There's not many classic books that are more well known than "The Swiss Family Robinson." A Swiss family is stranded on an uninhabited island and there doesn't seem to be any rescues that are lingering around the corner for many years. Soon the family is taming tons of new pets, fighting off animals such as anacondas and lions, and learning how to basically survive off the land the best they can. The Robinson family must keep an eye out for danger while also starting a whole new way of life for themselves.

I thought "The Swiss Family Robinson" was a spectacular adventure/survival book. You can say that the book is pretty much a long diary that is kept by the father of the family of everything that happens to them on the island. The book I read did have many references to God unlike some of the abridged editions. The only thing I didn't like about "The Swiss Family Robinson" is that when the family starts collecting and taming many animals that they find on the island, it gets a little tough to keep up with all the animals' names, but that wasn't bad enough to take anything away from the book for me.

I recommend anybody who likes survival or adventure books, especially if you like reading the classics, to get "The Swiss Family Robinson." I would recommend getting an unabridged version of the book if you can so you won't miss a word.

But let's be clear right up front. My 5-star rating of this book applies only to the original unabridged version in Johann Wyss' own words. The modernized versions are watered down, time-wasters for word wusses.

When I was nine years old I spent months struggling through this book for the first time. The old style language made for rough going, but I persevered. In the end I was rewarded with more than a classic tale marvelously told; I discovered a love of books and earned self-respect for tackling a tough read.

If I was a teacher whose task it was to introduce students to classic literature, I would skip Dickens and use this book. Kids love adventure, animals, and action. Swiss Family Robinson has it all. It's really a thriller disguised as a literary classic. All book lovers should read this one at least once.

And please don't watch the Disney movie and claim you've "been there, did that" on this story. The movie is totally different and in no way compares.

Never mind the film versions; the original unabridged Swiss Family Robinson is an exciting epic with a lot in it for the whole family.

Our third grade teacher read to us from this book every day and I could hardly wait for the next installment. Finally I got my own copy for a birthday gift, sat on the couch and read it cover to cover in one go. I still have this book, decades later.

From the opening, thrilling tempest scene to the very end and the "rescue", this book has plenty of action as well as creative solutions to problems. There is a lot of material for discussion, how the family solved problems, how they handled disagreements, adversity, disappointment, building of character.

This book definitely teaches values along with the adventure and the values are linked in such a way as to be an integral part of the story.

And Swiss Family Robinson is never boring. There is always an exciting new beast to be discovered, a new plant to use for food or clothing, a new machine or tool to be built, a new part of the island to explore. This is a wonderful book to read out loud to kids until they are old enough to enjoy reading it themselves. If you are bored with re-runs on TV, turn off the box and spend a half-hour or hour every evening reading this aloud. Everyone will have a great time, and kids who are read to, become readers themselves.

As far as I know, this is the only biography written by someone who was not a friend of Gleason's, and it shows. While the book is extremely well-researched, the author seems to take an inordinate amount of pleasure in pointing out as many of Gleason's faults as he can. I was left with the impression that the author was almost jealous that Gleason enjoyed such enormous success despite not always being a pleasant person.

I noted the comments from various celebrities on the back of the dust jacket, and was surprised to hear praise from people who call themselves Gleason's friends. It makes you wonder just what kinds of friends they were.

As a Jackie Gleason fan, I eagerly picked up this book, hoping for the definitive biography. I was disappointed. Although the book covers Gleason's life reasonably well, and is apparently well researched, the author seems to be obsessed with uncovering every untruth -- big or small -- that Gleason ever told. I tired of that quickly and found myself muttering, "Enough, already" repeatedly. About 100 pages into the book, I finally gave up on it.

Insightful, cogent and most of all, compassionate of a man that left others astray and outside their own ceative input. Henry paints his subject with the kind of depthful insight rarely afforded one who has not had direct access. It is as if the author has somehow gotten under the skin of his subject, found him wanting and yet left room for understanding and compassion. Here's Gleason - The Great One -warts and all

Mauve is part of an increasingly popular genre - Small Things That Mean A Lot. As (practically) the first artificial dye in the world, derived from coal tar, Mauve not only set the pattern for every other synthetic shade but also formed the basis for many other products in the new chemical world. This book tells this story and also that of its inventor, a Brit named William Perkin who discovered Mauve by accident when still at college. Mauve became the hit of London and Paris, though its inventor got rich mostly by making other colors.
The book runs the risk of being a little thin (Perkin is not a hugely interesting man), but Garfield keeps his work relevant and vibrant by some very elegant writing in which clever linkages are made between a vast array of subjects. I recommend this title for its insights into historical and modern fashion trends and some fascinating scientific history.
Amy De

I received Mauve this Christmas and loved it. It's a hybrid of a book, a primer in science, Victoriana, fashion and color. It's not so much a biography of Sir William Perkin, the man on the cover, as a history of mauve since his invention (1850s) to the present. Simon Garfield made me believe that the whole world can be seen in terms of a particular color, and he weaves in some great historical detail to support his case.
Mauve was really the first artificial dye to be made, and became the toast of London and Paris once the Empress Eugenie found that it suited her crinolines like nothing else. After mauve, any artificial dye was possible, and the world really did change. Even if it isn't your color of choice, I recommended this book as a very interesting read.
(By the way, I'm not Pat Barker the British author!)

