SUPERBE! never we could see some of brom art in a book! Here we can see more 150 drawings (and there are more I know). It's dark, and there is a lot of imagination. Brom is a great artist. If you like his style, don't hesitate to buy this book!

There is no living artist I envy more than Brom. His paintings are phenomenal in their detail, vision and execution. Dark, erotic and exotic, beautiful, menacing, bewitching and intense, it's gorgeous stuff. But I think the thing which particularly appeals to me about Brom's work is that he seems to share the same idea of what constitutes a beautiful person (surreal and unearthly as many of them may be) as I do. The difference being, of course, that he can put it on paper while I - sadly - cannot. I like fantasy art a lot, but one aspect that I'm often disappointed with is the faces of the people. Brom gets the faces right. In fact, he gets everything right. Just as he does a wonderful representation of beauty, he also has a nice line in creepy, twisted and macabre. I'd love to step into his worlds. 'Darkwerks' is an excellent collection of his creations from various sources, very well produced and presented on high quality paper with crisp, clear reproductions. A great book on a great artist.

I first saw this book some years ago, but stupidly failed to buy a copy before it went out of print. I was greatly releived to see that it`s available again and have remedied my error. The art of Gerald Brom is brilliantly executed and the print quality of this book is well up to Paper Tigers usual standards. Be warned however Darkwerks is a good title for this book and anybody looking for chocolate box art should look elsewhere. If you are willing to take a walk on the dark side however this is as good as it gets.
I have made sure I didn't repeat my mistake of years gone by, as soon as the follow up volume "Offerings" hit the shelf I grabbed a copy, not as immediate as Darkwerks, Broms style has matured and his images remain as hauntingly dark as ever. It is as you would expect excellent.

Hockenberry doesn't really need more people to tell him how good his book is. However, he does need a person considered to have a disability (Deaf) to tell him--Great JOB! And to recommend to all those undergoing the process of learning to deal with a disability and grieving over loss of abilities, to read this book. It will help significantly. He learned in a shorter period of time, and had a significantly better outlook on his new disablement. He also brings up the fact that sometimes the obstacles placed in our way are of our own making. The Americans with Disabilities Act is not going to solve all of our problems...and as a country we are lucky to have it. But many of those problems won't be fixed until we the Deaf and the disabled get off our collective butts (excuse the pun) and do something about it. This means becoming active politically and otherwise. Mr. Hockenberry needs to write a followup since his career has gone in different routes now...and we see him more often on television. How has this newfound fame added or detracted from his life? I didn't always agree with him...I too have worked with mentally disabled adults, and sometimes found his attitude shocking, though I think he was merely very young at the time. But I am recommending this book to my students, to people I work with who are disabled, to my computer group (the SayWhatClub--we all say 'what') and anyone else I can think of. Ok Mr. Hockenberry, get busy writing the sequel! Karen Sadler, Science Education, University of Pittsburgh

First book I've ever read that I feel compelled to recommend as a MUST READ for everyone. It's extremely eye-opening (at least to this reader) on the subjects of physical limits, our relationship to our physical selves, and even the meaning of life. You don't need a spinal-cord injury to appreciate Hockenberry's perspective on friends, family, work, American society, or journalism. This book is intelligent, reflective, funny, tragic, introspective, and, as far as I can tell, brutally honest. When John Hockenberry is the lens, the photo is exquisite

Like it or not, everyone who lives long enough is sooner or later going to become disabled. Read about it here and now from a brilliant writer and extraordinary person. Mr. Hockenberry covers every aspect of disability, from sensitive descriptions of his feelings about his body, to the horrendous insensitivity with which many so-called able-bodied folk react to him, to vital discussions about the social injustices perpetrated on disabled people at every turn. All this and more is woven into a tale about the amazing world of a courageous, iconoclastic, humorous, and outrageous individual who lives a very exciting life. Thanks, John, for one terrific read, with a hundred or more important messages for all of us.

