I have read every Elric novel. I own 500 kilos of fantasy paperbacks. This book brought me as much joy, inspiration and satisfaction as any book I have ever read. Elric was the first "evil" hero. Every fantasy writer has taken a peice of elric to produce their characters. Drizt Do'urden is a shadow of Elric. Raistlen is almost an exact copy of Elric. Darth vader's sinister life, dependence on technology/sorcery and eventual noble self sacrifice are in mimicry of Elric. In this book so many authors who wanted to write Elric stories, some who had made great fame and fortune copying Moorcock, were given licence to write as they pleased. Every short story in the book is its authors best work because as they write about their own dark heros in their own novels they are thinking about Elric. My highest praise: I want a sequel.. or two... or ten... a series published monthly untill I am old and grey.

Elric, last Prince of Melnibone. Elric makes you feel that your right there with him and drawing the from the dreaded runsword Stormbringer, all his pain,sorrow,grief you feel it all. This pale,weak being could be any of us, and yet it`s his weakness that gives him the strainth to weld such enormus power and to control the uncontrolable. Elric will make you cry, make you feel that you could defeat the Lords of Chaos your self and forever will you bare some of his burden. Your life will never be the same, the way you look at things such as the ocean will change and you`ll catch yourself try to summon the water element himself. For such a being to exist in your mind alone is enough.

Elric of Melnibone' represents a departure from the era of Tarzan and Conan, giving people a dark prince for a protagonist. This book helps put together a group of stories written for the first time by other authors and show how dynamic Michael Moorcock's Elric really is.

By the time most of us baby boomers were old enough to watch more substantive television fare than Felix the Cat, Edward R. Murrow was an aging icon without portfolio. He did not have the regular exposure of a Douglas Edwards, Chet Huntley, or David Brinkley. He would on occasion do spectacular work-as elementary school students we would discuss his "Harvest of Shame" documentary on the sufferings of migrant farm workers. But it was from our parents and older relatives that we inherited something of a sense of his importance in an earlier time, in the same fashion that they might speak of a Bob Taft or an Adlai Stevenson.

What we could not know in 1959, what biographer A.M. Sperber makes abundantly clear, is that we were watching the shell of a driven man who had exhausted his incredible stores of emotional energy to international cooperation, then to radio coverage of the horrors of World War II, and on to shape the formation of the CBS new department during the explosion of the television era and the age of McCarthy. Sperber traces the rise and decline of this charismatic, almost manic, entrepreneur from the most unlikely of origins, that of a lumberjack named Egbert who quickly realized the liabilities of his given name in the male work camps of Washington State.

Egbert, now Edward, chopped wood only long enough to scratch and claw his way into Washington State College. A student with fingers in many campus pies, he joined an organization called the International Institute of Education in 1931. The IIE in the early 1930's was a form of college student exchange program, one of its sponsors being the not-quite-ready-for-prime-time Columbia Broadcast System. When Murrow spoke at a West Coast gathering of IIE representatives, he earned himself election to the national office of the IIE in New York, a paid position there, and free air time on CBS radio. Murrow produced Sunday afternoon radio lectures and round table discussions, demonstrating a flair for attracting international speakers. As Murrow learned more about the plight of Jews in Germany from reporter [and later close friend] William Shirer, he used the machinery of the IIE in the United States to rescue as many Jewish intellectuals as possible and place them in American colleges. It was a tactic not universally appreciated, nor would his close cooperation with the Russians be forgotten by J. Edgar Hoover.

By the beginning of the Battle of Britain, Murrow was assigned full time by CBS to provide radio coverage of Hitler's assaults and to coordinate the company's European reporting network. It is impossible to capsulize here the horrors of those eighteen months for Murrow and for England generally, when every night brought a terror at least as awful as the World Trade Center bombing. Murrow created a network of European radio correspondents-many of whom would become household names in their own rights. He overcame industry biases against putting reporters on the air and using taped reports from the fields. But most of all, he revolutionized the very style of radio news into "factual storytelling" by his nightly accounts of German bombings that by happenstance occurred during the East Coast's prime time 7 P.M. radio news hour. Later, as the theater of war shifted east, Murrow was among the first western reporters to see first hand an operating extermination camp. He could not bring himself to talk about it over the air for several days.

