Shortly after the American Civil War, John Muir, a 29-year-old budding naturalist, set out on an epic journey across the eastern United States. Starting in Louisville, Kentucky on September 2, 1867, he walked southward through Kentucky, Tennessee, North Carolina and Georgia, where he was delayed in Savannah. After crossing through Florida he finally reached the Gulf, but, unfortunately, his desire to continue on toward South America was hindered by an illness. Not fully recovered, he eventually made for Cuba, but went no further. Muir returned home only to set out for California a short while later. During his journey, he kept a journal in which he recorded his experiences and observations of the flora and fauna he came across. This journal, along with an article written in 1872 and a letter that he wrote while in California, constitute A Thousand-Mile Walk to the Gulf, which was originally published in 1916, two years following Muir's death. Although there are a few instances when the author reveals himself to be a man of his times, his observations of a natural world which in many instances have long since been destroyed, are priceless.

As the human population expands the natural world around us disappears. This is a fact we mostly ignore as we go about our daily life. One day, you wake up, and discover that within your own lifetime things have been permanently altered.

When John Muir made his "Thousand-Mile Walk to the Gulf" the U.S. was not as heavily populated as it is today, although much had changed from the time when European settlers first moved through the area he explored -- a path that stretched from Indianapolis Indiana to the Gulf just north of what is Tampa Florida today.

Muir moved South in the aftermath of the Civil War, so he encountered much unrest, unhappiness, and destruction along the way. He describes not only the flora and fauna he found but the condition of humans as they struggled to rebuild their lives.

He says, "My plan was to simply to push on in a general southward direction by the wildest leafiest, and least trodden way I could find, promising the greatest extent of virgin forest." To a great extent, he was able to do that, however, he could not escape some of the realities of the world around him. For example, in Georgia, he encountered the graves of the dead, whom he says lay under a "common single roof, supported on four posts as the cover of a well, as if rain and sunshine were not regarded as blessings." A bit further he says, "I wandered wearily from dune to dune sinking ankle deep in the sand, searching for a place to sleep beneath the tall flowers, free from the insects and snakes, and above all my fellow man."

Muir wonders at the teachings of those who call themselves God's emissaries, who fail to ask about God's intentions for nature. He says, "It never seems to occur to these far-seeing teachers that Natures's object in making animals and plants might possibly be first of all the happiness of each one of them, not the creation of all for the happiness of one. Why should man value himself as more that a small part of the one great unit of creation? And what creature of all that the Lord has taken the pains to make is not essential to the completeness of the unit--the cosmos?"

Partly as a result of his writing, and the writing of other Naturalists, the National Park System came into being, and today, more trees grow on the East coast than grew in the late 1700s (American Revolution). The fight is not over, however, it has only begun. Many of those trees are "harvested" every year. Sometimes, even within National Forests they are all felled at the same time through a process called clear cutting. The lovely large oaks that Muir beheld are mostly long gone and have been replaced by Pine.

This is one of John Muir's best books (the other being _First Summer in the Sierra_). It's Muir's slightly-edited diary of his 1000-mile trip through the Southern U.S. to Florida, then Cuba. He traveled on foot observing nature and the people. The book holds your interest as it's written on the spot through the enthusistic eyes of a young man. It reminds me a little of Mark Twain's book _Roughin' It_, another story through the eye's of a young man latter to become famous (about working on antebellum riverboats).

I got this book because I love Blake's 7, have for years. I was quite interested in reading a professional opinion on the show.
Muir does an excellent job discussing the history of the show, citing some behind the scene stories of how things came about. He also does an excellent job of focusing on Terry Nation, his ideas of the future, and his take on social issues such as slavery, prejudice, tyranny, and genetics (to name just a few). But, unfortunatly, the analysis begins to fade after the discussion of series 2, and drops more into plot summaries and discussion of guest stars and their characters.

This book seems more devoted to Terry Nation and his stories, and after Nation left the show (after series 2), Muir has very liitle critical discussion left.

Also, the book is lacking in images, having only 9 images (b&w), none of them from the actual series (I am uncertain if he was unable to get the rights to publish photos. If he could not, then this is excusable).

However, having pointed out the books flaws, the first sections is well worth the read.