This is a wonderful book. It compiles Bruce Lee's thoughts and ideas related to Jeet Kune Do and martial arts in general and even a few thoughts on life, too. His explanation of the tools and tactics used in fighting open up a whole new level of the martial arts, even for beginners. This is a GREAT book. While it may be a tad disjointed at times, that only seems to add to the greatness of it. Some of it is like a puzzle you must figure out, so even after you've finished reading it, you find yourself actively STUDYING it. A wonderful book.

Commentaries of Bruce Lee is one of the most comprehensive collections of quotes, diagrams, and theories on the market today. Integration of Jeet Kune Do in Movies adds an element of excitement, to the book. I found the book very well organized. The five elements of Jeet Kune Do were describe in comprehesive detail. Narrative was easy to read supported by a series of thoughts, techniques, and insights that kept my attention for hours. One of the best Martial Art Books, I've read this year.

Great book on Lee's martial art of Jeet Kune Do (JKD). The book has drawings that were taken from his original notes as well as his thoughts, theories, fighting strategies, excercises, etc. Similar to "The Tao Of Jeet Kune Do", this book is really like a good look into Lee's own personal notes.

I've read this book cover to cover several times and I have to say it has greatly improved my understanding the technical aspects of photography and my results have improved rapidly. I highly recommend the book, especially to beginners like me. That said, I have to say that when I'm looking through the book for the umpteenth time for advice and technical information, the condescending, know-it-all tone that the author occasionally adopts to make his point gets really irritating and detracts from my enjoyment of the book. Also, although the brand-specific information is probably useful for Nikon users, and in the cases of some kinds of equipment like tripods, for people with large pocketbooks, it is of little use to people with other systems or limited budgets, and once again this makes me as a reader feel a bit like a second-class citizen. My point is that John Shaw is a very experienced photographer and decent writer who has collected a great set of useful tips into a handy book, but I wish he would stop bragging about himself and his equipment in the process.

The burning question in my mind as I look at a stunning photo in a calendar, postcard, or coffee-table book is "How did they do it?" There are just certain details about a photo that stand out and scream "professional". Many photography guidebooks tend to fall into two camps: those are little more than glorified list of equipment you likely wouldn't ever buy or be able to afford, and those that are a showcase for the photographer to expound on his experience and philosophy. This book, by well-known landscape and wildlife photographer John Shaw, will tell you exactly how _he_ did it. In clear and concise prose, he explains in details his system for getting the exposure you want (as distinguished from simply determining the correct exposure). While this may not be earth-shattering or even entirely novel, its simplicity and ease of use will make you wonder why you didn't think of it before. It obviously works beautifully for Shaw. For me, this was the single most useful thing I got out of the book.

The rest of the book is geared more toward the beginning photographer with extensive coverage of basic principles of exposure, lens selection, composition, flash photography, etc. There is a surprisingly large section on close-ups, usually not the most well expounded topic in a general photography book. There are some advices on field gear and locations that a veteran photographer may find useful. Shaw does cover enough gear (mostly Nikon) to keep an equipment junkie happy. In all, true to the book's title as a "field guide", the predominant theme is practicality, and you can actually put many of his suggestions to good use right away. Lastly, the book also has enough beautiful photos to be an impressive coffee table book.

I find Shaw's prose to be efficient and direct, not condescending or ingratiating as how-to books tend to get. The book is logically organized and compartmental; you will not have to read cover to cover to benefit from it. If you're interested in nature photography, this book would be a worthy addition to your shelf.

John Shaw's photographs are amazing and inspiring and this book would be worth purchasing just for the images. Fortunately, however, this is book is not just a glorified portfolio but an excellent guide to every aspect of nature photography. The book is comprehensive without sacrificing detail.

John Shaw provides specific advice and detailed guidelines for photographing nature subjects. Where most books are vague, the author recommends specific equipment to purchase, when to use it and when to avoid it.

Be advised, however, that though this book has excellent information for any level of photographer, it is most useful for the advanced amateur or professional. Some of his recommendations are beyond the capabilities of a beginner -- technically and financially. For example, his recommendations of the type of equipment to buy for high quality images would probably bankrupt a hobbyist.

Again, the information is priceless and the images without equal.

