It must all be true. At least, that's what you think when reading Chistopher's poems--they are fantastic, but they seem to be factual (you want to believe that Houdini could dog paddle under a sheet of ice for 2 hours looking for his escape, and you want to believe that John Dee could speak with Angels). This is one of his gifts and failings: his writing is beautifully flat. "Flat" must be counted a pejorative when speaking of writing; but in this collection it is exactly this quality that suspends our disbelief. Granted it must be that Christopher has found subjects that "work" within this framework. All this sounds ambivalent, and I don't mean it to. This is a wonderful book, especially for those not normally poetry readers; it is accessible--one reader has said there's something in it for everyone, and this is surely true.

5 Degrees is the title of what is a long poem in 35 sections--each section stands on its own but is made stronger and more interesting by its placement within the whole. Odd comparisons are made by way of recurring words, characters, elements, historical persons, mythology, and of course the style. Houdini is the subject of a couple poems, Van Gogh as well, and John Dee, an English mathematician and scientist "friend to Sir Walter Ralegh/and Thomas Harriot." (Harriot and Ralegh are strong presences in Christophers fantastic novel, "Veronica"). We see the Nazi's burn copies of "The Tempest" in one poem and read that "John Davis, explorer and navigator, died the night/The Tempest was first performed in London."; Iron makes its way into several poems as element from the stars that unites us through history, but also simply as the "color" of most of these poems (many seem to take place in winter).

One cannot show you enough here. Each section in this long poem makes you think of a different earlier poem and causes you to reflect upon that poem differently. What we learn throughout is made explicit in section 15: "And Shakespeare, who understood that the hard/facts he pillaged from Plutarch were prefigured in myths--the wellspring of history--". This is exactly what Christopher has given us--a veritable encyclopedia of information (factual, fantastical, mythological, historical), shaken up in his cupped hands, like the bones used to tell fortunes, and let fall to the table under Fate's guiding hand (simply peruse section 25 to get the idea). His is an art of resurfaced truth and rearrangement (he mines for Iron ore and can also seek it in the Pole Star).

This is my favorite of his works (although I did read the novel "Veronica" several times), and of his previous and subsequent work, this is by far the most even. I do also enjoy his first book, "On Tour with Rita"--and find it has poems that would work very nicely within the framework of "5 Degrees".

Nicholas Christopher is truthfully one of the most well-written and introspective poets of the 20th century. Anyone can find something in his poetry that they appreciate and value greatly. "Hibiscus Tea" is one of the most awe-inspiring and beautiful poems full of imagery I have ever read.

Put quite simply, this is the best book of poetry that I have ever seen. Christopher's verse is infinitely compelling and his scope so broad that every reader can take something away from a perusal of it. I would recommend this book to anyone and everyone.

Rocker's work is the finest marriage of classic political liberalism and economic equality. Rocker grounds the spirit and ideas of anarchism proposed by Bakunin in a concise social/political agenda. A far more lucid vision of a social order which is both economically socialist (or communist) and politically open, than any other theorist before or since.

Some my find it a bit dated. The sorts of labor organizations he refers to bear little resemblence to those found in contemporary societies. That is, not syndicalistic.

Still, I believe he is one of the most overlooked influences upon contemporary, Western, left-wing thought.

I also beleive that the books first section 'Anarchism: Its Aims and Purposes' should be read by more social activists. It would help focus the often disparate voices of opposition, giving them a clearer vision of the road ahead and what needs to be done to travel upon it.

"Anarcho-Syndicalism" provides readers with an engagiong account of an egalitarian political philosophy that has its roots in Enlightenment thought. Author Rudolph Rocker presents a systematic conception of the development of anarchist thought towards anarcho-syndicalism, writing that "anarchism is not a fixed, self-enclosed social system but rather a definite trend in the historic development of mankind, which, in contrast with the intellectual guardianship of all clerical and governmental institutions, strives for the free unhindered unfolding of all the individual and social forces in life. Even freedom is only a relative, not an absolute concept, since it tends constantly to become broader and to affect wider circles in more manifold ways. For the anarchist, freedom is not an abstract philosophical concept, but the vital concrete possibility for every human being to bring to full development all the powers, capacities, and talents with which nature has endowed him, and turn them to social account. The less this natural development of man is influenced by ecclesiastical or political guardianship, the more efficient and harmonious will human personality become, the more will it become the measure of the intellectual culture of the society in which it has grown." Rocker shows that there is value in studying "trend(s) in the historic development of mankind" that do not articulate a specific and detailed social theory. Although intellectuals and social commentators alike dismiss anarchism as utopian, formless, primitive, or otherwise incompatible with the realities of a complex society, Rocker states that at every stage of history our concern must be to dismantle those forms of authority and oppression that survive from an era when they might have been justified in terms of the need for security or survival or economic development, but that now contribute to -- rather than alleviate - material and cultural deficit. "Anarcho-Syndicalism" remains an amazing intellectual and politcal statement containing a message of egalitarian hope.

