Ever since I was a little comic book geek I'd always had a fascination with the character of The Flash. He had cool powers and a unique costume. His assortment of great villains was probably second only to Batman. And the majority of his comics ended with some of the best cliff-hangers ever. Alas, in the past 20 years The Flash title has had numerous high and low points (or slow and fast if you'd prefer). Well, I'm happy to inform you that with THE FLASH: BLOOD WILL RUN, we're heading towards another HIGH point!

Writer Geoff Johns has brought an incredible level of energy to his story-telling. These stories move along at rapid-fire pacing and don't give the reader a moment to catch their breath. Whether the Flash is battling the new villain Cicada and his evil followers, or dealing with his illegit-son, or in just trying to handle the myriad of characters from past and present who continually enter and re-enter his life. My personal favorite being mucho-weird ex-girlfriend Francis Kane (the super powered Magenta). Wally West is the rare hero who had such a promiscuous past that it's always fun to see some of the EX's return to wreck havoc in his life.

It's clear with this first collection of John's work on Flash that he is a long-time fan of the character. He delivers plenty of action, humor, and the essential chapter ending cliff-hangers that will keep you guessing...HOW DOES THE FLASH GET OUT OF THIS ONE?

I've been a flash fan for years, and Geoff Johns has turned his world upside down (in a good way). Once you start reading this book, you'll never want to put it down.

I was a huge fan of the work that Mark Waid had done on the FLASH title, and when I heard he was leaving the book, so did I. But I just kept hearing all of this stuff about what Geoff Johns (also the writer of JSA,) was doing in the Flash book and I got curious and tried this book.

Wow. I underestimated the work of Geoff Johns on Flash. I don't know why I did, but I did, and I was proven dead wrong. I hated the artist, Scott Kolins, as well when he took over from Paul Pelletier, whose work I thought was definitive for the title. Scott Kolins, however, has already taken Paul's place in my mind as definitive Flash artist.

BLOOD WILL RUN has a lot happening in it. New characters are introduced. Various ongoing plotlines are begun. Old characters are RE-introduced (Weather Wizard being the biggest.) But even Wally is different, and it's a welcome change. He seems so much more sure of himself and his role as the Flash, but I can't explain how. I can't put my finger on any of it. It's something you need to see for yourself. But the work of Johns (and I've read up through #187 now; this book collects #170-176 and the lead story to Secret Files #3,) is superior to Mark Waid's Flash work which rested almost its entire premise on Wally entering and re-entering the Speed Force, and Linda being his guiding force, and living up to the memory of Barry Allen. The book is now more focused on dynamic stories, great characterization, and living up to the memory of Barry Allen NOT by internal monologues, but by ACTIONS.

BLOOD WILL RUN is the best TPB I've read all year, and any Flash fan (but you don't have to be a Flash fan! It's still good!) would be a fool to pass it up.

Michael Scott Horton exalts the sovereignty of God in this excellent work. I highly recommend this book and believe it will make a powerful contribution to a clearer understanding of the Biblical concept of "grace." This is no dry and humorless book ... each chapter is illustrated and comes with questions for further consideration. Good for Bible study groups or individual study.

Michael Horton's book on the Reformed faith is unlike any others. On one hand he packs a lot of theology in this book. On the other hand, he makes it look it readable with the various illustrations in the book, neat chapter titles and sub-titles and "less than serious" looking front cover.

Those who are familiar with the Christian organisation Mike works for [Alliance of Confessing Evangelicals (ACE), previously Christian United for Reformation (CURE)] and the organisation's Christian magazine - the excellent modern Reformation (mR) - will know what Mike is talking about in this book. Most of the insights in this book are used very often in an expanded and elaborate fashion in previous issues of mR.

Horton goes beyond mere 5 point Calvinism - though he writes no less on it in this book. He talks also about the 2 Sacraments and a bit of the Christian's role in the world (which is expanded in his other book, "Where in the world is the Church")

As i start to mature in my understanding of the Reformed faith, I've always been brought to refer back to this book. What this shows is that this book contains a lot of good stuff! Horton does a wonderful job in trying to write an introduction to the Reformed faith. But I always wonder if this would be a good book to give my non-Reformed friends. I don't know. For those who aren't familiar with the Reformed faith, they won't be able to get the full gisp of what Horton is saying. Nevertheless, that only shows that there is so much to learn in Reformed theology and that a book on introducing the Reformed faith is no doubt going to be very general in nature.

