Though I haven't yet read all of Simenon's (possibly) one million novels, I can say that November is arguably the best non-Maigret book that he wrote. Simenon was a master of small-scale drama, and this book is no exception. All he gives us is a house, a daughter, mother, father, son and a maid. Of course, it wouldn't be Simenon if both the son and father weren't sleeping with the maid, and everyone else in the house knew it. This, of course, makes for the creepiness. This book is a good 10 on the CreepOmeter. I highly recommend it.

I have used The Pioneers Go West as a literature set in my 5th grade classroom for two years now and will continue to do so. The students like the realism and adventure of the story. It was also a good supplement to our study of the Westward Movement. I recommend it to any teacher or student of history!

In the years since 1898, the Spanish-American War has been a frequent book theme. The focus has been upon the politics, the strategy, the battles, the role of Theodore Roosevelt, and the emergence of America as a world power. A few tell also of the Rough Riders--the men of the west and southwest, recruited from the American Territories--Arizona, New Mexico, Indian Territory, Oklahoma--who became the First Regiment, U.S. Volunteers, and fought in the Cuban campaign.

J. C. Stewart's book, "Cowboys in Uniform" is another Spanish-American war book. It is one of several published in 1998--the centennial year of what became known as "a splendid little war." However, this book is different. Its theme is the personal possessions of the ordinary trooper: the khaki uniform, the haversack that contained the trooper's food and property, the Krag-Jorgenson rifle and its smokeless powder cartridge, and more.

The book explains how these men, originally recruited for service in a cavalry regiment were ordered to Cuba without their horses, to fight dismounted. This order was a significant change. After all, these were men recruited for their horsemanship, as well as their experience with firearms, and ability to live and work outdoors--and out of saddlbags--in inhospitable territory. Basically, these were men who practiced the physical arts and skills of the West.

Here are detailed descriptions of the clothing worn by the trooper, the haversack he carried, and the rifle he fired. Color photographs of the very few known uniform items that have survived time--and countless spring cleanings--enhance the descriptions. Intriguing also, is the story of how the uniform and other equipment was obtained through the diligence, political connections, and speedy action by Col. Leonard Wood, the actual commander of the Regiment. (Theodore Roosevelt started as a second in command--by his own recommendation.)

Photographs by 1898 cameramen show how the uniform and equipment was actually worn and carried. They also show how some troopers modified the uniform, either for practical reasons, or simply to express a little individuality. To provide a clear dimension to how the uniforms and equipment were employed, the author has teamed with several men to model the unforms and show how the quipment ws handled. These are not professional models, but men of the West who are familiar with horses, firearms and the rigors of life outdoors. Indeed, the author, who is also a respected Grand Canyon wrangler, and professional saddle maker (and who looks like a young Col. Roosevelt) models a replica of the khaki uniform that the energetic future President had made-to-order.

This is a soft-cover work containing much hard detail, with extensive footnotes in each chapter. There are many more loose ends to the Rough Rider story. The author admits "Cowboys in Uniform" is not his final work on the subject. It is, however, a good first book. Moreover, with several more ISBN numbers registerd to him, we can expect more writing from him on this subject.

Jablonski and Stewart have done diligent research and this is a very useful compendium of data, but they are too much invested in a kind of sycophantic worship to present a truly incisive or analytic sense of this immensely creative duo. Stewart's contribution as Ira Gershwin's one-time assistant is especially problematic for its lack of objectivity. And the writing throughout is quite pedestrian.