Like the Beatles at the same time, the popularity of the James Bond films of the Sixties simply steamrollered criticism. The quality of the individual flicks ranged from near-schlock to iconic, but the Bond style always set them apart. This coffee-table book digs deep into the history of the series, from Ian Fleming's books down to the most recent Pierce Brosnan vehicle. And the authors gathered comments from practically everybody, from the stars to the producers right down to the guy who wrote the famous James Bond guitar riff. An enjoyable look into the past, through the barrel of the Walther PPK.

There have been a lot of books written about the James Bond films and phenomenon; I should know because I've read them all! That's why I feel uniquely qualified and very confident in saying that this latest book (written by the two gentlemen who produced the special edition James Bond DVDs) is without a doubt THE best book yet written about the James Bond films! If you're baffled as to which book to add to you movie library, look no further because here you will find information and photos that you will not find anywhere else.

What makes this book so good? Well, first off, it's HUGE in size! A great coffee table book to be sure. The graphic layout is extremely well done and all the films are given equal time (not the case with some of the other books which tend to fixate on the Connery era). Also, for the first time in any official publication, we have coverage of the two "unofficial" James Bond films: NEVER SAY NEVER AGAIN and CASINO ROYALE. Up until now these two "rogue" films have been missing from all official publications for legal reasons. JAMES BOND THE LEGACY is the first book to be published after MGM took ownership of these films, so now we are able to learn the fascinating stories of how they came to be made and, most interestingly, how they impacted and influenced the official series. Great stuff!

But what I like most about JAMES BOND THE LEGACY is how the authors look at each film within the historical context of when it was made. They focus not only on what was going on with the Bond producers at the time, but also what was going on in the world; what socio-political and even cinematic trends the Bond films were keying into. This really brings a new understanding to each film and helps explain why James Bond has endured while other "pop culture spies" (Matt Helm, Derek Flint, xXx :)) failed to connect beyond their time and have long since disappeared. Most people think James Bond films are "all the same", but you will discover here that they are not. In this book I learned how throughout its amazing 20-year history the Bond filmmakers made subtle--and sometimes very bold--changes in the tone of the series and to the character of James Bond himself. This is much more than a simple look at the production and plot of each film, this is a major work on one of the most famous fictional characters of the 20th century. Oh, and the book also gives a detailed look at the new Bond movie, DIE ANOTHER DAY, with some pictures that lead me to believe this could be the best Bond movie of them all! This alone makes it stand above the rest as definitive.

JAMES BOND THE LEGACY is a must buy for all James Bond fans and anyone interested in 20th century popular culture. Again, if you buy just one book about James Bond, make it this one.

There have been countless amount of book on the films, book, culture, politics, comics, toys and anything and everything about James Bond. But, let me tell you that this is the best 007 book ever! You will notice that when you first see it because of it's huge size! It is the largest 007 book I own. Written by two authors who researched their facts and are excellent on the subject of James Bond.

What makes this book so unique? Many, practically all 007 books explain about the movies and books alone. This book does that, but includes how what was going on in the world and popular culture influenced many of the decisions in the films and books. All of the films, including Die Another Day, Never Say Never Again and Casino Royale are reviewed in equal amounts. These two official films have always been a little more difficult to read about, but now because MGM has recently added them under their ownership, they are explained in great detail. The best part is how the author's include not only the focus of the film, but what was going on in the world at the time. A great example is the dangerous choice to expose African Americans as the villains in Live and Let Die. This is a great way to see what was the pop culture during each film. Learn all about the Bond Family, and how they made many changes to the series such as increasing the authority of women, how Bond acted, amount of humor in the films and the way they were presented to the public. A great way to look at all of the thousands of people that have contributed to the series, enhanced with hundres of rare photographs and pictures. The best book to look back at the history of James Bond over the 40 years it has been around. The end of the book features great text information on the films. And, finally there is a quote from people that have worked on or in a Bond film.

The definititve Bond book. The Best. That covers it all.