Simon Garfield has written a fascinating book about the history of something we take utterly for granted, synthetic dyes, how they came about, and how they changed the world of invention. The book focuses on the story of William Perkin, who, as a young man accidentally invents a new kind of dye that does not fade or age the way natural dyes do. From that point on, his challenge is to find a place for his invention in society, and Garfield chronicles admirably the struggles Perkin faced and the impact his struggle had on the field of chemistry, which as a result of this new dye, changes from a field of intellectual scientific research to a field of commercial potential. Garfield's writing is engaging and absorbing, and this is a wonderfully illuminating book.

This is a good book for people who want to learn more about the great Italian luthier, but it definitely has its flaws. The book was written around the turn of the 20th century and its style is very stilted and convuluted. I often had the feeling the authors could have conveyed the information they give us in two pages in one paragraph. Also, their worship of anything related to Stradivari gets to be a bit much after awhile. Still, this is the book to turn to for information on this great violin maker.

This is perhaps the most important book ever published relating to the topics of violin making and the unchallenged greatest maker of all times. The Hills are the most respected scholars, ever, of the violin, and this was a landmark publication in 1902 and remains so. Under the quaint language is the information that subsequent scholars have used as the basis of their understanding of Stradivari's work (and stolen for the basis of many of their own articles and books), and almost everything written in the book is still considered accurate--an unprecedented event in violin publishing, where there's much more myth than fact in many books, especially those of the past, many of which are essentially fiction posing as non-fiction. There is simply no reason not to own this book if you are interested in violins.

If you're looking for easy, unchallenging reading about Thoroeau, this may be for you. It's nice armchair criticism that doesn't have much to admire, but not much to offend, either.

This book is a splendid natural history of how a writer--a great one--works, lives, and thinks. "The Book of Concord" is by far the best study available of Thoreau's massive Journal, that extraordinary seedbed of material from which his more formal books were crafted. Howarth does not romanticize Thoreau, nor is he an apologist; the book is both sympathetic and scrupulous, an anatomy of a soul, and of an imimitable American prose style, as original and provocative as its difficult, enigmatic subject.

I came across this book last summer when I was in Stratford, Ontario, attending their annual Shakespeare festival. I had just seen Henry V so this title caught my eye. A glance through the table of contents made me think this book might be a real eye-opener. Unfortunately, I ended up being a bit disappointed.

Sutherland and Watts take turns addressing what they call different "puzzles" in various Shakespearean plays. The problem is, except for the rare exception, most of these questions can be answered in various ways depending on how the play is performed. For example, is Malvolio vengeful or reconciled at the end of Twelfth Night? Or, does Bottom actually sleep with Titania in Midsummer Nights Dream? In both cases the ultimate answer is, it depends on how you play it. There is no one answer fixed in the text.

Even questions that seem like they should have a specific answer like, who killed Woodstock in Richard II?, are given waffling answers. There's simply no way to know. Again, the ultimate answer will lie in how the play is performed. Different companies will lead their audience to different answers depending on what they decide to focus.

Ultimately, this book has value in the sense that it points out what some of the issues are with various plays. On the other hand, the writing here is not very dynamic. The authors rarely take a position and, when they do, they approach it so weakly that they do not inspire a response in the reader. Perhaps the authors felt that they didn't want to provoke any controversy with their readers but, if they had, it might have made for a more readable book.

Shakespeare wrote plays that were to be seen only as performances before live audiences, running around two and a half hours, on a rather small stage. And he probably wrote pretty fast. Are the numerous inconsistencies (or apparent inconsistencies) one finds in the plays genuine errors of oversight, deliberate toying with the audience, unavoidable given the physical limitations of actors and stage, or part of some grand artistic design? For any given play, the answer can be any or all of the above.

The authors discuss about 30 such "glitches," and seem to derive most of their fun from summarizing how various Shakespearian commentators (few distinguished for intellect) have dealt with the glitches over the past 350 years. Sometimes, the authors appear to me to be deliberately obtuse about an issue, perhaps because they had some trouble finding as many as 30 genuinely puzzling glitches to comment upon.

One comment I have about the whole matter, which the authors do not make: Shakespeare's intellectual and artistic depths seem virtually boundless, and every seeming inconsistency might well have a reason for being other than carelessness or a schedule that didn't allow complete revision. The authors are aware of this, even when they don't state it explicitly.

Among the questions discussed: Why does Shakespeare's Henry V during the battle of Agincourt twice order all French prisoners to be slaughtered in cold blood, yet have "full fifteen hundred" prisoners "of good sort" left after the battle, not to mention a like number of "common men"?

