A series of short stories, tales told in a bar (the White Hart) among a group of scientists, writers, and laymen. The central story-teller is one Henry Purvis, an obnoxious fellow with a trick of pausing at the climax for a new draught beer, whom no one has yet managed to prove a liar. He tells almost believable tales of science and wouldn't-it-be-nice science. One learns of a silencer that silences more than guns, a carnivorous orchid with a secret, a ballistic computer with a sense of humour. Much of the delight in the tales arises from the fact that they were written in the 1950's, and it is amazing how much Clarke could see of the future. I suspect Clarke may have felt he'd written himself into a corner, because the series of tales and the book end rather suddenly, with a hint for the future but no real hope that Purvis will be back. A delghtful find, to be read by all who enjoy Clarke, bar stories, science fiction, and humour.

"Tales From the White Heart" brings some true fun into science fiction reading; a break from the deadly serious which is so often the hallmark of sci-fi. Like tall tales of the old west, the stories here are almost believeable, which makes them perfect for the English Pub background. Presented in short-story form, the book makes easy evening reading. I highly recommend "Tales From the White Heart" for both serious and casual sci-fi readers, from adolescent up.

Welcome to the White Hart, where every Wednesday night features a gathering of scientists, writers, and interested on-lookers who come to drink tepid beer and be regaled by the Tall Tales of one Harry Purvis, a man of uncertain origins, profession, and education, who claims to know so much about so many subjects of scientific interest. These tales were originally published individually, but together they are 'bookended' by "Silence Please" and "The Defenestration of Ermintrude Inch" to create a kind of frame story. Purvis' deadpan declamations of yarns that range from all-too-believable to patently absurd, combined with the fictional Clarke's own pointed comments about the White Hart, its clientele, and Purvis' overall credibility, make this perhaps the funniest science fiction book ever written. Using analogy in place of logic, Purvis posits wildly improbable advances in a number of different directions that in some cases have paralleled actual scientific developments that have taken place in the decades since these stories were written.

More serious-minded fans should take pleasure in the not-always-easy task of finding the precise flaws in Purvis' stories, which usually include just enough hard science to be credible to the casual layman. "The Next Tenants" is the only story in this collection that has any really serious message to it, and while the story is chillingly effective despite its absurdities, this book is really about laughs. From that standpoint, "Moving Spirit" is probably the best, featuring an eccentric millionaire, his illegal distillery, and a hilarious courtroom scene in which Purvis testifies as an expert witness with devastating results.

Despite the occasional slapstick moments, Clarke's humor is generally on the dry side, so this book may not please everyone. There isn't a lot of action in the traditional action/adventure sense, and female characters are usually absent or antagonistic. Still, if you're comfortable in a males-only, scientific atmosphere, there's plenty of good clean fun to be had at the White Hart.

While I agree with all the comments of previous reviewers on this little gem of a book, I feel that it is incumbent on me to point out what this book is, and what it is not. It is not a general review of Spanish slang. It was not meant to be, and while it covers a fair amount of slang, it is more in the sense of pointing out those types of colloquialisms that are long-standing and which the foreigner should understand when he or she hears them, e.g., common and universal obscenities. For an extensive review of colloquialisms along with background on the ones that are peculiar to specific areas of the Hispanic world, the book "Streetwise Spanish" is a better choice.

However, in the field of discussing the basic nuts and bolts of standard spoken Spanish, there is simply no better book on the market than this one. It is true that Joseph Keenan's recent offering, "Breaking Out of Beginner's Spanish" offers more in the way of colloquial grammar points, but "Cassell's Colloquial Spanish" will acquaint you with the the sort of vocabulary that you will hear the most often at home, on the street, in the classroom or the office or anywhere else you may end up. If you learn what's in this book you'll be able to communicate effectively 95 percent of the time. What's more, the book is a good read, good enought even to be a bedside book. There aren't many language books you can say that about.

This wondrous work has been at my side, in my car, and on my bedside table since I found it quite by accident about two years ago. I have shared this book with Spanish students, native Hispanics, and English grammarians, all of whom have appreciated it as much as I have. I must agree with the other reviewers that the only thing wrong with it is that there isn't a part two, because in a language so rich with words--and diversity within its speakers--there are so many entries left to cover.

