When this book came out in '85, it so affected me I did something I've never done with any full-length book: I copied down in a notebook nearly the entire book in longhand--and I wouldn't write it down unless I agreed with EVERYTHING the authors said. Why I give it 4 stars is the circa 2% I left blanks in the notebook for yet to this day remain blank--I could agree with most of what they said at those points, but not everything. Yet these ~2% concern major, crucial areas no matter how few lines in the book they cover.

This book is an excellent book to use in comparative religions courses as an introduction to the Bahå'i Faith. When can we hope to see it back in print?

I have been a Baha'i for fourteen years and this is the absolute best book I have ever read in my entire life. It explains the Baha'i Faith in a clear and simple way that is interesting and makes you want to turn every page. You'll learn about The Bab, or Gate, who proclaimed the faith and the tortue and suffering he went through...this book is dedicated to those who gave up their life for the faith. Inside this book you'll see so many beatiful quotes. You'll also learn about Baha'u'llah, God's latest (not last) messanger. Here's a quote my friend told me that is about Baha'u'llah. This quote is by Abdul-Baha, Baha'u'llah's son:

"The blessings of Baha'u'llah are a shoreless sea, and even life everlasting is only a dewdrop therefrom. The waves of that sea are continually lapping against the hearts of the friends, and from those waves there come intimations of the spirit and ardent pulsings of the soul, until the heart giveth way, and willing or not, turneth humbly in prayer unto the Lord. Wherefore do all ye can to disengage your inner selves, that ye may at every moment reflect new speldours from the Sun of Truth."

If you want to learn more about this faith and want more quotes, email me at SKhalifaJeff@aol.com

Berman, Ruth: "The Dragon's Skin" was the armor of the legendary hunter Nimrod (see book of Genesis), but the lady-knight Bradamant defeated its current incumbent once before - although she no longer has the enchanted weapon that previously tipped the balance. Some unrealistic elements, along the lines of Malory's Table knights running into kings casually.

Delaplace, Barbara: James' abuse of Sarah (drawn from her point of view) is either bringing out "The Hidden Dragon" in her - or pushing her over sanity's edge.

Foster, Alan Dean: "Lethal Perspective" is also in Foster's collection _Impossible Places_. The dragons have met upon the Roof of the World - the environs of Everest - to compare the disasters they've secretly inflicted upon mankind, determining who has displayed supremely effective skill.

Forrest, Elizabeth: All Alben and Rain got from their encounter with a dragon was a lungful of smoke and the death of their horse - and Rain's illness from using blackthorn elixir to augment her powers during the fight. But the shaman in the nearest village sets a steep price for help; they must finish the job, since the moss needed to treat blackthorn fever grows at the "Cold Stone Barrow" where the dragons bide their time.

Friesner, Esther M.: "Take Me Out to the Ball Game" The wizard who summoned the dragon (who talks like a genie) has trouble explaining why he's to eat one of the Mets. "A bitter man is not a pretty sight, but one who has had his innate bitterness refined by long years of backing the Cubs is about as ugly as a Gorgon with PMS." (Particularly given why he has a dependable source of virgin's blood for the spell.)

Gunderson, Kimberly: When a grubby kid knocks Jud's wineskin into the street just after he's come off guard duty, Jud searches the kid to find "The Stolen Dragon" - a statue spelled to torment the possessor until returned to its rightful owner.

Haber, Karen: After suffering 3 robberies, Christine arranges for a virtual-reality dragon as "Home Security", even though the dragon was built for a gaming rather than a security system.

Huff, Tanya: 17-year-old Donna received the talisman of "Shing Li-Ung" at her grandmother's deathbed, but only gradually learns that the dragon on the cheap-looking brooch must protect the talisman's bearer. Unfortunately, her younger brother is the one who needs protecting, but her parents see no need to curb him - even after he's given probation for gang involvement. After all, he gave his *word*. (Good folk, I hasten to add, but with blind spots.)

