not want what it's called. The pictures in this book allow you to acknowledge them. It is a good resource to help me in using recipes that I read from magazines & cookbooks. This book does not delve into the nutritional aspect of the food but focus on how each food is usually prepared. The glossary on every page brings you to related pages of the food. The book is well organized and the pictures are clear and sharp. I bought this book eventually after returning the library's copy.

My Girlfriend gave this book to me as a gift and i can't thank her enough. I'm doing a Chef Course here in Venezuela and it's a great help in classes because it talks about everything you need to know on picking any kind of food and how to cook it. This type of books are really hard to findSimply Great!

Nichols' translation of Gorgias is indeed impressive. I have heard and read other translations of Gorgias- but the word choice of those other translation is too unadmirable(like "knack"-a word that is not fitted with Platonic dialogues). Nichols keeps consistent and easily understandable words. He doesn't go about saying "smart" words- unlike others who seem to try and exhaust their vocab. before they finish the work.

This is one of my favorite Socratic dialogues. The evidence suggests that Plato wrote it soon after the execution of Socrates, and while I would not say there is a bitter edge to this Gorgias dialogue, I can definitely say that the exchanges do get a little lively at times. At one point, I could almost hear the voices of Socrates and Polus being raised as they argued. Another positive aspect of this dialogue is the fact that it is comparatively easy to understand. Socrates does not start spouting ideas about true Forms or using geometry to prove his points; the more esoteric, more advanced Platonic ideas are to be found in Plato's later writings. In many ways, this dialogue also serves as an introduction to Plato's masterpiece The Republic. Socrates' ideas on some things seem nascent at this point, and he actually contradicts some points he would later make, but the heart of Socratic thought lies within easy grasp in the pages of this dialogue.

The dialogue begins as a discussion about the true nature of oratory. The famed orator Gorgias is in town, and Socrates is most anxious to have a discussion with him. At first, Gorgias' younger friend Polus desires to speak for Gorgias, but he proves little match for Socrates. When Gorgias enters the discussion, Socrates treats him very well, as a respectable man with whom he disagrees, and Gorgias for his part is never flustered by Socrates' description of his art as a knack and as a form of pandering. Later, Callicles bravely jumps into the mix, and things really get interesting. Socrates seemingly admires Callicles' courage to state what he means without shame, yet he winds up getting Callicles to agree with his points in the end. What is it all about? The main points that Socrates makes are that it is better to suffer wrong than to do wrong, and that it is better for a man to be punished for his wrongs than to escape punishment. Implicit in his argument is the belief that all wrongdoing is the result of ignorance; following up on this idea, he declares that dictators and politicians who hold vast powers are the most miserable men of all. He goes so far as to describe Athenian heroes such as Pericles as bad men because the state was less healthy when they left office than when they took office, the proof being that such men eventually lost power and were even ostracized.

For Socrates, happiness comes from being virtuous and self-disciplined. The orator can make a great speech and convince his peers that he is right, but he does this by inculcating belief rather than knowledge in the minds of his audience; he requires no knowledge to win such a debate, and as a result he tells the people what he knows they want to hear rather than what is truly best for them. Right and wrong are immaterial to the orator, Socrates charges. Callicles urges Socrates to give up his immature fixation on philosophy and become a public speaker; were he to be brought to court and charged with a wrong, Callicles tells him that he would be unable to defend himself. Much of the concluding pages consist of a wonderful defense by Socrates of his way of life. He agrees that a court could rather easily try and execute him, but if that were to happen, only his accusers would suffer for it. His thoughts are for the next world, and he has no fear of death because he believes a man with a clean, healthy soul such as his will be given immediate access to the isles of the blessed. The execution of Socrates was clearly on Plato's mind as he wrote this particular discourse.

I would recommend this dialogue to individuals seeking an introduction to Plato's philosophy. The entire discussion is clear throughout and easily comprehensible, and it proves interesting to see how some of Plato's thoughts changed between the years separating this dialogue and The Republic.

The single most impressive aspect of this dialogue is Socrates defense of the "good" against subjectivist arguments by Sophists; arguments which remain with us today albeit in different forms. Thus it is a truly relevant dialogue.

