All credit to Paul Leggett, a Presbyterian pastor no less, for producing this seminal study of the religious and mythical themes in Terence Fisher's films. He argues convincingly, from a canon including most of the significant horrors he made for Hammer, that the mythological worldview of Fisher's films is intrinsically Christian. Leggett examines the fundamental motifs in the films and reveals an underlying story of the battle between good and evil, seen in terms of the traditional Christian symbols of the fall, the cross etc. He provides a good sense of the development of the horror film, and laments how the classical themes of redemption have been replaced with an almost nihilistic worldview (see, eg. my review of Rosemary's Baby).

Leggett's work is important for a number of reasons. Firstly, it is the work of a committed Christian. Christian (or at least evangelical) attitudes to film, in particular horror film, have been ambivalent at best, and Leggett's work, if it gains the popularity it deserves, may challenge Christians to rethink the issues. Secondly, it contributes to a debate about Fisher's work that has probably only really emerged in the last couple of decades, as his right to be seen as more than a maker of B-standard horror movies has been acknowledged. Thirdly, it is the only work (to my knowledge) that examines the religious, mythical and, in particular, specifically Christian, themes in Fisher's work. As such, the book has opened up a new part of the debate.

On the negative side, I would mention a few things. Firstly, the author has a tendency, no doubt because of his own faith, to paint Fisher in evangelical, or at least very conservative/orthodox, stripes, perhaps assuming too close a correlation between the imagery and mythology he chose to structure his stories around and the actual content of Fisher's personal faith. Secondly, at just under two hundred pages (including illustrations), it feels rather brief, and I am sure there is much more the author could have said--and indeed, should say, hopefully in a later volume. Thirdly, I wish the stills had been chosen with more attention to how they amplify or illustrate Leggett's interpretation of Fisher's films, perhaps noting lighting, positioning, imagery, angles etc...

Review of
Paul Leggett, Terence Fisher. Horror, Myth and Religion
McFarland & Co., Inc.: Jefferson, NC and London, 2002

by The Very Rev. Dr.theol. Paul F. M. Zahl, Dean
Cathedral Church of the Advent (Episcopal)
Birmingham, Alabama

Paul Leggett's Terence Fisher: Horror, Myth and Religion is a must for two categories of readers. And there are a lot of people in both categories.
The first category is fans of horror and sci-fi films. For all in the first group, Terence Fisher was a giant. His haunting productions for Britain's Hammer Films left an indelible impression on the millions who first saw them. They live on, on video and DVD, and on television every week, everywhere. Fisher's Draculas and Frankensteins, werewolves and phantoms were in technicolor. They were pure Gothic and presented as "A" films even though they were "B" films. Horror fans can now learn about their hero-auteur at depth.
The second category of readers for Dr. Leggett's book is fans of Christian fantasy and allegory. Many Christians are interested in popular culture, specifically in finding themes like redemption and sacrifice and atonement within movies and art. This is why Stephen King, for example, in fiction or Abel Ferrara in cinema attract interest from within the religious community. Not to mention Tolkien, and more Tolkien. The Lord of the Rings phenomenon has been fueled in part by adolescents coming to the material out of Christian interests and background.
Terence Fisher was a Christian apologist! That is not all he was, but Christian themes of love's conquest in cruciform imagery abound in his movies. Christian images are everywhere you look, from Curse of the Werewolf (1960) to The Devil Rides Out (1968), and before, and after.
Because Dr. Leggett is a theologian and a pastor, as well as a fan, he is able to make the connection between the world in which we actually live now and the preoccupations of the films of Terence Fisher. Leggett is a classic Christian-nothing New Age here!-and he is one who has been fascinated by these films since childhood. His book links the dark and deep struggles of the child in all of us, with a master storyteller in film; and sets the whole on the big screen of cosmic drama.
This is a wonderful book!

well researched book good biography. hope to see more detailed book on the same subject. craigavon should also be researched to see his important part in the crisus