A fantastic resource. This work cuts through the rhetoric and presents anarchist thought in a clear, compassionate, and contagious manner.

Perhaps the best contribution to political science in this century.

Death Foretold focuses on the doctor's prognosis in medicine, exploring how this prognosis is made and how it's presented to patients. Interviews, surveys and the author's own experience considers the nature of medical prognosis, common errors, and how they're presented and interpreted on all sides. An essential probe of a little-covered subject.

Nicholas Christakis offers insightful research and well written conclusions in Death Foretold: Prophecy and Prognosis in Medical Care. The ability for physicians to determine with accuracy the end of life offers hope of a better end for patients and families. When medical schools address this overlooked subject, patients will suffer less, be able to plan remaining time wisely and receive appropriate Hopsice and other care. Dr. Christakis is really writing about living well - even if it is the last living the patient does. A superb book for the lay population, as well as medical community - one that hopefully will be heeded by medical school faculties as curriculum is being reviewed.

Near the end of life most of us confront death with great fear. Although physicians are often shepherding us and our families through this critical time in our lives, it is often the case that their efforts fail -- leaving us to anticipate a miracle, and often shocking the surviving relatives when death finally does arrive. I never realized it before reading this book, but physicians often fail us at one of the most critical and vulnerable times of our lives, at the end. Dr. Christakis has illuminated the problems associated with physician's who are unable or unwilling to prognosticate death -- revealing a shortcoming that needs attention. This book should certainly be read by physicians, but I also recommend it for the general public. Dr. Christakis deserves credit for shedding light on a topic that too few physicians are willing to talk about.

The author intelligently and thoroughly guides you step-by-step through the directing process. I learned a lot by his scene analyses of a few popular films. Great book, very much worth it!

This book taught me that making a film is an alive and organic process rather than a lab experiment in search of the perfect formula. Proferes' concepts of "spine" and "fulcrum" for example, are essential to not get lost in the midst of any film industry development process, in which so many voices tend to give an opinion. The author insists in the need of finding both the mechanisms of the text and the director's "whys" when tackling a story and being truthful to them until the very last decision of the process. His method of "detective work" on the screenplay is a very tough "bootcamp" with yourself in which no production excuses are possible: just director and story. If completed throughoutly, one will get to really know the story in hand, its nature and soul, like one gets to know a person only through intense sharing. That detective work will make pristine clear to the director what is his personal take of the material and will help detecting vital needs, including those painful rewrites. This intimate and utter intense work between director and story is the most direct translation of what it has been named so many times as "the director as an author". Proferes's approach to filmmaking is beyond trends. Timeless. His method could serve anyone that is serious about making films that talks to us directly, way beyond the actual "cool" syndrome. It just talks about drama, about what makes cry or not. And why.

You will find many books telling you what to do and what not to do when facing the making of a film. Proferes goes far beyond that, showing us the way to find our own way: questioning our selves and questioning our work. After reading Profere's advices, your insight into your own work and motivatons should broaden and you will find how much potential lies behind the most simple idea if you look upon it with inquisitive eyes. Whenever writting or directing, you should keep this book handy. It's a "must-read" for any film maker.

This is a little book for children that is based on the Russian Christmas tale about the old woman Baboushka who is visited one winter's night by three kings who are searching for a new born child. They ask her to come with them but she can't, saying that she has to finish her chores. Later, bearing gifts, she desides to search for the kings and the babe herself. She visits houses asking about the babe and leaves gifts behind. This becomes the basis for a Russian Christmas tradition. The illustrator of the book was Nicholas Sidjokov and the book won the 1961 Caldecott Medal for best illustration in a book for children. His illustrations enhance the telling of this old Russian Christmas story.

Baboushka and the Three Kings won the Caldecott medal as the best illustrated American children's book in 1961. Stylistically, these images will remind you of stained glass windows and the abstraction of Egyptian murals with Byzantine faces. The pages are done in five colors only (black plus blue, yellow, an orange-red, and green). The result gives the book a religious tone that makes you imagine you are reading from an illuminated manuscript done during the middle ages. All that is missing are the gold highlights.

