1. The concept of preserving Western culture from Eastern invaders. This theme occurs again and again in the conflicts between Rome and Parthia, the latter Roman Empire and the Huns, Charlamagne and the Saracens, late Medieval Europe and the Mongols, and contemporary Hollywood propaganda films about Arab terrorists. 2. The idea of a highly motivated and cunning underdog defeating a powerful but sloppy enemy. 3. The need for alliances and team work.

The most interesting part of The Histories, however is not the politics or the battles but the moral lessons that Herodotus tried to impart. A recurring theme in The Histories is the idea that the Greeks defeated the Persians because the Greeks acted in Harmony with nature while the Persians defied nature. Herodotus provides countless anecdotes of the hubris of Persian emperors who attempted to dominate nature by bridging the Hellespont , draining an offending river by digging thousands of diverting canals, or throwing shackles into the ocean to symbolize its submission to the Emperor. Herodotus viewed these actions as Hubris because they contained a false assumption of man's superiority over nature.

It is interesting that the father of Western History derived his culture's legitimacy from its respectful interaction with nature. What on Earth would he make of us now?

It goes without saying that any self-help book, no matter how good, does not replace the care of a medical professional. If you have a serious or chronic condition, and you think that homeopathy can help, go see a qualified homeopathic practitioner.

The only slight drawback with this book is the unintelligiable essay. Translated from German, the essay is hard to follow and uses tortured English peppered with artspeak.

On the upside, this is probably the definitive Kippenberger book.

Roberta Smith, writing in the New York Times, offered the opinion that Kippenberger was "one of the three or four best German artists of the postwar period."

This colorful book is the best introduction to Kippenberger that I've seen, although the introductory essay isn't terribly illuminating (it seems to have been poorly translated).

This edition reprints and substantially expands the earlier (1991) Taschen book on Kippenberger. It is unusually inexpensive for an art book of this quality; the book seems to be the publisher's personal tribute to Kippenberger, who died at age 44 in 1997.

The figure of Kokopelli is found chipped into desert stone at various ancient sites throughout the American Southwest. It also appears in contemporary forms, painted on canvas, etched into glassware, printed on Christmas cards, and sculpted into candelabra, in presentations that range from the holy to the kitschy. What energizes the frequent appearances of the enigmatic hunchbacked flute player? The authors suggest that the centuries-old drawing power of this archetypal figure may lie in both its protean nature and its spiritual origins.

Hill acquaints the reader with images of Kokopelli as hunter, warrior, healer, gambler, fertility bringer, and even mythological insect who appears in some Native American accounts of the Creation, by presenting a broad review of the available literature on the topic. Wisely, he presents Kokopelli's multiple manifestations without seeking to narrow them to a definitive representation that would deny the complexity of the image. His smart narrative contains a mine of information that yields a pocketful of nice nuggets with each perusal; and his readable style turns them up without a lot of digging.

In stunning visual images that complement the text, Montoya presents Kokopelli as an avatar figure who both generously offers and thankfully celebrates the receipt of the gifts of a bountiful earth. To Hill's scholarly analysis, Montoya adds the cultural insights of one steeped in the kind of ceremonialism from which Kokopelli likely first emerged, and the imagination of a skilled contemporary artist. Their collaboration is a complimentary one in which the text illuminates the paintings, and the visual images add an intuitive content that transcends the text.

Hill is frank about his intention to produce a hybrid text that is concurrently an art book, a study of Native American spiritual beliefs, and a review of Kokopelli literature. The challenge in such an undertaking is to do it seamlessly. How that challenge was met produced my only caveat, and a small one considering the ambitious nature of the project. The book's divisions make it seem a bit episodic, particularly the insertion of a short chapter by art critic James Bialac that might better have been placed in an appendix. At the same time, the holistic approach to the book's subject matter is an essential part of what makes it original and interesting. Hill and Montoya have added an important spiritual component to an art/cultural study without becoming simplistic or sappy, a laudable achievement.

Kokopelli Ceremonies provides some satisfying depth in an area in which much of the available material only skims the surface. Although the book is brief, it contains a well-selected bibliography for those readers who wish to further pursue the elusive Kokopelli through the avenue of cultural studies. For the text-challenged and those who prefer to see beyond black and white, sixteen gorgeous color plates provide a visual feast. Leave Kokopelli Ceremonies out where you can reach for it often--you'll probably make frequent journeys following the elusive notes of the ancient pied piper.

This book is filled with full-color reproductions of many of Krasner's paintings. She brought something truly special to the abstract expressionist movement. Her work seems to evoke both the technological energy of an urban environment, as well as primal biological power.

The book also has many wonderful photographs of Krasner at many stages in her life. In his text, Hobbs discusses such subjects as the influence of Krasner's Russian Jewish heritage upon her work. This is a visually striking and thought-provoking book. My suggestion? Read the book, and see the movie "Pollock."