About 25 years ago, the now-demolished Playboy Theater in Chicago ran a landmark Buster Keaton revival featuring newly struck prints, correct projection speed, and musical accompaniment to Buster Keaton's features and shorts. It was a revelation and the first time that I truly understood what was lost when silent comedy faded into, as Norma Desmond might say, Talk! Talk! and More Talk! Moreover, it was the first time it became clear to me the degree of modernity and surrealism in Keaton's work--particularly in contrast to Chaplin's Victorian emotionalism. In short, I fell in love with Buster and his work. Now, "Silent Echoes" comes along to lovingly excavate the faded world of Buster Keaton's Los Angeles. The book is infused with John Bengston's love of Keaton, encyclopedic knowledge of his work and relentless ingenuity as a urban archeologist. Even better, it inspired me to rent the Keaton ouvre on laserdisc and video in order to revisit the locations of his shots and the depth of his humor and humanity. "Silent Echoes" is a labor of love that's a treat for film lovers.

Buster Keaton was a notorious stickler for detail in all of his film work. Buster's ghost was probably nodding his approval over the shoulder of John Bengtson as he painstakingly researched SILENT ECHOES, a tribute to the Keaton ouevre and a forever-lost Los Angeles. Bengtson juxtaposes stills from Keaton films with photos from modern-day L.A., showing in detail where Keaton filmed, virtually following his trail, from the shorts to the features. This book is a must for both film fans and historians.

John Bengtson has created a whole new genre of books. This book does not just explore the silent comedies of Buster Keaton. It also will allow the silent film fan to explore early Los Angeles, San Francisco, and other early movie locations in California, Arizona, and Oregon. It is amazing how Bengtson has located the buildings that were in the background scenery of Keaton's films. This book is a look at Los Angeles history, as buildings like the College of Dentistry and hotels that were houses of prostitution no longer exist. Now anyone can walk in the steps of the great comedian, Buster Keaton.

The Black Dog Opera Library Series had outdone themselves once again. In this 1972 recording of Mozart's last opera, we are treated to a fine performance by fine singers, a fully illustrated book with liner notes and commentary, as well as information useful in biographies on the composer and his time. Mozart was close to his death bed at the time he composed The Magid Flute. He made an opera that could be enjoyed at many levels. At one level, it is a comic, brilliant fairy tale for children, at another level, it is deeply symbolic and layed with Masonic ideals of universal brotherhood and love. Mozart and his librettist were both Freemasons, a religous "sect" that was under hot water in 18th century Vienna for its pagan origins and its advocation of ideas of the Enlightenment. The story is about Tamino, a prince who is lost in a strange land (originally, a mystic Egypt), who is rescued from a serpent by three mysterious women and promised the hand of the daughter of the Queen of the Night if he saves her from the wizard Sarastro. Together with the help of the comic bird-catcher, Papageno, he sets out on his adventure. But halfway through the opera, he discovers that he has been deceived. The Queen of the Night is the true villain and Sarastro is really a holy man. After many trials, the forces of evil are defeated and the opera ends blissfully with a victory.

Musically and dramatically, it is Mozart's greatest opera. From the striking Overture to the use of dark strings, trumpet and soaring flute passages, the individual arias which express intense emotions to the neverending theme that good triumphs over evil, the Magic Flute stands out as a great opera to begin with for newcomers and a favorite for old time opera fans.

In this recording, conductor Wolfgang Sawallisch leads the Bavarian State Orchestra in a highly effective, thoroughly dramatic and sentimental, full interpretation of Mozart's score. Tenor Peter Schreir as Tamino is exceptional, passionate in his aria "Dies Bildnis" (This portrait), and again as he plays his flute in "Wie Stark ist Nicht dein Zauberton" (How powerful is your music, magic flute), his individual lines in the ensembles and his duet with Pamina as they undergo the final trial of fire. Annelise Rothenberger, a sublime German lyric soprano, is moving in her portrayal of Pamina. She has her moments in this recording. Note how her high, melodic voice seems to come from nowhere as she confronts Sarastro and Tamino for the first time "Herr! Ich bin zwar Verbrecherin ! (Sir! I am the transgressor). Her aria "Ach Ich Fuhls" (O, I feel that happy days have passed) is the finest interpretation, full of pathos and a kind of melancholic madness, as well as her lines in her suicide attempt, finally, she is sublime as a strong woman ready to face trials with Tamino, especially striking when she sings the line "Tamino!".