The writer is gentlemanly,clever,humorous,and accurate all at the same time. Don't miss this one.

I can't say enough good things about this little gem. It's an outstanding reference book. The author's mastery of Spanish is rather humbling, but he is able to convey a great deal of knowledge using a writing style that is both relaxed and very enjoyable to read.

This book is a sort of Spanish-to-English dictionary, but it doesn't simply list English equivalents of a Spanish word the way a regular bilingual dictionary does. It goes into a discussion of the word in question and explains the little nuances and shades in meaning in a way that most dictionaries never come close to doing. The definitions given include examples and anecdotes that put the words in context to help the reader better grasp their meaning. When necessary, the author is always careful to point out the various meanings a particular word might have in different parts of the Spanish-speaking world. Further, the author is not afraid to list "off-color" or vulgar words in an attempt to save the reader from unwittingly making a fool of him or herself by using the wrong word in the wrong part of the world.

My only "complaint" is that this book isn't even longer and more exhaustive than it is (it's 303 pages), although the book's relative brevity makes it easier to completely read and digest. Still, a second volume that picks up where this one leaves off would be wonderful to have.

I've lived in South America and have a four-year college degree in Spanish, yet I still learn something new (or relearn something I've forgotten) every time I pick up this book. Students of all ability levels from beginning to very advanced will benefit from this work. That said, I think most beginning students will already have enough on their hands with learning the nuts and bolts of Spanish grammar and acquiring a basic vocabulary. For that reason, I tend to think that a book of this type is better suited for intermediate and up students. Along with a good dictionary like the Larousse Gran Diccionario, this is a must-own reference book for any serious student of the Spanish language.

This is the story of the human race as it exists about a billion years in the future. A more ambitious premise for a novel is almost impossible to imagine, but Clarke pulls it off brilliantly. This is an incredibly imaginative work, and before it is over it offers a sweeping vision of human destiny. And all the while it does so by telling a good story too! This is a novel, not a work of philosphy.

This is the story of Alvin, the first child to be born in over a million years in the great city of Diaspar, man's greatest and last city. But Alvin is different than his peers, because he alone in all of Diaspar is not pathologically afraid of the notion of leaving Diaspar, or of venturing into outer space. And thus Alvin's explorations, and the novel's story, begin. A great yarn with a startling and inspiring ending.

Grand ideas of great scope were the hallmark of 'Th e Golden Age of Science Fiction' and this book certainly fits that mold. Set in the very far future, so far that many main sequence stars have started to die, this is a story of two very different paths that two different groups of humans have taken to the puzzle of existence and life. In the city of Diasper, we have a totally enclosed and static society, where people live for a thousand years, then store their memories for some later computer controlled reincarnation, where anything outside the city is not only totally ignored, its very existence is practically denied. At the other extreme is Lys, where man is just one part of the world of living, growing things, where bio-engineering has been raised to such an art it is buried in the background, and humans have developed telepathic talents. These are the last two areas of civilization on an Earth that has otherwise become a desert, where even the oceans have totally dried up.

Against this background we find Alvin, the first truly new citizen in Diasper in seven thousand years, born without any memories of prior existences, to whom, without any preset thought biases, all things are open to question. When he starts to question the origin of Diasper and ask what exists outside the city, he is met with rebuff and ostracism. Persisting in his questions, he eventually finds a way to leave Diasper and travel to Lys. The things he learns there and the additional questions provoked by this knowledge eventually lead to things far beyond the Earth and a complete revision of 'known' history, with the fate of the galaxy hanging in the balance.

While Alvin and the other characters are reasonably portrayed, this is not the strong suit of this book, nor will you find a great amount of 'hard' science gadgets and plot devices. This is rather a book that will make you think about the long term purpose of man and his place in the universe. There is a painted picture here of just what the ultimate end point is of pure technological development and the stifling effects such an environment has on people, strongly contrasted with an alternative development line focusing on human mental capabilities and its negatives. Both thematic sides are held up beneath the strong lights of hope, pride, and ambition.

There is a feeling of near poetry, a total 'sense of wonder', that pervades this book, a feeling that will captivate and invigorate the reader, that will take him far outside the everyday concerns of today. In certain areas, the great weight of not just millennia, but billions of years of history will press upon you, where the discovery of ages old items will be as much of an adventure as watching our first manned lunar mission.