A.T.Q. Stewart established his well deserved reputation as an objective, erudite scholar with this small book. Unlike many academic historians however,he also writes well. He treats his subject not as a sounding board for a trendy, modern "ism", but instead as an objective event in the past. He examines not only what happened, but why it happened. This volume examines the rise of Ulster Loyalist resistance to Irish Nationalist "Home Rule", which the Northern Irish Loyalists rightly saw as the short road to independence for Ireland from the Empire. Their threatened armed "rebellion" against the British government so as to (ironically) achieve their aim of remaining British, ultimately set in motion the events of 1916 and later 1968/69, which sadly continue up to this very evening. Stewart treats his subject dispassionatly and with great insight and detail. At the same time Stewart describes events almost as a jounalist would have done. One can almost see the gun runners unloading the rifles off the docks in the darkness from his narration. Ultimately, he also describes how the participants faired. The nascent U.V.F. marched off to meet their doom on the Somme. The peaceful Nationalists were ultimately politically outflanked by Sinn Fein who revolted in 1916, a mere six weeks before their counterparts went over the top in Flanders. The British Officers who threatened to resign at Curragh Barracks rather than enforce what they saw as an unpatriotic law, lost not only their lives but their world. In short, if you are interested in this aspect of British history, this is a book well worth having.

Terrence Riley's introduction to the museum of modern art show's "The Unprivate House" sets up a great framework for categorizing the architectural intent of the 26 examples of residential design represented in this show. Riley reminds us that historically privacy was not always associated with dwellings. Just when we may have become committed to private dwellings, this book challenges that notion and asks us to consider the reality of our revolution in communication and media, complex multi-generational housing needs, and the fact that many homes actually house only a single person. This book provokes the question; what is the character of the housing that will best suit our changing times? Each of the examples challenges our thinking in some way concerning the design of residences today; e.g. should a mixed-use work/home space be clearly divided into distinct sections-even in distinct architectural materials or forms- or should these functions merge together, as is the case in the house designed for wall street currency traders (they even have a video monitor above their jacuzzi). Privacy is challenged to the greatest degree in the structure that closes itself off from the street with a literal "curtain wall." A perceived building line is virtually non- existent when the curtains are open.

An amazing book of an equally amazing exhibition. The book continues where the exhibition left off, questioning what is private and what is not in each of the houses. More than that, the reader should look at each house and the "architectural letter" that it claims to write. Koolhaas' house is a Corbusian critique with a Miesian base. Xavier's house si definately Corbu, the slow house is a slug....and more. Each is an individual criticism on modern architecture and/or on the state of architecture today.

A note:
This is the most comprehensive list of architects that we should look out for....and are the worlds' best. Also if anyone can understand each of these projects, he has understood 80% of architecture today....(but that is if he "reads" each of the houses :-) Each house is prototypical of the architect's interests and what drives him.....see the house and you will understand all his other projects.

BTW get that Menil house out of there. There is no letter he is writing.....

This is a great book to read if you feel the least bit innundated by the whole UFO, alien, and/or E.T. hype. McKenna's view of UFO sightings and other related phenomena as an affect of a "Jungian" archetype of the collective unconscious derived from our modern feeling of oppression by science and objectivity is definitely a breath of fresh air in the midst of all these guys who claimed to have been abducted or have proof of alien existence.

Also interesting in this book is McKenna's view of human evolution as being facilitated by the discovery and use of psychedelic mushrooms. The only part about McKenna's views expressed in this book that I had a little bit of trouble with is his reluctance to validate mystical traditions of the world that don't or never have used psychedelic drugs as a part of their tradition. Terrance is definitely coming from a subjective realm in his description of his psychedelic experience (even though the experience can be confirmed to some degree by others who trip). Therefore, I believe that he should not discount non-psychedelic mystical traditions without having experienced the level of subjectivity that he obviously has with psychedelic drugs. Great book!!

This is one of the most interesting books I've ever read. At first, I was convinced that McKenna must be insane (obviously too much shrooming); but then I began to wonder if it was us (20th century American society) that are the insane ones. He truly sees the world from a unique perspective.

I must admit that the book piqued my curiosity...and yes...at least for me...it was a mind-expanding/life-changing experience. But, I am a college physics instructor in my 30's whose sole motivation was consciousness and spirituality. I'm glad I never took "the voyage" in my teens or twenties, before I had an idea of who I am and what is important. I have a feeling it would have been very destructive.

This book offers the best taste of all of McKenna's wild ideas. The book is a compilation of 18 or so interviews, speeches, essays and stories about magic mushrooms, shamans, UFOs, virtual reality, partnership societies and basically anything else that Terence McKenna mused on during his thirty year career as psychedelic spokesman. This will be a rewarding read for anyone who's ever though that there may be more to the world than what most of us experience in day to day life.