After all has been said, this still remains the best book and most comprehensive introduction on the Reformed faith!

This simple and easily understood volume is one of the best, if not THE best introduction to Biblical Christianity. Horton explains man's helpless condition and his need for a grace that only God can provide. He shows that the Triune God is not only the finisher of faith but also its author. Not only does he document these doctrines with Scripture but he also provides a nice appendix which contains several quotes from Christian thinkers throughout the history of the Church, showing that the idea of sovereign grace is not some new theory of Christianity developed by the Reformers, but that the message of grace is the very heart of Christianity. This book explains how the grace of God through Christ is truly amazing and that 'Salvation is of the LORD.' 5 stars.

A graphic novel isnt usually a piece of work which deserves the rating of 5 stars, however this graphic novel captures one of Spideyz greatest battles. Considering its exact story, it is a very weak graphic novel. The graphic novel does not revolve around a story but around a enemy. But, the novel is still a great book. If ur asking urself if u should buy it, i suggest it.
Because i live in Brasil, i had to order this novel from the internet. But when it arrived i loved it, it was exactly what i expected it would be, maybe even more. When i had to order it i wasnt completly sure but after i read most of the VERY LONG (and boring) reviews(nothin against the people who wrote it), i decided to make a shorter one. So the basic idea is that the author created a amazing story which, to me, helped inforce the "amazing" of the amazing spider-man.

Here is the deal: J. Michael Straczynski took over as the writer of Volume 2 of "The Amazing Spider-Man" with issue #30 and has been effectively "re-inventing" the character (but in a decidedly different way than what you find being done by Brian Michael Bendis in "The Ultimate Spider-Man," which is more a "re-imaginging"). "Coming Home" reprints issues #30-35 of the title, in which Straczynski come up with a striking new interpretation of the Spider-Man mythos. Clearly, then, the point of this trade paperback volume is to help new readers get on board and if not totally up to speed, at least within shouting distance. Taken together with the follow-up volume, "Revelations," these two books can do the trick.

"Coming Home" suggests that there is great significance to the fact that Spider-Man has been fighting villains like Doctor Octopus, the Vulture, the Lizard, the Scorpion, the Rhino, ad infinitum, all these years. Peter Parker meets Ezekiel, one of those mysterious stranger types who brings havoc to a superheroes life, who suggest that Spider-Man's powers might not be quite as unique as he thought. In other words, the idea that a bite from a radioactive spider would give someone the powers of a spider is a bit far fetched and there is another explanation. To drive the point home Spider-Man has to tackle Morlun, a being who feeds on the power of humans with totemistic powers and apparently the only way to survive the encounter is to hide his powers from his new opponent.

Unlike what Alan Moore did with Swamp Thing, the twist on Spider-Man's origin that Straczynski has come up with does not threaten to unravel the entire Spider-Man mythos. At that same time that Peter is being told that Spider-Man may well be the avatar of the Earth's spider population, he also takes a job as a high school science teacher. Meanwhile, there are still those marital problems with Mary Jane and at the end of this book Aunt May finds Peter him bruised, beaten, and bandaged, in a deep sleep, his tattered Spider-Man costume at his feet. This sets the stage for the next trade paper back collection, "Revelations," as Straczynski and artist John Romita, Jr. continue to turn the world of Peter Parker and Spider-Man upside down and inside out.

This is a great read! This is Spider-man the way I remember him.
Up against the odds with his sense of humor in tact.

