When I bought this book, I couldn't put it down. I enjoyed reading this book because it's full of lists which made semse to me and gave me a perspective on what is important to me. The lists are valuable with meaning. The book was also easy to read and understand. I would recommend this book to anyone who enjoys reading lists.

I rec'd this book yesterday as a birthday present from my friend! I love this book!! It puts me in a good mood and it has great tips to live buy!! I will be buying one for several people as christmas presents!

"Soaking up the limelight...the editors are well qualified to do this [book]...together they have done an excellent job, making 'Systema Porifera' interesting and accessible to a wider scientific audience than pure sponge taxonomists...bibliographies are comprehensive and include many recent reviews...moist sections contain an identification key for families and genera- something never previously attempted for Porifera...invaluable book." - Lorraine Berry, Dept of Invertebrate Zoology, Royal Belgian Institute of Natural Sciences, Brussels, Belgium

"...the two volumes will be an indispensable reference source for any taxonomist or ecologist who needs to put the extensive sponge literature of the past into modern context. More important, these volumes will form the basis (and provide important hypotheses) for future systematic studies, particularly those done using molecular data. As such, 'Systema Porifera'is an essential addition to the reference collection of any university or research institution with zoological programs."

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

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

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

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

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

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

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

Most inventively, Tremblay sets the same character, Albertine, at five distinc periods of her life. Thus, five actresses will each play Albertine at a certain age and react with one another. This idea alone is worth the price, but has genuine directions takes place and crafted acting moves-in, the hidden textual pearls of wisdom will remind you that the ones who think only Shakespear had genius are trully insignificant snobs. (and I taught they were all guillotined in 1789. Best of all, the text and ideas brought forward are as universal as can be. Glenn St-Yves

These plays read very well, and I have seen them both in their original runs. I was absolutely thrilled when this book came out: I had become a fan of Mickle's writing and anyone who has seen one of his plays can tell you his style begs to be printed and published. His use of language is very immediate and engaging to an audience or a reader.

An Apology... is a retelling of the Faustus legend (most often known in the works of Goethe and Marlowe). Faustus, in all versions, is the story of a scholar and scientist who finds he can achieve more and become infinitely wise if he summons the devil to be his servant. In this Faustus he is repentant, and on the day of his death, he is sent to a small group of strangers to say goodbye and apologize for not keeping a better diary detailng his days with the devil. At times it is hilarious (he comes back from a 7-11 several years in our future and presents us with "Budweisers", "In those days to come they call this beer the King"), yet it also hits notes of dramatic brilliance. Faustus must settle with dying and leaving only an apology, as "no God or demon ever apologized to anybody for anything".

The Hunchback Variations is written in the form of Mamet's Duck Variations, only here it is a recurring radio-style panel discussion led by The Hunchback of Notre Dame and Ludwig Von Beethoven. The arrive to discuss their failed attempt to re-create the stage direction in Anton Chekov's Cherry Orchard- "suddenly a distant sound is heard, coming as if out of the sky, like the sound of a string snapping, slowly and sadly dying away". The same spanse in time is presented in 11 versions, each revealing more about the collaboration and the friendship once shared between the hunchback and Ludwig.

It is very lucky that a local small press has gotten this printed and even more lucky that it is presented here so people anywhere can have access to it. If you love the theater or perform it yourself, this is the kind of new work that will shock you and your friends with it's value. Don't let it remain obscure to the world and your own tastes, it has a home in any collection.

this book doesn't beat around any topiary material culture, if you know what i mean. its necessary for every undergrad/ grad anthro student who still hasn't quite decided what to do with themselves post-collegiately... its packed with examples and studies. there's so much information that it comes across as boring. however, sometimes reality is boring. deal with it and get a job far away from school with your anthropology degree!

This is an outstanding book for anyone in the neurosurgical field. In a clear, concise, and precise manner, it explains the details of all major approaches for intracranial tumors, including positioning, anatomy, etc. The pictures are particularly excellent, make these approaches clear and understandible, and are also good for slide presentations. It is an excellent reference for anyone, particlualry those at the begining of their training.

a very good book, about a river, itshistory, and the people around it. very well written, and very good pictures

This is a high quality book with an excellent photographic layout clearly showing each move with intermediate shots and a short explanatory text. Includes photos of the application of some techniques. I've had my copy for almost ten years, and I still occasionally pull it out for a look over. If you're looking for a reference book for the basic Shotokan katas, I haven't seen one better than this.

This book is exceptionally well researched and well written. It provides an excellent review of the historical aspects of the use of these agents and the development of laws against Biological weapons. It is recommended for use in colleges and universities that instruct on the need for the development of countermeasures to these agents.