Although the century old language is a bit difficult to read initially, once you get rolling, it isn't difficult. The neatest thing is how amazingly applicable James' observations are in today's society. The book is fun and interesting to read. I learned a great deal.

A good if somewhat dated book on telephone survey methodology.

this is a very nice book. the design is not that great, but otherwise it is great. the art and pictures are very nice. the book was published in 93 so it shows a lot of earlier work by this very important artist. essays by baraka and mcevilley are insightful and should be read by anyone interested in art, black culture, or the politics of art and race. dial is in the 2000 whitney biennial, and this book makes you wonder why he wasn't in it earlier. the titles of the works alone make this worth reading. another book of note very much worth reading is souls grown deep: african american vernacular art of the south, published by tinwood books.

This is an excellent book to fill out the background within which Saul of Tarsus - St. Paul - is to be understood. The authors are classical historians who have put a great deal of work into documenting the world of the 1st Century A.D., as it applies to Paul and the rise of early Christianity. The bibliography is thorough and up-to-date, and there is real depth in the information. I found it easy and exciting to read (though I may not be a typical reader!). The major sections - The Geography of Paul's World, Travelling the World, The Native Cultures, Hellenisation in the Near East, Roman Rule in the Near East, The Life of the Polis, and The Individual's Self-Identification - are all good to excellent. The final section on "Paul's Cities", though full of good detail, is inevitably a little "bitsy", and hence a slightly weak ending to the book. Why only four stars? And why "Two and a half of the three worlds of Paul"? Two things would have really helped complete the book. The most important thing is that the book deals excellently with the Roman and Greek "worlds" of Paul, but falls down on the Jewish world. It's good on political and social history, but weak on the history of ideas side. Some treatment of Judaism as a religion in the period, particularly as a background to Paul's ideas, would really have helped. Likewise, it would have helped to deal with some of the cross-disciplinary research that looks at Paul from an anthropological point of view. But that would be icing on the cake of what is already a good book. If you're seriously interested in St. Paul, this is one to get.

Criticize the Catholic Church, and suddenly the lapdogs come out of the woodwork and accuse you the equivalent of anti-Semitism. The anti-Semitism of the intellectual elitists, these trashers of discourse often say. What, exactly, are they trying to protect--or better yet--hide? And why? The Catholic Church has such a long and grotesque history of sins--from papal sex toys, to pederasty, to graft, extortion, and torture--that it is hard to believe that anyone aiming to be Christ-like in their behavior would remain a member of the Church.

But, as this book persuasively shows, the early 20th Century provided no respite from Church-sponsored evils. Many think the Catholic Churched committed "mere" errors of omission during World War II, such as maintaining close relationships with the Nazi Party in Germany, and merely looking away from the horrors of the Holocaust. But it was much worse than that. As Williams shows in albeit simplistic terms, the Vatican took money from scoundrels and devils, assisted Mussolini and his henchmen in both taking and holding power, and more actively worked with fascists in Germany and elsewhere for the singleminded quest to obtain sufficient funds to continue its lavish ways.

Every Catholic should read this.

And then revolt.

Professor Allen Speer has kindly shared with us the innermost thoughts of his Confederate ancestor, Colonel William Henry Asbury Speer through a diary and a number of letters to his folks back home. While the diary does show the horrors of the war and the problems of being captured, the focus of the work is to show the inner conflicts suffered by those who answered the call to duty to fight for their nation (whether it was the Confederate States of America or the United States) and the pain those men felt because they were fighting against friends and family.

The bitterness of family members over the war and the death of loved ones is made painfully clear by a letter written by Col. Speer's mother several years after he was killed fighting in the 28th North Carolina at Reams Station in August of 1864. This book brings us closer to understanding the complexities of the Civil War, a war that was not only fought between nations, but between friends and families.

Most people have heard of William Wegman and the photographs of his dogs. But they don't know that he also paints and draws in addition to making photos and videos. This book is a collection of his drawings, which are wonderful, clever, little imaginings. With the same witty humor as his photographs, Wegman has created this little treasury of intelligent drawings. I highly recommend it for any appreciator of art and/or querky fun.