Murrow returned to CBS in New York a conquering hero of sorts, the network's hottest property. Sperber does a good job in explaining why the postwar Murrow-CBS marriage was a stormy one. For one thing, the war years had reshaped Murrow into a cross between an Old Testament prophet and a posttraumatic stress sufferer. He would never be quite at home in an industry moving toward television, increased advertising dependence, and escapism. Secondly, Murrow was too much the prophet to claim objectivity. He would never be confused with, say, Bob Trout. Long before Woodward and Bernstein, Murrow crafted the art of investigative reporting for a presumably concerned nation, particularly through the medium of his weekly "See It Now" series, a rough and tumble forerunner of "60 Minutes." His most controversial television piece, his hour-long exposure of Joe McCarthy, was out and out editorializing, albeit accurate. In Murrow's mind, he was serving the common good. Others were not so sure. Thirdly, Murrow himself had a past that made him a potential network liability. When he produced his "Harvest of Shame" documentary, for example, hardly a paean for capitalism, those with long memories would recall his enthusiastic embrace of Russian intellectuals in the late 1930's with the IIE.

The great irony in the breakup of Murrow and CBS is that the deciding infidelity may possibly have been unintentional. In 1960, with quiz show scandals threatening the credibility of the television industry, CBS President Frank Stanton announced a policy to eliminate the appearance of deceit in any of his network's programming, not just quiz shows. When pressed as to the extent of this policy, the network cited other programming, including rather surprisingly Murrow's own "Person to Person" prime time home visits to celebrities. In one reading of this event, Stanton may have simply been protesting the pre-scripting of interview questions and the staged walk-through of the homes. Or, there may have been a subtler message. A young Harry Reasoner inquired of Murrow on air, in so many words, "why are you, the Jeremiah of the industry, wasting precious prime time with the innocuous drivel of fighters and starlets?"

Unlike Reasoner and Howard K. Smith, who felt no compunction about switching networks, Murrow lived and died CBS. Illness and ultimately death interrupted his stint as window dressing for the Kennedy administration in 1965. Perhaps his prodigious cigarette smoking had finally claimed him. More likely, it was the pressure of living so many lives in one frail human shell.

Few figures stand so prominantly in 20th century folklore than does Edward R. Murrow, who spoke with such force and gravity over the radio and televison airwaves as did his colleague Walter Lippmann in the medium of print. His is a singular and absorbing story, cutting such a swath through the annals of the last century's history as to guarantee himself a place in the patheon of journalistic greats. That said, this is a wonderful biography of a man so uniquely gifted as to stand alone as an icon. This is indeed a work of prodigious scope and historical proportions, one covering the rise of this man in the streets and towers of London during the dark days of the war in Europe, who with his colleague William Shirer (later author of the best selling book, "The Rise and Fall of the Third Reich"), pioneered the use of trans-Atlantic radio broadcasts as a method of communicating real-time coverage of current events. In so doing, he brought home the poignant message of how close the war was drawing to Americans. In this sense, then, his biography closely parallels the historical epoch of both war-time and post-war America.

He was the virtual prototype of the international newsman, urbane, well-spoken, and yet brutally honest and beyond reproach. He conveyed a sense of integrity that became a model for eeryone who followed, from the early days of colleagues like Eric Sevareid, Harry Reasoner, David Brinkley, and Walter Cronkite to the well-polished and quite cosmopolitan Peter Jennings. He beacame a power unto himself, gaining unrivaled credibility and relevance with the American people, with a somewhat dour and hyper-serious demeanor, almost a paradoy of himself as he related the latest in the world news. This work concentrates on his incredible gifts as well as on his initial work during the second world war exposing the truth and horrors underlying fascism. In the process, he gained widespread credibility not only for himself, but also for the so-called fourth estate and privilege for journalists at large. later he founded a team incorporating the best of the wartime correspondents , including Willaim Shirer, Charles Collingwood, Howard K. Smith, as well as many others.

Yet after the war he received both greater fame as well as a kind of denouement, in the sense that in order to rise and maintain his poosition at the top of the new world of television-based journalism, he had to deal with moral cretins and the contamination of corporate money politics. Eventually this led to a break between Murrow and CBS, although in the process he forged bonds with such new notables as Fred Friendly that led to the famous series "See It Now". Even in the midst of all this very public history, Murrow was at the same time a very private, shy, and melancholy man, who was given a very rich personal life he managed to keep far from the foibles of the cameras. This work by Ms. Sperber is a seminal work, one that takes a loving and fascinating look at a complex, memeorable, and highly moral man who managed to make his way through the temptations of the 20th century while keeping his dignity and integrity along his rather remarkable way. Enjoy!