More than any other of Aristotle's writings, the Nicomachean Ethics speaks in a powerful voice to our own age; not only as an artifact of thought, or as a key to the historical interpretation of "Western Metaphysics", but as a challenge to our values, our assumptions, and, above all else, the complacency with which we approach the task of living life. Yet precisely because of its apparent immediacy, we must remain vigilant regarding the prejudices that we bring to the act of reading. Even the title, in this regard, presents difficulties. Ethics, for Aristotle, is not the same as "morality" or "right conduct": rather it means the cultivation of habit of the soul, --- a disposition towards the passions --- that is conducive to virtuous action. The very notion of virtuous action is itself misleading. Aristotle is not so much concerned with individual "actions" - let alone with the "moral dilemmas" so many so-called "ethicists" - as with the activity that, as the proper work or function (ergon) of human beings, grants a unifying purpose to all the "doings" that constitute life. This "work," - which must be nothing else that the work of our entire lives -, is either the political life or the life of contemplation. The first is the highest purely human life; the latter, in contrast, is divine. Perhaps the strangest notion of the Nicomachean Ethics, however, is pleasure: pleasure is neither a passive sensation, nor some sort of activity, but rather that which brings the activity to perfection, supervening on the activity like "the bloom of health in the young and vigorous."
If we have learned our lessons from Darwin, and have the strength of mind to behold a nature without purpose and a human race with no proper and essential function, what can then remain for us of an ethics grounded upon a natural and immanent teleology? Must we insist upon the fact/value distinction in all its rigor and exile ethics into the stars? Or are we left only with an act of pure, groundless will - a will that exists only through the act of positing values, of assigning to things their worth and thus giving human kind its end and meaning? Perhaps Aristotle's "pleasure" points towards another possibility: the joyful contemplation of this life in the blossom of its ephemerality and contingency.

It seems rather foolish to 'review' Aristotle, THE Philosopher. Nothing in the Western intellectual tradition isn't touched by Aristotle's works. The Nichomachean Ethics, unlike say, the largely irrelevant Physics, or extremeley esoteric Metaphysics, is a very accessible. It's also the work that probably best sums up Aristotle's practical philosophy. To summerize in a way that is completely insulting to the work, Aristotle applies his idea of moderation, the Golden mean, to numerous ethical situatlions, in an attempt to discover what constitutes the Good life and the Good man. AS previous reviewers have said, there isn't a chapter of Aristotle that does not produce some revalation or insight. And with over 100 chapters...well, you get the idea. Anyway, in addition to providing a basis for understanding the very workings of ethics and morals in a timeless sense, reading Aristotle changes the way in which you think. Literally. He has a distinctive, ordered, logical philosophy that anyone who want to be taken seriously in argument needs to learn. Simply, this is only of the most important books ever written, and anyone, philosophy scholar or not, owes it to him or her self to read it.

The Nicomachean Ethics is the first systematic description of an ethical system. It has the clearest formulation of the questions that Ethics asks: 1. How should we live? 2. Why? 3. Why is that best? Aristotle's answer to 1. is that we should avoid extremes, because (answering 2.) every extreme is evil, and (answering 3.) since the opposite of any extreme is itself an evil extreme, we must therefore avoid extremes. The book has been read by every serious ethical philosopher since history began. Because of this, every serious ethical work can (and should) be read as a dialogue with Aristotle, as he sets the rules, and then challenges, "I know of no good that crosses all the categories . . . but in each category there is one particular good." Kant's Foundations of the Metaphysics of Morals is an attempt to find a normative good that crosses all categories, a "categorical imperative." Likewise Bentham's discussion of what has come to be called utilitarian ethics. Really, a most important book.

Mr Michener is justly famous for the amount of research he put into his many fine books. And 'Space' is no exception. He gives us an excellent microcosm of the political, scientific and social happenings in America during a forty year period. It seems that America itself is a character in this novel. And that we are to be rightly reminded that America's space program was and is an important part of society and what shaped it from the late fifties to the early eighties. The characters are drawn with fine, masterly detail but because of Michener's prose style, we often feel detached from the emotions and trials of the characters. There is only one major flaw with this novel: While rich with relevant, never intrusive technical detail, the fictional Apollo 18 mission is clinically portrayed. A Lunar mission should be richly emotional and exciting, but Michener gives it to us like a 'textbook' retelling. While reading it, I almost wished the style would switch to a more conventional thriller genre. But would that have been out of place with the rest? Perhaps. All scholars of the American space program should read this book. And when will the overlong, yet spectacular Television mini-series made from this book finally become available on DVD and VHS? A word of advice to the producers: Cut it down from 12 hours to about 8 by removing a lot of the soap-opera stuff that wasn't in the book.

