If you've ever had an excuse for not getting into the Word, this book is for you. Howard Hendricks who chairs the Center for Christian Leadership (affectionately know as "Prof." to his students at Dallas Theological Seminary) with the aid of his son Bill, has written this phenomenal book on the "why" and "how" of Bible study.

In the first few chapters, Hendricks challenges all the excuses we have for not studying our Bibles and posits clearly superior reasons in favor of doing so. He then uses Scripture itself to show us what we will gain from regular study of God's Word. In typical Hendricks fashion he begins by humoring "I wish we had a better term than 'Bible study,' because for most of us, 'study' is a bad news item. It has all the appeal of flossing our teeth" (13). He tells the story of a man he met at a Bible conference who drove twelve hundred miles to "get under the Word" and Hendricks muses "was he just as willing to walk across his living room floor, pick up a Bible, and get into it for himself?" (9).

There are three steps, which will transform that sometimes-dry text into the spiritual growth that we desire in our lives. They are Observation, Interpretation and Application. These three steps are the heart of the book.

The ability of Howard Hendricks to communicate clearly and effectively is unmatched in this introductory work on Bible study. The pages of this book come alive as he swiftly and painlessly removes the obstacles to personal study while at the same time equipping the reader with the proper tools to understand God's Word. Virtually every chapter contains exercises for the student of Scripture to get hands-on experience instead of just theoretical book knowledge. Much of this book is essentially the application of Mortimer Adler's book, How to Read a Book, (which Hendricks highly acclaims) to the Bible. The anecdotes, illustrations and "quotables" are alone worth the price of the book, not to mention the enlightening elaboration of the three-step approach to Bible study. This book should be the absolute first book a new Christian reads apart from the Bible itself.

Howard Hendricks has been teaching students at Dallas Seminary how to get deeper into the Bible for 50 years, so his book is a rich source of wisdom. This book will benefit the baby Christian and the seasoned pastor alike. Every reader will benefit from the practical wisdom and easily applied principles presented in this book - not to mention the extra ounce of motivation. This would be a super book for group study and accountability - particularly in a discipleship situation.

Living by the Book, by Howard Hendrix is a guide to using and understanding life's instruction manual, the Bible. This particular book is not just your average Bible study guide. It is a very in depth, detailed guide for digging deep into God's Word. Hendrix writes powerfully and uses layman's language to explain his brilliant methods for studying the Bible.

With so many combat novels and movies available , this author takes you on a journey of a single soldier. A soldier that has his orders to return home.... The story usually ends there! He must now carry out a task he has alone comitted himself. I was captivated by the many different aspects of this soldiers life that the author has made me(the reader) a part of. It was a collage of action , romance and much drama. This is definatly one for the book club!

This book was enjoyable from the both a storyline standpoint and from the historical perspective. Anyone who can identify with the political environment during and after the vietnam war will find this book interesting. As I read the book, I enjoyed pausing and contemplating the comparisons between the vietnam war and the political posturing taking place to the buildup to war with IRAQ. No matter what your opinion about the war with IRAQ, you will enjoy this book as a point of reference for comparison. Good Book Mr. Graley...

This book was an interesring point of view of the Vietnam war. The characters were very colorful. Good book

For many years it has been the practice of critics and art aficionados to relegate "popular artists" the likes of Norman Rockwell and the Wyeth clan to the bin of kitsch. Time heals and alters and distance is kind as the current resurgence of appreciation of these and other artists of the land testifies. Norman Rockwell now is considered an important American artist, sensitive to basic issues of what makes America the land of the common man's dream. With this beautifully designed and written tome the same adulation should follow for the Wyeth clan. The authors (Betsy Wyeth among them) had the good idea to show the seeds of the very familiar Wyeth imagery in the work of Howard Pyle, an artist known primarily as an illustrator along the lines of over the edge fantasy adventure books. His pupil N.C. Wyeth took up the torch, primarily emulating Pyle's style but taking it to a new level. His works of isolation, thwarted desire, and simple American traditions are absorbed by his son Andrew Wyeth who won favor among collectors of realist art during the time the country was running after Modernism, Expresionism, Abstraction. And finally Jaime Wyeth, son of Andrew, has been a constant presence with his quasi-surreal take on many of the same subjects as his progenitors. The circle comes round with Pyle and Jaime Wyeth embracing the more perverse subjects - an interesting century wheel turning round and round.

