From the cover description: The Arkansas River begins in the melting snows of the Mosquito Range, near Leadville, CO. Before it reaches the Mississippi in southeast Arkansas, it passes from mountains through plains, prairies, hardwood forests, cities, and cypress swamps. The 151 color photos illuminate the authors journey down the river's course. The informative and provocative text is replete with both poetic style and ecological awareness. Environmentalists, outdoor recreationists, or anyone who has ever lived beside or loved a great river will enjoy this passionate tale of the Arkansas.

John William Corrington is one of the South's finest, if largely unknown, writers. His prose is exquisite and he is a masterful storyteller. His ability to get a story underway and keep it moving equals anything we find in today's action-oriented writers.

Corrington is also worth reading because he was an awfully interesting man (and it shows in his writing). He began his career as a professor of English at LSU and soon began to make his way as a poet. He befriended Charles Bukowski and they carried on an extensive correspondence before they had a falling out that ended the relationship (Bukowski wasn't much for loyalty to friends and he was no better with Corrington than so many others). Corrington published several collections of poetry, but he eventually gave up poetry to write serious fiction. Corrington's first novel, And Wait for the Night (set in the closing days of the Civil War and the early days of reconstruction) is a beautiful, if painful, story and marked Corrington's skill and craft as a writer. While Corrington's novels are all worth reading, in particular And Wait for the Night and a later novel, The Bombbardier, it is in his short fiction that Corrington reveals his greatness.

Corrington took up screenwriting (for Roger Corman) and gave up his academic position. At age 40 he took up the study of law and practiced law in New Orleans for three years. After his first exposure to law, Corrington began to feature lawyers and judges in his fiction. There are six (quite long) short stories in The Collected Short Stories of John William Corrington which are law-related and they are, in my opinion, some of his strongest writing. A reading of any one of these legal stories is enough to suggest that Corrington was a great master and deserves far more attention that he has received to date. In my view, Corrington produced in these law-oriented short stories, and in two novellas collected in All My Trials (University of Arkansas Press, 1987) some of the best legal fiction of the 20th century.

Corrington's work and life are more fully explored in two recent symposium issues of the Legal Studies Forum (Volume 26, 2002).

Corrington is a fine writer and I highly recommend his work.

I thoroughly enjoyed this book, not only because W.S. Haseltine is my great-great-grandfather and I own some of his fine works. The authors took great care researching his life and arts as well as the wonderful works he did. W.S. Haseltine is a fine example for sophisticated American art.

In his poignant biography of the man whom many believe to be George Armstrong Custer's "Brutus", Mills paints a stirring portrait of an enigma of the Indian Wars, Frederick W. Benteen. If you're a follower of Custeriana or a whimsical student of Custer's Last Stand, you'll find this to be a fascinating character portrayal of a man maybe not so different from you and me. Benteen, a renowned cavalryman and survivor of the Battle of the Little Big Horn, rose to the rank of brevet colonel in the Union Army during the Civil War before joining the Seventh Cavalry at Fort Riley, Kansas in 1867. His story is one of life on America's frontier, a tapestry of the hardship and brotherhood common to the campaigning cavalryman on the Great Plains. "Harvest of Barren Regrets" is an epic tale of a forgotten warrior, one of the last of a lost breed of American frontiersmen, and a book well worth the time and investment.

I have had this book for almost thirty years - it always bring me pleasure to look at the lovely pictures, many of which are in The Library of Congress - American Folklore Collection - great book -- buy it!

This book chronicles the 1964 Broadway production of Hamlet starring Richard Burton and directed by Sir John Gielgud. The author played Guildenstern in the production.

Frank Rich (for 10 years the Drama Critic at the New York Times) called this his favorite book on an actor's perspective on mounting a play.

I agree with Mr. Rich on this one. The only reason I gave it 4 stars instead of 5 stars was to avoid overdoing my enthusiasm. (I'm worried people will notice that I am the author's son. Shush, don't tell anyone.)