On the one hand, Socrates denies that an individual's supposed superiority determines right and wrong. In modern terms we'd call this the Nietzchean will to power argument. He cleverly kills the might-makes-right argument, by extreme individualists, by showing how ultimately the mob is more powerful than any individual. Thus this reasoning falls through. Yet, at the same time, Socrates denies that truth is determined by mere numbers or by popular vote. After all, Socrates wasn't condemned to death by a dictator or an aristocracy but by a democracy. Food for thought!

This is a nice translation in modern idiom and can be easily read in just a few sittings.

Let's face it, if you've made it through the first two volumes, then, in the words of Van Morrison, it's too late to stop now. There will be those parts where you want to wring Marcel's neck (both the author's and the protagonist's), but then, you already know that. No one sees the way that Proust sees.

In this volume Proust's narrator at last penetrates to the salon of Mme de Guermantes, the apex of Parisian society. If you've read Swann's Way and Within a Budding Grove, then you realize that this achievement is far more exciting than any summary can convey. Here Proust also develops the narrator's friendships with Saint-Loup and Albertine, presents us with one of the most beautifully written death scenes in Western literature, dissects the salon culture, and introduces an unforgettable ...mentor. This may sound irrelevant to life in the 2000s, but, as always, Proust's artistry captures the timeless human reality running through the daily details.

"In search of lost time" continues with Marcel's return to Paris after vacation in Balbec, to the new family house. The neighbor is the Duchess of Guermantes with whom Marcel falls in love in a platonic and purely imaginary way. He gets desperate to be admitted into the Duchess's social circle, and so he takes advantage of his new friednship with Saint-Loup, who belongs in that circle. Marcel goes to visit him at the town where he's in military service, and on his return, he is admitted to the salon of the Marquise de Villeparisis, a first step to his goal. What follows is a treatise, a bittersweet one, on the aristocratic world of Paris, in times of the scandal provoked by the Dreyfus Affair. Proust admirably portraits the hypocrisy, hollowness and cruelty of the aristocratic world, as well as the main character's affection for his grandmother, his friendship with Saint-Loup, the spiritual desolation of the age, and his disenchantment with aristocrats. So continues the greatest saga of memory and emotions, one of the best books ever written.

Modern Library's Volume V deals with the relationship between Marcel and Albertine. It is a complex, psychological relationship to say the least. In the Captive, Albertine lives with Marcel in his apartment in Paris and in The Fugitive one wonders who is, in fact, more captive -- Albertine or Marcel. It would seem to be Albertine for whom Marcel possesses an obsessive love and concurrent fear of her sapphic penchant. But it is also Marcel who will sacrifice experience if he makes a commitment to her. Who is more free, the captive or the fugitive? Proust raises questions about how to serve best the artist's quest for beauty. In fact, how does one really ever "capture" the beauty of life in art or music or literature? Even in a masterpiece, is it not beauty the fugitive that usually dwells just beyond one's capture? Or like Vinteuil's septet or the music of Wagner or the painting of Rembrandt, is the best for which one can hope of fugitive beauty only a brief fleeting experience? Are the vast tracts of time spent to understand the beauty and meaning of life worth it? As a writer does he not habitually surrender life in order to capture it? Or is the pursuit of the capture of the beauty of life in fact where one realizes its most sublime value? One sees in Proust toward the end of The Fugitive a member of society who respects it but chooses by reasons of health not to position himself so visibly within it. Despite his family name and vast but dwindling fortune inherited from his beloved grandmother, he seems to become somewhat ultimately disenchanted with the intricacies of Faubourg-St. Germain society to which he devotes so much of his writing. He recognises society's shallow obsession with materialism and rampant snobbery but his own place in society is captured by its complex history and tacit rules and Marcel is inescapably a captive of his own culture. When Albertine is lost to him toward the end of the volume, as in the prior volumes, the story line's serial intrigue advances most. Characters from prior volumes reappear, reminiscent of Balzac, whom Proust adored, but like him they change,too, and usually for the worse over time. The great tapestry of the characters of Proust -- Albertine, Gilberte, Swann, Brichot, Bloch, Charlus, Morel, Saint-Loup -- ultimately surprise and usually disappoint him. As to nagging questions about Proust's own orientation, "Personally I found it absolutely immaterial from a moral standpoint whether one took one's pleasure with a man or a woman, and only too natural and human that one should take it where one could find it." I found myself wishing that Proust had written more about Bloch and Saint-Loup and Gilberte, and less about Albertine. But she was, like his work, the one obsession, the endeavor of which understanding he could never escape and never quite marry -- she was his beauty and his art. She was the breath of life itself from his pen and from his experience of life as seen through the eyes of a true genius.