This book was a near total rewrite of "Against the Fall of Night". While the basic scenario is the same between the two books, the endings are dramatically different, and actually present a different outlook on man's purpose and his part in the grander scheme of things. I have never been able to decide which of the two versions is better - but that just means you should read both, as they are both fully deserving of your time and attention.

Calling this "classic" science fiction seems like too droll of a description. This book will not let go of you once you've read the first sentence. The characters, the plot, the suspense and the reward are fantastic. It pulls you in so completely you won't even feel like you are reading -- as if you are traveling the moving ways through Diaspar itself, watching the Jester's tricks or struggling against the bonds of the City. I've picked up City and the Stars, flipped to a page in the middle and gotten instantly drawn into Alvin's story again and again and again. This is by far my favorite science fiction book ever. Buy two copies and put one in a sealed plastic bag for the time when your first, ratty and torn copy turns to dust!

My introduction to this series was my older brother's slightly worn Scholastic copy of Mystery of the Green Ghost. We both read it several times, and once we found out there were more, look out! We read them from the library, we cajoled Mom into taking us to the mall to buy them, we bought them at a local used bookstore. We were both hooked!
I can recommend every book in this series. My brother and I both read all the Hardy Boys (and liked them a lot), but these blow them out of the water! I think you can get 1-10 new (they've been reprinted), the rest you'll have to get used.
I've still got a complete set, but I'm rebuying them for a nephew. He's as excited about them as I was over 20 years ago. Excellent characters, spooky happenings, and just enough chills to keep a kid's pulse racing.
If you have kids, I can't recommend these highly enough.

The Three Investigators do it again, solving their strangest mystery thus far. This case involves a 3000-year-old mummy that mysteriously whispers in some archaic tongue to one professor alone. The boys overcome a number of hurdles set in their way, some involving great personal danger to themselves, to solve this perplexing mystery and, at the same time, return an unusual Abyssinian cat to his loving owner. As the series continues, we learn more and more about the boys themselves and their secret headquarters, see them employing more gadgets in their work, and see the logical gymnastics Jupiter Jones continually performs to find resolutions to case after case. There is more deductive reasoning exhibited in this case than in the trio's previous two adventures, and that only serves to further draw the reader into the world of Rocky Beach, California. As I continue to re-read these classic stories from my youth, my appreciation for the writing of Robert Arthur grows more and more. I was indeed pleased to see that my suspicions in this case proved correct in the end; even had I been wrong, I would not have been embarrassed because Arthur's tight plot works on two levels--that of young readers, who can certainly follow the case with understanding and eager anticipation for each upcoming chapter, as well as that of adults. This is a great mystery story in all regards.

They were my Heroes in my Childhood before Iron Maiden and Rock music enterd my Life and I became the Evil Person I am today. This is what I would buy my Kids If I ever should have some ( I'm trying to find a Girlfried-anybody out there! ) Their stories are creepy and suspenseful and Aunt Mathilda was the worst enemy they ever had. As I sad - you gotta love this.

This new edition to mark the 2001 years is virtually identical to the the previous classic edition, with the exception of a new forward by Arthur C. Clarke expressing is sadness of the death of Stanley Kubrick. There are a few new photos previously not published, however room for these new photos are made by omitting previously released photos....SO this new edition MAY be of interest to die hard Kubrick fans who have the older edition.

A must book for those interested in the behind the scenes creative development with plenty of photos and original drawings.

Recently, while at a nearby book store, I picked up a copy of Piers Bizony's 2001: FILIMING THE FUTURE and decided to purchase it. It was not a bad choice. This is a very extensive book on the making of Stanley Kubrick's sci-fi masterpiece. There are dozens of photographs in both color and black and white that show images from the movie as well as a look at the making of it. There are sketches of the spacecraft in the movie, which were drawn up from film stills, as well as pre-production sketches of some of the earlier design models. There is also an interesting introduction by Arthur C. Clarke, who wrote the novel and co-wrote the screenplay. Finally, the text is well detailed and informative. For those of you who do not want to know how the groundbreaking special effects were made, stay away from this book! Model work, live action and stunt work formed the key elements of most of the visual effects work.

