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I am most anxious to obtain the "instructor's version" of the text and the accompanying videotapes. (These are mentioned in the preface.)
This reader found the surprising number of grammar errors, particularly split infinitives, distracting.
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The Blood Jaguar by Michael H. Payne is an exciting story about 3 animals that have to save the land they live in. They also have some help on the way. This book has great humor.
Bobcat wakes up in his house, he starts out the morning by going on a walk. But on this walk he meets the death bringer. After that he finds his friend and they go to a witch that might help them with this problem that they discover. But that is only the beginning of there problems that they find on the road they travel.
This book is very exciting. Why I also liked this book is because it is full of humor. I also like it because it as a great plot. The characters in this are very believable and they have all different backgrounds.
I think that this book was really great, I think that you should read this book to. This book is one of the best ones I have ever read. This book is sort of slow at the beginning but then it picks up very quickly. I would recommend this book to everybody.
In Michael Payne's debut novel "The Blood Jaguar", Bobcat is exactly that. Bobcat's cohorts are equally real and equally flawed in their own ways. And, just like your house cat, Bobcat and his companions are precious and dear.
I found Mr. Payne's book to be involving, his world to be clever and original, but what I liked best about this book is the characters. They are willing to do what they must if only they knew just what that was. They shine...pretty impressive for fuzzy animals.
I can strongly recommend The Blood Jaguar. It is a gem. I hope to see a lot more of Michael Payne's work in the future.
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This is an excellent adventure book that takes a Conan like hero and plots him against all sorts of evil (and good), including some Cthulhu creations as well.
Originally Ghor was an unfinished story by Conan creator Robert Howard. Upon finding this unfinished story, a magazine decided to finish it. What they did was have a different chapter every month written by a different top fantasy writer. It made the reading interesting.
While most of the chapters were great. Some were excellent. Unfortunately there were a couple chapters that I just wanted to get through to reach the next writers' chapter. Overall a really good read.
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Michael Dunn does a good job of grouping together a broad selection of New Zealand painters to demonstrate the stylistic evolution of New Zealand paintings from our early colonists to recent times. The chapters are based around themes, not strictly chronologically and include such topics as landscapes, images of Mäori, the La Trobe scheme, expatriate New Zealand painters and various stylistic classifications. The weakness of the work is not in the content which is very well researched, but in the style that information is presented.
Dunn does not make connections between events in New Zealand's history, other than the colonial period, and their effect on New Zealand painters and their paintings. Nor does he mention of other happenings in other mediums, which may have influenced painting.
In contrast to his omission of the influence of New Zealand history Dunn does a good job of contrasting developments in New Zealand Painting with art movements overseas. The main fault in this area is that Dunn chooses not to draw any conclusions from his research. This causes his writing to seem tedious in places and dull in others. An example of this is the lack of emphasis on our isolation from the beginnings of modernist painting. It seems as if Dunn recognises this as one of the main factors in forming a definitive style in New Zealand painting, but again he stops short of actually stating this.
A Concise History of New Zealand Painting is a very specific work. It is a textbook style piece, quite like Gordon H brown & Hamish Keith's An Introduction to New Zealand Painting 1839-1980. It is not an entry-level book, but is suitable for students of the subject. It has little biographic information or explanation of motivations. It would, however, be a useful supplement to an existing collection of books on New Zealand painters, putting all of our diverse history into a single narrative.
Dunn tends to be too specific regarding style in a specific painting. He chooses to neglect the history aspect of art history, choosing to investigate the technical merits of the works instead. The layout, especially the use of reproductions is very poor compared to most books about art. The whole book has the feeling of a government document. The readability suffers from being formed of long chapters, which are not broken up into smaller sections to guide readers to points of interest, even though with the material this would be easy to do. The pictures are small, many are black & white, and all seem squeezed in by the incessant and bland text surrounding them.
While this would not be the first book you would consult on a matter of New Zealand painting, it does warrant reading, as there are so few works on this scale in the subject of New Zealand art. For the artists among us A concise History of New Zealand Painting provides a whakapapa of our influences and teachers, linking us to the traditions that may still be visible in our own works. A book that does live up to Dunn's aspirations of being accessible is Gil Docking's 200 Years of New Zealand Painting to which Michael Dunn even wrote the last chapter in the latest edition. It is a book that allows the art works to be dominant over the text, a book that gives the feeling that it is about art, and values art. It is Docking's book that I would recommend over A concise History of New Zealand Painting.
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