Shickel, as usual, misses the point. He clearly hates Ford and his work, and can't understand why Eyman doesn't hate him too. (Why would Eyman want to write a 650-page book about a man he hates? Why would anyone want to read such a thing?) It all comes down to Shickel's simplistic observation that Ford wasn't a nice man--as if this "defect of character" somehow hobbled his work. Ford's films are renowned because they display a consistent and deeply-felt understanding of the romance of the American West, and of the basic tenets of human behavior--love, honor, courage, duty--under primitive, often deadly circumstances. They're about real people, who aren't always terribly nice, struggling to do something more than merely survive. Shickel can't stop there; he mocks Eyman's style, which is beautifully realized and perfectly appropriate to the size and challenge of his subject, and then offers up a short list of "better" directors--as if Raoul Walsh or Sam Peckinpah could ever be capable of a "Grapes of Wrath" or a "Searchers." In short, Shickel's review of this excellent book is not only ill-considered, but mean-spirited as well. A defect of character, perhaps?

In my early 20s I found myself working with John Ford and John Wayne. I spent a lot of time with both men and others who were mentioned in Mr. Eyman's book.

Even if I hadn't known Ford, I would have been riveted to this book as it reads like a novel. It also brought back vivid memories to me by describing some of Mr. Ford's traits. Although I wasn't present at the episodes he mentioned, they (his traits) were vividly and accurately portrayed. I was amazed at how extraordinarily well Mr. Eyman, who never met his subject, was able to capture the character of this complex man and gifted filmmaker. It triggered memories I'd completely forgotten about.

I've recommended the book to people who aren't big film fans and they've found it to be a great read. I obviously can recommend this to anyone without further qualification. After reading it, you'll feel like you knew John Ford yourself.

At the end of "The Man Who Shot Liberty Valance," the newspaper reporter interviewing James Stewart discovers that Stewart's hero didn't really kill Lee Marvin's villain. His response is: "When the legend becomes fact, print the legend." That's just what John Ford did in all 140 of his films over five decades. Ford used a fledgeling medium and created it into an art form. In doing so, he reformulated the American "legend," how we understand our past. Much of how we see ourselves as Americans, for better or worse, has its basis in the film depictions that Ford created. There have been numerous books on Ford and his films, but Scott Eyman's is undoubtedly the most comprehensive treatment of a brilliant artist who was also a deeply flawed man. Previous biographies of Ford have either concentrated on the meanings of his films or on his personal life. Eyman's book does both, but he also looks at how Ford directed actors, how he related to them and how he elicited such great performances from them (sometimes gently and sometimes harshly). No other book on Ford has done this to the same degree, and this is what makes the book so good. Also, Eyman interviewed dozens of Ford's peers from the silents through the sixties. The book is well written, comprehensive and fair in the treatment of its subject. More importantly, like a good Ford movie, it never ceases to hold your attention. I came away from this book with a better appreciation for the films, and a healthy respect for an often difficult yet gifted director. Orson Welles was once asked who he thought were the three greatest American directors. His response was "John Ford, John Ford and John Ford." Whether you agree with Welles or not, Eyman's biography is a great read.

After a long search (I looked at dozens of books) for practicing Ashtanga Yoga at home, I found this book which I think is the best of them all. I use this book as a supplement to my yoga classes. It is clearly written with very detailed photos showing the poses and the entire sequence of movement. Extremely easy to follow and therefore very encouraging! I highly recommend this book. It has helped me practice yoga at home.

I disagree very much with the 1-star pan of "reader from Los Angeles". I am a beginner. I have both John Scott's book and David Swenson's. Both are wonderful but different. While doing (or trying to do!) ashtanga, I usually have BOTH books open in front of me. Yes, Swenson's has spiral binding and therefore stays flat easier, but the binding on Scott's book was no match for me and easily cracked, allowing it to lie flat on the floor, too. The main reason I have Scott's book open is because for each asana, he illustrates each step to reach it. E.g., the very first asana has about 8 "steps", each requiring an inhale or exhale. All 8 are shown on the same two facing pages, so I can see each. Swenson's book does not have this. However, Swenson's book shows not only the ultimate pose, but also two or three variations for the "asana-challenged." Scott's book does not illustrate any variations, so this is a big plus for the Swenson book. Both are excellent for differing reasons. Make it a two-fer:) Namaste.