The book also discusses about how it was like to work with Stanley Kubrick. Most cast and crew admit that it was difficult but rewarding because Kubrick pushed them to their limit and made them work better. Kubrick did get mad at them, but he rarely yelled at them. He also got respect because he knew what he wanted and would not stop until he got it. Kubrick was also a perfectionist; after his work on Spartacus, he was determined to have full creative control over his movies and worked over every aspect of his films, demanding the absolute best from the people who worked for him. Stressful no doubt. But this is what made Kubrick one of the best and acclaimed filmmakers of all time. His genius and ambition shows in 2001: A Space Odyssey and this book is a superb tribute

I have read many books and chapters on "The Making Of 2001" and this book was by far the most enjoyable and satisfying. Mr. Bizony went to great lengths to get a well rounded account of the movie's production without ever letting the text get overburdened with details. Of course, the ample photographs and sketches make the book worthwhile in themselves. After reading this book, I watched 2001 again with new eyes. I had a much broader appreciation for the technical and artistic achievements of the film.

Bryan Magee has the marvellous power to arouse the interest of the reader in his books. He does it again in this one on Schopenhauer.

He explains clearly the place and the importance of Schopenhauer in the history of philosophy, the strenght and modernity of his ideas, and his deep influence on later philosophers and artists. He also criticizes vigorously some aspects of his work and life.

Magee shows that Schopenhauer built his worldview on the transcendental idealism of Kant. But he went further by describing the real nature of Kant's 'thing in itself' (the noumenon), which he called rather unfortunately the 'will'. For Schopenhauer, the entire world of phenomena in time and space, internally connected by causality, is the self-objectivation of an impersonal, timelessly active will. It is an unassuageable striving, which means continued dissatisfaction for the individual.
Schopenhauer noticed a flaw in Kant's reasoning that we could only access to the 'thing in itself' through our sensory and intellectual apparatus. We know one material 'thing in itself' subjectively: our own body.

The idea of the 'will' is very modern, because it anticipated Darwin's evolutionism, Freud's unconsciousness and Einstein's holism (everything is energy).

Magee explains magisterially all aspects of Schopenhauer's penetrating worldview, like the defective intellect of mankind, because intelligence is only a late and superficial evolutionary differentiation, developed for the promotion of animal survival.
His investigation of human behaviour is based on what people do in fact, not on what they 'ought to do'. His conclusion was that what traditionally had been considered moral behaviour turned out to be self-interest.
For Schopenhauer, art is not an expression of emotion, but an attempt to convey an insight into the true nature of things. It must have its origin in direct perception, not in concepts.
Magee stresses rightly that Schopenhauer was one of the few philosophers who integrated sex in his speculations. For him, sex is the 'very process whereby the will to live achieves life. The urge towards it is the most powerful of the will's demands, next only to the brute survival of what already exists'.
He shows also his virulent atheism ('As ultima ratio theologorum we find among many nations the stake'), his misogyny and his interest in Buddhism.

His criticism of Schopenhauer is also very important and to the point.
Schopenhauer denies mankind free will. But if there is no free will, there is no morality.
More importantly, he notices that Schopenhauer didn't live a life of someone who believed in a world of only unrelieved pessimism, dominated by the inherently evil metaphysical will. His life contradicted a part of his philosophy!

This very rich book contains also excellent explanations of the philosophy of Fichte, Schelling, Vaihinger and Frege, as well as brilliant demonstrations of the influence of Schopenhauer on Nietzsche and Wittgenstein (the Tractatus).
Magee gives us also a very stark argument against solipsism.

The one point on which I disagree with Magee is the following comment: 'This is not the same as to say that these material objects are fully and completely us: that is another matter.' (p. 121)

This sometimes ferociously driven apologia pro Schopenhauer (and Kant) is the best possible presentation of a philosopher. Magee convinced me to read Schopenhauer's main work. I didn't do it until now, because I was influenced by G. Lukacs.
A book not to be missed.

Bryan Magee is a superb writer with a gift for phrase-making and an uncanny ability to explain and make accessible the most difficult works in the philosophical tradition. It is not simply that he is able to convey the thoughts of philosophers of the caliber of Kant and Schopenhauer, but that he is able to communicate the vital importance of their ideas, together with the effect they have had in his own life and, more generally, their impact upon the trajectory of our civilization.

