please find the above mentioned article supposedly re-pblshd in a centennial volume on bruno schulz.this article was earlier pblshd in the literary criterion.ed by c.d.narasimhaiah, mysore. the article is by c.p. ravichandra

The book was enjoyable not only for my son but also myself and my husband. This will become a cherished book just like Pooh books. The illustrations are perfect with the written words. They are colorful and well done. All in all, I will be buying more of this book to circulate to my family located in other parts of Canada.

This is an outstanding fun and enjoyable kids book that you will read for years and years. It has little Bruno who has a big dilema, he has to get back to Italy to see all of his friends for a wedding, one problem, NO MONEY! So what does our hero decide to do? He makes a box, puts a bunch of food in it, and mails himself to Italy at a fraction of the price. There are lots of little mishaps on the way which make this book a great little story which you laugh and laugh too. On of my favorite stories as a child I believe it is the most exciting kids book I have ever read.

Reading this book makes you want to sew an apron, regardless of whether you have any sewing experience. The character is skillful. He prepares the cloth, measures, and plans construction of his apron. Bruno shows that it is important to be careful with needles. He bleeds a little but quickly recovers from a needle stick and goes on with his work. The drawings are cute but also detailed. The picture of Bruno's workshop shows a must-see, beaver-shaped dress form toward the back of the room!

This book is a must for those of us who love Bruno Zupan's work. And there are bonuses in the book for us and for those who will learn about Bruno's work for the first time: The book is beautiful-a work of art in its own right, as are Jane Zupan's photography and her prose!

The continuing adventurers of my favorite theif, this book continues Bruno's further adventures. Bruno is a refreshing and original comic,in which the main character, is stupid, selfish, greedy, and murderous. he's not afraid to kill a baby unicorn, or club a baby seal, but he still manages to foil evil demon's plans (who work part time as bar-tenders, or managing a fast-food restraunt) usually through sheer stupidity. I especially like how the strip continues to evolve, more characters are introduced, and the history of Rothland and Bruno is revealed. The book is quite an interesting read, and enormously funny, I reccomend all to get it immediantly.

Perché un film come "La morte corre sul fiume" ("The night of the Hunter", 1955), letteralmente adorato da manipoli di agguerriti cinefili, è pressoché ignorato dalle storie del cinema? Forse perché è l'unico diretto da Charles Laughton, orgogliosamente deluso dall'accoglienza riservata alla sua opera prima. Forse perché lo stesso Laughton parla del film con impagabile spocchia - quella che gli riconosciamo quando indossa le ampie vesti dell'avvocato Robarts ("Testimone d'accusa", B.Wilder, 1957) - deprecando un cinema che permetta agli spettatori di non "stare con gli occhi fissi sullo schermo", o addirittura di tenere "la testa piegata all'indietro per poter meglio ingoiare popcorn e dolcetti" e ripromettendosi, con il suo film, di far riacquistare agli spettatori "la posizione verticale". Il bel libro di Fornara fornisce, indirettamente, molte spiegazioni della strana sorte del film, dicendone la bellezza assoluta della costruzione ma, appunto, anche la complessità di lettura. Laughton, infatti, crea un'opera al tempo stesso esteticamente riuscita e così ricca di significati e suggestioni che davvero il cinema (che pure all'epoca quanto a mirabili artigiani non scherzava) ne prende le distanze. Come a volte ci allontana una persona tanto bella ma il cui senso - il cui mistero - non possiamo cogliere compiutamente. Richiamo alcune delle tematiche più approfonditamente trattate da Fornara: l'uso della luce, e la lotta tra luce e buio, nella sua perfetta coerenza con le situazioni narrative; la struttura di "racconto raccontato", che se non avvertita può davvero disorientare lo spettatore, subito dichiarata ma complessa nella sua implacabile applicazione (noi, ad es., vediamo i bambini protagonisti del film fare delle espressioni eccessivamente caricate, ma appunto stiamo seguendo il racconto di chi ha ascoltato la storia dai bambini stessi, e ne riproduce la vivezza); il sistema di rinvii tra le diverse sequenze, indispensabile per cogliere appieno i significati più profondi della narrazione. A mio parere, il testo di Fornara è davvero onesto e intelligente: lavora a fondo per scovare simboli e rimandi, ne fornisce interpretazioni ragionevoli, ma lascia ampia libertà di percorrere altre strade, indicandole apertamente. In questo l'autore sembra assai vicino allo spirito di Laughton, volendo che i lettori non si accontentino di spiegazioni già preconfezionate. Vorrei segnalare in particolare l'acutezza del capitolo "Cambiare la storia" , dove è data ragione della statura morale del "piccolo" John, il quale si sottrae, con coraggio e sofferenza, a quel destino fatto di denaro e sangue che sembra dover fatalmente raccogliere dal padre, e dai maschi adulti in generale. Infine, assai pregevole l'analisi della sequenza della fuga sul fiume (una delle più belle della storia del cinema, a mio avviso), incantata dalla stupefacente fotografia di Stanley Cortez e dal misterioso canto infantile della piccola Pearl ("once upon a time, there was a pretty fly...") : una sequenza così emozionante che solo vedendola e rivedendola possiamo capire quali "doni" (per dirla con Fornara) ci riserva.