What a wonderful book. John tells us right off to seek lessons from a qualified teacher. The pictures and writing come together after one lesson. The clarity of the photographs demystifies the movements. John's book allows me to work at home at my own pace.
In class the instructor was amazed how quickly I caught onto the movements. I am able now to concentrate on the positive aspects of my class instruction.
Thank you John Scott!

What a worth buying book. This book provides an introduction to coral reef habitats and fish families. It's even suitable for a non-biologist person like me. As a scuba diver who interested in marine biology, this book written by Scott W. Michael really helped me to ditinguish most fishes I encountered.

This is a wonderful book. It give s agreat intor to the general aspects of anatomy, physiology and ecology of reef fishes. It then goes on into detail on several families of fish. Among these are: Eels, Frogfishes, Seahorses, Squirrelfishes, Lionfishes, Anthias, and several others.

At least 2 more volumes are planned.

Volume 2 has been due "soon" for quite a while now. I hope "soon" isn't much longer--it will include many of the most interesting fishes: Damselfishes, Butterflyfishes, Angelfishes, Dottybacks, Jawfishes, Grammas, and several more.

Volume 3 (who knows when it will arrive) will include wrasses, blennies, gobies, surgeonfishes, rabbitfishes, pufferfishes and several others.

This series will definitely be the "definitive reference on all fishes a marine aquarist might ever encounter." The author, Scott W. Michael, is a renowned expert in this field. He has more than 25 years experience as an aquarist and diver. He has written several other books and contributes regularly to Aquarium Fish Magazine.

Highly recommended!!

Awesome book! So many wonderful pictures and more information than I hoped for!

WOW!! I am very impressed in how great this book was. I have never read a book that was a movie FIRST, and I must say, my expectations were NOT high. I was proven wrong! this book follows the life of a young man, and his two friends living in a small town called Cradle Bay. Though the town may seen "nice", the main character quickly learns otherwise. Beneath the town's placid surface, an evil secret lies. The book does loose points for originality(it WAS a movie first), and believability(the plot can be hard to believe at times). Overall however, this book shines as an expert suspense novel.

i read this book 4 times,and i loved it.it has all the scenes that were deleted in the movie.best book i ever read.

The book was really well written with suspensful and frightening parts in it. The characters were really well developed. It lets you try to guess what was going to happen next but also helps people who saw the movie and didn't understand it. If you were too young to see the movie and love horror movies and books you'll love this one. WARNING: Could give younger children nightmares!

The events that occurred on September 11, 2001, changed the history of the United States forever. No longer are Americans fearless of other world powers, no matter how large or small, but now Americans are to some degree living in fear. Terrorist attacks can happen again today, tomorrow, a month from now or a year from now. There is no way to plan for the unexpected, even though cautionary levels are through the roof. The outcome of that fateful day changed American attitudes. The hatred felt toward the U.S. was overwhelming. I believe that if it would have been possible, there would not be a single American man, woman or child alive to tell the frightening tale. The history of the U.S. changed that day, and luckily, there is people left to tell about it and share stories and emotions.
Following Spetember 11, 2001, there has been numerous literary works that have popped up about the issue. One of these works is by William Heyen and is called September 11, 2001 American Writers Respond. This literary work is an anthology of 127 American writers that responded to the tragedy. The anthology is a collection of fiction writings, essays, and poetry and prose. What is amazing to me is that these writers were able to respond at all. Following the events, there was numbness throughout the U.S. Mass confusion and hysteria was going on. No one knew for sure who was involved, who was killed, or what the meaning behind the event was. It was as if, for Americans, the world had stopped moving for days at a time while they watched over and over again the planes crashing and the towers falling.
For months afterwards, news headlines and magazine covers were filled with pictures and stories of people's experiences and thoughts. This is what September 11, 2001 American Writers Respond is all about-experiences and thoughts. The stories and prose included in the anthology are by various writers throughout the U.S. and vary in length, depth, and character. This may be the only downfall of the anthology. If there was some uniformity to the pieces, I believe, the anthology would be much stronger. Nonetheless, the fact that the writers were able to capture their thoughts and emotions during this chaotic and emotionally charged time is all that matters, because these thoughts and emotions are exactly what everyone in the U.S. wanted, and in some ways needed.
Americans couldn't get enough of others thoughts and were also eager to share their own. Most of the pieces in the anthology explore the meaning behind the events, such as what does this say about humanity, what does this say about everyone's sense of well-being and why is the U.S. so hated. Some explore what should be done as a counterattack, and other simplier pieces, recollect what a particular writer was doing at the time of the incident. The reaction of the people to this tragedy is similar to when Kennedy was shot or when the U.S. first landed on the moon. Everyone talks about what they were doing. Curiosity is great but it is more than simple curiosity. A uniting of the nation came to pass, and the people want to feel as though they belong, as though they all shared a common experience and grew as a result of that experience. This also is what the anthology does for the reader.
One piece that particularly grabbed my attention was by Antler, and was taken from Skyscraper Apocalypse. The lines that made me grasp the events in a different light go as follows:

Have the winds blown enough
that by now all of us have breathed
particles of the burned-up corpese?
Sooner of later all of us will inhale
invisible remains of the incinerated victims...

I had never thought of the events in this light. Living in Wisconsin, and not knowing any victims, made me disengage myself from the tragedy in some ways. My life wasn't changed in a drastic manner so I didn't think about it constantly. However, when I read these lines, and I think that at this very moment I could be breathing someone's remains, makes me look and remember the tragedy in an altered way. This is also a major part of the anthology, looking at others perspectives and making them part of the larger picture. The people that lost their lives were live human beings, and even if I didn't know them, their death does make a difference in my life.
Overall the anthology was well put together. The writers all had something intellectual to contribute and did so in a meaningful manner. It is a mixture of works that makes the reader feel the tragedy all over again yet, at the end there is hope, even though nothing has been resolved at the time the anthology was published. The anthology's greater purpose, I believe, is to console and also to share thoughts and emotions, which at a time like this, as any psychologist would say, is very crucial.

We all know where we were on September 11th, 2001. Some of us were headed to work, others to school, some were with families and some were alone. We all know the thoughts that struck our minds as those airplanes struck those towers. Many of us would like to express the pain and emotion that we felt but are unable to find the words. That is why this book comes in handy.

At about 435 pages, September 11, 2001: American Writers Respond is an anthology featuring 120 writers. Loaded with first hand impressions penned only months within the attack on America, the book is a balanced mix of political response, personal reflection and artistic vision of the day that changed the world forever.

The anthology is Editor, William Heyen's effort to reflect the opinions and experiences of the world's people. It is a balanced representation of ideas, but hardly covers a fraction of the opinions and questions of all affected by the attack. And although it will never answer "why?" What it will do is let us express, empathize and identify with one another, not only as writers, not only as Americans, but as human beings.