He begins this work with a brief biography of Schopenhauer that seeks to relate the early experiences of the philosopher to the development of his key ideas. Mr. Magee then sets forth the Kantian foundations of Schopenhauer's system and indicates the areas in which Schopenhauer has added to (or "corrected") Kant's transcendental idealism, notably by linking the concept of the Will to the description of the "thing-in-itself." Shopenhauer's ideas on art, on suffering, his connections to eastern religious and metaphysical belief-systems, his famous pessimism, and many other issues are discussed clearly and cogently.

This is simply the best book on Schopenhauer that I have ever read, with the exception of Schopenhauer's own works.

"What about myself in relation to Schopenhauer's philosophy - when I was completely Greek, an optimist? But I made the difficult admission, and from this act of resignation emerged ten times stronger."

The sentiment expressed by Wagner in the previous quotation articulates how I felt when I had discovered Schopenhauer and that is probably true for most readers of these philosophers. There is something in his ontological and aesthetic conclusions that induce a feeling of nausea and repellence and yet they are filled with much liberation. It's sort of like the feeling a prophet gets when he receives a divine revelation.
Magee does a magnificant job in making Schopenahuars ideas accessible to the public. The final chapter added to this 2nd edition dispels the popular misconceptions (misconceptions that I have run across) concerning Schopenhauers treatment of the will. What S really says is that we have direct phenomenal knowledge of the noumena but that 'phenomenal' knowledge is still nevertheless a representation. I don't think to S, the representation of an perceptual object is an illusion but merely that in order to perceive things, the brain develops a conceptual framework so that objects in the external world can be apprehended. Many people who object to his uses of representation often assume that he is saying that what we perceive is something completely different than what it is in itself. What Schopenhauer really saying is that we shouldn't ascribe too much importance, regarding our knowledge, to the object and ignore the perceiving subject as this would greatly retard our quest for understanding.
Magee also points out how avant-garde Schopenhauer was for his time because of his anticipation of Freud's unconscious, Einstein's relativity, and Schrodinger's Quantum Mechanics. One can conclude that Scopenhauer would have not at all have been surprised by these breakthroughs in modern science since he enunciated philosophical ideas that were very similar.
I must say that I find Schopenhaurs treatment of music flawed in that he seems to believe "that in aesthetic contemplation, the individual is no longer an individual but the pure, will-less, painless, timeless subject of knowledge." In this respect I might think Nietzsche was right in the Gay Science when he pointed out how typical it was for many followers of Schopenhauer to adopt the erroneous metaphysical aspects of his philosophy. Music, as with everything, is a manifestation of the phenomenal world. Interaction with music is not will-less if Scophenhauer really thinks everything to be a result of the will. In that sense we see his pessimism getting into the way of his philosophical doctrine. Magee was right when he pointed out the impossibility of renunciating the Will.

In further regard of S's treatment of music, I prefer Wagners theory of Art to be by far much superior to that of Schopenhauers.

"Wagner saw art as a celebtration of the purely human, of this life of ours in the world of experience, whereas Scheopnhauer saw this life as a burden and this world as a vale of tears, and regarded art as concerned with Platonic Ideas and the noumenal; Wagner's theories were historicist, which Schopenhauer would have despised; Wagner believed that the creative artists should address himself to 'the people', whereas Schopenhaur considered only a minority capable of being interested in great art; Wagner considered the main function of art as expressive, whereas Schopenhauer saw it as cognitive."

Even though he was overlooked by many, Schopenhauer was definitely the pinnacle of empirical epistemology. Magee interestingly emphasizes that Scopehnhauers philosophy, much like Wittgenstein's, is in some sense mystical because it doesn't imply that the empirical world is all there is. Unfortunately, we see that because of the limits of human understanding, many post-posivist philosophers have jumped on the religious band wagon. Clearly though, Scophenhauer would have thought it ridiculous to claim to know what the noumenal world (and I do not think he thought of it as separate from the phenomenal world) is as the religions of Christianity, Islam, and Judaism claim to do (Nietzsche would later show how little 'faith' in these ascetic religions is worth). Regarding the similarities to Scophenhauer's philosophy and Buddhism, I would not find it unreasonable to conclude that Schopenhauer's philosophy is a more sophisticated and more reasonable form of Buddhism insofar that Buddhism takes a metaphysical approach to life but does not apply phenomenal concepts to the metaphysical world.