Modern pop history is in part a rewriting, and obscuring, of what really happened in midcentury America. Thus television programming recognized as garbage when it was aired is celebrated today in museums (for example, the Smithsonian saw fit to commemorate the Dukes of Hazzard.)

Thus the rather innocuous commentator Walter Cronkite is the grand old man, whereas Sperber's Murrow is known only to journalism wonks.

The shallowness of the broadcast, electronic media, which prized immediacy (the now) from its inception, is hard on any sort of historical accuracy in commemorating Murrow. Had Murrow lived at the time of Thomas Carlyle or Walter Bagehot he would have been, I think, more kindly treated: for the medium of the book is friendlier to the very idea of preservation of the memory of the author. The whole material point of broadcast, and the Internet, is extraction of content from modern denizens of grub Street, who dare not think of themselves as authors, let alone bourgeois subjects with social power over and above that of the corporation.

Murrow, with a certain naivety, thought to use radio and then TV to communicate a level of complexity to the ordinary man only seen in books. But even his allies saw that the medium is the message (not necessarily a benign fact, nor one to be celebrated, as McLuhan himself spelled out in The Mechanical Bride.)

Reading a book imparts a certain depth and respect for complexity in the reader. Half-listening to a lunatic like Sen "Tail Gunner Joe" McCarthy while doing the dishes is apt to impart oversimplified half truths, a fact which McCarthy was low enough to use. While first-order McCarthyism in the form of naive anti-Communism is on the wane, second-order McCarthyism, where signifiers such as "economic growth" and the fear of job loss replace the red Menace and are used by the cynical in precisely the same way McCarthy used "communists in the State department that lost China."

Murrow's respect for complexity and willingness to try to communicate complex truths to the audience ultimately, as Sperber relates, had him gently retired from CBS and into directorship of the US Information Agency under Kennedy.

This book is an excellent read. It points up the fact that in many ways, the 1960s and 1970s were an infantile reaction to mere complexity and nuance. In this reaction, the popular mind was subtly persuaded to think of commentators, who did not pander to the worst in us, as stuffed shirts who "think they know more than the common lot." Thus even Cronkite was more acceptable because he hewed more closely to the policy that jelled under Murrow and that is described by Sperber, a policy in which departure from a vague centrist position was "opinion and not fact", but "facts" could include quite a lot of opinion...as long as it followed a centrist party line.

For example, as LA commentator Mike Davis points out in Ecology of Fear, wild fires are news only if they threaten upscale houses. This is now "fact": fires in ... SROs in downtown LA are no longer news, but fires near big ranches (probably referred to by their Yupped out owner with Yup irony as "mah spread") are news leaders. For the same reason that underpaid smoke jumpers die protecting "mah spread" (on the public dime, I might add), a fire in Malibu, or in Jackson Hole, is a "fact": a fire in LA or even Idaho Falls is a nonfact, and it shows "bias" and "opinion" to foreground this interpretive bias.

No opinion wants in logic to be an opinion. An ordinary man, expressing the "opinion" that the Chicago Cubs will take the pennant this year, is not shooting off opinions for theire own sake. Instead, our boy wants his "opinion" to become solid fact in the future.

Likewise, when Ed Murrow gave his famous anti-McCarthy broadcast, he was not, in good conscience, stating mere personal opinions for there own sake. His opinions wanted to be mere facts about Tail Gunner Joe, and Murrow's managers would have done well to state more clearly, not that the broadcaster not state "personal opinions", but instead that the broadcaster either state the opinions of the owners of the station, or else zip up, and restrict himself to such facts (such as the words coming off the wire service copy) that everyone, except the clinically insane, agrees to be facts.

Falsity and intellectual dishonesty is a toxic byproduct of media with longterm effects, and it can be stated fairly that Murrow may have been able to stop smoking if he had been able to come to a more honest contract with his employers. Instead, Paley and Stanton (despite the better angels of their nature) used the guy. During the 1940s and on radio, Ed Murrow's left-liberal views were simply less hazardous and more popular with viewers than they became in the 1950s, and Murrow was eased out as his entire perspective, and on-air persona, became less intelligible to a more suburban, less unionized viewership.