It got rave reviews at the time it came out and has pleased readers for over 30 years. It is both instructive and hilariously funny.

Please request it at book stores, on line and write to Proscenium Publishing requesting another release.

Thank you

Adam Redfield

I can do nothing more than echo the praise of the other reviewers. This very personal account of the rehearsal process and out-of-town tryout of the 1964 Broadway production of "Hamlet" that starred Richard Burton and was directed by John Gielgud is truly fascinating. William Redfield was a superb actor who could also write well, even though there are a handful of passages that perhaps should have been edited out.

I don't know of any book that gives you a better feeling of what it's like to be in rehearsal and trying to piece together a performance as everyone around you is trying to do the same. Redfield's account of a group of major actors--apart from Redfield and Burton, the cast included Alfred Drake, Hume Cronyn, Eileen Herlie, John Cullum, George Rose, George Voskovec, and Barnard Hughes--working under a director of undoubted genius who is somehow not really helping anyone much definitely makes you feel what it must have been like to be part of that.

If you're an actor, a director, or just love theatre, you will probably find this book fascinating.

I read this book in the La Salle College library in 1965 or 1966, when I was supposed to be in class. I made the right choice. The memory of the description of Richard Burton being booed still brings a smile to my face. Mr. Redfield's witt is a source of constant pleasure throughout. I fondly remember William Redfield as a superbly entertaining guest on many talk shows, during that golden era of talk shows that was the 1960's.

My earlier review stated that "Colonial Spanish America" needed an index. Now that I've seen a hardcover edition, it appears that it DOES have a pretty decent index, but the paperback I own does not--most likely an isolated defective copy.

This book is a fine addition to the impressive Scholarly Resources series on Latin America. It is an unusually stimulating & effective collection of sources & readings on Spanish American history. A major innovation is that it acknowledges the value of non-literary sources, & includes a number of visual & artistic primary documents with full explication. The range & quality of documentary materials is quite good, though inclusion of (undeniably insightful) secondary sources may confuse some students. There are two flaws, one general & the other specific to this work. 1) It is poorly supplied with reference aids; index, good maps & unified bibliography are missed. 2) What about Portugese America, namely Brazil? Since its most appropriate use is in Latin American history courses, even a terrific book on SPANISH America reinforces U.S. neglect of the major country in LATIN America, & leaves professors scrambling to fill the gap. (Apart from this the book deserves a 5-star rating.) Since Bradford Burns's "Documentary History of Brazil" is not readily available, the best complement is Robert Conrad's "Children of God's Fire: A Documentary History of Slavery in Brazil," also a superb collection, but the lack of symmetry will be apparent. Nevertheless, I look forward to assigning Mills & Taylor when I teach on Colonial Latin America. It deserves wide exposure.

This is an excellent collection of documents, but then I am biased since I've been a student of Ken Mills... The editorial introductions situate each document historically and culturally. Very useful for beginning students, undergraduate or graduate.

What was the cause of those murders? Why did it occur then, when the affair was going on for years? I have a suggested solution.

It happened a few days after the Halls came back from their New England vacation in the mountains. I think something happened there, where Mrs Hall had a narrow escape from a fatal accident while with the Reverend. She thought about it, and realized that if she had an accident, Reverend Ed would inherit her fortune, and be free to seek another rich wife. Eleanor would be dropped like yesterday's newspaper. Mrs Hall discussed this with her brothers, and they decided to confront the Reverend while he was with Eleanor, so he could not deny the affair, and would be forced to end it. The emotional interaction escalated beyond reason, and the deaths occurred. The best laid plans of mice and men still go astray.

The case was not solved so justice would triumph over the law. The Reverend Ed messed up his own marriage, and destroyed the Mills' marriage. Alive, he would break up another marriage. It was all for the best. When someone poor falls in love with a rich person, the poor person often comes to an unhappy ending. The rich have many resources to accomplish their ends. This is the moral of "Love Story", that love does not triumph over material facts. No matter how hard you wish it were different. Love conquers all? Forget about it!