I HIGHLY recommend buying this book. Magee has done a tremendous service to the revival of Schopenhauer.

This is Nietzsche's first, and in some ways the best, philosophy book. Prior to Human All-Too Human, he penned The Birth of Tragedy and Untimely Meditations. But it is only in this book that Nietzsche comes into his own as a philosopher. The book was written soon after his retirement from teaching, due to ill health, and Nietzsche suffered a lot from physical pain, while writing the book, having to take hashish to relieve it. The book contains opinions on almost everything under the Sun. Although it is clearly broken down into distinct chapters, the thoughts within chapters are not arranged systematically. This is intentional and represents Nietzsche mistrust of grand theorizing and excessively systematic thinking. He retained this aphoristic writing style till the last days of his productive life. Thus in his approach, Nietzsche anticipates both existentialism and post-modernism. He views life personally, passionately, and with distrust to grand system(narrative) building. Thoughts slither through the labyrinth of human life, revealing strartling insights and forcing us to reconsider received opinions and conventional wisdoms.

By Nietzsche's standards, the perspectives presented in the book are fairly measured, and the author's voice is not nearly as shrill as it would become ten years later, in his last books. Because Nietzsche settles at a high level of generalization, some opinions do sound narrow-minded and prejudiced. In this, Nietzsche was also a victim of his time and culture: his comments on women and "the youthful Jew of the stock exchange" are not intellectuals gems, to put it very mildly. Some of his other opinions, on marriage, for example, also strike me as strange. Overall, this is a book by an all-too-human philosopher, yet it is a path-breaking work, a precursor to existentialism and post-modernism, written in a style that can appeal to the reader sheerly as good literature.

In this book, actually an anthology of three books, Nietzsche anticipates and comments upon social, cultural, political and psychological issues most of which are still current and troubling. A central theme is the human tendency to look for comfort, stability, and easy answers. He seemed to foresee that this tendency would become even more maladaptive as the pace of change increased, than it was in his own time. He offers an analysis of its causes, and a treatment, in the form of a relentless series of verbal shock-treatments, delivered in one-half to one page essays. The reader is constantly stimulated to take another look at issues that he thought he had settled.

Another issue for Nietzsche is the examination of the appropriate roles for science and art in human development. Anticipating contemporary thinking,he proposes that the brain has two competing/complementary functions. One, whose main product is science, brings an immediate sense of power to be able to understand what was not understood before, and what is not understood by many others. As an after-effect, however, it brings a sense of despair and depression, that previously-held illusions have been destroyed. The other half of the brain, the artistic sense, which he also calls the will to falsehood (not in a negative sense)presents possibilities, creative syntheses, or holistic images.

For Nietszche,human evolution proceeds by each individual maximizing the potential of each part of his brain, constantly generating new creative ideas, and then subjecting them to relentless analysis and criticism. This is the method Nietszche himself uses. He warns, however, that it requires incredible energy and strength to constantly be aware of and examine one's basic assumptions. Many who try will fall, (as Nietszche himself did) but, anticipating Darwin, he describes a process whereby the strongest, those most capable of enduring physical and psychological adversity, are the ones who survive and pass on the benefits of their growth.

Read this book if you are feeling depressed, read it if you are feeling strong, read it if you are feeling bored, read it if you are feeling overstressed, read it if you want a really good time, read it one page per day, read it all at once, read it in your own way, but my recommendation is READ IT.

This book is good for all of those who have read other of Nietzsche's works, as well as those who wish to start reading him. Nietzsche's ideas behind the concept of free spirits talk about an intellectual elitism which is only to be understood by those who have lived it. A book trully for free spirits, but recommendable for everyone who wishes to reach such a status, or become knowledgeable on Nietzsches ideology.

Most of the ideas on this book prevail up to his latest works, unlike previous essays which are later diminished by Nietzsche himslef. If you like this book read "The day Nietzsche Wept", if you liked that one, read this one. Let us face the truth: Nietzsche is a great thinker, specially for his time.