Of course, Paley and Stanton could not have done otherwise, and Frank Stanton much later (in a brouhaha over a late 1960s program) proved he had integrity. Perhaps the broadcast journalist should be an independent contractor who buys time from the airwaves under some sort of deal and says whatever he wants to say, making the listeners the ultimate arbiter of whether the guy is worth listening-to. But the problem with this pure market model is of course the bearer of bad news and the odd Cassandra who is confused with the content of the bad news, and whose value to society (in warning society of the ways in which it is in trouble) cannot be reflected in a market model at all. Nobody goes to the fair to buy a Nasty Story, or a detailed list of his own defects of character. The Catholic did not pay the priest to hear his confession.

No society can tolerate, under a pure market model, a Savonarola or Murrow at his most extreme, and legal professor Cass Sunstein (cf. Republic.COM) shows, gently, how a pure market model leads to "cascades" of opinions, where Internet users have gorged themselves sick on falsity (such as the centrality of the Second Amendment, or the wickedness of Clinton), and, bulimically, spread their fantasies. This of course is where government by the people, for the people and of the people comes into play, including a Constitutional role for the super-ego (aka "the Nanny State.")

In an era of pandering to malformed ids and egos that find their ego satisfaction in pure transfer of negative emotions to the Other, this is of course a non-starter, but this merely shows how far we've declined (from Ed Murrow to hate radio.)

The Villagers by Edward Field & Neil Derrick is a wonderfully rich, rewarding novel about the fictional 'Endicott' family from 1845 to 1975 in Greenwich Village, New York. While the Endicotts are the main characters in this long, eventful story, Greenwich Village itself is a background character of sorts. From a small, separate village to the north of the city in 1845, to the integral, exciting and lively neighborhood of 1975, the village 'lives' in the background, growing and changing over time as do the Endicotts themselves. This is essentially the story of three generations: Tom's in the 1840's, Patrick's in the 1880's, and Polly's in the 1930's. It is rich, varied, touching. The authors manage to make you care about these characters, drawing each one deftly, fully, making each main character real and believable. It is amazing to me that two separate authors could create so unified a fictional story and do it so successfully.

The authors of this novel have created a very real family. To bring this story alive, many famous people (and events) of the past become minor characters: Walt Whitman, Henry James, The Civil War, the Stock Market Crash of the 20's, the Stonewall Riots of the late 60's. This helps to place the family saga into the context of the various time periods. This is an excellent book, a rewarding book. The frequent tragedy is countered by the strength of many of the characters, especially Patrick, Elizabeth, and Polly. While it is very long, it is great fun to read.

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Plot Summary: The story begins when young Tom Endicott and his bride, Fanny move to the village from the city in 1845. Tom doesn't realize the fragile hold Fanny has on her sanity yet, nor that her family had literally married her off to be rid of her and exiled the two to the then far-off village of Greenwich. Sexual frustrations mount as Tom, due to Fanny's resistance, is unable to make love with his wife after their first time. They have a child from that first time, but when Tom in a fit of frustrated passion forces himself upon Fanny, the resulting child, Claude is rejected by its mother and grows up to be a withdrawn, quiet boy, who dies an early death from an opium addiction. Tom, in frustration turns to the family's Irish maid, Molly, a lusty woman who enjoys sex. This passionate affair leads to a pregnancy. It is a boy, Tom's illegitimate son, Patrick. Patrick grows up with his mother Molly in the Irish ghetto and it is he who will eventually carry the Endicott name into the next generation.

Patrick eventually is reunited with the Endicotts when Claude and Molly die. He becomes the son Tom always wanted. Patrick marries Elizabeth, Claude's childhood friend and produces the next generation of Endicotts. This becomes the longest saga in the Endicott story as Patrick becomes one of the movers and shakers in the growth and development of the village and the growing metropolis of New York. When his 10-year-old son dies, Patrick turns inward and his wife Elizabeth turns to an old family friend for solace which results in another illegitimate child, Polly. But Patrick, thinking Polly is his daughter, is rejuvenated and he fathers a second son, Eugene. Eugene is a supreme disappointment to Patrick and 'daughter' Polly is his life now. When Eugene marries and has a son himself, Seth, Patrick accepts his grandson with great joy. However, Eugene, confused and unhappy, leaves his wife and young son and returns to his family home in Greenwich Village.