The color reproductions are generous and well selected. Many of the well know Wyeth images are excluded, but in their place we are treated to images we have never seen. This is a beautiful volume and a tender one, a memento of what our childhood in the 20th Century was like before the madness currently painted hit.

The images floor me. If a picture is worth a thousand words.... then this collection speaks incalculable volumes.

For the non-art initiated, the book is a feast for the imagination as well as the eyes. I bought the book because I come from the mid-coast of Maine, like the Wyeths. But when I took the time to look at the book on a night we lost power due to a snow storm, I found the views conjured stories up in my mind to match the Wondrously Strange images. I've driven by the Wyeth Center a thousand times, but made a point to visit to see for my self. I'm also fortunate to have a copy signed by Jamie Wyeth, and hope to keep as a treasure for a long time.

Thank heavens for people like William Swain who took the time to record their personal stories and let it become, in a sense, a first-person history tale to people in the 21st century. Swain goes into great detail about his trials and tribulations and you begin to care so much about him, it almost becomes a novel. It accidentally sets the reader up for disappointment in the end by Swain reaching home and the story suddenly stopping. You'll find yourself asking, how did Eliza greet her papa? What did Swain do with the meager amount of money he made? What was Sabrina and her husband's first words to each other after an almost two-year absence? Of course, it's not Swain's fault for ending his diary at home. He merely kept the journal to update his family on his journey; not give readers 150 years later an autobiography. Holliday can not answer these final questions either and rightfully so, he does not try. You are left to ponder how it ended and hopefully, after reading so many emotional passages from William and Sabrina, you can use your imagination to answer the homecoming questions.

Holliday blends the information together wonderfully by arranging each chapter into three sections:

1. an overall historical account

2. Swain's diary

3. A Back Home section in which letters written to Swain from wife Sabrina and brother George are included.

The format works splendidly for the reader and keeps everything in a proper time frame. Holliday also includes scaled-down regional maps for every chapter which lets the reader follow along on a microcosm/macrocosm scope of the total journey. Holliday has also laboriously researched hundreds of other personal diaries and includes passages from them when Swain leaves gaps or when a quirky story can be added to intrigue the reader further. The World Rushed In is a fast read and I recommend it to anyone who is interested in Western US history or is just looking for a great story.

This is a superb, gripping and very personal account of one man's experience travelling to and from the California gold rush. The fact that Holliday had access to virtually all the letters sent from him and to him on the trail makes this book even more enticing. It made me feel that I was taking every step with William Swain on his journey, sharing in his joys and sorrows and those of his brother and wife back home. I thoroughly recommend this book, I couldn't put it down.

This book tells the story of my wife's cousin, William Swain. Swain witnessed over a hundred cholera victims, alive a day earlier, now buried in the sand banks of the Mississippi River. Bodies strewn along the Nevada trail, he viewed the tragedy. Ships, valued in the millions, he viewed abandoned in San Francisco bay.