Why does Juliet say, "Oh, Romeo, Romeo, wherefore (why) art thou Romeo," when the problem is that he is a Montague? Why do so many of the plays end with nothing resolved, everything hanging in suspension? [Notorious examples are Troilus and Cressida, and Love's Labour's Lost. The answer here is probably, oh say can you see, a sequel being demanded by audiences.] How is Desdemona able to deliver several lines of dialogue after being strangled or smothered by Othello? How can King Lear be more than 80 and Juliet only 13? And so on.

Some of the answers were fairly obvious to me, although apparently not so to the authors. Juliet falls in love with Romeo when they are both in disguise, and it is the revelation that he is who he is that is upsetting. He could be referred to as Romeo, Romeo Montague, or Montague, and the sense would be the same. The action of Richard II would cover 30 years or so in real time, yet the performers would have looked the same and worn the same costumes throughout the play, so Shakespeare has the characters proclaim themselves as "lusty, young" in the early scenes, and having "worn so many winters out" in the last scenes. Further tipoff to this necessary compression is that where ever the dialogue would naturally refer to "years," it instead refers to "minutes" and "hours." As the authors put it, Shakespeare has invented "Warp Time."

The book is a great pleasure to read, and will greatly deepen your knowledge of Shakespearean drama, and your viewing of any Shakespearean film. Highly recommended.

Mapping America's Past is an attempt at using maps to portray American social, economic, military, and political development. The maps that are included are excellent, but what was included is somewhat puzzling. The general analysis of wars, expansion, and elections are useful, but maps of political party development in the Cleveland area or prostitution in New York City are not entirely relevant to the general American history student. Similarly, many of the accompanying texts offer little detailed insight into the topics the maps cover.

This book should be considered a general resource, but for an in-depth historical atlas, the reader must look elsewhere.

A highly satisfying review of historical topics.I'm often able to read only in 20-minute bites; every spread of this book is a self-contained history lesson, accessible in 20 minutes but worth revisiting many times. Most important topics and events of American history are covered well, and the rendering of complex information (e.g. the six gauges of railroad in 1850 and how this incompatablity affected commerce, population and political power) is truly inspired. This is a superb gift for an American history buff.

Unfortunately this book has not been updated in over 25 years. Taxonomic changes in some groups of mammals have left this rather inadequate. The illustrations aren't bad except for sea mammals which have black and white sketches for illustrations. It may have been a decent guide when it came out, but I don't see the point in publishing a book which may not have the animal you're looking at in it! This book needs a revision.

This book was issued in 1976 not in 1998 as I was led to believe...... I just received my copy and it is a 3rd edition, clearly copyrighted in 1976. Apparently it was reprinted recently, but not updated. Who knows how much has changed on our knowledge of mammals over the past 25 years? Also, the binding on this paperback has left little space for the inside margin which will make this a little difficult to use and probably shortern its lifespan. RK

Peterson's field guide to mammals is one of my standard references as a mammology student. I constantly use the range maps,color identification plates, and animal descriptions. The book provides you with good identification characteristics indicated by arrows on the illustrations of each animal and a brief life history of every species north of the border. There are skull plates at the back of the book that are good for comparing different families but do not include every species and in some cases are poor positions to see defining attributes. The color plates for the most part have good illustrations but a few look hoaky like the Mountain Lion. Nevertheless, they all still provide good size comparisons and coloration of the animals. Consistant with other Peterson guides.

The author is trying to jump around on the concept he is trying to explain. Sometime, author used a long paragraph to explain a concept while at the end the point is still not clear.Examples in the text are not given in a consistent manner which causes lots of confusion to reader.
Some important concepts are not presented in the text, unsymmetrical substitution in the conjugated system for example.
I would recommend reader to read the book critically and do expect that things in the book are not 100% correct.

The second edition contained incredible errors regarding mechanistic organic chemistry, many of which were corrected by the third edition. No doubt, these errors were taught to a significant number of students, and have resulted in some ribbing of the authors by their peers. Nonetheless, the third edition still contains significant errors. Bright students will find those errors confusing, as they contradict what they learn about pKa's and acid/base chemistry within the text.

Text information states pKa values are for the conjugate acids of bases listed in tables, and this further confuses students, who assume the molecules listed are the acids themselves.

Incredible leaps of logic must be required for students to take sparse detail in the text and apply them to complex problems in the problem sets. Although the problems are enjoyable for Ph.D.'s in the field, they miss the mark regarding beginning students. I find the problems relevant and amusing, but they are often advanced or graduate level. In contrast,example problems in the text are quite simplistic.

It appears that the text attempts to address biochemistry, polymer and medicinal chemistry to some level - but must sacrifice content in the core areas of organic chemistry in order to satisfy the unwritten rule of a book of dimensions of 1.5" x 8" x 10" for the publisher.

The sidebars were a reasonable attempt to humanize chemistry. University academics are still scratching their heads as to why they continue to have trouble interesting students in chemistry - they need to look close to home regarding text and laboratory material. Both seem to provide an exercise in futility for U.S. students. Scientific method is taught in high school, and promptly forgotten. Logic and flow is missing today.

Good luck with the next edition!

Of all the Organic Chemistry text books I have reviewed, this one is at the top of the pile. It is logically organized and figures are well done. Brown & Foote do a great job of presenting the difficult subject matter.