The next great turn of events is when Patrick catches Eugene in the basement having sex with a workman modernizing the family house with new electrical wiring. Shame drives Eugene away to self-destructiveness. His sister Polly cannot forgive him but his mother Elizabeth tries to protect him from his own downward spiral. Patrick never really recovers. When Patrick finally dies, the family saga shifts to Polly and Eugene. Eugene, finally accepting his gay sexuality becomes a writer of note, even a celebrated playwright. Polly more and more accepts her gay brother as her own life becomes entangled in sex and alcohol. Eugene suddenly dies in a horrible accident, just as he is getting to know his own son Seth. Through much anguish, Polly finally defeats her own demons and becomes a strong, giving woman. Polly works hard to keep her extended family of cousins, nephews, and other relatives together. Much tragedy follows this family, but Polly triumphs, saving her family members from their own self-destructiveness over and over. In the end Polly herself, now well into her 80's in 1975, dies a quiet, peaceful death, the last Endicott in Greenwich Village.

It has been a long time since I've enjoyed a book so much that it has kept me off the computer for hours at a time. This wonderful book is full of characters you really come to care about. I couldn't wait to see what would happen next while at the same time dreading it coming to an end. If ever a family saga deserved a sequel this is the one! The only complaint I have is that it wasn't twice as long...

"I am five hundred pages through "The Villagers" and am already feeling bereft that the tale is nearly finished. I would love to see a production on PBS! The characters are wonderful, all so different [...], and of course I admire the treatment of the women."

Batman's beginnings--he received a message from beyond in the form of a bat and thereby became the Batman. This story is written excellently and the man behind the cowl came alive as I read this tale. One of the most dramatic parts is where Batman, directly in the face of a frightened thug, declares menacingly,"The streets belong to The Batman." If anyone wants to see Batman in true form, you must read this book.

This is perhaps the best Batman miniseries ever created. The story is chilling, featuring many twists that make you want to keep going till you're finished. If you ever get the chance, buy this book!

This book is worth the price if only for the paper by Ed Green, which has, with a slight delay, spawned a huge literature in dynamic contract theory. Chapters V and VI, by Townsend and Wallace and Beveniste, will also be looked back upon as neglected early work. Jacklin's paper was quite important as well.

This book is a 1997 NCSS Notable

Lord Dunsany is acknowledged by many, including leading authors (from W.B. Yeats and Lovecraft to top writers of today) as one of the greatest contributors to the field of modern fantasy. Sadly, many of his works have been allowed by publishers to slip out of print and many readers today have never had the chance... This book is one of his best and anyone who enjoys fantastic fiction, myth or legend should try it. The story has such power, is written so lyrically, is woven so richly, that there can be few comparisons. You care about the people, you can see the realms before you. There is depth and complexity, joy and heartbreak, detail and sweeping vision, and a leavening of humour (some supplied by the people of the land but especially by the troll... and no, this is not some stereotypical "bad guy on a bridge"). For style and reach, few can touch Dunsany. Don't miss out - and when you've read this book, try "The Charwoman's Shadow", also reprinted. For something different, there's a whole alternate mythology in "The Complete Pegana" and some truly outstanding short stories in "The Hashish Man" - and keep an eye out for any other Dunsany works. Maybe even write or e-mail a publisher or two to look for more...

I am a fanatic of fantasy, but after reading Lord Dunsany i felt ashamed of never reading more of his works. I read once in a while short stories from him on fantasy compilations, but to be honest i never felt interested. Now i am hooked and have to search for more of his works. The King of Elfland's Daughter is a faery tale as it should be. Lord Dunsany weaves a wonderful story of love that is destined to fail, of never ending sunset lands, of princes on magical quests, of witches and of hunting magical creatures. Every word on this work has a meaning and a lyricism to it that you could almost taste them like in a poem. What really amazed me is the simplicity and shortness of a really epic story, in present times, this one book would have been done in a trilogy. And instead of falling to the temptation of overextending the plot, Dunsany advances masterfully at every chapter, every page is important and you will feel it as your eyes fly across the words. A must have for fantasy lovers everywhere.