September 11, 2001: American Writers Respond is a carefully put together anthology dealing with the attacks on the World Trade Center. This compilation contains pieces written by over 100 different authors and its diverse contents allow it to appeal to a variety of people.
Stylistically it is difficult to describe September 11, 2001: American Writers Respond because the genre is so widespread. The anthology includes poems, essays, short stories, fictional stories, non-fictional stories, letters, and poems-the list could continue. Each author has their own style yet the pieces have a way of fitting together and creating an amazing collection of artist's reactions to the events on September 11th. Authors like Daniela Gioseffi makes the reader laugh because she writes about an entertaining (and touching) conversation she has with a nine year old girl while authors like Fred Moramarco makes the reader cry because the contents of his poem include the final conversations of September 11th victim's lives. The different authors attempt to affect the reader in different ways creating an extremely effective anthology.
The pieces in the compilation of writings are arranged in alphabetical order by the author's last name. This unoriginal organization is actually a very effective technique used by the editor, William Heyen, because it leaves the reader in anticipation of what is left to come. Heyen could have organized the anthology by grouping similar pieces together but this option is undoubtedly inferior to his choice of arrangement. Because every author has a different point of view and style, the reader has no idea what to expect when they begin the next piece in the anthology. The reader may find two poems similar in content back to back, or an essay followed by a memoir with contents differing from one extreme to the next. The anticipation that builds within the reader regarding the content of the upcoming pieces makes September 11, 2001: American Writers Respond a book that people do not want to set down.
It is impossible to read September 11, 2001: American Writers Respond without questioning your own view on the attacks. The anthology represents an abundance of different points of view. From Muslims to Christians, Middle Eastern people to American people, presidential supporters to presidential protestors; every view is represented. One of the most amazing things about this collection of writings is the wide range of feelings it produces. There are pieces like "the window, at the moment of flame", by Alicia Ostriker, that produce feelings of anger and disbelief in many readers because it blames the Americans for the tragedy. There are also pieces like Richard Wilbur's "Letter" that produce nationalistic feelings and recreate a true sense of love and pride for America. A person's opinion of the nation and the attacks prior to reading September 11, 2001: American Writers Respond will definitely be challenged because of this book. Pieces such as "America United", by Ishmael Reed, force even the strongest supporter of the government to reevaluate the strength of our leaders and, consequently, take a second look at their own view on the matter. Initially some of the pieces included in the anthology may produce feelings of rage because the point of view of the reader and the author differ greatly. One of the things that make this anthology as effective as it is, however, is that the differing opinions (regardless of who the reader is) will be retaliated by another piece somewhere in the book. The anthology contains such a large variety of pieces that it is impossible for a person to not be able to identify and agree with at least one of the pieces.
It is inevitable that the attacks on September 11th had an affect on every American, but what is not as certain is the effects that it had on people other than Americans. September 11, 2001: American Writers Respond helps prove that the attacks were not simply an American tragedy, but rather a world tragedy. The anthology contains non-fictional stories such as "Sisters", by Karen Blomain, in which two American sisters are spending an ordinary day shopping in a flea market when the attacks occur. In this story the tragedy brings the American sisters together to mourn with Russians, Koreans, Latinos, and Indians. Many of the authors that are included in the anthology come from different cultures. The ability of this one book to cross cultures and force any reader to see the impact the tragedy had on people other than Americans is simply amazing. After reading this book it is impossible for a person to see the attacks as affecting only Americans, but instead the book forces readers to have feelings of empathy and respect for other cultures.
September 11, 2001: American Writers Respond is one of the most moving and motivational anthologies of today. Although the attacks on the World Trade Center occurred almost two years ago, it is still hard for people to cope with the tragedy. Books like this one help people (both Americans and non-Americans) deal with the truths of the attacks and come to the realization that they are not alone in whatever they are feeling. The amazing thing about September 11, 2001: American Writer's Respond is that it has the capabilities of touching every single person's life because of its diverse content. In a time period as dangerous emotional as this, people need to find a place to turn when they feel that there is nowhere left to go. Thankfully this book can be that place for anyone.

I had just read Coming home (A must by the way) and the last shot Aunt may standing over a battered Peter had me gripped so I had to get this aswell. The drawings are vivid and great just what we have come to expect from Romita and the story is exciting, a real page turner. So why the not 5 stars? Well my big gripe with this story is the Shade who is spideys enemy at the end. It feels almost like Stracynski has just thought "well the story can't be completely between May and Peter I'll just shove this guy in" Which is a real shame. I personnally would suggest anyone buying Revelations should go for the the double and get Until The Stars Turn Cold with it. It helps to develop the story a little and has a great fight between Doc Ock and his counterpart. Revelations is very good but I'm glad I bought the double.

I do not buy into the notion that "Revelations" was published so that Marvel could exploit their 9/11 issue of "The Amazing Spider-Man." This trade papaerback collection of issues #36-39 follows up on "Coming Home," so there is continuity at work. Besides, given that the current cost of #36 is rougthly the equivalent of what you would have to pay to pick up the previous 35 issues of the comic, there is little to complain about for those who somehow neglected to pick up the issue in the first place.