As family members, we have John Holliday to thank. Moreover, I was thrilled with each page of Holliday's book. The 1849 Gold Rush extracted more from its participants, due to gold fever, than they got in return from the California mines. That's exactly what happened to William, who, in May of 1848, left his lovely wife, Sabrina, a newborn daughter, his brother George, and his farm residence in Youngstown, NY. William, in his heart, knew he would make it big in California country. At least he must try. And, Sabrina, not knowing the hardships and penniless outcome, gave her loving agreement. Along the way William witnessed death and deprivation, loneliness and hunger. He arrived hopeful in gold country, plied his efforts, and came away luckily with the skin on his back. He differed from most in one important way: William kept a journal. And, Sabrina and William wrote and saved their letters, from which Holliday made one of America's finest narratives. William, weighted with introspective highlight, wrote to George, "If you're thinking of coming out here, for [Gosh] sakes, do not!" William pleaded. Prospectors and miners everywhere, food scarce, prices high, California gold fields deluded nearly all. "And no one I know has gotten rich," William offered. William, beaten in his quest, longed to be with Sabrina and brother George. Ready to return, he had saved $400. He longed to bring it all home, to hand to Sabrina. But, think of it, did you ever try to get from Sacramento to Niagara Falls in 1850, while tired and broke? Yikes. No train. William would have to walk the same way home he came, over that horrible trail. He couldn't face that prospect. So, William scraped his pockets clean, and purchased passage on a ship, via Panama. Just one catch: There was no Panama Canal. That happened 60 years later. William made his way to San Francisco bay. He boarded ship. He endured sea sickness. He ate crummy food. He arrived at Panama, shaken. Next, he and all passengers traversed the 50 mile overland eastward trek with a guide. Threatened with abandonment in the jungle, he paid double. Weak, he arrived at the east side of the Isthmus, broke. William struggled on board ship. It traveled north, taking forever, to arrive at New York City. There, George, who knew to meet him from William's earlier letter, stood waiting at the gangplank. William, broke and sick, 25 pounds skinnier, staggered into his brother's arms. George helped William toward home, finally past beloved Niagara Falls, north to Youngstown. There, adoring, relieved, Sabrina faithfully nursed William back to health. Asked late in life if it was worth it, William avoided answering. He merely declared he loved his Youngstown. Can you read between the lines on that one? 'Nuff said.

At first when I read this book I thought I would differ with the author due to our different political beliefs. However, I could not have been so wrong, Mr. Williams just explains that so many of todays youth want the easy way out and get rich quick by any means necessary. I agree with Armstrong that you have to understand the value of hard work in order to succeed legitimately in America, and just because we grew up poor and black is no excuse. The liberals of this country really hurt our community more than helping us by saying we as black turn to crime, because there are no alternatives. I grew up in a small city in Illinois, but I saw so many opportunities for myself to succeed and it did not come from wearing Tommy, Polo, DKNY or other top designer clothing. My success came from my knowledge through education, because education creates options not a life of fast living sell drugs.

Williams describes a "bad" young black man in Washington DC, who asked for help, and Armstrong wrote him insightful letters, giving ideal advice that, if followed, would "save" the young man and his posterity. I now greatly admire Williams and hope he can communicate his beliefs to many more "Brads" who need this help, who will change their lives for the better.

"In For A Penny, In For A Pound" by Howard Hewer, sub-titled: "The Adventures And Misadventures Of A Wireless Operator In bomber Command". Stoddard Publishing, Toronto, Canada, 2000.

This book recounts the experiences of T. W. H. Hewer as a young man and a wireless operator in the Royal Canadian Air Force. As a young teenager, Howard Hewer had dreams of flying Spitfires, so he enlisted in the Canadian Air Force, which decided, at that moment, they had a greater need for radio operators than for pilots. He was shipped to Calgary for training in radio operations. Hewer then tells the story of his training as an enlisted radio operator, and his experience during bombing raids on Nazi held Europe. He retired as Wing Commander.

Young Hewer was well aware of the cultural differences between the British and the Canadians. He devotes an entire chapter (Chapter 6, "Yatesbury Wireless School - Collision of Cultures) to describe the class-conscious Brits and the young Canadians being trained in England. Throughout the book, these cultural differences will pop up, and, in some instances, be of major importance. In Chapter 19, (A Fine Line To Mutiny), it would appear that the British wanted a level of discipline that neither the Australians nor the Canadians wanted to accept. Admittedly, it as an Australian who first threw down his rifle and refused to drill, but Hewer appears to have approved of the group's refusal to exercise and drill. He later implies that this "mutiny" was responsible for the delay of his commissioning as an officer.