Kurt Moll's Sarastro is without question the best. His voice is suited for God. So divine and sonorous and full of grace, his voice is especially noticeable in the aria "O Isis and Osiris " and "In deisen Heilen Hallen"( In these holy halls). Finally, and not to be missed, is Edda Moser's incredible interpretation of the Queen of the Night. You have not heard the true Queen of the Night, until you've heard Edda Moser. She has a Wagnerian intensity and neurosis in her lines, apt and effective for the role of a Queen bent on deception and the murder of her rival, Sarastro. Her aria "O Zittre Nicht, Mein Lieber Son" (O tremble not, beloved son" is full of lyric dramatic passages and coloratura at the end. The vengeance aria "Der Holle Rache Kocht Meine Herzen "(Hell's Anger Burns Within My Heart) is full of fire. The way she attacks the dramatic, powerful lines is out of this world and the high F's she escalates are unsurpassed.

The re-release of the legendary 1972 recording of Die Zauberflote, conducted by Wolfgang Sawallisch, is a great blessing to all who know and love this great work. Edda Moser's interpretation of the Queen of the Night is justly celebrated, achieving not only transcendently perfect delivery, but also a chilling portrait of pure evil. All of the other cast members are excellent. The spoken role of Papageno is particularly striking, sounding sufficiently pungent to remind us that the role was originally played by Emanuel Schickaneder himself. The tempi are, for the most part remarkably well-chosen. In addition, the Masonic gravity of the subject matter is constantly respected. The chorus of the armed men is properly alarming, the cantus firmus stridently insistent above the counterpoint of the strings. Even more uncommon is the treatment of the secondary scenes of Act II, especially the chorus Welche Wonne, in which the evocation of the candidate's future "new life" is infused with the trepidation inevitably attendant upon any trial of life and death. All too often, this work, which is gravely serious in its intent, is presented as a fairy tale. This recording successfully conveys the philosophical context, and does justice to Mozart's attachment to Masonry. [The only flaw which I could detect is the inclusion of a very questionable musical fragment, inserted into Act II, Scene 11 {"Pamina, wo bist du?"). I could locate no reference to this anywhere in my extensive library on the subject, and can only speculate that it might be some unacknowledged retention from one of the infamous "reworkings" of the opera which occurred after Mozart's death....At any rate, it requires an explanation....]

In view of this, it is sad to see this beautiful recording issued in association with a perfectly vile and disrespectful book about the opera. The author has the temerity to liken this work to "a Broadway musical", "a rollicking entertainment for the common man" simply because it was composed as a Singspiel, or German opera with spoken dialogue. This is equivalent to likening one of Shakespeare's comedies to a street farce. The book also suggests that Zauberflöte was composed for purposes of pure entertainment, unless it is, perchance, a "work of profound insight" dressed up in the trappings of a "cartoon". Obviously, the writer is ignorant of the significance of the Egyptian setting in the time of Mozart, when it was a clear symbol for rational ideas and liberal politics. The details of the setting delineate the struggle which was then taking place in Europe, over the true nature of Masonry, philosophy and music, and which soon came to a terrible end, for that time at least, with the banning of Freemasonry in Austria, and the loss of much of the learning about ancient philosophy which had been so laboriously gathered in circles such as that frequented by Mozart. It is largely on account of Zauberflöte, which alludes with precision to much of that learning, that it was not entirely annihilated in the chaos of the revolutionary and Napoleonic periods. Rather than misrepresenting this vitally important work, those who have the privilege of coming into contact with it should do all in their power to contribute to the very difficult, vital, and continuing attempt to understand it. While the availability of this recording is of great value, it is scandalous to see it associated with a contribution to the generally prevailing ignorance about this extremely important, and very difficult, work.