As it says at the beginning of #36, "We interrupt our regularly scheduled program to bring you the following Special Bulletin." The reaction of Spider-Man, Captain America, and the other Marvel superheroes to the attack on the World Trade Center is out of time and space for the Marvel Universe. The event has to be acknowledged on one level, and it is the emotional response to these events that the comic is about, but on another level it cannot be dealt with. J. Michael Straczysnki and John Romita, Jr. touch upon the issue of where were these superheroes and why did they not do something about this horrible event, but there is not much they can really do about it. Spider-Man is not going to go across the ocean and beat up terrorists the way Superman took on the Axis during World War II. This is not going to happen. For one reason Marvel has no more interest in overshadowing the troops in the field than they do the NYC firefighters and police honored for their sacrifices in this issue. Beyond that such real events expose the Achilles heel of all superheroes: every time Superman is Clark Kent, there are people dying that he could have saved. Issue #36 is thoughtful, extremely so by comic book standards, but the comic book moves on.

Even without the 9/11 tribute, "Revelations" remains a great collection because of the other three issues. At the end of issue #35, Aunt May came into Peter Parker's apartment and found him bruised, beaten, and bandaged, in a deep sleep, his tattered Spider-Man costume at his meet. Issue #37, "Interlude," finds Aunt May wandering the streets, trying to absorb the shock of the revelation, while Peter Parker becomes involved in the life of one of his students, offering a telling counterpoint to the relationship he has with his Aunt. Issue #38, "The Conversation," has Aunt May confronting Peter about his big secret, and there is little time wasted denying the truth. They actually talk about the things these characters should be talking about. This is not a deat bed declaration like it was in Volume 1, much as I liked the way Aunt May finally confronted Peter with the truth atop the Empire State Building on the day she died. This is a key part of an ongoing attempt by this writer and artist to rework the elements of the Spider-Man mythos that have become overworked commonplaces. Now, instead of worrying about hiding his secret identity from Aunt May, Peter gets to worry about her knowing the truth.

Issue #39, "Meanwhile," combines Aunt May dealing with her new perspective on Spider-Man (she cancels her subscription to the "Daily Bugle") with Peter's other major interpersonal headache, being separated from Mary Jane. This is also "The Amazing Spider-Man" entry for the 'Nuff Said sweepstakes, where all of the monthly Marvel titles can up with issues using no dialogue or caption boxes to communicate information. The result is a series of cute and poignant moments that show Straczynski and Romita rose to the challenge and avoiding descending into gimmickry. "Meanwhile" fits quite nicely as an interlude in the storyline, although the bits with Aunt May are a lot better than the unnecessary reminders that Mary Jane and Peter miss each other. This just underscores how these comics are part of the continuity of "The Amazing Spider-Man," and you have to been following the story from at least the point when Straczynski took over as writer to fully appreciate what is happening in these stories. But within that context, they are four of the more memorable issues from Volume 2.

J. Michael Stracynski and John Romita, Jr.'s tribute to 9/11 alone makes this worth the purchase. The story and the art are great.

Without any doubt, this is a comprehensive book in this field. However, because the authors tried to demonstrate their superior english writting abilities, they made the whole text hard to understand for students. From my point of view, as a new professor, I don't believe that recommending this book is appropriate.

This is a practitioner's book, not a scolar's. I'm not a scolar -- never have been and never will be. I love this book. It's lucid, it's sensible and it's great statistics. It goes thoroughly into the logic of linear model ANOVAs yet the bulk of the exposition is in the simple English language -- it has no calculus and no eigenvectors and almost no matrix algebra. You need an acquaintance with elementary one-way ANOVA but no more background than that. The authors pace it carefully and are not afraid of a bit of repetition for the sake of clarity (something I always appreciate when I'm reading new technical material). It's one of the best $105 dollars I've ever spent. I got loads out of it all the way through and it's a big book. The explanation of multivariate repeated measures is worth the price alone.

I continue to select this text for a graduate course in advanced experimental design. The book is not easy, and that is one reason why I like it. It presents a thoughtful scholarship on controversial issues pertaining to the use of inferential statistics as a tool to assist the researcher in making decisions about the validity and strength of functional relationships present in the data. The book eliminates the naive overconfidence that sometimes results from cookbook applications of algorithms to the results of experiments. It shows that the process of discovery and data analysis is never complete and that the general linear model is an imperfect technique by which to discern orderliness in nature where intersubject variability is a given.