I'm a user of 3D Studio R4, and so I thought that I could easily transfer the lofting skills into 3ds max without too much of a problem. This book, however, doesn't use many of the techniques used in the Inside 3DStudioR4 book by New Riders. It's definitely not for beginning users looking to learn the fundamentals of using 3DSmax. I was disappointed at its learning curve, but I assume if you're comfortable with 3DSmax1, then this book might be for you. If somebody knows a book for 3DSmax2 that is in the same vein as Inside 3DStudio R4, then please email me ;)

Many books on the market will give you step by step instructions how how to create a scene, or create certain effects. Although this is sometimes handy, it doesn't easially allow the user to incorperate the skills they learned into their own work.

Inside 3D Studio Max shows you the concepts behind how the program works, and allows you to apply these concepts, and skills to your own work, rather than a preformatted tutorial. It is this fact, however, that makes the book not extremely useful for modelers who are new to the program. This book often speaks of the manual which ships with 3DS Max, and the writer made it clear that this was not yet ANOTHER MANUAL. Inside 3D Studio Max explores how to expand your ability.

If you have no prior modeling practice, read the manual which ships with Max, then buy this book. If you do that, you will appreciate what is taught in this massive book.

This is an overall GREAT book, and it has really helped me to become a much better 3D artist.

There's a thing common to all classic books: even if you've read one from cover to cover you discover something new every time you open it. Things that you glossed over earlier suddenly start to make sense. This book is no exception. Since 'Inside 3D Studio Rel. 3' the authors have provided an unique insight into the world's most popular 3D programs. This book raises the standard even further, providing enough grip for the novice and a treasure trove of knowledge of the professional. The best thing about this book is the explanation of the PRINCIPLES behind 3D Studio MAX. Instead of the 'do this-screen shot-do that' methodology, the authors have concentrated in the core ideas behind every tool and procedure. If you want MAX to be an extension to your right brain, get this book. Read it all the time. Do the tutorials. Keep referring to it for ideas. You'll discover what you were missing with other books -- the real goods on making MAX dance to your tune.

Set in upstate New York in colonial times, Cooper here tells the story of the stolid colonial scout Hawkeye, nee Natty Bumppo (don't ask), who, with his two Indian companions Chingachgook (the Big Snake) and his son Uncas (apparently newly come to manhood), stumble on a party of British soldiers conducting two fair maidens to their father, the commander of British Fort William Henry during the French and Indian War. Under the watchful eyes of the young British officer who has the girls in his charge and led by a Huron scout, Magua, the party appears, to the indomitable Hawkeye, to be at greater risk than they realize as they trek through the wilderness toward the safety of the girls' father's garrison. And, indeed, Hawkeye's judgement is soon proved right as the scout Magua treacherously betrays the hapless girls in repayment, it seems, for a stint of corporal punishment inflicted on him previously by their absent parent. Since the Hurons, Magua's native tribe, are culturally akin to the Iroquois who are the herditary enemies of the Algonquin Delawares, from whom Chingachgook and his son hail and among whom Hawkeye has made his home and friendships, a natural antagonism has arisen almost at once between Hawkeye's party and the Huron and this proves salutary, when danger finally strikes. The tale quickly becomes a matter of flight and pursuit through thickly overgrown primeval forests, over rough mountains and across broad open lakes as the beleagured travelers first elude and then flee the dreaded Iroquois (allies of the French) who have joined the renegade Huron in an effort to seize the two girls. After a brief respite within the safety of William Henry however, the tables are once again turned as Magua's perfidy puts the girls once more at risk. And now the story shifts to a manic pursuit of the fleeing Magua who means to carry off his human prey in order to finally have his revenge on the girls' father, on the British and on the Europeans, generally, whose presence in his native country he blames (not altogether unjustifiably) for his myriad travails. Written in the fine tradition of the 19th century romance (which, of course, is what this book is), Cooper picked up where Sir Walter Scott (the venerable founder of this particular novelistic tradition) left off, creating a rich historical tale of adventure, nobility and marvelously sketched characters set against a brilliantly detailed natural landscape. If his characters are less keenly drawn than Scott's they are no less memorable for, in the quiet nobility of the scout Hawkeye lies the strong, silent hero of the wilderness which was to become the archetypical protagonist of the American western. And the Indians, Chingachgook and Uncas, are the very prototypes of the noble savage, so much used and over-used today. This is a tale of action first and foremost without much plot but so well told that you barely notice, as our heroes flee and pursue their enemies in turn until the very quickness of the prose seems to mirror and embody the speed of the action. Nor is this book only to be read for its rapid-fire rendition of flight and pursuit, for it touches the reader on another level as well, as the bold young Uncas moves out ahead of his comrades to place himself at risk for the others and the woman he loves. Although we never see Uncas at anything but a distance and never get to know the man he is supposed to be, he is yet a symbol of that people of whom he is the last chiefly descendant, the Delaware Mohicans. Nobly born into the finest of Mohican bloodlines, Uncas faces his final trial with heroic energy and resolve in order to defeat the nefarious and twisted Magua. Yet this struggle is also the final footnote in the story of a people, marking the closing chapter for all those Indians who, with the Mohicans, have seen, in Cooper's words, the morning of their nation and the inevitable nightfall which must follow. The book is a bit short on characterization and plotting and the prose is heavy for modern tastes, but the action is richly visualized in the flow of the narrative and the images are compelling. In the end, despite its flaws, this book of Cooper's is, in fact, the classic we have been told it is. -- S. W. Mirsky