Space is an excellent work of historical/science fiction. It is precisely this odd blend of genres which make it a wonderful book. James Michener, as always, had studied this topic extensively before writing the novel, and its accurate representation of facts and situations is notable. The novel deals with the space age, its history, purpose, and future, and climaxes with a fictional account of Apollo 18. The actual Apollo moon missions ended with Apollo 17, but Michener delivers a dramatic plot, interesting characters, and wonderful description to make the story addictive. This is definitely a book which should be read by anyone who wishes to learn the details of America's space program, and also by anyone who is looking for hardcore science fiction

This was the first Michener book I read, and I loved it. His books fascinate me with their blending (or is it blurring?) of fact and fiction, and do an excellent job of paralleling their historical subject to the people. While I have to agree with the reviewer that the non-standard creation of a fictional state (Freemont) was a bit bizarre, it doesn't detract from the book in any way, and frees Michener from having to totally parallel certain historical characters (or omit them to make room for his own). Having decided early to be an aerospace engineer, I truly enjoyed this book, even though it may have at times presented a romanticized view of the field. The only trick was having to remind myself of the difference between fact and fiction in this book.

...and i have not even finished even the first volume of this dauntingly sprawling work known as a la recherche du temps perdu, but i know what i like and i have just fallen in love with swann's way. yes, it would be silly to deny that proust does like to go on and on quite prodigiously but what a sumptuous journey! i feel almost wicked indulging in proust - and what is his writing if not supremely self-indulgent - but i find myself continually redeemed by his carefully and extensively detailed insights which unfold and arise so naturally, almost indiscernibly, from the complex interplay of memory, sensation and emotion. as i read, often i find myself either smiling with joy or on the verge of tears, moved by the beauty with which proust reveals simple, almost mundane, truths, which are all the more profound by virtue of their mundanity. in any case, i don't think it's fair to banish so bitterly all those for whom this book is a thing of joy and pleasure to the realm of the pretentious. besides, i prefer to think of myself as voluptuous, not pretentious (sniff, sniff) here's a tip: forget profundity if you must and just revel in the gorgeous details of his recollections, his attempts to recapture the past through memory. this is not a book to rush, you must let it's luxuriant and gauzy veil envelop you.

Proust is one of my very favortite authors. "Swann's Way," the first book of A la recherche du temps perdu, is perhaps the most accessible and lyrical of the seven. Written in a hypnotic and mesmerizing style, "Swann's Way" begins by recreating life in a fictionalized 19th century French village, complete with gossipy aunts, church festivals and priests who "know too much."

"Swann's Way" is also the volume in which Proust tastes the divine madeleine then goes on to link memory to memory to memory. Even the smallest detail is not overlooked: sights, sounds, smells, textures, the interplay of light and shadow; everything was a source of joy and connection for Proust and he records those connections in this fascinating book. While Joyce lived in the world of the present, Proust lived in the world of the past.

So many people complain about the lack of plot in this book. But do we really need a plot in every book we read? Aren't some works of art beautiful enough to be read, or listened to or gazed upon for their beauty alone? Is anything truly "art for art's sake?" If your answer to this question is "Yes," then "Swann's Way" might be a book you'll come to treasure. Yes, it is dense and yes, it does take quite a bit of time to read, but it is time well spent and time that will never be forgotten.

"Swann's Way" sets the tone for all the volumes that follow. Indeed, the final section of the final book is but an echo of the first section of "Swann's Way." Although Proust may have seemed to be wandering, he was not; A la recherche du temps perdu is one of the most structured works in any language. The fact that this structure is not immediately discernable is only further proof of the genius of Proust.

The section, Swann in Love, is typical of Proust's obsession with repetition. Each time the tortured Swann meets Odette, he must re-enact the very first ritual of the cattleyas. They even come to speak of this as "doing a cattleya." The Swann in Love section also showcases Proust's wicked sense of humor, for Swann is both a character of high comedy and high tragedy, and Proust dissects French society in a most deliciously scathing manner.

While it may be Proust's reputation that causes us to pick up this book, it is his prose that keeps us reading. Almost indescribable, it is luminous, poetic, magical, fascinating, ephemeral, gossamer, mesmerizing, elegant and, of course, sublime.

I realize that "Swann's Way" is definitely not going to be a book for everyone. But those who love and appreciate fine literature and beautiful, crystalline prose, may find that "Swann's Way" will become nothing less than a lifetime treasure.