An irate Mozartian

The re-release of the legendary 1972 recording of Die Zauberflöte, conducted by Wolfgang Sawallisch, is a great blessing to all who know and love this great work. Edda Moser's interpretation of the Queen of the Night is justly celebrated, achieving not only transcendently perfect delivery, but also a chilling portrait of pure evil. All of the other cast members are excellent. The spoken role of Papageno is particularly striking, sounding sufficiently pungent to remind us that the role was originally played by Emanuel Schickaneder himself. The tempi are, for the most part remarkably well-chosen. In addition, the Masonic gravity of the subject matter is constantly respected. The chorus of the armed men is properly alarming, the cantus firmus stridently insistent above the counterpoint of the strings. Even more uncommon is the treatment of the secondary scenes of Act II, especially the chorus Welche Wonne, in which the evocation of the candidate's future "new life" is infused with the trepidation inevitably attendant upon any trial of life and death. All too often, this work, which is gravely serious in its intent, is presented as a fairy tale. This recording successfully conveys the philosophical context, and does justice to Mozart's attachment to Masonry. [The only flaw which I could detect is the inclusion of a very questionable musical fragment, inserted into Act II, Scene 11 ("Pamina, wo bist du?"). I could locate no reference to this anywhere in my extensive library on the subject, and can only speculate that it might be some unacknowledged retention from one of the infamous "reworkings" of the opera which occurred after Mozart's death....At any rate, it requires an explanation....]

In view of this, it is sad to see this beautiful recording issued in association with a perfectly vile and disrespectful book about the opera. The author has the temerity to liken this work to "a Broadway musical", "a rollicking entertainment for the common man" simply because it was composed as a Singspiel, or German opera with spoken dialogue. This is equivalent to likening one of Shakespeare's comedies to a street farce. The book also suggests that Zauberflöte was composed for purposes of pure entertainment, unless it is, perchance, a "work of profound insight" dressed up in the trappings of a "cartoon". Obviously, the writer is ignorant of the significance of the Egyptian setting in the time of Mozart, when it was a clear symbol for rational ideas and liberal politics. The details of the setting delineate the struggle which was then taking place in Europe, over the true nature of Masonry, philosophy and music, and which soon came to a terrible end, for that time at least, with the banning of Freemasonry in Austria, and the loss of much of the learning about ancient philosophy which had been so laboriously gathered in circles such as that frequented by Mozart. It is largely on account of Zauberflöte, which alludes with precision to much of that learning, that it was not entirely annihilated in the chaos of the revolutionary and Napoleonic periods. Rather than misrepresenting this vitally important work, those who have the privilege of coming into contact with it should do all in their power to contribute to the very difficult, vital, and continuing attempt to understand it. While the availability of this recording is of great value, it is scandalous to see it associated with a contribution to the generally prevailing ignorance about this extremely important, and very difficult, work.

An irate Mozartian

John Lennon posthumously narrates his life, with input by Yoko Ono, former wife Cynthia, sons Sean and Julian, and friend Elliot Mintz (those other three guys declined to participate). Film certainly captures moments; his youth, Beatlemania, Yoko, the "Bed-in", his deportation troubles, etc. But other unsavory elements aren't mentioned; such as his brief heroin addiction, and even though May Pang offers comment, his affair with her is only touched on briefly. Am I poo-pooing this? No. I'm just describing it. There's a few moments of uneasy premonition, such as when John laughs when a fan letter predicts an assassination attempt, or when he states that fortunately he doesn't know the future. Highlights include verbal judo between John and cartoonist Al Capp, as well as the music and a peek into his treasure trove of home movies. A must-have for fans, and a rough demo of "Real Love" opens the movie, which the other three Beatles completed in 1995.

December 8, 1980 - New York City
"John Lennon, the guiding spirit of The Beatles, dead tonight at 40."

Those immortal words at the end of the movie bring tears to everyone who was a fan of John Lennon. I remember hearing and seeing that news report from a hospital bed at 6 years old. It was and always will be a tragic memory. The man who resurfaced after a 5 year absence with a powerhouse of music destined for new life had been cut short just a few hours after an interview where he said:

"My work won't be finished until I'm dead and buried. And I hope that's a long, long time."