John Kenneth Muir's text on the British TV series Blake's 7 is an enthusiastically written and well researched one. Given Muir's writing pedigree, which includes similar analyses of programs such as Dr Who, Space 1999 and Battlestar Galactica, plus his examinations of the films of directors such as Wes Craven and John Carpenter, it is evident his knowledge of the sci-fi/horror genres is exhaustive and admirable. As opposed to previously books which offered little or no in depth analysis, Muir's book looks at each episode with a critical eye. This is not new, however: various Internet sites have forums and reviews of episodes in which fans offer their opinions. However it is comforting to be able to read a list of them in the old fashioned form of a book (the Luddite in me!). His analyses are very well written. Thankfully they skim over the plot descriptions (anyone reading this book would know the plots backwards anyhow), and offer many interesting points. I can't say I agree with all of his conclusions, but that is the wonderful thing we call democracy. If everyone agreed on everything, what a boring place it would be! Muir savages some episodes I hold in high regard; however I respect his opinions and uphold his reasoning, as I would anybody's. Apart from the episodes, Muir writes some very interesting essays - the "anti-Star Trek" one is, in my opinion, the best. The examination of the sci-fi story arc and the shorter piece on sexual machinations among the crew also hold the interest. Putting Blake's 7 into a historical context, relating it to sci-fi programs of its day and also more recent programs such as Babylon 5, is also well done, maintaining that Blake's 7 has not had its day and is still relevant in today's deconstructions of the genre. Although this book is excellent, there is one major irritating fault - the book seems to have not been proof read at all, with glaring mistakes. For example, his examination of the season B episode "Weapon" refers to Fen as Coser's companion, when she was Rashel. The cast list to "Traitor" (Season D) credits David Quilter as "The General" and not "The Tracer", while the essay on sex, naturally discussing the controversial gender themed episode "Power", constantly refers to it as "Rescue". There are countless others. This criticism may come across as nitpicking, but for an author of Muir's calibre, especially given his insights and knowledge of the program, along with his other writing efforts, they are unforgivable oversights. They may have been simple typographic errors, but Muir, of all people, should have noticed them before publication. However, this should not detract from the book's excellent writing and interesting observations. For a fan of Blake's 7, it is very worthwhile and engaging, able to be read and re-read.

Having read other excellent titles by John Kenneth Muir on the series Space:1999 and Doctor Who, I was thrilled to discover he had the courage to take on Blake's 7 as well. Blake always seemed to me to be an odd hybrid of Saturday morning action adventure and dystopian fairy tale. Its dark vision of an oppressive empire, ironically named the 'Federation', contrasted with the cheap sets, the expressive acting of Jacqueline Pearce, and the poorly choreographed fight scenes. Still, Blake's 7 has always been a guilty pleasure, and a joy to watch. Muir takes us on a comprehensive journey through the series history. The book offers details such as back stage gossip, struggles with the budget, explains the frequent cast changes, and includes a detailed analysis of each episode. Muir's writing style is both engaging and amusing. I loved this book, despite the simple cover art. It's a must for any Blake's 7 fan, and well worth the cover price.

John Kenneth Muir's "Horror Films of the 1970s" is a great reference guide for all horror movie fans. Covering 228 horror films from the 70s, the book is crammed with with detailed information within its 662 pages.

The book begins with a "History of the Decade" and then breaks down the horror films by year, ending with a brief conclusion and several appendices, which include "1970s Hall of Fame," "Recommended Viewing," and "Memorable Movie Ad Lines."

Muir tackles most of the films in the book (I say most because not all of the films reviewed follow this format....some are just given a brief mention and are not even rated.) by breaking it down into sections. First, he provides excerpts from critical reviews of the film. He then provides a cast and crew list. He then provides a POV section (where those people associated with making the film offer their thoughts on the film.) Next comes a synopsis of the film's storyline before moving on to the author's own commentary and review of the film. Finally, there is a Legacy section which details any important (good or bad) contribution that the film may have made to the genre as a whole. The author also provides a rating system (one to four stars) ranking the over-all quality of the film.