This book is not just the usual recounting of the terrors of flying bombers into German held Europe. There is that, of course, but Hewer narrates a story that involves the European Theatre, flying to Malta, on to Egypt and then a trip, in a ship, around Africa. In South Africa, when warned to avoid certain down town areas because the Boers still remembered the Boer war and therefore were "hostile" to the British, Hewer relies on his "Canada" shoulder flash. He and a Canadian compatriot slip into a down town hotel and are feted by the old Boers with free beer and lunch.

An interesting anecdote related by Hewer deals with the dance halls. He was on a balcony and looked down at the dancers, who reminded him of a field of moving daisies. . It seems that the ladies had all used peroxide to become blondes and their roots were slowly growing out in their darker colors. As Hewer glanced down, the whirling locks appeared as daisies in the wind. This remembrance, alone, makes the book worth reading.

Howard Hewer has done a wonderful job in bringing us his life in Bomber Command as a wireless operator flying in the belly of Wellington bombers. From his nights flying over Berlin to the bombing of North Africa to his time spent convalescing after a crash (when he went on some of his most dangerous missions), Hewer spares few details in providing a colorful first-hand account. Anyone with even a passing interest in war memoirs, or who truly enjoys the view of the world from 10,000 feet, should read this book. Without a doubt the best memoir I've read in a long time.

For more than 20 years, I relied on Schickel for guidance when determining which films to see; also, for gaining a better understanding of the films I had seen. In this volume, he provides interviews with eight great directors: Hitchcock, Capra, Minimill, Cukor, Hawks, Wellman, Vidor, and Walsh. In recent weeks, I have also read Robert J. Emery's two The Directors (Take One and Take Two) and Bogdanovich's Who the Devil Made It which also offer interviews and conversations with various great directors. Don't worry about duplications; that is, what Cukor, Hawks, Hitchcock, Walsh, and Wellman have to say. Bogdanovich, Emery, and Schickel have different questions to ask, different nuances of film making to explore, and approach the directors from quite different perspectives. The responses they obtain from the same directors differ. For that reason, I strongly urge fellow film buffs to purchase all of these volumes. The order in which they are read is unimportant.

What differentiates Schickel from Bogdanovich and Emery is the fact that, for many years, he wrote film reviews for Time magazine and thus had an immense audience with which to share his opinions about more than a thousand films. Also, he is the author of more than 20 books about film making which include biographies of Marlon Brando, Cary Brando, and James Cagney. Over the years, he has earned and richly deserves his reputation as one of the most thoughtful and knowledgeable of film authorities. In this volume, he interacts with eight of the greatest film directors. At no time does he seem intimidated by them nor does he ever disrupt the flow of information exchanged with self-serving observations. He guides each director into subject areas which are probably of great interest to most film buffs but he also allows each director to ramble, digress, etc. when reminiscing or when sharing specific opinions about films and actors with whom they were associated. Sure, there is some delicious gossip. And yes, some insights not otherwise available. However, for the most part, Schickel sets up various subjects and then allows each director (many of them a personal friend) to proceed wherever he may wish, at whatever pace he may prefer. His brilliant orchestration of responses ensures their scope and depth. That is to say, he did not merely turn on the recorder and then let each of the eight take it from there. On his reader's behalf, Schickel remains actively involved, indeed engaged in the exchange of information but at no time is intrusive. Within its genre, this is indeed a "classic."

This film critic's survey of eight of Hollywood's finest directors and their works uses the interview process to explore the work of American filmmakers over the last decades. Hitchcock, Capra, Cuckor and others share their achievements in a revealing set of interviews covering special challenges and observations.

If you want to know the story of Montana, this is where you start. It's written by the best journalist-writer who ever lived in the state (excluding Bud Guthrie, of course, who chose fiction instead). It must be understood that it is not a "definitive history" as Howard himself stated, but a personal narrative of what matters. In the past two decades, a cottage industry of Howard-bashing has emerged in Montana, by historians eager to establish their own reputations. Yes, some of what Howard wrote was incorrect. Other aspects of his writings now seem outmoded (the colonial economy thing). But to say modern history proves Joe Howard was wrong is like saying Lewis and Clark are disproven by Rand-McNally. Howard was the visionary who showed the way to what Montana should and could be. But 50 years later, this remains the best non-fiction book that will ever be written about Montana.