The long time was 2-3 hours.

The movie is an intimate portrait of Lennon's life and legacy. It exposes the chaos behind the myth, as well as the genius behind the man. With all the tales from friends, associates, Paul, George, Ringo, and George Martin on "The Beatles Anthology," this one focuses on Lennon's life in his own words and home videos. Taken directly from the archives of the man himself, there has never been a better documentary on Lennon. From Liverpool beginnings to the end in New York City, watch the boy become a superstar, the superstar into a man, and the man become a legend.

Remember John Lennon 1940 - 1980

Robert Eldridge (...)

This is one of the most articulate documentaries ever produced. There are some who suggest the archives are slanted simply because Yoko Ono was a primary source of those archives, yet it stands to reason that the woman who shared his bed, raised his child, recorded music with him, and in many respects fought the world with John would be in a better position than most to portray Lennon accurately - and as he would have wished. The Imagine video rings with authenticity, affection, rebellion, resolution, bitterness, and biting humor - qualities Lennon was famous (and controversial) for. I have always been impressed with the movie for a personal reason... I marvel that the famous and controversial woman, the wife of a pop-icon and trend-setter, somehow had the strength to persevere against great social resistance in order to collaborate with her husband's former wife, and son by a previous marriage. In an age of "equal time" for multi-marriage families, Yoko's generosity was extraordinary. Cynthia Lennon, too, is to be commended for her candidness and perception. The movie is ultimately fair. Bitterness is mitigated by humility, and forgiveness is engendered by the ability to "let go." John & Yoko made mistakes, together and separately, but both, I think, would plead for tolerance, as they expressed for others. Yoko's final comment in the movie is the she and John had fought in a war together, for peace, and for acceptance, for themselves and for others. This is the driving influence behind "Imagine"... not exploitation, but about a re-release of private revelations regarding a public entity who sacrificed his own privacy to be a voice for the people. Lennon spent the latter half of his lifetime fighting his own fears, and the rabid paranoia of the cultures around him. He won. We still remember, and we imagine.

Considered by most critics the greatest brazilian writer ever, Machado de Assis writes a masterpiece about a paranoid man consumed by his own jealousy, insecurity and self pity. This storyline is also considered one of the most intriguing dillemas of brazilian literature. DID CAPITU CHEAT ON BENTINHO OR NOT??? Machado doesn't reveal it. Each reader makes his own mind. I believe in Capitu and hate Bentinho. She was faithful till the end. Why did that stupid paranoid had to fool her that way... Oh man, read this book!

Machado de Assis is probably one of the most underrated authors literature departments around the US-and other countries-have (not) encountered. He is an absolute requirement for anyone who wishes to consider him/herself well-read. Called "Othello of the Southern Cross" by Helen Caldwell (who wrote the excellent The Brazilian Othello of Machado de Assis-A Study of Dom Casmurro, Berkeley:University of California Press, 1960) this narrative is, among other things, about a man's weakness and fear before the possibility of living life fully (see chapter called 'Are you Scared?). There is a fascinating element of vicariousness- the way Bento Santiago (Saint and Iago, as Caldwell cleverly points out) projects his guilt, sexuality, desires and ambition upon Capitu, and Escobar... For those who missed the point (reader from NY- give it another try) I recommend a different approach, a different translation, or perhaps a course in Portuguese...(why not? Discover a rich and abundant culture!) This is true art.

Machado de Assis is perhaps the greatest Portuguese language romancist, and certainly the most important Brazilian author. This book is his best work. In a very short manner, it could be desribed as a "Brazilian Ottello", but it mustn't be be considered as a version of the Shakespeare classic, but a unique story, very reach in itself. Machado has an amazing ability to make the reader feel like his characters, and involves us in a tram where the complete uncertainty and blind jealousy is thrilling, and rises our deepest passionate feelings, for or against the main character. This book is a definitely a must read for everyone who enjoys good literature.