Kreighbaum, Mark A. and McKiernan, Dennis L.: Smael is young and lazy; although married and expecting his first offspring, he's still living in his father's cave, and his chore this morning is to extract an overdue gold tithe from the local villagers. Smael's allergic to burning thatch, and gold attracts pests in chainmail, so he's interested in an ugly little man's proposition of "Straw into Gold: Part II". :)

Lindskold, Jane M.: Whatever the cause - a shooting star landing in the garden, an Italian tomato plant "Between Tomatoes and Snapdragons" - the odd speckled flower on Jinny's tomato plant has burgeoned into an egg - and in bright light, the lizardlike shape within is clearly visible. Regardless of the egg's fate, just being there injects some much-needed wonder into Jinny's exhausting daily round.

Malzberg, Barry N.: "Concerto Accademico" is dedicated to Sir Adrian Boult, the conductor to whom Ralph Vaughn Williams dedicated 2 of his symphonies - though not the 9th, which the Tarrytown Symphony is rehearsing when a dragon wanders into the auditorium. The conductor, of course, is the one person who can't see what's distracting his musicians, since he's facing the wrong way. :)

Reichert, Mickey Zucker: Once a decade, "The Champion of Dragons" is chosen to seek and slay the dragon, although the dragon long ago ceased to bother the village. Although none of the previous 13 champions ever came home, Miura Usashibo has fought hard for the honor, sacrificing everything toward his quest for perfection save his love for his wife Rumiko - but he's now demonstrating his priorities.

Resnick, Laura: Esther, the narrator, comes home after a *long* day of unsuccessful auditions to be buttonholed by her annoying neighbour, with a tale of a dragon in the basement - although "Fluff the Tragic Dragon" didn't even break her stride in going grocery shopping. As Esther says, "What's *wrong* with you people who keep investigating strange noises? You *deserve* to be eaten by a dragon!" Guess who gets nominated to check out the story.

Resnick, Mike: "The Trials and Tribulations of Myron Blumberg, Dragon", the narrator, who's begun changing into a dragon - but although gradual, the change makes quite a contrast with Stephen Donaldson's "Mythological Beast" (_Daughter of Regals and Other Stories_). Morton's nagging wife Sylvia sends him to a dermatologist, to begin with. :) And provided you're a *healthy* dragon, there's a limit to how far your unemployment benefits will stretch...

Schimel, Lawrence: "Phobiac" The only piece in Fennwick's (an antique shop on Museum Mile in New York) that the owner refuses to sell or discuss is a tenth-century suit of armor. (Short but good story).

Sherman, Josepha: "Dragon's Destiny" has a Russian folktale setting. While dragons per se may not exist, there *are* dragon-sorcerers, such as Gorynich, who barely remembers life as a human. He's concerned with the knight Dobrynya only because a scrying indicated that Dobrynya would be his destiny or death; as a kidnapped princess later points out, while Gorynich is hungry for "power", he doesn't *do* anything. A bigger problem is that the first encounter between knight and dragon is inconclusive for reasons that don't seem consistent with later events; fixing this would require cutting the story drastically, or lengthening it to build up the second encounter properly.

I read this book several years ago and it still sticks in my mind. Matter of fact, I think I'll go read it again now. Smoking-who knew one of them was the cause of human ruin?

I love dragons, so when I found this book I had to get it. Now, I'm very gald that I did. I found this book to be entertaining and I'm sure you would too, even if you're not big on dragons. So, I suggest you get it now, you won't regret it

This guide provides excellent pre-retirement planning suggestions. Has traps, obstacles and helpers outlined for quick review and advice. Has a number of "tools" in the form of worksheets to assist in planning for both before and after retirement events. Presents a number of post-retirement ideas with several suggestions of how to manage and/or increase your income in retirement. Authors are somewhat short on information for the mid 50's retiree concerning how to access 401k and IRA funds without penalty between 55 and 59 1/2. No info on what forms are needed and where they are available, or what needs to be filed and where. Has one slight reference in the appendix on how to accomplish withdrawals without penalty. Having read a number of retirement planning books available on the bookshelf, I found this volume excels in providing useful information not found in similar guide books.