Muir's love of the genre is evident in the text, although his commentarys can sometimes be lengthy (he seems to have a gift for gab.) This reader found that Muir can sometimes "over analyze" a film, reading things into the script that I don't think were ever really there to begin with (not even by the makers of the film). The commentarys, however, have helped me to view a film differently, shedding light on aspects of the film that I may have otherwise overlooked. I am now much more aware of how camera techniques, lighting, editing and score (critical in all films but probably even more so to the horror genre) can contribute to the success or failure of a film. Muir even points out how some film's subtext points directly to the fears and concerns of the audience in the "disco era." (Again, something I may have overlooked.......especially 30 years later.) All these small points add up and can make watching one of these movies a much more enjoyable experience. This makes the book a remarkable success in my opinion.

On the whole, the book is a very enjoyable read and most horror lovers will probably find it quite satisfying. I am now in search of many of the films included in the book that I haven't yet seen. Some I have never even heard of until being introduced to them by Mr. Muir. Hopefully, a sequel (Horror Films of the 1980s)is somewhere on the horizon.

John Muir's filmbooks are really in their own genre -- they're not quite film analysis, they're not quite fan appreciation -- they're somewhere in the middle, and that's what gives them their special appeal. Ever watch a DVD with director's commentary? That's what it's like reading one of Muir's film books -- you're discussing films with someone who loves them, and it's infectious. The end result is it's not dry film criticism (do we really need another Freudian analysis of anything?) -- it's sharing the joy and wonder of great films and not so great films and some downright guilty pleasures with someone who really brings experience, humor, knowledge, and enthusiasm to the subject matter. As a major fan of horror films from the 1970s, this book jumps right to the top of my list of "must-haves". It's not a reference book -- it's a cover-to-cover read that's just formatted like a reference book. You'll find old favorites in here as well as get a little exposure to some films you haven't seen and probably should. It was the "best of times" for horror films (its only competing decade would be the 1930s, IMHO), and this book ranks with the "best of books" for a great decade for creepy movies. It does a great job of putting these films in their proper context (it was a fascinating decade, and its horror films really mirror that). This is a book that will make you smile, and throw you back a few decades into a time that was simpler and more confused...If you like horror films, you'll love this book. This should be a daily calendar! 365 Great Horror Films a Year!

I wouldn't recommend this as a first book for those who are interested or curious about Muir (try _My First Summer in the Sierra_ or _1000 Mile Walk_), but it gives a lot of insight, for me at least, on why Muir turned out the way he did. He had a cruel, strict father and had to endure a lot of pain and hardship, which made his latter wilderness travels so much easier and free in comparison.

John Muir, one of the great leaders of the ecological movement in America, tells of growing up on a farm in Wisconsin. He gives detailed information about the wildlife he sees growing up, which is interesting but does get a bit tedious. It was interesting to learn how Muir became interested in being an inventor; before reading this book I hadn't known of his inventions. It gives some insights into how he came to love and appreciate nature, and hints at his later desire to protect all things wild. Near the end of the book he writes, "I wandered away on a glorious botanical and geological excursion, which has lasted nearly fifty years and is not yet completed, always happy and free, poor and rich, without thought of a diploma or of making a name, urged on and on through endless, inspiring, Godful beauty." Certainly Muir's writing recalls Thoreau, and his spirit has lived on through the writings of such diverse people as Rachel Carson, Jack Kerouac, and Adolph Murie. This book is not one of his classics, but if you're interested in Muir or life on the plains before they became completely tamed, it's worth reading.

The central symbol of Muir's abusive father is the father's decision to become a lay preacher, and thus his determination to study the Bible all day, while dumping all the farm chores on young John. This puts John at the bottom of a new well, hacking through the rocky ground in search of water. While the holy father urges him on between inspirational readings. One wonders if the father was reading of Jesus's encounter with the woman at the well, offering himself as the living water.

John concluded it's time to get the heck out of Wisconsin and away from his dad, to roam around the mountains and forests of the great unexplored Western U.S., appreciating the water where God placed it in plain view.

Muir's experience of being forced to work like a Calvinist, while his dad sat around like a pietist, presents a juxtaposition which can be applied to other relationships we all come across in our lives. That, and the lesson that you need not be a perpetual victim of a rotten childhood. Muir certainly overcame it.

A fun book to read, but it's a shame that the printing and reproduction of the illustrations is not up to the quality of the text. The original publication had sharp, clear print and clean, narrow lineweights in the graphics. In this edition, much of the illustration text cannot be deciphered. I recommend finding a used copy of the original edition with multicolor cover.