The Albertine episodes make more sense if we assume this is a homosexual ralationship. Albertine's independence, and her being allowed to live in a young man's apartment, and other aspects of her social life do not seem likely for a young woman in the nineteen hundreds. Marcel's (and incidentally this is the only volume where he refers to himself as Marcel) suspicions then become the gay lover's fears that his lover prefers heterosexuality. Albertine is the only female in the Recherche who never gets married.
Apart from these external clues there is quality about the the affection Marcel feels that suggests a gay rather than a straight relationship.
This volume marks a turning point in the narrator's fascination with the aristocracy. From here on disenchantment sets in, and the references to homosexuality become almost homophobic.

This volume contains parts five and six of Proust's huge novel; additionally, these two parts represent the first posthumous releases from A la Recherche du Temps Perdu. If there was any doubt in my mind that these parts, published without the author's oversight, could not continue the excellence of the preceding parts, this fear was quickly dispelled. The Captive and The Fugitive contain some of the most beautiful of Proust's prose, as well as insights into Parisian society, art and the inner thoughts of the narrator not contained elsewhere in the novel.

The Captive, originally published in 1923, tells the story of Marcel and Albertine, now kept by the narrator in his Paris home. This co-habitation is not based on love, nor even lust, but on the obsessive jealousy of Marcel based on his almost psycopathic fear of Albertine's lesbian proclivities. By this point in the novel, Marcel has removed himself from society and is content to remain for the most part in his room. Albertine, living in an adjoining room, is allowed out of the house only with a chaperon and to destinations decided in advance by Marcel. It is the ironic twist that Proust puts on the idea of imprisonment that forms the backbone of this part of the novel. Not only is Albertine kept prisoner by Marcel, but Marcel is no less the prisoner of his own obsession.

It can arguably be stated that each of the parts of the novel corresponds to one of the senses. If this is the case, the Captive surely corresponds to the sense of hearing. It is while listening to Vinteuil's septet that Marcel realizes that art is more than the mechanical manipulation of ideas by color, words or music. Just as Vinteuil has created a complex musical form out of the "catchy" phrase so admired by Swann and Mme Verdurin's little group, Marcel awakens to the limitless possibilities of artistic expression. This epiphanic moment awakens in the narrator a desire to commit himself to the life of a writer. In order to accomplish this wish, he decides that he must end his affair with Albertine. Marcel's decision to part with Albertine on his own terms is thwarted when he learns that it is she who has made the final break and has left his apartment.

Thus begins The Fugitive (originally translated by C.K. Scott Moncrieff, with a freight train full of poetic license, as The Sweet Cheat Gone). The Fugitive represents the most introspective part of a very introspective novel, and in it Proust's zeal for self-examination is pursued with un-relentless fervor as layer upon layer of the author's persona in exposed to the reader.

Marcel's world is turned up side down when he learns that Albertine has died in a riding accident. His obsession, so debilitating when his mistress was alive, continues unabated after her death and the narrator continues with his scrutiny of Albertine's private life as if she was still alive. He finally realizes that obsession cannot be eliminated by death and that relief can only come with the passsing of time and the ensuing state of oblivion. Although Albertine's memory has not been totally erased, the torment that she has caused Marcel diminishes greatly and he is able to resume his life and work.