The story picks up on the Biblical tale of the three kings coming from the East following the star to the birth of Christ. The three kings have lost their way in the snow in Russia, and ask the old peasant lady, Baboushka, to help them. After hearing of their pilgrimage, she wants to finish her chores first, and spend the night resting in her warm cottage before starting out. She invites the three kings and their retainers to join her for the night. They politely decline, not wanting to miss His birth.

The next morning, Baboushka repents and decides to bring gifts to the Christ child as well. But so much snow has fallen that she cannot find their trail. She goes from village to village hoping for word of the three kings, but finds nothing. Eventually, she gives her gifts to the children along the way.

"And it is said that every year, at the season when the birth of the Child was first heralded, Baboushka renews her search across that land with new hope." "And it is said that every year little children await the coming of Baboushka." "They find joy in the poor but precious gifts she leaves behind her in the silent night."

The book points out rather well that when opportunity knocks, one had better take immediate action or possibly rue the consequences for a lifetime. But the repentence can still yield important benefits for the proscrastinator and those who know her or him.

After you and your child know this story well, you should share with your child examples you have seen where waiting was a mistake. To balance that message, also share some stories where waiting was a good idea. In this way, you can help your child prepare to perceive and act on good opportunities that require quick action.

This book obviously will raise the question of what this has to do with Santa Claus from your child, so be ready with your answer for that, as well.

Be generous as you can possibly be in your support of others and always active in seeking God's truth.

Baboushka and the Three Kings is a book of hope and wonder. It has a simple moral: reach for the stars and follow your heart. This is an inspirational story to read.

This book is an excellent resource for researching the life and works of Beethoven. The sections regarding compositions are broken down by ensemble and type, and provide important information such as performance dates, key signatures, time signatures, and movement headings. Almost all topics, including such things as Beethoven's handwriting, favorite literature, philosophies, thoughts on other composers, are covered. Very handy for reference, as well as a guide to starting Beethoven research. Well worth it at twice the price!

Undoubtedly thousands of books have been written about Beethoven, but what sets this one apart from the others is its well-organized and exhaustive structure. Perhaps the best way to highlight this for the prospective buyer is to list the actual sections contained in this book. 1. Calendar of Beethoven's life, works and related events 2. Beethoven's family tree 3. Who's who of Beethoven's contemporaries 4. Historical background 5. Musical background 6. Beethoven as an individual 7. Beethoven's beliefs and opinions. Following section 7 are several more sections dedicated solely to his music. As you can see, this book offers several aspects that many others neglect to include. This structure also affords one the opportunity to go directly to an area of interest without having to wade through myriad pages. Also included are eight pages of paintings, sculptures and sketches of the maestro. This book is equally at home in the bathroom, on the coffee table, or in the study. It is an invaluable source of information for anyone desiring to learn more about this amazing genius.

This book offers chapter after chapter of information on every aspect of Beethoven. I find that every time I pick this book up, I can find something interesting to read about. Obviously the music as catalogued and described. Beyond that, details of the great composer's personality, writing style, health difficulties, as well as his known views on a variety of topics provide endless hours of fascinating reading. I am impressed by the thoroughness of this book. Listings of people who Beethoven knew or interacted with, his influences and those he influenced, pictures and descriptions of his handwriting and manuscripts, the historical perspective on the times he lived in, all clearly described. I would highly recommend this book to anyone interested in learning more about this great master, and to anyone who is interested in the life and times of one of the most influential artists to ever live. In summary I have found it accurate and complete and always interesting. It is an indispensable reference.

This book starts with the sewing basics that many of us may not have been interested in learning until we actually had our own place that needed to be decorated. So, if you don't know the first thing about sewing, but would like to learn you may want to purchase this book. I think it has the best sewing instructions of any book that I've ever seen before. Or, if you want to know the proper way to wallpaper, paint or set tiles, the instructions are all here.

The excellent attention given to detail, and the clear pictures makes this one of the very best practical teaching guides on the market today. There are chapters on Curtains, Shades, Bedding, Cushions, Simple Upholstery, Tiling, Table Linen, Lampshades, Painting, Wallpapering, Lighting and Houseplants. The directions are concise and the photographs show all of the projects step-by-step.

This book is so good that I've purchased two to use as gifts.

I borrowed the book from the library and found it to be an excellent reference. The step-by-step directions with pictures give guidance to those who want to complete "do it yourself" home decorating projects. The book covers so much, from basic sewing techniques and terms to making your own lampshades. This is one I want to purchase.

Great resource for home decorators. Shows how to make different styles of curtains, tablecloths, bedspreads, etc., faux finishing painting techniques, wallpapering, staining, etc.

I borrowed it from the library and am now looking to buy it - it's that good.

i never knew hemingway was a poet. but i'm glad he was, since several of these poems are excellent, and most are good (and quite a few bitter). i'm not surprised hemingway's poems are good since it would seem to fit his style of write, every sentence, every word important.