I wish I hadn't waited so long to experience Proust, for now having read "Swann's Way," I see that his deeply sensitive prose is a reference point for almost all of the introspective literature of the twentieth century. As the story of a boy's adolescent conscience and aspirations to become a writer, the book's only artistic peer is James Joyce's "Portrait of the Artist as a Young Man."

The narrator is presumably the young Marcel Proust who divides his recollections between his boyhood at his family's country house at Combray and his parents' friend Charles Swann, an art connoisseur. In fact, the path that passes Swann's house, being one of two ways the narrator's family likes to take when they go for walks, gives the book its title. Proust uses the theme of unrequited love to draw a parallel between his young narrator's infatuation with Swann's red-haired daughter Gilberte and Swann's turbulent affair with a woman named Odette de Crecy.

Intense romantic obsessions are a Proustian forte. Swann falls for Odette even though she is unsophisticated and frivolous and does not appear to love him nearly as much as he loves her. He is desperate for her, always sending her gifts, giving her money when she needs it, and hoping she will become dependent on him. It comes as no surprise that he is consumed with jealousy when he notices her spending time with his romantic rival, the snobbish Comte de Forcheville, and he is shocked by her lesbian tendencies and rumors of her prostitution. He finally realizes with chagrin that he has wasted years of his life pursuing a woman who wasn't his "type" -- but even this resignation is not yet the conclusion of their relationship.

Proust's extraordinary sensitivity allows him to explore uncommon areas of poignancy, perversity, and the human condition. One example is the young narrator's childish insistence on getting a goodnight kiss from his mother at the cost of wresting her attention away from the visiting Swann. Another remarkable instance is the scene in which a girl's female lover spits on the photograph of the girl's deceased father in disrespectful defiance of his wishes for his daughter's decency. And I myself identified with Legrandin, the engineer whose passion for literature and art grants his professional career no advantages but makes him an excellent conversationalist.

Few writers can claim Proust's level of elegance and imagery. The long and convoluted sentences, with multiple subordinate clauses tangled together like tendrils of ivy, remind me of Henry James; but Proust is much warmer and more intimate although admittedly he is just as difficult to read. The narration of "Swann's Way" is a loosely connected flow of thoughts which go off on tangents to introduce new ideas and scenes; the effect is similar to wandering through a gallery of Impressionist paintings. And, as though channeling Monet literarily, Proust displays a very poetical understanding of and communication with nature, infusing his text with pastoral motifs and floral metaphors that suggest the world is always in bloom.

If you are new to DirectX, then this book is definetly for you. However, if you have already written and compiled a program using DirectX, chances are that you are already familiar with most all of the concepts presented in this book. Make no mistake; it presents CONCEPTS - a broad overview of each DirectX component, excluding Direct3D in it's entirety. If what you want is an in-depth reference manual, do yourself a favor and just print out the DirectX SDK Docs. In short, I was really hoping for a lot more...

When it comes to a useful description of how to use DirectX (sans Direct3D) I couldn't have asked for more. Between the excellent examples on the source CD and the straightforward explanations in the book, I have gone from zero knowledge to a reasonable grasp of DirectX fairly quickly. As a testament to how much I refer to this book in my home projects, the binding is starting to wear out. I can't remember the last time I've used a reference book this much, with the exception of K&R's "The C Programming Language." Excellent work.

The authors did a great job. Finally a book that teaches what DirectX is and how to use it. I've waisted lots of money on other books on the subject just to find out that they are giving you a lesson on how to use 'their' own DirectX class wrappers. Yes, the samples are in C, but who cares? This book is not supposed to teach Windows programming in C or MFC anyway. After reading the book, I was able to put together a simple video game, using MFC by the way, in no time. Don't by this book if you're thinking you'll be able to write your own game or media application if you have never written a Windows program or a game before. You'll need other books for that.

The story of "Lazarus and the Hurricane" is riveting. But only half the story is told. The book describes how Lesra Martin, a young teen from Brooklyn's notorious Bedford-Stuyvesant district, came to live with a group of Canadians in Toronto. But nothing is said about who these Canadians really are and why they live the way they do. Not even their surnames are revealed -- except, of course, for the book's co-authors.

The book tells of Rubin Carter's final release and his move to Toronto. But the story ends there. You never read about Carter's turbulent love affair with Lisa Peters (one of the Canadians), a relationship that began when he was still incarcerated. And, needless to say, you never read about Carter's break with the Canadians and why, even to this day, his relationship with them remains precarious.