I first read this book back in the early 60's when I was stationed in Montana. I found it full of facts that you don't find in history books. The characters are real and believable; makes you wish you had a time machine to go back and witness the action. A must for history buffs.

I would in fact prefer to award this 3.5 stars, but the Amazon system seems to compel one to choose between 3 and 4, and I think 4 is too generous. To begin with the text, there is no doubt that this is not the best Shakespeare to buy. It is to a large extent based on the Oxford Shakespeare, which - quite rightly, in my view - has attracted a lot of criticism for some of its peculiarities. Thus, for example, Oxford prints TWO versions of *King Lear*, the quarto text and that of the folio. Norton rightly takes issue with this, and produces the kind of conflated text that most readers would want, but adds the other two AS WELL (so we are offered THREE versions!). This kind of thing is, in truth, academic self-indulgence - it shows an undue respect for academic concerns which to most readers are not of the slightest interest. There is a similar tendency to pay scant regard to what most readers really want and need in the Introduction: that tells us a good deal about Shakespeare's time, and the material is interesting, but it is not often shown to be relevant, or necessary, to an understanding of what Shakespeare writes. The explanatory annotation accompanying the texts is not bad, but often inferior to that of comparable editions, notably Bevington's. The introductions to individual plays are usually stimulating, but not necessarily convincing. Thus Greenblatt on the one hand says about Macbeth's murder of Duncan, "That he does so without adequate motivation, that he murders a man toward whom he should be grateful and protective, deepens the mystery ..." (p. 2558), yet adds a few lines later: "Macbeth and Lady Macbeth act on ambition ...". Precisely, that IS Macbeth's motivation for the murder, as Macbeth himself points out unequivocally in 1.7.25-7 - there is, therefore, absolutely nothing mysterious about his motivation. The edition does, however, offer a number of good references to other writings about Shakespeare. All in all, I do consider 3.5 stars is a fair "grade", in seeking to assess this for the benefit of the majority of readers looking for a complete Shakespeare to buy; but I consider David Bevington's by far the best edition of the complete works, then the Riverside, and only then this one - though, with its annotations, it is certainly more useful than the Oxford edition on which it is based. - Joost Daalder, Professor of English, Flinders University, South Australia

I confess that after examining 5-6 of the top-selling complete Shakespeares I tried not to like the Norton. There are less expensive editions, there are editions with glossy pages and colored photographs, there are editions that are half the weight and bulk of this leviathan, which is far more Shakespeare than the average reader--perhaps, even scholar, for that matter--would ever require. But despite its bulk and unwieldyness, its 3500 (!) thin, flimsy pages, its sheer excess, I couldn't ignore its advantages. The small print enables the publishers to squeeze in contextual materials--in the introduction and appendixes--that in themselves amount to an encyclopedic companion to Shakespeare's works; the introductions to the plays are written not in "textbook prose" but in an engaging style worthy of their subject; and perhaps, best of all, this is the only edition that places the glosses right alongside the "strange" Elizabethan word instead of in the footnotes. You can read the plays without experiencing vertigo of the eye. So this is the edition, though you may wish to go with the smaller, bound portions that Norton publishes of the same edition--especially if you can't afford the cost of a personal valet to carry this tome from home to office. On the other hand, the complete edition is excellent for doing crunches and other aerobic exercises--activities many of us who read the Bard are abt to ignore.

As a fervent admirer of Shakespeare, this complete collection, comprising excellent introductions to each play and helpful textual notes as well as informative writings on the history of both England and the art of acting that shaped Shakespeare's writing, was like a dream come true. While before I had to walk around trying to find a good edition of the play I wanted to read, now I can open the Norton Shakespeare and read without being afraid of not understanding words or missing the point of the play. This book's obvious drawbacks are its heft and, as mentioned, its delicate pages, but these are easily outweighed by the abovementioned advantages! Buy it and read!