Among all Shackleton's achievements and triumphs, great as they were, his one failure was the most glorious. By self-sacrifice and throwing his own life into the balance he saved all of his men.
This is how Worsley ends his book that describes exactly how Shackleton was able to save them all. Though for this part of the journey, the amazing boat trip to South Georgia, perhaps it was not so much Shackleton as Worlsey who saved them all. Written by a down-to-earth practical man it is easy to get completely caught up in the story. Even after finishing the book, you will find it hard to stop thinking about this fantastic achievement of navigational skills.
Before reading this book, I strongly recommed the book "Endurance".

Frank Worsley's description of the boat journey he made with Shackleton and two other crewmen of the Endurance is remarkable not only for the adventure it tells, but for the language it is told in and the largeness of spirit that it demonstrates. When I first read this--a battered copy in the local library--I felt that every teenager in the United States should have the opportunity to experience the strength of character, understanding and fine prose style Worsley demonstrates in this tremendously exciting adventure story. His description of Shackleton's leadership qualities is insightful and generous. His own navigational miracle of bringing this tiny craft across the wildest seas in the world to the relatively small island of South Georgia is understated. This book is inspirational in the best sort of honest and clear way. I have been to Elephant Island and S. Georgia and my admiration is increased by the experience.

Frank Worsley, the Captain of Shackleton's Endurance, is a surprisingly competent writer with a style that has a knack for the wonderous details of nature as well as the humorous side of things needed in desparate situations.

The book begins with the 3 boats making the dash towards Elephant Island. Most of the book naturally details the journey of the James Caird to South Georgia. Worsley, though very quirky in personality, was an incredibly resourceful, couargeouse man and a navigator without peer. Without him there would have a loss of all lives.

Though at times Worsley may confuse the non-sailing reader with his descriptions of their sailing technique(especially the venacular terms), he nevertheless manages to make you feel you are right in the boat with them. His descriptions of waves, icebergs, etc. are brilliant. He also has a wonderful sense of humor. He has an ability to coin a phrase in that Edwardian period style that is almost poetic. He came from an educated family in New Zealand and it shows.

He also brings great detail to the shorter but still dramatic crossing of South Georgia.

Overall, it is a wonderful book that is alive with details and personal perspectives from a man with a superb mind and great heart.

When it comes to Olympic Weightlifting, this is unquestionably the most comprehensive book on the subject. Everything is here, from historical bits on the sport to sample training templates. Be warned, however, that Olympic Weightlifting is very different from bodybuilding or powerlifting. Most recreational lifters, for whom muscle-mass or general conditioning are the goal, would do better to first read the OTHER indispensible book on the topic, Stuart McRobert's "Beyond Brawn." Olympic Lifting is a different beast, emphasizing very specific strength combined with speed and coordination, and ultimately focusing on performance in two lifts: the snatch and clean & jerk. Athletes wishing to bulk up should check out "Beyond Brawn" first. Athletes who've caught the Olympic bug should make "The Weightlifting Encyclopedia" their next purchase. They won't regret it.

It was obvious from the minute I picked up this book, that it was written by someone who had a true love of the sport of weightlifting. As a competitve weightlifter and instructor at New York Unversity who specializes in the area of resistance training I have had the opportunity to reveiw literally hundreds of weight training texts. Mr Dreschler's book is by far the most complete weight training text on the market today. The book covers every component of weightlifting and is unprecedented in its detailed explanation of each olympic lift. The author also does an excellent job in breaking down each exercise and is able to convey difficult physiological and biomechanical concepts for everyone to understand. The book is quite extensive and is a true reference text for anyone interested in strength training. I can not wait for the video!

One thing that strikes me about Mr. Drechsler's book, in its enormous length and striking detail, is the author's passion for the sport of olympic weightlifting. However, rather than being an encyclopedia of weightlifting, its a record of all things that this man has learned about developing a stronger clean and jerk and snatch in his career as an athlete and a coach. To be sure, Mr. Drechsler has accumulated quite a bit of wisdom on this topic, but even more striking is how careful he is to avoid injecting his own opinion on different training methods, but rather gives various different and frequently contradictory views on training equal treatment. Because of the author's neutral attitude towards various training method, the book does little to guide an athlete on how to enhance his strength, but it will definitely broaden the knowledge even the most seasoned weightlifter on various aspects of training. Moreover, since no other volume in the English language presents such a thorough and unbiased presentation of methods for stimulating strength gains, I can't see any reason for any serious weightlifter, powerlifter, or bodybuilder not to familiarize himself with this text.