However, it is a different world into which Marcel emerges after his long period of grief. Just as Marcel's personal life was changed by a freak accident, the social life in which he has emersed himself is going through social changes just as fundamental. The old aristocracy, becoming more and more deperate for cash, is falling prey to the easy lure of mariages of convenience in which aristocratic titles are exchanged for hefty dowries. His two friends, Gilberte Swann and Robert de Saint-Loup, are married to each other thus accomplishing what Charles Swann could never do - have his daughter received by the Duchess de Guermantes. Even more revolutionary, a simple seamstress (Jupien's niece) marries into the aristocracy forever destroying any romantic impressions that Marcel might still hold of the Guermantes and Meseglise Ways. Clearly Marcel's world is changing, but it is the change in his friend, Robert de Saint-Loup, that causes him the greatest pain as he realizes that even friendships are all too often broken by the passage of time.

Only the most ardent organized crime reader probably won't find something new in this collection of short stories dealing with reader fascination with dangerous lifestyles. This sampler of mob-lore covers stories allegedly by the folks who lived and died it, and some history to add dessert to your meal.

For those who like the relative safety of their reading chair, we get a step-by-step process of the so-called "hit men" of the mob. They are so-called because most members who have reached any decent level of leadership have all done at least one hit, so the true full-time professional is not that common. For this profession though, we do get an evolution of the man, and his general techniques.

The stories here are excerpts from other works, so if your a mob junkie, you might have read a lot of it already. I previously had read the Sammy Gravano book that contributed this excerpt. You not only get a sample of the self-admitted bad man, but also a taste of what I didn't like in the full-length book, which was a constant jabbering of what a decent, honorable guy Sammy really is. This book, was, of course, before the guy got busted out West for running meth labs while in witness protection.

My favorite of the "true life" stories was the one that inspired the movie "Donnie Brasco". Here we have the story of how a guy had to sacrifice a lot of family time over a period of years to do his undercover work, even once having to spend Christmas with mobsters when he promised his own family some quality Holiday time. The book I'm reviewing is good because now I want to read the whole "Brasco" saga.

In the history part, we do get a brief glimpse of how this whole type of society came about. True, the people of Italy were extremely oppressed at the time of it's formation, but it also tells how the local culture first establishes male "honor", then expects him to prove it via competition, and if you won by using your own rules, that made you that much more of a worthy opponent. To his credit, the editor of this compilation does not glorify this behavior, and makes it clear to the audience that any honorable "codes" only last as long as is convenient for anyone involved.

Overall, I think that this book was exceptional. The stories contained are, for the most part, gripping and real. I couldn't put the book down when I read the story by "Joey", the anonymous hitman. The most exciting thing about this book is the reality of it. The mojority of stories contained are about real people and real things. I recommend this book to everyone

Fans of The Sopranos, the Godfather, and mob/crime fiction/nonfiction will find this Clint Willis-edited book a virtual Hometown Buffet of delicious crime treats. If you like mob fiction/nonfiction and don't read this you deserve to wake up with a horse's head in your bed.

A sign of this book's huge success is that it truly leaves you wanting more. You'll be so fascinated that you'll DEFINITELY want to go to each of the primary sources and read them too. It's a fast, fascinating read: chapters comprised of well-edited excerpts from books, magazine articles and two works of fiction.

I was especially fascinated (and motivated) by the excerpt from the fictional (I think) Godfather. I read the book when I came out, saw the flicks a zillion times but realized in reading this excerpt how great the original book was and how it differs from the movie (the Michael character actually seems stronger in the original story). I'll be re-reading that book soon.

Every chapter is a gem and there are too many to go into here. My favorites included Peter Maas' excerpt from Underboss, the story of Sammy the Bull Gravano; an excerpt from mob hitman "Joey's" book Killer (the code of honor, precisely how he makes a hit with such efficiency and low risk); part of Nicholas Pileggi's Casino, describing how a horrified businessman one day found himself cemented to mob-connected business partners; Defending the Mafia, the eye-opening and ultimately sad story of mob lawyer Gerald Shargel's use of his considerable talent to keep mafiosos out of jail; part of Boss of Bosses, the bittersweet saga of aging Don Paul Castellano, eventually murdered by ambitious John Gotti's skilled associates; and the saddest and most poignent piece of all, Jeffrey Goldberg's The Don Is Done, about the lives of children of bigwig mafiosos.