Set in upstate New York in colonial times, Cooper here tells the story of the stolid colonial scout Hawkeye, nee Natty Bumppo (don't ask), who, with his two Indian companions Chingachgook (the Big Snake) and his son Uncas (apparently newly come to manhood), stumble on a party of British soldiers conducting two fair maidens to their father, the commander of British Fort William Henry during the French and Indian War. Under the watchful eyes of the young British officer who has the girls in his charge and led by a Huron scout, Magua, the party appears, to the indomitable Hawkeye, to be at greater risk than they realize as they trek through the wilderness toward the safety of the girls' father's garrison. And, indeed, Hawkeye's judgement is soon proved right as the scout Magua treacherously betrays the hapless girls in repayment, it seems, for a stint of corporal punishment inflicted on him previously by their absent parent. Since the Hurons, Magua's native tribe, are culturally akin to the Iroquois who are the herditary enemies of the Algonquin Delawares, from whom Chingachgook and his son hail and among whom Hawkeye has made his home and friendships, a natural antagonism has arisen almost at once between Hawkeye's party and the Huron and this proves salutary, when danger finally strikes. The tale quickly becomes a matter of flight and pursuit through thickly overgrown primeval forests, over rough mountains and across broad open lakes as the beleagured travelers first elude and then flee the dreaded Iroquois (allies of the French) who have joined the renegade Huron in an effort to seize the two girls. After a brief respite within the safety of William Henry however, the tables are once again turned as Magua's perfidy puts the girls once more at risk. And now the story shifts to a manic pursuit of the fleeing Magua who means to carry off his human prey in order to finally have his revenge on the girls' father, on the British and on the Europeans, generally, whose presence in his native country he blames (not altogether unjustifiably) for his myriad travails. Written in the fine tradition of the 19th century romance (which, of course, is what this book is), Cooper picked up where Sir Walter Scott (the venerable founder of this novelistic tradition) left off, creating a rich historical tale of adventure, nobility and marvelously sketched characters set against a brilliantly detailed natural landscape. If his characters are less keenly drawn than Scott's they are no less memorable for, in the quiet nobility of the scout Hawkeye lies the strong, silent hero of the wilderness which has become the archetypical protagonist in our own American westerns. And the Indians, Chingachgook and Uncas, are the very prototypes of the noble savage, so much used and over-used today. This is a tale of action first and foremost without much plot but so well told that you barely notice, as our heroes flee and pursue their enemies in turn until the very quickness of the prose seems to mirror and embody the speed of the action. Nor is this book only to be read for its rapid-fire rendition of flight and pursuit, for it touches the reader on another level as well, as the bold young Uncas moves out ahead of his comrades to place himself at risk for the others and the woman he loves. Although we never see Uncas at anything but a distance and never get to know the man he is supposed to be, he is yet a symbol of that people of whom he is the last chiefly descendant, the Delaware Mohicans. Nobly born into the finest of Mohican bloodlines, Uncas faces his final trial with heroic energy and resolve in order to defeat the nefarious and twisted Magua. Yet this struggle is also the final footnote in the story of a people, marking the closing chapter for all those Indians who, with the Mohicans, have seen, in Cooper's own words, the morning of their nation and the inevitable nightfall which must follow. -- Stuart W. Mirsky (mirsky@ix.netcom.com