This book can be recommended to those looking for an inspirational, miraculous story. But for those seeking the hard facts about Rubin Carter and the Canadians who were instrumental in securing his release, this is not the book to read. Too much information is (intentionally?) omitted. Fortunately, the gaps have been filled by James Hirsch, whose thoroughly researched work now constitutes the standard critical biography of Rubin Carter.

If you have already completed "Hurricane: The Miraculous Journey Of Rubin Carter" by James S. Hirsch, PLEASE do not let that stop you from reading this book as well. I read the newer book first, and I look forward to finding a copy of "The Sixteenth Round" by Mr. Carter.

Friday January 21, 2000, Larry King hosted the following group on his show; Rubin Carter, Lesra Martin, Denzel Washington, Judge Sarokin, Former Talk-Show Host Michael Douglas, and Attorney Gerry Spence. It was a tremendous show, and if you missed it, find out when it will be run again, you will not be disappointed.

One of the issues they all agreed upon was that 2 hours of film couldn't tell a life story. I recommend this book on the same theory. I also have seen the movie, and recommend it as well. I wrote extensively on the previous book but there are a couple of points this book noted that ranged from interesting to the pathetic. Lesra's Father was the Lead Singer for the group The Del Vikings when they performed on The Ed Sullivan show many years ago. The "Canadians" at Rubin's request, and with his help, were instrumental in having the case of, Sam Leslie "The Rose", overturned as well. Lesra graduated with honors from The University Of Toronto, went on to earn his Master's Degree, and then his license to practice law in 1997. There have been comments made about the "Canadians" that are less than flattering, and I claim no special knowledge, but some of the facts are these. They brought Lesra along to where he is today, and he certainly worked very hard for all he accomplished. There were 2 additional young people the Canadians helped, Walter a friend of Lesra's, and a young woman from England who had moved to Toronto. They dedicated themselves financially, and a great number of years of their own lives to a man that Lesra discovered in a book. So what faults they may have would have to be rather monumental to seriously detract from what good they have repeatedly done. Lesra had one brother that was murdered, and another that is in and out of jail. Where would they be if the Canadians or someone else had helped them?

As to this issue of "Black English"; as offensive as some might find that characterization to be, what about the attempt to teach "Ebonics" in this Country?

Gerry Spence recently completed a case where 4 men spent 18 years in prison for a crime they did not commit. One of the men was to be executed, and today January 31, the Governor of Illinois has suspended all executions until reviews are conducted. Gerry Spence got them some walking around money at $9,000,000 each. They will never see that as the appeals courts will knock those numbers to a fraction of what the jury awarded.

Rubin Carter and John Artis got $0.00. To be more precise Mr. Carter received just under $3,000.00 almost 10 years after having been wrongfully interred in the Vroom house of horrors.

On Larry King's show, Judge Sarokin said the "Habeas Corpus" laws have been changed so that he would not have gotten Mr. Carter's case; and even if he had, it would be overturned, Rubin would still be in prison.

After Judge Sarokin made his ruling, New Jersey was not satisfied until they were shot down 14 additional times, in a variety of courts because their case had remained what it always had been, garbage.

Pathetic is not strong enough, but it is comforting to know that when asked about the upcoming movie, Sheriff Edwin J. Englehardt kept up the party line of those involved in New Jersey. Some of his pearls of wisdom were/are, Carter was set free "because of a technicality", the fact he was set free was "a disgrace to the system", and the real gems, "If the movie makes any money, the state should charge Carter $77 a day for the 20 years of free room and board he got while in prison", and "If I could do something to destroy the movie, I would". These statements were made within the past year, comforting are they not?

We hold these truths to be self-evident, that ALL men are created equal............one of the greatest series of typos ever. Please note the Author of the document to which I refer bought, sold, and settled debts with slaves, as did The Father Of Our Country, as did the majority of those men who signed said document. Don't take my word, look it up.

We live in the greatest Country. Greatest and perfect are not the same.

I Was Like Lazarus I Couldn't put this Book down.I Find This Book to be Very Moving.it captures so many Injustices.it shows how little value was placed on one Man.No Matter who he was or how much Money he made he was still a Black Man.Guilty Sight on Seen.this Book also shows the Loving&Caring way of the Canadians.it's amazing what reading can do for ones mind or the Journey it will take you on.this book is about Freedom.The Canadians Freed Lazarus&the Canadians together with Lazarus Helped free Rubin Carter.the Importance of Reading.if Lazarus had have never read that Book a Great Injustice would have never been solved.