The fact that the writings of Bruno Bauer (1809-1882) are only now being translated into English is cause for celebration and so I highly recommend this publication. Bruno Bauer is one of the great unsung intellectuals of history. He was imitated by many famous minds of his time, including Karl Marx and Friedrich Nietzsche. This book, CHRIST AND THE CAESARS (1877) was the last of his dozen great tomes on Christianity.

What is most remarkable about this book is that Bruno Bauer goes down to text-by-text comparisons of the New Testament and the Epistles of the great Stoic writer, Lucius Seneca (tutor to Nero Caesar), in order to research keywords and key phrases common to both.

Actually, this had been done many centuries ago to some degree, but with a different twist. The Early Fathers of the Christian Church had presumed that Seneca's writings resembled New Testament writings so much because Seneca 'must have been' a secret Christian. There is even an ancient forgery that claims to be a cordial, personal correspondence between Seneca and St. Paul.

However, Bruno Bauer cited the latest 19th century scholarship to show that if there were identical words and phrases between the writings of Seneca and the writings of the New Testament, the copying was all on the New Testament side, because Seneca wrote his Epistles a full generation before St. Paul wrote his.

That only gets us to chapter two.

Another remarkable fact about this book (a fact that I recently brought to the attention of Elaine Pagels) is that Bruno Bauer demonstrates that St. Paul's texts were clearly Gnostic in many essentials. Now, Elaine Pagels says she did not read Bruno Bauer, and I believe her, but every single citation made by Bauer about St. Paul's alleged Gnosticism is included in Ms. Pagels work on St. Paul (although Ms. Pagels goes on to give three times more examples than Bruno Bauer did in 1877). To me, this says a great deal about Bauer's insight so long ago.

This writing by Bruno Bauer has a key theme - that the writers of the New Testament were influenced to a significant degree by the existing Roman philosophers of the day, including Seneca, Philo, Josephus and others. Bauer does not just state this or give a few examples, but he provides a rigorous textual analysis and a penetrating historical analysis to make his points.

This book, like most books by Bruno Bauer, was not translated into English until a century after his death. This was unfair because he was so influential in his own day, but it is understandable when we recognize that Bauer was attacked by both the left wing as well as the right wing. Bauer's anti-communist stance earned him the total rejection of Marx and the Marxists, while Bauer's demand that we take a scientific approach to the Bible earned him the total rejection of fundamentalists and the right-wing regime of Prussia in 1841.

Although this translation has many typographical errors and the wit, wisdom and genius of Bauer's prose does not shine through this translation, the fact is that this is the first edition of the first time that CHRIST AND THE CAESARS has been translated into English, and if a second edition will ever come, this first edition must be successful. That is why I give it the highest rating. I believe in Bauer, and I want him to have more attention.

The collection of excellent and delicious recipes from the heart fo the Rus is very well presented. I have owned this book for a few years now, and literally worn it out! It covers not only the food preparation but ethnicity and socio-cultural views of the people who prepare and eat this food as part of their cultural environment. A well written book and a easy guide to use.

Close to Home is one of those family-time books that I love, because the stories are not long enough to bore my kids into restlesness. We try and do one per week, and work a special activity around it. I really like the memory verse tags at the back. It's a good way to hide God's word in our hearts (together!).

I wish they'd come out with a followup, though, because we're nearing the end!