This book MOVES. And it'll send you scrambling to read more. A MUST to read or to gift.

I have read the entire series of Seal Team Seven and still come back to re-read the novel that started it all!! Douglass's initial portrayal of the Team is very authentic - the close ties to the Teams and their brothers-in-arms. Everything seems to have been well though out and kept as realistic as it could be. Too bad after the 4th or 5th novel, this gets lost in a sea of techno-gadgetry and Rambo-esque battles.

This is the book that starts it all. A great book about the Navy SEALs. If you are into the subject, you will love this book and are bound to enjoy the rest of Keith Douglass' series. Great characters and great action! You'll soon be looking for the next book in the series.

I loved this book! It had an excellent blend of suspense and a good storyline. I love Douglas's description of the battles and how he describes each encounter so thoroughly. I enjoyed reading about the raid on the plutonium carrying boat and how they rescued the ship. This is a great book for anyone who enjoyes other special ops books.

Some have accused Proust of being "long-winded." However, he suffered acutely from shortness of breath but not shortness of breadth. Proust preferred to work on a large canvas. Having read the first four volumes of "In Search of Lost Time," I am even more convinced that Proust is a literary talent of the highest order. He is a writer of immense sensibility in the true sense of the word. His perception and memory and intelligence permeate his writing. Like Balzac, whom he admired, Proust focused his sensibility upon high society in Paris in his heyday. He continually discoursed about the the manners of the circles in which he moved and sheds light, as did Balzac, on the complexities of the strata and protocol and behavior of his social peers. One is able to get a close look at this realm in which he was considered a literary luminary and rightly so, after winning France's greatest literary prize at such an early age. Like Balzac he built his volumes in a "serial" fashion by ending each in dramatic fashion: the characters reappear from volume to volume. And one learns about their health, their misfortunes, their affairs often through the hearsay of other characters, as it happens in real life. Despite the despicable ways that the characters often treat each other, Proust speaks within the tapestry of the "human comedy" as the humble voice of reason. "When you reach my age you will see that society is a paltry thing, and you will be sorry that you put so much importance to these trifles," a judge observes. But for Proust society was his life and his legacy is partly at least the light that he sheds upon his own human comedy. The beauty of the language is breathtaking --the language is utterly lyrical and once one surrenders to the pulse and flow of his long sentence syntax, one finds the transforming genius of his art. I am eager to begin Volume 5 -- the man is a bonafide genius. He deals with sensitive subjects in good taste and with sage discretion -- Proust communicates with his readers as he probably did in society: honestly, articulately and with the best of all manners. He didn't live long enough to read the publication of half the volumes of his greatest masterpiece: Volume 4 was the last he lived to see published. What an absolute pity!

In this, the fourth volume of Proust's "In Search of Lost Time" (a.k.a. "Remembrance of Things Past"), the narrator is suddenly exposed to a new level of worldly knowledge, a knowledge that the previous volumes foreshadowed but never openly discussed. The volume begins at the apex of society, more or less where the previous volume ends (i.e., a reception at one of the fashionable Guermantes). We are then taken on a somewhat bumpy ride down from that peak, to the lesser salon of the Verdurins (previously seen through Swann's eyes in vol. 1) and the narrator's less-than-admirable conduct toward Albertine. Along the way, as the narrator becomes more of an actor in, and less of an observer of, the world, Proust's style likewise becomes, at times, more traditionally novelistic. Yet it retains the unique insight, precision, and vitality that make reading Proust a life-changing experience.

This book is rich with some of the most fascinating observations on love in general and homosexual love specifically. The flower metaphor at the starting of the book is particularly clever. Proust has more of a sense of humour than usual in this volume. Around the middle of the book this is especially evident; there is more sarcasm, irony, and wit throughout than in other volumes. I found myself highlighting many passages as I was reading, and oftentimes just one sentence of Proust's work is enough material to write a whole book on! His observations are so loaded and so true that they can be stretched out a long way before they've been used up. I find myself constantly in awe while reading In Search Of Lost Time; Proust was so gifted in so many ways that it's a privilege to read his writings! I can't think of anyone besides Shakespeare who comes close to Proust in his understanding of all apsects of human nature.