Although this book deals with many aspects of retirement and retirement planning, what distinguishes it from the dozens of similar books I have read is a truly outstanding calculator for determining how much money will be available then and how much needs to be saved or invested to eliminate any shortfall. It includes pensions, social security, and savings and investments. It factors in life expectancy, income sources that will automatically increase with inflation and those that won't, savings and investment growth rates, withdrawl rates that must increase with inflation(which--unbelievably--some calculators don't consider). It allows for early retirement (that is, it doesn't factor in social security until it's available). Similarly, it allows for staggered commencement of retirement income sources (for example, a pension that starts at age 65 while you may start social security at age 62). I've not found another calculator that does ALL of these things! I couldn't recommend it more highly.

This guide really lays out, step by step, how to think and act to plan your retirement. I found this a surprisingly quick read, comprehensive, easy to understand and specific -- from spending, lifestyle, insurance, investing issues. The book makes a great gift for friends or parents because too many of us are not paying attention to the easy "Action Items" that each chapter ends with. Highly recommended!

"The Rising of the Moon" is a fantastic book for those who enjoy romance and action all in one. It takes place in Boston in the year 1916. William Martin really makes history come alive. Irish immigrant Tom Tracy is trying to become a successful politician, while also trying to have a love live with his Jewish girlfriend, Rachel Levka. But when Tom's cousin, Padraic Starr comes to Boston, Tom has to make a decision on having a safe life in Boston, or avenging his father's death back in Ireland. Rachel must choose between her love for Tom Tracy, and her desire for Padraic Starr.

You need a thesaurus solely dedicated to the word "Remarkable" for a review to give its justice to "The Rising of the Moon". Martin's descriptions of early 20th century Boston far surpass similar works such as "The Alienist" or "Ironweed". Wonderful portrayals of the Irish immigrants struggle for acceptance and political power in Boston, the city that gave birth to our countries ideals. One mans fanatical struggle for those same ideals in his mother land, Ireland, eventually bring these exiting characters to the shores of Ireland to fight it's own battle for independence from British rule. This book should be cone-shaped because it moves at supersonic speed. The first chapter grabs you hard, and each following chapter is better then it's predecessor. When you reach the final 200 pages, prepare yourself, go to the bathroom, get something to drink, make sure your comfortable, because I guarantee, you won't want to move until you've finished. Nothing in this book is predictable. It's well plotted and the reader will be thrilled with surprises to the very end that will leave the reader emotionally drained. Even though this book was 471 pages, Martin is one of the few story tellers that has the ability to cary a book for 1000 pages and the reader is still crying for more. This was the best book I've read all summer, and found it's way into my top 20 books of all time. A publishing felony is being committed everyday this book remains out-of-print.

Publishers make strange decisions on books that I'll never understand. "The Rising of the Moon" is William Martin's story of Irish immigrants in Boston and the struggle towards independence of the Irish Republic. The story has a steady metered pace about it that causes reflection on past events and current day events. While Mr. Martin may not agree, the struggle for independence in Ireland mirrors the American struggle a century and a half before, but also foreshadows the struggles of the Palestinians for a home land today.

The book explores the deep nationalistic sentiments that drive a people towards independence. Demonstrating how passionate those drives may be and how at times those passions cause unintended pain and grief that time can't erase.

I think he toys with the notion that the end does not always justify the means, but in the end leaves the reader to decide. At times a very disturbing book, yet always captivating and provocative, the ending will surprise you

This book should not have been removed from the shelves of bookstores, The novice William Martin reader will be deprived of perhaps his most personal essay on independence, the central theme in his works. For those of you who have enjoyed the historical tails of Martin, make the extra effort to find a copy of "Rising". I promise you won't be disappointed. You will be challenged though.

I very much enjoyed this book, but could only give it four stars because it is a bit out of date regarding some of the instruments of the capital markets. For instance, credit derivatives and total return swaps are used to round out and diversiry bond portfolios especially in structured finance. Tavakoli has written an excellent book on these products: "Credit Derivatives" (Second Edition). These are off balance-sheet products that are a form of financing. Tavakoli also talks about other types of financing which reduce portfolio concentration risk.

