This small book contains the lyrics for "Out There" from Disney's THE HUNCHBACK OF NOTRE DAME accompanied by illustrations and artwork from the film. Some of the pictures are spectacular. Even though I hated what Disney did to the story of Quasimodo and company, I did enjoy the movie and I love the music from the film. "Out There" is one of my favorite two songs from that movie and I am glad to own a copy of this small book. This is a great present for any fan of Disney's HUNCHBACK, any Disney freak, or a book to read to children.

I believe that I was Stephen's teacher when he was 14. I am not sure if "This Property is condemned" means anything to him..but would certainly like to touch base with him again. carole (brown) nelson cnelson@pyramax.com

Stanislavski in Rehearsal has been the most influential work that I have come across in regards to developing my craft. The book spells out the Method of Physical actions, which was what KS was working on when he passed away. This work also disgards/de-empasis some teaching in his earlier work, like emotion memory. This is a must read for all actors, escpecially one's who are interested in the work of Stanislavski.

This is a good book. Buy it, specially if you're tired of the mumbo jumbo that is being taught under the name of Stanislavski by the so-called "Stanislavski experts."

This book is obviously ahead of its time, and a roapmap for things to come. So insightful that it practically read itself.

I admit I am a bit prejudiced in regard to this book (I am the editor) but I think Theatre in Cyberspace will be of interest to anyone who: 1) Wants to incorporate computer technology in their classroom; 2) Is Interested in expanding the bounds of theatre performance into cyberspace 3) Wants an historical record of what is happening with computers and the world of theatre, education and performance.

The Connection is the third book in the series, about Jill Swinburne and Trevor Chaplin. The book is nicely preceeded by the 'Affair and the 'Tapes.

Set, as the previous two in the outskirts of Leeds, we are engaged as Trevor makes a Beiderbecke connection with Ivan, who isn't terrible. He is a refugee, and hence eligable for Ms Swinburne's hospitality. Added to this mix is Peter, Jill Swinburne's ex-husband. Trevor's reaction to this is to get another tea-cup.

If you have ever wanted to read a book, make it this series. Each episode can stand alone, but you won't want them to.

Now may I find the wonderful adaptation of this series produced by Channel 4 and Yorkshire Television. Please.

My thanks for reading this.

I enjoyed this book immensely. Read it if you can get it. The other review covered it pretty well. What would you do if suddenly you found out Earth had been secretly invaded and humans were just a colony of a long-fallen empire? Take up arms and fight the green bugs or lay down and become lunch? Where's my M11A? Bring it on!

Contact TOR Books at: inquiries@tor.com and ask for a reprint. I have. All your friends have. Whay haven't you? While your at it check out my website with a Stephen Ames Berry page under the good reads section:

http://members.xoom.com/jeremydobe/index.htm

C-Ya

Jeremy

Introduction to Business Statistics by Kvanli is a really useful, clear, didactic classic directed to statistical application to many fields - including research in improbable areas as mine, uniting architecture and psychology. I strongly recommend it to the young researcher as an all encompassing introduction to statistics thinking.

This book is an invaluable tool for the student or
doctor studying the foot and ankle. By far, one
of the most thorough out there. Do not hesitate
because of price... well worth it.

The words from The Economist say it all -- how did we ever live without this book? It is an invaluable resource for introducing oneself to major movements, ideas, and people in modern thought. Having studied Postmodern British Literature as an undergrad, I can say the description of Derrida's Deconstruction movement is a better summarization than anything I have read -- and I think this is true for the book as a whole. It is inclusive without being cluttered, and incredibly informative yet readable.

In this round of Swamp Thing installments from Alan Moore (original issues #43-50, which includes the double-size anniversary issue), plot elements that had been developing for a year or more finally come to fruition. That would be a battle even bigger than good vs. evil in the final story of this collection, fittingly titled "The End." Here we see the full apotheosis of Alan Moore's groundbreaking work with comic horror writing, a defunct style that he courageously made hip again at the time. And although the Swamp Thing series was thematically unlike anything else DC was doing at the time, Moore still ties Swampy's saga into the greater DC universe. John Constantine and a collection of minor and obscure characters associated with magic and sorcery help in the great battle for the universe. Meanwhile Swamp Thing allies himself with the heaviest hitters in DC's stable of occult characters, including Spectre, Etrigan (The Demon), Phantom Stranger, Dr. Fate, and the very suave Deadman. There is also a flawless crossover with the then-current Crisis on Infinite Earths epic, surely one of the great endeavors ever undertaken by a comics company.

One very interesting aspect of Moore's plotlines during this period is how Swamp Thing himself often falls into the background of the stories, as the focus is on the horrors around him, and he makes dramatic Lone Ranger-like appearances to save the day. Even in "The End" Swampy is a minor presence, action-wise, then defeats the force of darkness simply by reasoning with it rather than fighting. In this collection's first tale, "Windfall," Swamp Thing only appears on one page, and the focus of the story is a psychedelic fruit that grew on his back. During this period of the series, things were changing artistically, as regular artists Stephen Bissette and John Totleben were often overworked or unavailable. Here Stan Woch and Ron Randall really make their presence felt, especially in the most tremendous story of this stretch, "The Parliament of Trees." This concept is surely inspired by Tolkein, and in turn I bet that Woch and Randall's visual creations were an influence on the producers of the recent "Two Towers" film. By the end of this collection Moore and his great team of artistic collaborators continue to teach us about the deep roots of the Swamp Thing character, and he's not yet done learning himself.

