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This piece of literary criticism contains 8 major essays and 25 pages of random thoughts from others. It can be enlightening to students of Thoreau and of the transcendentalist movement, though high schoolers may stumble over some of the vocabulary used.
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The second part of the book is much more theoretical and at first seems at odds with the rest of the work. As it melds with the third and final part of the book, there is a cohesiveness to the entire work that is satisfying enough.
As an American reader, one must make certain allowances when taking in the work of these authors. Their British take on things, which is interesting in and of itself, does not always extrapolate to American understanding. Particularly, their fascination with monarchs and chivalry is quite foreign to me as it would probably be to most American readers.
However, now instead of being impaired so much by a lack of records, the authors are forced to speculate about the secret societies' beliefs. Despite tracking down sources within a secret society, the authors' job is made difficult by the fact that such societies not only keep their secrets secret, but also fractionalize, engage in internal political struggles and have their own debates about dogma.
Like Foucault's Pendulum, which this inspired, this book is ultimately a detective novel about various writers trying to get inside the minds of secret societies and running into various obstacles. It may dissapoint readers who want all their answers handed to them (and the authors don't even pretend to have them), but life is not that simple. Sometimes knowing what the right questions are is just as important. This is a fun, interesting, thought-provoking, mind-expanding book.
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Now that the texts of the Scrolls have finally been published for all to read, "The Dead Sea Scrolls Deception" may seem a bit dated and its conclusions anticlimatic. Still, it does raise a lot of good questions about some of the basic assumptions that the general public holds concerning the nature of the ancient Jewish community that lived at Qumran -- a debate which, I'm sure, will continue for generations to come.
Hebrew and Aramaic manuscripts remains concealed from the general public.
In this remarkable book Michael Baigent and Richard Leigh, authors of the best-seller Holy Blood, Holy Grail, reveal new material that places the Scrolls in the time of Jesus and offers nothing less than a new
account of Christianity and an alternative and highly significant version of much of the New Testament.
Working closely with Professor Robert Eisenman-one of the foremost experts in biblical archaeology and scholarship-and with other scholars in both America and Britain, Baigent and Leigh set out to discover
why the content of the Scrolls was kept secret for so long. Their investigation began in Israel, led to the corridors of the Vatican, and into the offices of the Inquisition. They encountered a rigidly held
"consensus" on interpretation and dating, and discovered just how fiercely orthodox biblical scholarship was prepared to fight to retain its monopoly on the materials and their interpretation.
But The Dead Sea Scrolls Deception is much more than an expose of a bitter struggle among scholars. Extensive interviews, historical analysis, and a close study of both published and unpublished materials led
Baigent and Leigh to startling new views about the early Christians-for the Scrolls identify the group known as Christians as a band of fervent theocratic revolutionaries intent on breaking- Roman control of the
Holy Land and restoring the kingdom of Israel to its rightful Judaic dynasty, of which Jesus himself was a member.
The Dead Sea Scrolls have been news since their discovery, and with the release of the Scrolls themselves by the Huntington Library, they are on front pages and in prime time all over America. This remarkable
book tells the story of a great archaeological find and the mysteries surrounding it.
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Our instructor, who actually knows something about Russia, having lived there for at least 45 years before coming to the US, repeatedly informed us that Golosa is the best text available and easily supersedes anything else that is available. It works for me.
My teacher warned us that a very limited number of phrases weren't culturally authentic and explained why. But, this book is more than adequate. Though some of the tapes don't conform exactly to the text, this engenders some level of sponteneity and helps develop listening skills.
Ignore KMM's diatribes against this book. Talk about a complete lack of crediblity! KMM rails against the American authors of the book, but apparently because KMM is French and knows a little English, too, KMM has expert status and superior knowlege about how native English speakers should learn Russian. Duh???