For a textbook, this is written in a reader-friendly style. You can almost see the author at the blackboard explaining the concepts AND math in plain English. And yet, very little handwaving at all. On the other hand, this may also present special readability challenges: you may find yourself constantly flipping between text and tables to follow the discussion.

From a pedagogical point-of-view, some of the developments might have been more intuitively presented. For example, the chapter on option-pricing theory should mention the expected-value interpretation. Over all, however, this text does very well on this score.

I particularly liked the survey of empirical studies at the end of each major concept, that discusses the imperfections that other researchers have looked into, and their findings.

This is one of the core reference texts I keep on my desk.

This was one of the texts I had to read for one of my MBA classes. It provides an excellent theoretical background in finance and the theories that link finance to macro and micro economics. It is not very practical however. Not much in the book can be applied. It is a must, however, for any serious student of finance. The coverage of option models is a little light, however. I highly recommend that people have a background in calculus, differential equations, probability theory, and linear algebra before reading this book.

The artists model is a subject that always causes controversy. They are always the important but forgoten subject. Yet in figurative painting and drawing, it is the artists's model that either makes or breaks an Artist. The execution of form, the visual representation: realistic or abstract tangible or symbolic are all due to the relationship the artist has with his model, whether the artist and the model have been able to build a mutal rapport. Most books on the subject of artists's model have in fact been mere glamourous biograhies of the more famous sitters, like Elizabeth Siddal, Fanny Comforth, Gwen John, sister of Augustus John and an artist in her own right, expressing the model as a sexually available mistress or muse! Little was said of the diversitty of of the models's lives, and the atrocious conditions of their work which was usually arduous,mundane and poorly paid. Maybe little has been said because a lot of the models were sexually available as mistresses and some of them of them made poor muses, but most looked great nude; on canvas at least! Here is abook that gives a fantastic account of what the Artist's model life was like; from the social, economic,; and ideological conditions that underpinned perceptions of the model in Britain who worked from 1830's to the 1950's. The book holds true to the various artist's work and we really are given a "behind the picture" look, an account of what it was like to be 'an artist's model'. The opening chapters look at the debates surrounding the role of life drawing in art education, the use of he model as a subjct for painting and literature, the changing status of the nude within the context of artistic movements, and the social reaction to the morality of such depiction. Why the founding ethos of the Royal Academy in the 18th c, gave way to Victorian crusading and undermined art and its history as taught let alone as an ideal. There is an intereseting section which looks at the physics of the artist's studio, where it is all to apparent that the claas divide and the economic necessity of modelling was exploited, that the working class model was given seperate acess to tyhe studio to that as that of any of the other classes, that even the changing room was secluded so that the liasons between artist and model took place within the secrecy and innocence of the studio. Naturally, it has been maintained , that every effort was taken to make sure that no impropriety took place. Why then were so many models also mistresses? The book portray's the succcesful and not so sucessful. Those for whom modelling brought wealth and fame, those whose lives were destroyed. The book also charts the decline in the use of the model due to the rise of abstract and conceptual art styles. And paradoxically, covers the re-emergence of the model in recent years due to the ggrowing influence of modern figurative painting. Contempoary models are better educated, healthier, and will hopefully, avoid the trap of their Victorian counterparts. The Victorian model, though introduced to to High Art and Profound Ideas., show only to well how they became victims and were easily discarded. Would any of the artists like that to happen to their work? I think not. I haven't mentioned any of the Artists or their sitters here so that you can explore for youself this fasciniting but important piece of the development and chronicling of Art History.But as the title suggests, the Artists of the late Victorian Era who used models are given a new vista. 'The Artists Model' is an exciting book and provides invaluable historical insights into the experience of modelling and and aspects of the models lives.

There is an exhibition related to the book at Kenwood House, Hampstead Lane, london, NW6

23rd July- 26th September 1999 Telephone 0181 348 1286

What some may see as just another pretty artsy coffee table book will be missing a truly educational experience. THE ARTIST'S MODEL, though a catalogue of sorts accompanying an exhibition in England in 1999, is a fine historical documentation about the role of the live model in representational painting from the early 19th Century to the present. Logically divided into four sections - 'From Academy to Art School', 'The Studio Model', 'Models and Muses', and 'The Naked and the Nude' - the four writers deliver historical data accompanied by copious visual examples. Here are all of the well know British figurative artists as well as some lesser lights that deserve more attention. Yes, the book delivers the expected gossip of which artists did what with which models in a wonderfully British tone. But more important is the survey of how the models in the academies and schools moved from being solely male to almost exclusively female and the sociological changes that accompanied this odd transition.