I read this short volume without a clear conception of what Hemingway's poetry would turn out to be. I'd always heard it said that Hemingway's economy in his prose rendered paragraphs into a poetry of their own. But the dynamics of poetry are somewhat different from those of prose: While giving one untrammeled use of the English language (heck, you can even be forgiven a few perversions of grammar), you have to have an ear for meter, let the cadence exalt each verse into a brief apotheosis, where prose writing could take twice as much time to shoot its load. Thankfully, Hemingway was as brilliant (and troubled) a poet as he was a novelist.

Hemingway's early poetry is a good indication of what he was soon to create. From the facetious poems about baseball and high school track teams mimicking the verse of his idols,to the smart allecky "Blank Verse" (written as an imposed classroom assignment), we get a good sense of the wry, often witty Hemingway that was to emerge in parts of books such as the Sun Also Rises. Yes, despite the suicide, despite the preoccupation with war and violent sports (bullfight, anyone?) Hemingway had a knack for giving life to people tersely, but with all the effect that a more prolix writer could. (Take the descriptions of Jake drinking wine from a native's winesack on a bus, exultant at the thought of a fishing trip forthcoming.) This, not to say joyful, but at least sometimes happy side to Pappa's poetry is almost completely supplanted by the style that dominated his years in Europe as a WWII correspondent, Cuba, and Idaho. These poems are more technically adroit, sometimes beautiful, but introspective and often a bit more than morose. Ironic: The same man who inveighed against Dorothy Parker for her failed suicide attempts blew his mind out in some corner of Idaho decades after he'd made a name for himself in literature so rockfast that, as long as there are the literate, there will be the Hemingway-lovers.

That notwithstanding, Hemingway made a name with Farewell to Arms, The Battler, et al. These poems are brilliant, but, for the two of you who've never read a Hemingway prose volume, remember: His novels are just glorious poems with more action, characters and plot. And are far more reflective of his genius than even these wonderful selections.

Originally published as 88 Poems in 1979. This is an updated version with a new afterword. Shows the breadth of work Hemingway did, not only novels, short stories, journalism and literary non-fiction but poetry too. The earliest was when he was 12 yrs old and foreshadows his great range. They span to age 56. Some were for small publications. Many were written to individuals and were never intended for publication. This volume is exquisitely annotated. Some are earthy as you would expect from a man who was involved with war, wingshooting, big-game fishing. Some are delicate and sensitive. The book is worth reading to explore the great range of Hemingway.

As a classical voice student, this is the only book I look to when my teacher mentions a work that I'm unfamiliar with. I have found only one error, and that is in Puccini's Gianni Schicci, Mr. Martin calls Lauretta's aria "O Mio Bambino Caro". The title should be "O Mio Babbino Caro". Call me picky, but there's a big difference in translation.

Several years after buying this book, I find that I still turn to it first when examining the details of an Opera. It if really is out of print (and I think Amazon is wrong on this point), than it is a criminal shame. This is one of those books that EVERY singer, accompanist, or Opera Lover should have in their library.

The only major downside is that it is not available in a hardbound edition.

The error cited above by "Coloratura" from San Francisco reminded me of a similar problem I encountered years ago. Reviewing a recital by Renata Scotto for the Washington Post, I mentioned that she had sung "O mio babbino caro." Obviously, an editor thought I had misspelled "bambino" and made a "correction." So instead of being addressed to her beloved daddy, the aria--in this review as in Martin's book--was addressed to her beloved baby. Martin's book is unique in its thoroughness and its totally professional, no-nonsense approach to opera, a book by a man on the production end of the art; a book of special interest and value to those involved in making opera happen. It should not be allowed to stay out of print.

I have never been able to get my hands on the fourth book in this series, so this one was a bit hard to follow. Especially since I read it before reading number three. I must admit, I found it rather boring. And does the author have something against the Fedorcenkos? It wasn't as sad as the third one, but it was still a tear-jerking book.

The story is shifted away from Anna and toward Marianna in this book, however it is no less interesting. All seven books in the series get five stars from me!

The Russian series has been one of the best I've read. There is so much history out there that I have never really learned much about, and these books make it exciting to expereince history. You become so engrossed in the characters and the story as it goes through the Russian history and learn so much as you view it through the eyes of each character.The author makes you feel as if you are right there and know these people personally. In this book, as the people face another war, you feel the devastation and desperation they felt.I also love how the author interweaves faith and trust in God throughout the story in the characters lives. The books are very hard to put down and you'll want to read the entire series.