This well-written book lacks an index, but lists the people involved. Part I tells about the events of 1922. After the murders no indictments occurred! Part II tells of the events in 1926. A divorce action against the former Hall's maid alleged a pay-off to keep quiet. The NY Daily Mirror publicized this, and NJ Governor Moore ordered a new investigation. Four indictments followed. Part III tells of the five weeks of trial; all were found not guilty. The murders were never solved. In Part IV Kunstler fantasizes about it being a Klan killing. No proof is given, he only argues by analogy. No group of men were seen there. I wonder if this is part of a whitewash? There is no mention of public opinion from these times.

The Reverend Hall married Frances Stevens, 37 years old, a few years before she inherited millions (with her brothers). Around this time Mrs. Eleanor Mills became active in church affairs. Married at 17, perhaps to escape an unhappy home life, she soon had two children. She sought the mirage of happiness in closeness to her minister. But this minister married for money; love was a secondary concern. Their meetings were not secret from their close associates.

On Thursday September 14, 1922 Mrs. Mills read an article justifying divorce for a minister. She cut it out and called Reverend Hall for a meeting; he soon left to meet her. Mrs. Mills boarded a trolley then walked to De Russey's Lane. Reverend Hall left his house by 7:30PM and was seen walking to this location. They were never seen alive again. Saturday morning 9-16-1922 a young couple went for a walk down De Russey's Lane and turned into a grassy path. They found two bodies near a crabapple tree, then ran to Easton Ave to call the police. The missing couple was found.

Four people who lived nearby heard shots or screams around midnight Thursday (p.31). The affair between the minister and the choir singer became public knowledge. Next month they learned of the testimony of the "Pig Woman". While riding a mule to follow a suspected thief, she saw two men and two women arguing near a crabapple tree. There was a shot, and someone fell to the ground. She heard a woman scream, then more shots (p.70). She had tried to tell her story earlier, but was put off (p.72). Detectives accompanied her reconstruction; it checked out.

I believe that Frances, Henry, and Willie went looking for the missing minister, and found them together. Frances asked Edward to kneel and promise to sin no more. Willie, covering him with his pistol, touched it off. They then chose to finish the job (p.29). Future events would tell of witnesses paid to vanish or forget. Who was paid to kill the investigation in 1922? [If they were to find the missing gold watch buried in the Hall's garden we would know the truth.]

Of the two books and numerous articles I have read on the Hall-Mills case, Kunstler's is the most excitingly written, even though it leaves one not wholly satisfied. Boswell and Thompson's trashily titled volume The Girl in Lover's Lane, (Gold Medal paperback original; Fawcett Books: Greenwich, CT: September 1953 [no title on spine]) seems fairer and is more tempered but is also less thoughtful and analytical. Kunstler's solution is dramatically wrong because he writes The Minister and the Choir Singer like a whodunit: the guilty must be among the dramatis personae. To bring in an outside third party, as Kunstler does (and as many Perry Mason mysteries do, by arranging for the Drake Detective Agency to find facts no reader could extrapolate), violates one's sense of literary fairness. Of course, life is not obliged to follow the laws of literary form.

Curiously, in his earlier Oceana Publications book (New York: 1960) First Degree, Kunstler hints strongly at the guilt of Jim Mills. And Boswell and Thompson, on page 24 of The Girl in Lover's Lane, casually dismiss the answer for which Kunstler earnestly argues. They also hint that the vestryman Ralph Gorsline knew more than he told; unfortunately, Gorsline had died by the time they assembled their story. Barring an unlikely disclosure--e. g., a word from one of the Mills descendants, a diary by the murderer, or a contemporary report that contains fresh data, the Hall-Mills case will probably always be unsettling and unresolved, so it seems unlikely that any solution could be more convincing than Kunstler's, however disappointing it may be.

Of all of Shakespeare's plays that I have read, this is the most enjoyable. The characters are real and engaging - the sweetly stupid Bianca and her hoard of suitors, Baptista, who is more interested in selling his daughters to rich husbands than making them happy, the sly and masterful Petruchio, and most of all, Katherine, the Shrew. The play is full of action, comedy, and enough mistaken and hidden identities to keep the reader happily confused.