This book overflows with beautiful illustrations, but it doesn't stop at images: each painting depicted is accompanied by a bit of history about the artist AND the model and the way in which this example illustrates each author's premise. This is a wise, informed, and thouroughly entertaining book that deserves greater attention.

The idea of "the best of the Oxford American" brings out a lot of expectations. This magazine has been the home for a lot of special writing. This book provides some of those moments. I especially enjoyed the narrative of the small town photographer burdened by the unwelcome insights of his coworkers and the blank misunderstandings of his Disney World roadtripping friends. I think that the criticism by Tony Earley would have made just as good an introduction to this book as did Rick Bragg's more metaphorical observation that this writing is "heavy on the salt."
I would recommend this book for anyone that wants to read about the South as it actually is -- unique, history-addled, and genuinely "salty".

This collection of works--fiction, nonfiction, poetry, reportage--by the biggest names writing in or about the South is a real treasure. For those already familiar with "the New Yorker of the South" it will remind those what have made the magazine so special for so many years, and for those who have not discovered the magazine, BOA will be a great introduction to the best in Southern belles lettres. The book, like the magazine itself, is a little trad and not good on commenting on the lives of blacks, gays/lesbians, and immigrants to the South, but there is much for everyone to enjoy here.

"Old Devil Wind" will get very young children in the mood for Halloween night by telling them what happened "One dark and stormy night" when a Ghost began to wail. One by one other things in the house, from the stool and the broom to the door and the floor, as well as the owl and the witch outside, begin to add their own spooky sounds to the dark and stormy night. You can think of this story by Bill Martin, Jr. (author of "Brown, Bear, Brown Bear, What Do You See?" and "Happy Hippopotami") as sort of a creepy Halloween version of "Old MacDonald." Barry Root ("Pumpkins") provides the suitably eerie illustrations chronicling the growling cacophony of eerie sounds that builds to the arrival of the Old Devil Wind at the climax. "Old Devil Wind" should work well for youngsters who can still count the number of times they have gone trick or treated on the fingers of one hand (without using the thumb).

Wonderful book for story time. Easy to involve children in the excitement of the book. Lots of opportunities to involve sounds while reading at a Halloween party.

An excellent book if you are already interested in Heidegger (also good for students who require some understanding without the time to read his larger works). For example, 'On the essence and Concept of Fusis' clarifies much about the ever folding nature of Being that at times seems ambiguous. It is not a complete enclyclopedia of meaning but as an extra learning device beside his other works there is an essay that covers everything. But do not approach it as a set of essays to prelude other reading.

The first item in this book by Heidegger is a review of Jaspers's "Psychology of World Views." Heidegger's interest in the tendencies which Jaspers seemed to serve in his observations are a sign of the unsettling effect that true philosophy introduces into a view that has assumed normal psychological orientations. I haven't attempted to pursue the rest of the thoughts in this book. The initial outburst of rebellious enthusiasm for this kind of thing was responsible for more than enough trouble in my case.

Who hosts ghosts? All of us, I would think. In a remarkable and original intertextual study, Martin Harries brings Shakespeare and modern economic analysis under his purview to argue that the hunter is forever haunted by the hunted and that any attempt to disavow the supernatural will inevitably also welcome it to the party. Highly recommended.

I found this book almost by accident--which is the way I suppose others might find it, although people should seek it out. Anyone interested in literary and social theory, in citation, in ghosts, or in just a plain good read should read this book. It is beautifully written and contains subtle interpretations of not only Shakespeare but Marx and Weber, Keynes (whom I didn't know), etc. It has a light touch, but the concept of "reenchantment" is fascinating. Really--read this book!--you will be surprised!