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There is an enormous amount of misinformation about the drug, and while those that favor use and legalization may have spread their share of misinformation, the history of marijuana in the twentieth century and entering this one is a history of one scare tactic after another wielded by government agencies and individuals who wish to suppress marijuana use. Earleywine's book spends one chapter after another summarizing the experiments and statistics to debunk the most common scare stories. Cannabis intoxication does not lead to hostility, violence, or a climbing murder rate. Marijuana is not a gateway drug. There is no amotivational syndrome from marijuana use. College students who use marijuana get the same sorts of grades as students who do not. Earleywine was taught in junior high that marijuana smokers would have Cyclops-like children, but the drug has not been linked to birth defects, nor to a definitive decrease in reproductive function. In fact, marijuana might help the relatively common problem of hypoactive sexual desire disorder, but as Earleywine wryly notes, "Despite this potential promise, studies of cannabis's impact on sexual drives have not been a high priority of most research funding agencies." The claim current in "public service" ads is that using marijuana somehow funds terrorists; this was perhaps too recent to be included here, or else simply too stupid.
This is a sensible book to show that "marijuana is neither completely harmless or tragically toxic," but that it has minimal detrimental effects especially compared to drugs that are currently legal. Not only has Earleywine summarized a lot of data here, he writes clearly and entertainingly, often with a sly joke as a gift to a reader swimming in a sea of data. For instance, he writes about interesting studies that show that marijuana users learn to smoke efficiently, gauging their lung capacity and the amount that can be held without coughing, so that they get more out of a joint than new users. "Many eventually learn to inhale and report more impact from the drug. Some never learn to inhale and subsequently run for public office."
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Sparked by the idea that a paparazzo was responsible for the death of Princess Diana, the story takes off from there. It pulls the surprisingly likeable paparazzo protagonist (and the reader) into a bizarre confrontation with a monstrous villain through a series of plausibly rendered plot twists.
Both the scene that triggers the action and the scene that caps it are edge-of-your-seat vivid. Russell's sense of humor, sometimes slapstick and sometimes sly, plays hide and seek throughout the story, and a good helping of Hollywood trivia rounds out the book's attractions. This is a perfect book to take on a long, lazy summer weekend.
The intriguing primary character is Graham Wells, a papparazzo with a secret and a conscience. The reader is pulled into Wells' personal struggle as he grapples with danger, political intrigue and the heady world of celebrity.
Whether you enjoy novels of mystery, adventure or romance, Exposure is sure to satisfy.
To date, my favorite Russell novel was the hilarious Hotel Detective but this book is equally enjoyable but in a very different way. It's gripping and suspenseful and the kind of book you want to finish in one sitting.
Exposure gives us a very unusual hero, a paparazzo. It was fun learning about the tricks of the trade, and seeing the world through Graham Wells's eyes. I never thought I'd find myself sympathizing or empathizing with a character like this--but Russell fleshes out a very real human being who is both likeable not so likeable.
What I really liked was the triad of villians. Also, there was a lot of fascinating information about German dueling fraternities.
This book has snappy dialog, great action, and characters with legs and baggage. You don't want to miss this read.
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Attention all parents burned out by reading The Pokey Little Puppy over and over again.
Attention cynics whose primary memory of Winnie-the-Pooh is the Dorothy Parker quote (from her "Constant Reader" column in the New Yorker) "Tontant Weader frowed-up".
This book is a treasure for all who hear it. There is gentleness and not a little wit in these stories. Contray to the book description above, the book is read by the late Charles Kuralt. His inflection adds much to the story. One senses that he is amused; but he is never condesending. Now I will always prefer Kuralt's version to my own bedtime efforts with my children. Charles Kuralt must have loved Winne-the-Pooh mightily. How lucky we are that he left this delightful gift behind.
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The illustrations by such artists as Steve Bissette, John Totleben and Rick Veitch are still masterpieces and remain superior to most of the artists who are popular today. Unfortunately, the art in this collection suffers from changes in printing techniques since the stories' original publication, leaving the colours a bit too bright and garish in contrast to the moody story and artwork. However, it is difficult and expensive to get the originals so this is something one can live with.
DC's Vertigo line, the Sandman series, and very likely, Watchmen all would have likely never happened without the series of comics reprinted here. There is some truly frightening material in here that is unlike most comic fare aimed at younger readers (or at least sanitized for younger minds), but the writing was revolutionary for its time and holds up well today. The artwork maintains the high standards of excellence Moore establishes. The partnership of Alan Moore and Stephen Bissette is one of those magical pairings that occurs so infrequently in comic history (I compare it to Stan Lee and Jack Kirby on the Fantastic Four, Chris Claremont and John Byrne on X-Men, and Marv Wolfman and George Perez on Teen Titans). This is truly a treasure to add to your collection.
SAGA OF THE SWAMP THING is a reprint of Moore's first story arc of the series (issues #20 through 27), the groundbreaking series that shook the entire comics industry. This was the first mainstream series to defy the archaic, outdated Comics Code (Marvel had done it earlier with Spider-man's drug issues, but this was the first series to abandon the Code completely); it was the first step towards "serious" mainstream comic books that catered more towards adults (and gave birth to DC's "Vertigo" line); it took an old has-been DC character that no one knew what to do with and breathed new life into him; and it also gave us a pair of wicked stories that are a sheer delight to read. Swamp Thing discovers his "true" origin in the saga of "The Anatomy Lesson," and he meets a horror from beyond death in "The Monkey King," while encountering several "minor" DC characters who had never been cast in the way they appeared in this series. (Moore's virtual re-writing of Etrigan the Demon sparked a new interest in the character, leading him to several spin-off books of his own.) And we mustn't forget the fantastic, haunting, beautiful, terrifying artowork of Steve Bissette and John Totleben, who made the pages fairly glow with life, as they turned the "swamp" world of the Swamp Thing into an eerie, beautiful, mysterious realm where life and death hide in every pool, waiting to spring out at you.
This book comprises the first half of an unforgettale comic book saga, laying the groundwork for a horrific tale that would cliax with a journey into Hell itself. When paired with the second reprint volume of the saga, "Love and Death," SAGA OF THE SWAMP THING shines as an early example of the genius of Alan Moore, the man who nearly single-handledly took the genre of mainstream comic books and turned it into a "serious" literary art form.
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The descriptions of the planet of Prism are innovative and enticing. They prove beyond a doubt that nothing is ever what it seems and there is no possible way to prepare for the unknown.
When Evan Orgell was placed on Prism, he was outfitted with a state-of-the-art, impenetrable survival suit; impenetrable, that is, in predictable conditions, like earth, but on a new and incredibly different world, anything can happen. Be ready to be surprised.