I have an original, July 73 First Edition, and I've never finished the text because of the illustrations. I always get stopped at one. My copy is clear and sharp and that's a good thing because the excusite illustrations have miles and miles of tiny detailed work. Too fun. Much in the same style as R. Crumb, but more positive, the illustrations and the book nicely combine to reflect the late 60's, early 70's sentiment.

If you've seen the"...keep VW alive..." books and marveled at the illustrations, and the light hearted words of John Muir as he helps you fix your bug, you'll love this. I do.

just read it its a little hard to get through, but definitely worth it WOW

"In Defense of Space: 1999" might have been a better title for this book. I've been a fan of the show since I saw it in first run, when I was in my early 'teens. And I'm still a fan now (I bought the episode DVDs). I agree that many reviewers have unfairly "bashed" this show, perhaps because it did not fit the mould of other televised sci-fi. (Actually, I would class "Space: 1999" as fantasy or drama, but not as science fiction.)

Unfortunately, author Muir seems almost zealously (and tediously) determined to justify the show against all comers. Too much time is spent comparing "Space: 1999" to other shows, rather than praising it for itself. Gerry and Sylvia Anderson have produced some of the sexiest and most stylish sci-fi/fantasy on TV. They've got the "cool." And "Space: 1999" is one of their greatest.

If you are a fan, you will want to buy this book. It is worth the trip. It is a rare look at the creation and development of a popular show.

Space:1999. You either love it or you hate it. This mid-1970's science fiction television program seems to inspire a lot of passion with no middle ground even after 20 years. The book "Exploring Space:1999" explores the reasons behind fandom's feelings quite adaquitly. The author, although an admitted fan, keeps a fairly objective view of the program as he "reviews" each of the 48 episodes in production order. Often he points out simularities in storylines and style in series that have followed. In particular, there are comparisons to Star Trek: The Next Generation, a program which prided itself on being a "thinking man's" science fiction televison program. Space:1999 did that first and in many ways, helped pave the way for the "intelligent" programs on the air today such as "Babylon 5" and the various Treks. The book is a bit of a let down when it comes to telling the history of the program. Only actress Catherine Schell was interviewed for the project. The bulk of the information comes from mainstream magazine stories and interviews. Personally, I would have loved to have seen more information from the script writers and editors about the evolution of the series and it's scripts. An example is that in the begining, ITC New York insisted on having an American script editor. In the days before E-mail and faxes, this caused quite a problem with the development of the early episodes. In the reviews of these stories, the author comments on the quality of the scripts but offers no explaination for the downslide. Articles and interviews of this nature have appeared in fanzines over the years and many of them are now available on the internet. Hopefully, there will be a revised second edition of the book which incorporates some of this material. Still, dispite my criticisms, it is great to finally have an objective telling of the program's history between one cover. "The Making of Space:1999" published in 1976 was basically a big PR product to help promote the changes to the second season of the program an barely touched on the first season. I enjoyed the book and appreciate the work the author put in to it. But, I would only recommend it to true fans of the series like myself.

Two thumbs up and three cheers for Muir's Exploring Space:1999. This is the reprint of the 1997 book by the author of Terror Television (which also has a chapter on Space:1999)and The Films of John Carpenter. This is a sturdy, utilitarian volume with some good photographs of Catherine Schell, two original illustrations, and a great text. Today, everybody from the New York Times to TV Guide is hailing Space:1999 as a lost masterpiece but in 1997 Muir's was the only voice in print supporting the series, - and we can be thankful for it. The book stands the test of time because Muir writes so well about the series' strength, and destroys many of the old arguments against the show through logic, reason,and with empirical evidence. He writes about how 1) the series is high-quality and 2)how it picks up on interesting film techniques to tell its stories and advance its themes. I don't agree with every episode review in the book, but Muir is consistent - preferring those with "film style" rather than solid, traditional stories. This is great, innovative reading, and well worth the price.

Horrible printing of Adams' most obscure photos. Fuzzy images with none of the range of tones normally produced by his incomparable application of the "zone technique." The poor images even make it impossible to appreciate the words of John Muir.

This book is flawed by the images selected to be in it. The other main weakness is that the book is clearly overpriced.

The good news, however, is that the image sizes are large enough to capture the power and majesty of Adams' work. The reproduction quality is superb, as well!