Katherine, who appears to be "tamed" by Petruchio's cruelties, learns the art of subtlety and diplomacy that will enable her to survive in a society ruled by men. Her speech in the last scene is not a humbling affirmation of the superiority of men, but a tounge-in-cheek ridicule of Petruchio, Lucentio, and Hortensio, who think that a woman can be tamed like a wild animal by a few days of bumbling controll.

The Folger Library of Shakespeare's plays are the most readable editions that I have seen. There are detailed side notes and definitions of unfamiliar words, which are perfect for the reader who is not familiar with Shakespearean English.

When drama goes hand in hand with comedy, a fantastic and peculiar pair enters the stage. It is quite difficult to achieve that strange feeling in which the reader is able to find pity in joy, as Shakespeare was able to do when writing his comedy The Taming of the Shrew.
Baptista is stubborn to let his favourite and younger daughter Bianca get married after finding a suitor for the shrewish Katherina, his oldest daughter. As a consequence, a complicated mockery is carried out and anyone displays a true identity both literally and metaphorically. Besides the humorous joke and its funny characters, compassion is clearly shown.
A classic that a reader will never forget. Furthermore than a simple play, Shakespeare also criticized the submissive role of women as well as the poor treatment of servants, always from a comic view, which is a useful way to understand the Elizabethan period, with its habits and customs. Although it may not be too realistic and the actions are sometimes extravagant to happen in true life, it does not let the reader get bored and he/ she will find that the book is easily and quickly read.
Once again, a classic that everybody should read in order to start changing those problems that have persisted for ages: women's role in society and everyone's right to have a satisfactory treatment through injustice.

The Taming of the Shrew is a play within a play. It starts out with a drunkard, Sly, and a lord. The lord bets that he can trick Sly into thinking he is a lord. When Sly wakes up he doesn't understand, but eventually accepts who they say he is. After a few minutes he becomes bored and the play, "Taming of the Shrew" comes on. It is a play that has men dressing as women, other men, and women dressing as men. I would recommend it to someone who is looking for a book that will have a geat beginning, middle, end, and will keep you wanting to read the next page.

The "ultimate guide"?
Hardly.
One could summarize all the advice in this book with one sentence "put a microphone 6-8" in front of it; or perhaps further away".
No attempt is made to suggest, for example, why one might choose one offered position over another. No attempt is made to explain different techniques for different styles of music and recording. And most important, no attribution is given as to what record we might turn to for example of a particular approach. It's as if the examples given are the only options; and choosing between those options is unimportant, as no guidance is offered.
It's hard to believe anyone gains anything he didn't already know from this book.
Perhaps more than a paragraph on bass would be useful instead of endless pages of instruments ("put a microphone 6-8" in front of it") that one might encounter once every 10 years. And if I did encounter a hammered dulcimer, for example? I'd probably make a guess on my own and put a microphone 6-8" in front of it.

I've been a musician for years and decided it would be interesting to be on the other side of the glass for a change. Use this book as a general guide...not a bible. As most pro studios will tell you...ultimately you do whatever it takes to get a great recording. Almost every studio uses the techniques used in this book.

If you are serious about recording you should read as many recording books as you can...then practice, practice, practice. Add this book to your library, but get others such as the mixing engineer's handbook, studio drummer survival guide, etc...

Good luck and happy recording...

Is a very good book. That is what wizard made. The book give you a solid foundation. If you want to learn fast, then this is the book for you! Of course, if you want to come in deep more, included studio and live recording, synthesizer programming, mac & pc recording softwares, how to eq effexts and mastering, designing your CD covert, making your video clip, o just promoting, copyright, publishing, biggest resource and so on, try to buy "Music Technology & Live Sound" plus "Music Marketing", a pair of cheap books bilingüal (spanish and english)...I use this 3 books a lot. You must read its!!!