Other important topics covered include exactly how Castigation affects your Shadow- and while your Shadow is by definition your adversary, the isn't always your enemy. There is a lot more to Psyche/Shadow interaction than just "I'm the Good Guy, he's the Bad Guy."

Every Circle of Wraiths should have this one- you owe it to yourselves... and to your Shadows. :)

I would not, however, recommend this book to a beginning developer unless he or she has a good foundation in object-oriented design and other core software development principles. It is by no means a primer, but rather is targeted at the intermediate to advanced developer who wants to excel in designing robust, reusable, and extensible classes for the .NET framework. Nor is it for one who simply wants a set of instructions on how to build an application in C#; rather, it is for the developer who wants to build the best applications because he or she has the best understanding of the effects of class design in the .NET CLR.

On a more granular level, the table of contents provides a sufficient look at what each chapter covers, and each chapter delivers on what the TOC promsies, and more in some cases. Chapter One takes an in-depth look at reference and value types and, augmented by Chapter Three's discussion of method parameters, arms the developer with the knowledge needed to make the right choices between the two by providing a solid understanding of how they are handled by the CLR. Chapter Five is another essential read, covering object lifecycle and a few design patterns.

Most of the chapters offer practical advice on best practices in bulleted format to encapsulate some common-sense deductions from the data covered in the chapter. And there are a few gotchas that this book can help you avoid, such as how the compiler handles constants (you'll have to read it to find out).

There are only two things I'd criticize about this book. First, even though some of the topics covered are complex, I tend to think that it could have been considerably more readable in places, particularly Chapter Seven that deals with inheritance and polymorphism. Of course, part of the problem is that those topics cannot properly be covered in so short a space--they deserve (and have) book-length treatment. The second detraction is that Chapter Eight, while providing useful information, is somewhat off-topic, treating namespaces, assemblies, and documentation, which are only peripherally related to effective class design and are covered in several other books as well as the MSDN documentation.

In short, this book is definitely worth the {money} that it costs . It is not an easy read and should only be taken up by developers interested in knowing more than the minimum required to build an application. One of the things I love about this book is its focused approach and, consequently, its readable length of only 347 pages. Most books that are longer, that is most developer books, are full of too many code examples and too much re-coverage of topics that other books have already covered. This is a notable exception. I highly recommend it to intermediate to advanced developers.

"C# is Microsoft's new object-oriented language, specifically designed to take full advantage of the .NET type system. At the heart of .NET programming in C# is the task of building classes. All C# code participates in the .NET type system, because all code is contained in classes and other types which participate in the class hierarchy of the .NET framework. This book is a guide to help you design these classes effectively, by looking at what control we have over our classes, and how C# turns our class definitions into executable code.

"Ask anyone: designing effective classes that you don't have to revisit and revise over and over again is an art. This Handbook aims to give you a deep understanding of the implications of every decision you can make in designing a class, so you are better equipped to take full advantage of C#'s power to create classes that are robust, flexible and reusable.

"This book assumes that you are already familiar with the syntax of C#. It assumes that you have already used it to write code and that you are familiar with your chosen development tools and know how to compile and run C# code. You should also be aware of .NET's basic object-oriented mechanisms. In this book, we'll lift the lid on the simple syntax and examine what it really does behind the scenes."

Clearly Ben Long is a difficult albeit talented man, but just as clearly he seems willing to do what he must to keep fresco alive. We read stories of earlier musicians and artists (Mozart and Renaissance painter Lorenzo Lotto come immediately to mind) who produce a work and present it, uncertain the agreed-upon compensation will be forthcoming or that there will be any at all. Much of Long's work has followed the same pattern: slow, steady execution of a religious fresco, in Italy or the United States, followed by a small "purse" from a grateful priest. The North Carolina project followed by the author in this book was, by design, more lucrative and more modern, but the negotiating, the arguments, the temporary withholding of final compensation, the frayed nerves, the eager acolytes working just for the experience--all of it could have happened 400 years ago. And just when you're starting to realize this, the author deftly segues into the relationship between Pope Julius II and Michelangelo during the frescoing of the ceiling of the Sistine Chapel.

It's refreshing to see such a quiet subject get such careful, journalistic treatment. There are no fireworks here, just a well-told story of interest to those with a fascination with the making of art, with Italy, with fresco in particular, and with the intersection of history and modern times.

By 1990 I had been drawn into his circle, videotaping work at Ben's Paris studio on his next project: the massive fresco triptych which adorns the Bank of America lobby in Charlotte I briefly met Richard Maschal when this book came out, and I found him describing the same man of brilliant mastery, intense commitment and provocative nonsense that I came to know over the span of three years. As painting proceeded at what was then called NationsBank Corporate Center, captains of industry replaced the church hierarchy, and Ben's subject matter moved into secular themes. But the dichotomy of patron and painter remained the same, as Richard so aptly compared to that of Michelangelo and Pope Julius II. At one point Ben's work was halted while Charlotte Powers that Be decided that they understood Ben's desire to make a strong statement about regional heritage, but could not countenance a certain larger-than-life image contained within the center fresco: that of a KKK member smoking a joint. After an enlightening meeting with local African-American leaders Ben gracefully found a way to alter his composition, but at no expense to his vision.

Ben has moved onto other equally challenging commissions, but it is the St. Peter's fresco, and its story as related by Richard Maschal, that places Ben Long as a maestro at the fore of an American renaissance of this ancient technique, the genuine article, just beginning to hit his stride.