The essay by William Turnage is an excellent discussion of the roles of Thoreau, Muir, and Adams in creating the awareness that has helped us to save and cherish some of what remains of our American wilderness. The artist-turned-conservation leader, Adams' role, is a particularly important function in our society. The artist helps us to experience what we have never seen while the conservation leader takes actions that galvanize the emotions that are evoked by nature and the artist into helpful improvements. When the artist and conservation leader are the same person, there is a combined power and continuity of vision that is irresistible. Thank goodness!

Adams is someone we should all admire for another reason. His nature photography and conservation efforts were hobbies, labors of love. Photography of nature is a field that offered meaningful remuneration only in recent years.

His day job was doing commercial photography. He took pictures of dead people in the Los Angeles morgue as well as of open pit copper mines in Utah.

What we admire about him was what he did on weekends, before and after work, and on vacations. Because he wanted the most remarkable images, this often meant hiking before dawn in difficult winter conditions to remote peaks to get just the right perspective.

Andrea Stillman did a good job of selecting Adams' quotes for her opening remarks. "Photography is a way of telling what you feel about what you see." " . . . [T]he turning out to the light the inner folds of the awareness of the spirit . . ." is what his work is about.

Throughout the book, you will find other quotes about Adams' reflections on the wilderness. They are well selected and add much to your consideration of what his images mean.

Here are some of my favorite photographs as reproduced in this book:

Santa Elena Canyon, Big Bend National Park, Texas, 1947

Monument Valley, Arizona, 1942

Canyon de Chelly National Monument, 1942

Sand Dunes, Sunrise, Death Valley, 1948

Sand Dune, White Sands National Monument, 1942

The White Stump, Sierra Nevada City, 1936

Terraya Creek, Dogwood Rain, Yosemite, 1948

Clearing Winter Storm, Yosemite, 1944

Half Dome, Winter, from Glacier Point, Yosemite, 1940

Leaves, Mills College, Oakland, California, 1931

Maroon Bells, Near Aspen, Colorado, 1951

Old Faithful (4), Yellowstone, 1942

Mount McKinley and . . . Lake, Denali National Park, Alaska, 1947

After you have finished being refreshed and rejuvenated by these inspiring images, I suggest that you contemplate what the wilderness meant to your grandparents and parents, what it meant to you as a child, what it means to you now, and what it means to your children. If you are like me, you will see that wilderness is rapidly receding as a concept as well as a reality. What are we losing? How can we reverse that loss?

Understand all of Nature's message for us by living in harmony with her!

... because you can put four legs on it and use it for a coffee table. If you're going to have a single Ansel Adams book, this is the one. His images just don't work in any smaller format.

this is one of the worst books i've ever bought. if you have ever read Fangoria magazine you would have gotten better pictures and more information on mr. carpenter. how can a book like this not go into detail about carpenters famous movie scores! the book is not complete for they don't even mention the made for tv movie ELVIS he made with kurt russell.better information could be obtained from dvd production notes.somebody please write a fitting tribute to a great director.

Perhaps the greatest research and analysis of any filmmaker (let alone of Carpenter himself) I've had ever the joy of reading. Muir certainly gave me a completely different perspective of Carpenter's films. I actually found myself going back and re-watching scenes of his films I've watched a million times in a new light (After learning of Carpenter's motivations for "Escape From L.A." in this book, I went from seeing it as a so-so sequel, to terrific remake!). I can't reccomend it enough to anyone who, like myself, would call Carpenter their favorite director. His reviews and insights are both honest and insightful (his critique of the Carpenter produced "Halloween III", a guilty pleasure of mine, had me roaring with laughter). Don't balk at the price, it's absolutley worth it as it is packed full of fascinating information. If you-re a die hard Carpenter fan, you'll be missing out if you pass this up.

Muir's comprehensive analysis of the works of John Carpenter moves even the dilettante to review them with a more appreciative perspective. Muir reveals interesting sociological and psychological themes within Carpenter's works that compel the reader to truly re-evaluate Carpenter's talent.

The book was obviously written by an author who "knows his stuff" and appreciates the full value of the subject matter. This is what makes reading this work enjoyable and entertaining. I recommend this book to any fan or critic of the works of John Carpenter.

