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In modern life it's a bit easier said than done. Dr. Patricia helps us get a handle on what our options are. With an emphasis on simple choices and little shifts in attitude and life style Dr. Patricia gently shepherds us to gradually healthier and healthier lives.
Dr. Patricia Fitzgerald has a heart to relieve suffering and a profound knowledge of healing, both qualities burst forth from the pages of "The Detox Solution."
Written in a witty, conversational style, "The Detox Solution" can easily be read cover to cover to arm you with the basics. Then keep it with your cookbooks and use it as a reference.
Must be in every home.
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In the aftermath of Heir of Sea and Fire, Raederle and Morgan have been reunited in Anuin, where the dead are still roaming around, Deth has vanished, and Raederle is afraid to marry Morgan because of her fears of her own strange ancestry. Morgan brings a shipful of wraiths to his home of Hed, and confronts the family who sees that he is no longer as he once was.
And the lands of An are teetering on the edge of war, with shapechangers creeping through the land and the sinister Ghisteslwchlohm somehow at the middle of it. "There are men in it who have already died, who are still fighting, with their bodies possessed by nothing human." So Morgan and Raederle must go on the ultimate mission -- a mission that will take them to the heart and history of their world, the secret of the shape-changers and what they are, and what Morgan's secret destiny is...
McKillip doesn't falter for a moment in this book, the third of the series; she's never written doorstopper epics, but her books are some of the most outstanding fantasy in print. Her writing evolved even over the course of the trilogy, becoming more introspective and more spellbinding in its descriptions. She gives you only a hint of how something looks, but every sense about how it feels and how it is perceived by the characters.
Morgan and Raederle have both grown from the beginnings of their initial books. Morgan is now a more tormented, multidimensional person than the guy who hid a crown under his bed and got sour milk dumped on his head. He feels the weight of An on his shoulders, and experiences equal determination and fear. Raederle has also changed, since finding out about her mixed heritage and why she has her mysterious powers. In a way, this knowledge about her past balances out with Morgan's knowledge about his future destiny. She's not the usual fantasy girlfriend whose sole purpose is to provide the hero with some romance, but a strong and independent female character who acts as a vital part of the storyline.
The supporting characters are also amazing: Deth is his usual ambiguous self, where you can't be sure if he's working for or against Morgan. Rood is still delightful, but transformed into a more serious character. And we see more of Raederle's quirky father Mathom, Morgan's sister Tristan and brother Eliard, and various other faces from the past two books.
This is one of the few fantasy stories where you simply can't guess what is ahead. Questions and hints laid out in the previous two books are followed up on, and pretty much no threads are left dangling. You won't guess beforehand what Morgan's destiny is or what the shapechangers were, or even how they can be dealt with. You won't know what Deth's plans are until he reveals them, or whether he's a villain or a hero. As in real life, the answers are not laid on the table for everyone to see; what you see is not necessarily what is real, and what the hero thinks about a person is not necessarily what is true.
Unlike most fantasies, this book is not padded for extra length, given an enormous cast of characters or an overly complicated system of kingdoms and hierarchies. There are no stereotypical elements like elves, dwarves, gray-bearded wizards, or Dark Lords; only shapechangers and human beings. McKillip's magic is not the slam-bang-whizz-sparks-of-light type, but a subtle, strange, powerful kind.
The climax to one of the best fantasy stories since Lord of the Rings, and one of the best out there. A must-read.
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It's a great, old-fashioned fairytale set in today's world. Be warned - It is not an everyone gets along in the end story. The ending ends as it should with everyone getting exactly what they deserve. It makes you wish that there was a little book dragon looking over your shoulder.
I would recommend this book to adults and children alike. It has a moral message that a child as young as 4 or 5 would get but has enough levels to keep everyone entertained.
This is a book every child (and most adults) should have the pleasure of having in their life.
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Anthony's ruthless and provocative account of the imaginary happening provides a lucid demonstration of how the unprecedented and the mysterious can only be analyzed and (mis)understood in terms of the prevailing beliefs of the time---its religious and philosophical convictions, the state of its scientific knowledge, its political prejudices, its popular myths and superstitions.
But this is also a novel of great humanity, with a cast of well-drawn, sympathetic, and lifelike characters whose interplay is both tragic and exalting: the soul-searching Jesuit Manoel Pessoa, a rationalist without faith, who hopes at first to defuse the dangerous situation with a cursory proforma inquiry sparing the Quintans dire consequences; his lover Berenice, a herbalist of Jewish origin, who cures the town's sick and is shunned as a witch; the kindly old Franciscan Soares, who believes in the angels; the selfish and gluttonous Inquisitor-General Gomes, who overrides the tribunal with his authority to light the pyres; the tense mystic Bernardo; the enchantingly quixotic King Afonso. "God's Fires" is a story of passion and doomed lives written with insight, biting humour, and bitterness---a far larger book than its disguising science-fiction component would immediately suggest.
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Much of the writing is equally good: obviously all these authors are excellent writers.
Some of the stories were compelling, some were mildly entertaining. None were awful.
However, this book is uneven. I have a hard time imagining that any one person would love all these stories. Some of the stories suffer from being so short, and others are just not that interesting.
I loved Moon Over Miranda and Mary Jo Putney's reworking of the King Arthur tale.
Five stars for concept and two of the stories. The other stories were all 3-star and 4-star in quality, so I'm averaging it all out to be four stars.
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If you are going to read one book on the subject, this is it.
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'Into the Digital Realm' isn't so much an abandonment of ILM of the traditional methods of special effects, rather a point of departure for the new technology and all of things that led up to it. Indeed, ILM's work on 'The Hunt For Red October' submarine work involved flying the submerged vessels from wires in a smoky room - effects do not get any more traditional than that. Released in 96, the book doesn't mention that Phantom Menace or even that the film is in production. It does have some revised images from the Star Wars special edition. As with the previous tome, this one is packed with hundreds of color photos, plus the same beautiful gate fold images.
If the center piece for the previous book was Star Wars, Digital Realms' focus is obviously Jurassic Park, because it was the first film to use CG on so large a scale, even more than Terminator 2, which ILM also did. Jurassic Park was also the test bed and showcase piece that convinced Lucas that computers had finally matured enough to bring what he had in mind to the screen for the new Star Wars films. More is the pity, because I came to loathe most of the aliens in the Phantom Menace. Digital Realm clearly explains in easy to understand terms how effects - both new and old - are accomplished, be it something as simple as making it appear as if buildings are actually much taller than they or having a velociraptor walk _behind_ a plant situated in the foreground. I have both of these wonderful books, and I strongly recommend them to anyone who is curious about ILM's history and the process of how effects are made.