Aside from my obvious inclinations, this really is a great book. Witty, culturally far-reaching, honest, and wonderfully crafted, it is a fascinating portrait of a man who surely mirrors the tempestuous Michaelangelo. Ben Long is a fabulously challenging man, angry, intelligent, even sexy. Read this book and learn about art, religious tradition, and the creative landscape of America ...

and I got to pick out the title!

The book wastes no space on trivial stuff like how to open your compiler or use a non-standard C function. Instead, it goes directly into what's important, explaining the concepts and giving concrete examples where appropriate, all using ANSI C.

Since most of the issues aren't dependant on the implementation schemes, almost any advanced programmer would benefit from this book, even if he/she is not programming in C (assuming advanced knowledge of C, of course). The only exceptions are the topics that talk about the ANSI C rules and code organization and optimization. The only disadvantage here is that this book doesn't cover object oriented concepts, but that's not a surprise of course as the book is titled "C Unleashed." But still for anything else other than that, this could be a great help even to C++ programmers.

The book chapters have been written by more than 10 experienced programmers, 6 of them are really good, which makes each chapter standalone as a small tutorial on some issue. The writing style of Richard Heathfield and many of the co-authors is very nice to read and clear to understand. Some parts, of course, do not have that nice writing style, but throughout the book, the technical information is very clear and easy to comprehend.

I wouldn't recommend this book to any new programmers. But for the more advanced ones, this is something they would want to check.

-Mokhtar M. Khorshid

A review should on some occasions cut to the chase. Buy this unique and beautiful book for your school library (any age), yourself, gifts. You can see some photos and some of what the dancers said on http:www.halcyon.com/benmarra/ Ben Marra's powwow web page. With his permission, I chose a few pix of young people and what they said for my Fancy Powwow Outfits page at http://www.fdl.cc.mn.us/~isk/art/beads/powwow.html, part of my beads and beadwork section .

These give a good idea of the wonderful contents, so here I'll say a few other things. First, a book of portraits of people in full powwow regalia: close up, clear, relaxed, and talking (or a grandma speaks for a little one) about the meanings of it and their personal involvements in their own culture is unusual, unique. We've all probably got little collections of photos we took ourselves of Uncle leading the Grand entry, Sister in her jingledress, etc. Nobody has any like this, though. There's no comparison to books of "taken at powwows photos" put out by other publishers. These are the work of a lifelong pro photographer, who -- together with his wife -- was able to put people at ease and capture character and meanings that work with what the people say to create an integrated work of art -- this book -- that is accessible to anyone from little children to busy city folk, who don't really know what a powwow is.

Linda Marra told me almost all the portraits were taken within a 5- minute set-up period, in improvised 'studios,' set up somewhere close enough to the dance arenas for the dancers to move on, but a little out of the way. The portraits are all against a plain brown backdrop/floor. All attention is on the people. Linda interviewed the people for the moving, interesting, and culturally informative statments by each (or parents or grandparents of the littlest ones). Help -- introductions to the people, encouragement, philosophy -- was provided by Bernie Whitebear (Colville), Executive Director of Indians of All Tribes; and by the staff of Iw'asil Youth Program in Seattle (who put on a number of the powwows over the years), and Bob Eaglestaff (Lakota), principal of the American Indian Heritage High School.

Tuscarora Richard W. Hill, Sr. (Native American Studies, State University of New York, Buffalo, and National Museum of the American Indian) contributes an interesting preface, which is a good context for most of this review. He explains "I almost came to resent the powwow as a sort of tourist fabrication, a 'minstrel show' put on mostly for white culture-consumers. But the power of the drum is just too much for me to resist....The powwow has now spread from coast to coast, and while some see it as a pan-Indian fabrication, I now see it serves as a vital catalyst for cultural renewal."

"Magic happens when individuals take the time to make the beadwork and bustles, learn the songs and steps, and personally step forward to express themselves through their dances....The powwow has become our light in a very dark world."

"These photographs are a testimony to those individuals who make the powwow magic. They are the human element behind the tradition, the real people who keep it all going. They may be construction workers, computer operators, students, or blackjack dealers during the week. On weekends, the ageless drum calls again, not to help them relive their cultural past, but to celebrate their real existence in the world. It is the dancers' faces in these photographs that speak to me the loudest, despite their quiet demeanor. They tell me of themselves, determined and honor-bound to keep the dancing traditions alive."

Another preface, by Nez Perce elder Horace Axtell, leader of the Seven Drum Religion on the reservation, is more philosophical -- and practical, too:

"We try to follow in the footsteps of our elders, who cleared the way for us with clean minds, hearts, and bodies....They prayed for our welfare, but their foresight could not cover such problems of today as drugs and alcohol. So, in order to keep the Red Road clean and good, we must be strong followers of our Indian ways. We must help all concerned in the war against drug and alcohol problems, which threaten to destroy our youth today. That is why our powwows are kept free of drugs and alcohol....We can enjoy the Red Road with dignity as it was intended."

Marra attended his first powwow 8 years ago by chance -- seeing some dancers while biking, and later arranging to improvise portrait photos at a school powwow. "When we looked at the results of that night's work, we discovered I had recorded more than just colorful images or fabulous outfits. I had recorded a sense of a people's spirituality, dignity, and proud identity...a glimpse of history and heritage. We had been allowed to make art in response to it."

And so he was, and so this is. There is little for the reviewer to say, here, beyond declaring that this book is a must-have for anyone of any age who has any kind of interest in Native American people. (Marra has some pretty nice photo calendars too.)

--Reviewed by Paula Giese (editor: Native american books website, http://www.fdl.cc.mn.us/~isk/books/bookmenu.html)