Lets face it, Alan Moore is God's gift to the comic book reader. His stories are so intense, so cerebral, so completely real that I guarantee if you give any of his books to a non-comic fan they will never look at you like you're a childish freak again.
Swamp Thing was his first real American hit and its easy to see why: the tales age like a fine wine and you can use any issue as a jumping on point without becoming the least bit confused.

A Murder of Crows lures you in gently with three stand-alone stories that are reminiscent of Tales From the Crypt, but scarier because they are the quiet kind of horror that gradually build to frightening heights. From there you're launched headfirst into the muck of the massive 'Crisis' crossover DC used in the '80s to clean out its proverbial junk room of convoluted plots and multiple Supermans (There were somewhere in the neighborhood of 5 at the time), only your mind is not in the least bit boggled. Moore keeps things tidy (Plotwise anyway, some of this stuff is not for the squeamish) and the characters to a minimum so you always know what's going on with who and where. The depth he is able to go into as he bounces you from South American cults to British seances to Under-World War III will amaze you. For those Hellblazer fans out there, John Constantine's presence provides some serious magic of the non-Harry Potter variety as well as some wonderfully snarky commentary to lift the gloom a little.

You'll smirk, you'll cringe, you'll shudder and squirm.

You won't have a read you'll have an experience.

In "Murder of Crows", the Swamp Thing graduates from one dimensional 'monster that was once a man' to a world-saving elemental with Alan Moore's signature mix of horror and mysticism. This is the climax to the Swamp Thing's quest for truth and who and what he really is. Along the way he crosses tormented ghosts, a serial killer, a crossover from 'Crisis on Infinite Earths' and most of the magical heavyweights in the DC Universe. I would recommend starting earlier in the run (beginning w/ 'Saga of the Swamp Thing'), but if you want only one peak, this is the one to get. Even if horror is not your bag, if you enjoyed 'Crisis' this is a must have. The ending may leave you wondering if you crossed over into 'Crisis', but the journey is vintage Moore. Outstanding!

This is where it all begins. When the first story in this collection ("The Anatomy Lesson") was published, the industry and fandom was completely blown away. Alan Moore took a throw-away character (the Swamp Thing) and a forgotten villain (Jason Woodrue, the Floronic Man) and founded an entire genre of comics that had been long forgotten (or at least neglected) since the 50s or so.

DC's Vertigo line, the Sandman series, and very likely, Watchmen all would have likely never happened without the series of comics reprinted here. There is some truly frightening material in here that is unlike most comic fare aimed at younger readers (or at least sanitized for younger minds), but the writing was revolutionary for its time and holds up well today. The artwork maintains the high standards of excellence Moore establishes. The partnership of Alan Moore and Stephen Bissette is one of those magical pairings that occurs so infrequently in comic history (I compare it to Stan Lee and Jack Kirby on the Fantastic Four, Chris Claremont and John Byrne on X-Men, and Marv Wolfman and George Perez on Teen Titans). This is truly a treasure to add to your collection.

Alan Moore used his break into the American market to take a third-tier monster book and triple its sales within a year.

How did he do it? By chucking all conventions and expectations. His first issue in this volume, "The Anatomy Lesson" (reprinted from Saga of the Swamp Thing #21), gives Swampy an entirely new origin and background, and outlines Moore's plans for the character; a complete dissection and rebuilding, from the ground up.

In successive issues, Moore continues to defy expectation, with his poetic method of writing becoming the reference point for everyone who wanted to prove to their buddies that comics "weren't just for kids". Coupled with the wonderful artwork, this volume should earn a place on even the most discriminating of bookshelves.

Granted, Saga lacks the the sheer genius of Watchmen, the power of V for Vendetta, or the disturbing atmosphere of From Hell, but its a smorgasbord of Moore, with attributes and positive characteristics entirely unique unto itself.

If only the rest of his run would be collected as well...

When Alan Moore came to DC to write SWAMP THING, he had already made a name for himself in England with 2000 AD and his early works, including "V For Vendetta," "The Ballad of Halo Jones," "Marvelman" (later renamed "Miracleman" when published here in the States), and more. But it was his legendary work on the SWAMP THING series that broke him into the big time and made the name "Alan Moore" synonymous with "genius" amongst conic book fans.

SAGA OF THE SWAMP THING is a reprint of Moore's first story arc of the series (issues #20 through 27), the groundbreaking series that shook the entire comics industry. This was the first mainstream series to defy the archaic, outdated Comics Code (Marvel had done it earlier with Spider-man's drug issues, but this was the first series to abandon the Code completely); it was the first step towards "serious" mainstream comic books that catered more towards adults (and gave birth to DC's "Vertigo" line); it took an old has-been DC character that no one knew what to do with and breathed new life into him; and it also gave us a pair of wicked stories that are a sheer delight to read. Swamp Thing discovers his "true" origin in the saga of "The Anatomy Lesson," and he meets a horror from beyond death in "The Monkey King," while encountering several "minor" DC characters who had never been cast in the way they appeared in this series. (Moore's virtual re-writing of Etrigan the Demon sparked a new interest in the character, leading him to several spin-off books of his own.) And we mustn't forget the fantastic, haunting, beautiful, terrifying artowork of Steve Bissette and John Totleben, who made the pages fairly glow with life, as they turned the "swamp" world of the Swamp Thing into an eerie, beautiful, mysterious realm where life and death hide in every pool, waiting to spring out at you.

This book comprises the first half of an unforgettale comic book saga, laying the groundwork for a horrific tale that would cliax with a journey into Hell itself. When paired with the second reprint volume of the saga, "Love and Death," SAGA OF THE SWAMP THING shines as an early example of the genius of Alan Moore, the man who nearly single-handledly took the genre of mainstream comic books and turned it into a "serious" literary art form.