Set in upstate New York in colonial times, Cooper here tells the tale of the stolid colonial scout Hawkeye, nee Natty Bumppo (don't ask), who, with his two Indian companions Chingachgook (the Big Snake) and his son Uncas (apparently newly come to manhood), stumble on a party of British soldiers conducting two fair maidens to their father, the commander of British Fort William Henry during the French and Indian War. Under the watchful eyes of the young British officer who has the girls in his charge and led by a Huron scout, Magua, the party appears, to the indomitable Hawkeye, to be at greater risk than they realize as they trek through the wilderness toward the safety of the girls' father's garrison. And, indeed, Hawkeye's judgement is soon proved right as the scout Magua treacherously betrays the hapless girls in repayment, it seems, for a stint of corporal punishment inflicted on him previously by their absent parent. Since the Hurons, Magua's native tribe, are culturally akin to the Iroquois who are the herditary enemies of the Algonquin Delawares, from whom Chingachgook and his son hail and among whom Hawkeye has made his home and friendships, a natural antagonism arises almost at once between Hawkeye's party and the Huron and this proves salutary, when danger finally strikes. The tale quickly becomes a matter of flight and pursuit through thickly overgrown primeval forests, over rough mountains and across broad open lakes as the beleagured travelers first elude and then flee the dreaded Iroquois (allies of the French) who have joined the renegade Huron in an effort to seize the two girls. After a brief respite within the safety of William Henry however, the tables are once again turned as Magua's perfidy puts the girls once more at risk. And now the story shifts to a manic pursuit of the fleeing Magua who means to carry off his human prey in order to finally have his revenge on the girls' father, on the British and on the Europeans, generally, whose presence in his native country he blames (not altogether unjustifiably) for his myriad travails. Written in the fine tradition of the 19th century romance (which, of course, is what this book is), Cooper picked up where Sir Walter Scott (the venerable founder of this novelistic tradition) left off, creating a rich historical tale of adventure, nobility and marvelously sketched characters set against a brilliantly detailed natural landscape. If his characters are less keenly drawn than Scott's they are no less memorable for, in the quiet nobility of the scout Hawkeye lies the strong, silent hero of the wilderness which has become the archetypical protagonist in our own American westerns. And the Indians, Chingachgook and Uncas, are the very prototypes of the noble savage, so much used, and over-used, today. This is a tale of action first and foremost without much plot but so well told that you barely notice, as our heroes flee and pursue their enemies in turn -- until the very quickness of the prose seems to mirror and embody the speed of the action. Nor is this book only to be read for its rapid-fire rendition of flight and pursuit, for it touches the reader on another level as well, as the bold young Uncas moves out ahead of his comrades to place himself at risk for the others and the woman he loves. Although we never see Uncas at anything but a distance and never get to know the man he is supposed to be, he is yet a symbol of that people of whom he is the last chiefly descendant, the Delaware Mohicans. Nobly born into the finest of Mohican bloodlines, Uncas faces his final trial with heroic energy and resolve in order to defeat the nefarious and twisted Magua. Yet this struggle is also the final footnote in the story of a people, marking the closing chapter for all those Indians who, with the Mohicans, have, in Cooper's own words, seen the morning of their nation and the inevitable nightfall which must follow. If you give this book a chance and bear with some of the heavy nineteenth century prose, it will prove out in the end. An exciting and worthwhile read.