First off- the book itself is just beautiful; an amazingly well designed book. It's just HUGE, and every page is a treasure; lovely to look at. My big problem was the cost- I wouldn't mind so much if all (or even SOME..) of the proceeds went to charity. Do the Beatles (and the inexplicable Yoko) not have enough money?

That said, I enjoyed the book a lot. The book is laid out in a way that makes you feel that you're sitting around a table with The Fab Four, just shooting the breeze. Their stories are fascinating, especially the way their memories don't...quite....gel. John, unfortunately, comes off as something of an egomaniac, and a rather pompous one at that. It seems that everything of any worth (in his opinion) was his idea. I'm still a fan of his music, I'm just a little less a fan of the man.

My only real beef with the book is the lack of a narrative voice- The Beatles mention John's car accident, Mary Quant, etc., but there is no narrator to let the unenlightened in on what happened, who that person was, etc. Otherwise, Beatles fans will spend many a happy hour reading this book.

So very many books were written about the Beatles, and so many TV documentries were made about them. Anthology is definitely the best one yet, and I don't think there will ever be another book as complete and sincere as it. For the first time the Beatles tell their own story (yes, even John - material from old intreviews with him are beautifuly collected and edited into the book), along with some help from George Martin, Derek Taylor and Neil Aspinall and some old quotes from Brian Epstein, Mel Evans, Pete Best and others, and that makes Anthology a truly unique experience. The story is told from such a personal viewpoint that you will feel like you're part of the band. George, Ringo, Paul and John will become your closest friends for the period of reading the book.

Anthology covers every (well, probably almost every) aspect of the Beatles' life and musical career. It starts as four seperate stories as every band member describes his childhood, then melds into the story of the band. All the interviews from the wonderful Anthology TV series are in the book, but so are many more. There are far more details - especially about the music itself, which was neglected in the series. While in the series some albums were hardly mentioned, in the book the Beatles refer to almost every song, telling a thing or two about its background. Also, more touchy subjects which were avoided in the series appear here - such as, the (phony) death of Paul McCartney, the (real) death of Stuart Sutcliffe, the unfortunate Hell's Angels incident and the terrible case of Charles Manson and his connection to the White Album. The photographs and documents shown in the book are facsinating as well.

And no, it's NOT too long. The only problem with the book is its weight, which makes it quite uncomfortable to read. Anthology is a superb book, which reminded me why I used to love the Beatles so much and got me to hear all their albums again - twice.

The Beatles story is an incredibly fascinating one. In so many ways their history is not merely of a musical group, even a great one. The Beatles transcended mere music. From 1962-1970, the entire period of their recording career, the Beatles recorded hundreds ofbrilliant songs, groundbreaking albums and lived enough advenutre to fill a lifetime. When this book was published, the three surviving Beatles had lived more than twice as many years since the breakup as the entire time the group was together. It is really remarkable to read (or see in the video) McCartney, Starr and Harrison talking about the Beatle's times from the perspective of late middle age. The story itself will be familiar to any Beatle's fan. The early days in Britain, the crazy days of Beatle mania, the acid drenched mid-sixties when the times began to influence the Beatle's sound and the Beatle's music so headily influenced the times. The flirtation with Indian religion, the death of Brian Epstein, Yoko Ono, the slowly growing rigt and finally the acrimonious breakup. All in an incredible 8 years. What makes this book unique, even from earlier books that quote the Beatles is the perspective of time which has clearly mellowed the three surviviors. Lennon's quote's are necessarily taken from before his death in 1980 and it is interesting to see how his failure to reach middle age lends a different perspective to his memories of the Beatles, in his case memories less than fifteen years old. How fascinating to hear Paul and George discussing the making of "Let it Be" where the bitterness was clear. Paul essentially apologizes and it is nice to know he and George settled their differences before Harrison's death late last year. Not only do I recommend this book, it cannot be missed by anyone interested in the Beatle's history in their own words. No other auto-biography will be as comprehensive for one reason. It will require much of the book to focus on pre and post Beatles years. As I stated, the Beatles recording career lasted 8 years. Today a top band would record at most three albums in that time. Don't miss the book or the video collection