When Terry Goodkind's "Soul of the Fire" - part of one of those multi-volume "epic" fantasy series so popular these days - was not yet released, Amazon readers had already posted a few hundred reviews of the book, almost all of which rated it at 5 stars. None of them had read a word of what they were reviewing, but that didn't stop them.

At the time of writing this, there are just a handful of reviews of Dunsany's "The King of Elfland's Daughter", which was first published in 1924 and which is one of the true classic fantasies of all time. And I doubt a great number will follow.

That's fashion for you.

Still, in about twenty or thirty years from now, I very much doubt if a lot of fantasy afficianados will be able to remember Terry Goodkind at all (let alone "Soul of the Fire"). But I do know that they'll remember Dunsany. As they will William Morris, E.R. Eddison, C.S. Lewis, and - of course - J.R.R. Tolkien.

You see, these are the original masters of fantasy. A lot of good - at times great - fantasy has been written since then (writers like Patricia McKillip, Stephen Donaldson, Ursula LeGuin, Guy Gavriel Kay come to mind), but these are the Old Ones. The ones, if you like, Who Knew What They Were Talking About.

To explain (in the case of Dunsany): a few years back, when in Ireland, I tried to visit the Dunsany ancestral home (yes, this is real aristocracy). I remember asking a local farmer for directions; then, after a little searching, I found a secluded gateway. I drove up the lane, crowded with trees, turned right - and there it was. One of the most beautiful and hospitable - and very real - castles you could imagine. And it suddenly dawned on me: if you lived in such a place - if your family had, for generations, lived in such a place, in such a troubled country, with so much pain and turmoil - you probably couldn't help but turn to some sort of fantasy. And that fantasy couldn't help but be more true than what all of us could come up with, munching our microwaved Internet dinners before flickering monitors and filing billion dollar law suits against any company that produces potentially harmful products.

Not knowing where it came from, it's easy for us to try to decide what good fantasy is - it seems we don't even need to read to book to review it - but we might do well do realise, every now and then, that some of it was written with a far greater perspective than we could aspire to.

In the end, "The King of Elfland's Daughter" is one of the masterpieces of early fantasy. It takes a little getting used to - like Henry James, for example - but if you like fantasy fiction at all, you must read this book. It is one of the very few fantasy books that if worth just about any price you pay for it.

One final remark: an absolutely excellent collection of Dunsany's shorter fiction was recently published by Victor Gollancz under the title "Time And The Gods" (Fantasy Masterworks Series). As far as I know, this has not been published in the US, but you should be able to get it from Amazon.co.uk. Buy it immediately; these stories will probably be out of print again very soon.

Building on the highly worthwhile Flying Without Wings, At The Edge of Space draws the reader into a time and place that is fast fading from conscious memory, and shares it with the reader with engaging candor and enthusiasm. Milt Thompson may not be the best writer ever, but he writes clearly enough to tell terrific stories of the X-15 proram - about his colleagues on the ground and in the air, about his flights, about a NASA so different from today's it's hard to fathom, and about the X-15 itself. Anyone who likes aeronautics, cutting edge research, or unvarnished accounts of men pushing into the unknown is certain to enjoy this book. The United States is the poorer for having permitted flight test to dwindle to its current level, and this book is a vivid reminder of how far we have fallen in that regard.

Quick flowing narrative of Milton Thompson's experience in the X-15 program (he was both a pilot and a flight engineer). Excellent technical descriptions will give you the "feel" of the rocket plane and he shares his emotions about some of the test flights. Thompson includes a quick synopsis of all the flights and gives good details on the more interesting ones, filling in a lot of blanks with delightfully colorful anecdotes along the way. A must read for anyone interested in piloted aircraft that could cover 290 ground miles in under 11 minutes (Wow !!!). This book reads FAST and is full of good info

Few people have heard of Milt Thompson, but those who follow the groundbreaking flight testing of the late 1940s through the early 1970s know of Milt and his (in)famous exploits. As both an amazing and experienced test pilot, having flown the X-15 and the wingless M2-F1 amongst others, as well as a dry-lake water(less)skier, Thompson lends his considerable insight and knowledge, as well as his sprightly sense of humor to this book.