This is our third Martini -- er, the author's books that is. We enjoyed "Simeon Chamber" (his first outing), but felt the "List" was too dry and set too sluggish a pace for our taste. We tried the "Attorney" to see if the defense attorney Paul Madriani series, which now has some half dozen entries, might be more entertaining. Alas, a rather mundane plot gets us off to a lackluster start -- Jonah Hale's granddaughter Amanda, of whom he has legal custody, is kidnapped by her recent ex-con natural mother, with the help of a feminist activist, Zolanda Suade, who specializes in skirting the law and resisting the Establishment. Hale hires Madriani (instead of an private eye?), but little more happens until some 100 pages later, when Suade is discovered murdered. Hale is arrested on a fairly extensive list of evidence that points to him, coupled with his incentive, motive, and opportunity. At that point, Paul switches into the true mode of defending his client, with some helpers (and some inside scoop from his lady friend, director of Child Protective Services). Some reasonably interesting courtroom scenes follow as first the accused is arraigned without bail and then actually tried for the murder.

Near the end, in what we thought was a somewhat unfair plot development, Hale suffers a heart attack, suspending the trial. While he's hospitalized, a new Mexican drug-runner-type villain surfaces, who has been hunted half-heartedly through the book, and sheds enough doubt on the case that for all practical purposes the prosecution is motivated to declare a mistrial and not bother with a second go-round. A twist at the end tells us readers who the perp actually was.

This novel is sort of like a car running a 300-mile car race in first gear for 100 miles, second gear for 280 miles, and then a mad dash to the finish line without realizing one is 50 laps behind -- hardly a compelling run. Such is the nature of this book; while Madriani is a nice enough guy, the plot lacked zest and suspense, nor could the court scenes seize the moment "Perry Mason"-style. In fact, we're thinking maybe a third martini cocktail might be more fun!

Attorney Paul Madriani has recently moved to San Diego and set up his law practice with his partner Harry. He moved to San Diego to be closer to the woman in his life, Susan, but little does he know the trouble Susan will cause. One of his first clients in San Diego is Jonah Hale, an elderly man who won millions in the state lottery. He is the grandfather of Amanda, the 8-year-old who Jonah and his wife have been raising. Jonah's absent daughter Jessica suddenly becomes interested in parenting Amanda after Jonah wins the lottery. Jonah refuses to discuss shared custody, so Jessica resorts to Zo Suade, a militant anti-men activist who helps women abduct their children from the custodian. With Suade's help, Jessica abducts Amanda from Jonah. Jonah hires Madriani to help find his granddaughter. Suddenly there is a dead body to contend with, and Jonah is the prime suspect. Madriani must race against time to save Amanda from the drug lords who are hunting down her mother, and keep Jonah out of jail before he succumbs to an illness. This book is full of suspense, and a fun read. However, the climax comes very late in the book, and the last four or five chapters are a fast-paced attempt at tying up the loose ends and solving the mystery. I would have preferred if Martini had spread the last few chapters out more, but the "who done it" finale is superb - you may guess who did it, but not why and how.

Steve Martini has finally returned to his Paul Madriani series and not a moment too soon. Paul, and his law partner, Harry Hinds, are two of the most endearing characters in any legal thriller. While "The Attorney" does not measure up to previous Martini books like "Undue Influence", it is still a worthwhile read.

Paul and his daughter move to southern California to be closer to Paul's new girlfriend, and Harry follows to set up a new practice there. Paul is soon retained by Jonah Hale to help find Jonah's granddaughter who was snatched from his custody by Jonah's daughter. What seems to be a clear-cut, if not easily resolved case soon escalates to murder and Paul decides to represent Jonah in court.

There are excellent descriptions of Paul's southern California locale, right down to certain street names. This tediousness detracts from the action somewhat. But like some of the other reviews noted, the killer is quite obvious less than halfway through the book. It is a mystery (excuse the pun) why a writer as skilled as Martini would give a clue as to the killer's identity that all but reaches out and slaps the reader across the face. This aside, "The Attorney" is tightly paced thriller that is suspenseful despite knowing who the killer is early on in the book. Martini is a writer that is among the ranks of Scott Turow and Richard North Patterson, and it is good to finally see him returning to the legal thriller genre where he writes best.