For decades many social "scientists" have passed off the Kinsey Report as truth. Now with the dissemination of the information found in this book, Kinsey's "work" has been exposed as unscientific, fraudulent and criminal. This book is a must for anyone who plans to stand up in a school board meeting to challenge the basis of the misguided sex education curriculum in his or her local public school. It will give you the ammunition you need to effectively refute arguments in favor of pornography, homosexuality, pedophilia, etc. which are based on the bogus data compiled by Kinsey and his fellow "scientists". Reisman and Eichel have done our nation a great service in writing this book.

Just a short note from the author to thank all of the reviewers, (especially the folks who found the book useful)! I have been debating about updating my book Soft Porn Plays Hardball and after reading the reviews that one got I have decided to do so. I do appreciate your taking the time to present your opinions. Sincerely, Judith Reisman

Why is it so hard for social and behavioral scientists to expose fraud? This book does an excellent job of subjecting these "scientific" fields to true scientific scrutiny while exposing one of the more blatant attempts to put political ideology before science.

Kinsey rigged the experiments by seeking out people who would confirm his beliefs. People were preinterviewed before they became part of the real "experiments." Normal, everyday heterosexual individuals were politely shown the door whereas the more nontraditional types were accepted.

The general public needs to be more aware of some of the most pathetic experiments ever performed on children. This is what Kinsey's close colleague, C.A. Tripp,had to say about those experiments in 1991: "[Reisman is] talking about data that came from pedophiles, that he [Kinsey] would listen only to pedophiles who were very careful, used stopwatches, knew how to record their thing, did careful surveys....[T]hey were trained observers." He is of course referring to pedophiles inducing "orgasms" in infants (according to Kinsey, screaming, crying, convulsing, and passing out count as orgasms).

I would hope that most people consider that a sign of terror (and molestation).

I'll close with a quote from the Lancet (book review in 1991) "[T]he important allegations from the scientific viewpoint are the imperfections in the [Kinsey] sample and unethical, possibly criminal observations on children....Kinsey...has left his former co-workers some explaining to do."

I am a diehard Battlestar Galactica fan and I would not waste the (money) to read this uthor call the show a "guilty pleasure". He did not do one interview for the book, instead over 200 pages he sounds like he is whining rather then analytically breaking apart the series.

This book has no legitimate pictures of any of the cast, only scans (and might I say poor quality scans at that) of Battlestar merchandise. Besides the horrible price, Mr. Muir also wrote an overpriced book on Space: 1999 and he goes around claiming to be a BG expert and a Space: 1999 expert as well.

Let me put it this way: anyone who includes Galactica: 1980 and gives it any credence at all can't possibly love the series all that much. In any good book about BG it is an appendix at most. Cheesy interior designs don't impress me all that much.

I think you should pass on this book and wait for the anticipated new unofficial book that is being planned for 2003. Check out battlestargalatica.com, they just announced it on December 20, and it looks like it will be half as much as this and have interviews and better pictures.

This book is a detailed anaylsis (with some author bias) regarding Battlestar Galactica, but not its [dumb] offspring, Galactica 80. It goes into many things from the creation of the show to an episode guide to a look at the many legal problems and issues with Star Wars.

I like the author's take on the Star Wars vs. Galactica mess. He does have a point regarding copying. If Kurosawa and the creator of Flash Gordon used Lucas' logic then all the profits from Star Wars should go to them...

His analysis of each episode is actually pretty good. He doesn't shy away from calling a number of episodes dogs especially the cowboy in space junk. Not everything that Glen Larson did regarding Galactica turned to gold.

My only problem was that he over emphasizes the importance of both BG and Space 1999 in SF TV. I think that in terms of visuals, BG and Space made a difference in SFX and how they were done on TV (no more Salt Shakers and styrofoam sets!) As for writing? No, because it wasn't all that good. If both shows had better writing then they wouldn't have been canned after two years, but that is just my opinion.

This is a very interesting, thought-provoking book about Battletar Galactica that is perfect for easy reference and has become a permanent fixture near my TV. The author knows the ins-and-outs of the series and writes well about it, and has clearly given his "analysis" a lot of thought (whether one agrees with it or not). He has a good eye for details and knows why the series was sometimes great/sometimes not - capturing the essence of a flawed classic. Overall a provocative read - not studio (or fan) propaganda.