A truly fascinating read, this is one of very few books concerning the fastest powered manned aircraft program, the hypersonic X-15, which ultimately reached an unofficial record of Mach 6.7. Thompson, along with Scott Crossfield and Neil Armstron, amongst others, flew the X-15 in the early 1960s. This book does justice to the historic program, while maintaining the interest of even the most casual reader, which cannot be said of NASA's X-15 Mission Reports.

This book is a must-read for anyone interested in the X-15 flight test program or those interested in the early X-plane projects, as is Thompson's "Flying Without Wings." Those looking for an exciting and engaging non-fiction read should also pick up "At the Edge of Space."

Sandman, Neil Gaiman's wonderful creation, is the concept that this group of stories is based on. Like any story collection, this one has its hits and misses.
Hits:
"Chain Home, Low" What happened to those affected by Dream's disappearance?
"Each Damp Thing" Barbara Hambly has a good grasp of Gaiman's cast of characters. Set in The Dreaming this one would have made a good comic.
"Seven Nights in Slumberland" Little Nemo? Now Windsor McCay's work makes more sense. I think.
Both Wanda stories. A character that certainly warranted more examination than the comic allowed.
"Endless Sestina" For the sheer nerve of it.
"The Gate of Gold" The flip side of "The Writer's Child," but much more fulfilling. There really are "good" dreams.
"A Bone Dry Place" Dream and Delirium together again.
"The Mender of Broken Dreams" The concept is not new, but it is so well written you won't care.
"Valosag and Elet" There are so few folktales being written anymore. At least good ones.

"Stopp't-Clock Yard" Captures the true essence of Gaiman's creation. This is another one that Gaiman could have written.

Misses:
Desire stories. This character is tedious as all stories end up being variations on the same theme. Especially "The Witch's Heart" it goes on and on....
"The Birth Day" A clever idea but not fully developed.
"Splatter" A little obvious.
"The Writer's Child" Ditto.
"Ain't You 'Most Done?" 32 pages long and I couldn't remember what it was about by the time I finished the book. And it's one of the last stories.
Advertising Clive Barker's participation. It's a frontispiece and it's Death not Dream.
Taking an existing character, whose popularity lies in a graphic medium and using him and his supporting cast as the basis of an anthology is a risky proposition. While this book is not entirely successful, it's definitely worth a read for the Sandman fan.

This is a really very cool book, although you need a fair bit of the Sandman background for it all to make sense - I first read it when I'd only read the 'The Kindly Ones' sequence and some of it went over my head. Then I got the rest and suddenly quite a lot of things became clear...
It loses a star cause there's no actual Gaiman stories (although his comments at the start of each book are nearly as interesting as the stories - 'what Gandalf's rock'n rolling younger brother would look like if he were secretly a pirate' is a truly funky description for anyone).
For me the best are the Barbara Hambly, 'Stopp'd Clock Yard' and the 'Ain't you the most done' stories - the collection does veer pretty wildly between cool, cute 'n funky and seriously weird / sick.... Depends what you like. Like the comics, don't let children read it.

i found this book at an ancient book store somewhere in India.It was lying there in the shelves with dusts and webs.The moment i saw it i have to have it.And since i'm a huge Tori Amos follower,anything with her name is a must!.But i found something else too,and i also loves the Sandman Comics,this book is a lot of things to discover.Written by well known and acclaimed writers in various fields,its a bonus to have this book if you are an avid reader of the Sandman comics.Some of the stories are realy disturbing and dark,some are also enchanting,true to the Sandman style.Its a collectors dream.

I do not understand for what purpose this book is written.
Mostly about definitions of fundamental concepts of Physics, Thermodynamics, definitions and more definitions. There is no Chemistry at all. The closest you can get is one page periodic table without clear definition and methodological explanation and bonding types. There is no information on Chemical reactions.

This book is very wonderful. If you plan on taking AP Chemistry in High School or if you are taking first year chemistry in Collge, then believe me get this book. This book is so wonderful, it's explanations are teriffic and all the calculations and meanings in the book are easy, with absolutely no nonsense. Along with this book, get Barron's AP Chemistry Review and The Princeton Review for Chemistry, you'll do great on the AP Chemistry Exam. Believe me, if you're taking college Chemistry or need an aide, then you should defintely get this book. Trust me.