Wasn't KMM the person who essentially indicated that only a native Russian speaker can teach a Russian course? So, by KMM's own logic, ignore a native French speaker's comments on a Russian language text for Americans. KMM must agree that is it not possible for KMM to understand the needs of an English speaker in learning any language, except possibly French?
The specific criticisms KMM makes of this book-bad graphics and an incomplete "how to tell time" section-miss the mark, widely. Graphics: I've used the book and have two advanced degrees from nationally recognized institutions. I've seen a lot of textbooks. These graphics are adequate. Though some of the letters and notes reproduced in cursive script are a bit difficult to read, isn't the handwriting of many people difficult to read?
How to tell time: The time keeping information isn't introduced just to provide a complete discussion of how time is told in Russian. Rather, it is provided to acquint the beginner with one of the six complex "cases" that must be introduced to cover the basics. Hint to KMM: In Russian telling the time isn't as simple as "Six heures et demi", which is not different from English in structure.
Maybe KMM is only upset because Russian is so much more complex and difficult to learn than French. There are six "cases" and the nouns and adjectives must be "declined" to agree as to number, gender AND case. Even the "gender" is more complicated than French, because there is a neuter, not just a masculine and feminine. Then, almost none of the words are English cognates, though there are some French cognates. Anyone who suggests that Russian can be learned in a self-instruction program doesn't know enough about the subject to be taken seriously.
The authors' approach is vastly different from other texts I have encountered. A large number of listening and reading excercises accompany lessons on grammar and a wealth of vocabulary. Texts and dialogues, unlike other texts, are not overly glossed and seem to focus on adding unknown words and phrases, forcing the student to pick out what he or she understands to follow the action. Such an approach approximates what a student might experience in a real world situation.
For a student or teacher of early Russian classes I believe there to be few better books. I could not recommend the text and the authors' approach more. Although I would suggest awaiting the 3rd edition (the current edition is rife with confusing errors and typos as well as a cumbersome delivery system for the accompanying audio) the issues can be surmounted by a dedicated student and/or knowledgeable teacher. They do little, however, to detract from the overall quality inherent in the books' approach to learning.
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The Spoils of Ponyton is the first novel James wrote in his "later style," in other words, drawing-room satire that isn't really about much of anything at all. For some odd reason, later-era James is what's universally praised in lit classes around the globe, while the early stuff, which is actually worth reading, is largely ignored.
To be fair, James did get better at satire as time went on, but The Spoils of Ponyton has all the hallmarks of being a first attempt at a stylistic change. The novel centers on two characters who are utterly incapable of action, which wouldn't be so bad if the characters who were doing the acting were more involved. Such is, sadly, not the case. Owen and Fleda just sort of drift and react; as the book is told from Fleda's point of view, we end up with page after page of something that, in the hands of a better author (even a later James, had he re-written it) would have come off as uber-Tevye; weighing the various merits of various courses of action, not being able to decide on a course, and letting fate take her where it will. In Fiddler on the Roof, it works (largely because Tevye's monologues are brief and to the point); in Poynton, it blithers on endlessly, with all the fascination for the reader of watching cheese spoil.
If you're new to James, by all means do yourself a favor and start with something he wrote earlier in his career. Leave Poynton until after you've developed enough of a taste for James to pick up later-era works, and then read the major ones before diving into this. *
Though Fleda Vetch can be fascinating in a Hamlet-esque way (through her infuriating inability to act), this novel is far from a must-read as far as James goes.
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Conductor Morris Surdin
This story revolves around a Jewish family during World War 2 who takes in boarders. The first boarder is Heir Banbinger, a refugee who's waiting for his family to arrive from the old country. After a number of other borders, Mervyn, a struggling writer rents the Spare room. Mrs. Hirsh is taken with Mervyn and helps him stay even though Mr. Hirsh is demanding the rent. Mr Hirsh reads reads the book, changes his mind about Mervyn and becomes more lenient with the rent. Mr. Hersh then takes Mervyn under his wing, gives him some fatherly advice and his counsel.