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By Edward Mendelson
If you want to change Windows 95's new interface and file system so that the generic "My Computer" feels more like your own computer, the one indispensable guide is Brian Livingston and Davis Straub's Windows 95 Secrets.
Unlike most Windows books, this one doesn't make you pay for a rewrite of Microsoft's help files. Instead it reveals undocumented and underdocumented techniques for changing almost anything in the Windows environment. Some of the simpler tips tell you how to customize the list of SendTo and New... items on the right-click menu. Others give you the details you need to use the new wildcard options in Explorer and explain that hotkey choices only work for shortcuts that you place on the Start menu.
The best tips--including the ones you won't learn from Microsoft--send you to the Registry Editor to add or modify entries. This isn't a job for the fainthearted, but if you have the courage, you can stop Windows' distracting and time-wasting habit of making application windows jump visibly from the taskbar to the screen and back again. You can add the Control Panel, Dial-Up Networking, and Printers to your Start menu. Best of all, you can change Windows' annoying habit of putting a tilde and the numeral 1 in the old-style 8.3 filenames that it automatically creates when you use a new-style long filename.
Livingston and Straub explore the depths of the Windows memory management and DOS support. They even tell you when to ignore the advice you get from Windows itself. When Windows displays an error message telling you to increase the Files setting in CONFIG.SYS, they tell you to make a change in SYSTEM.INI instead.
Like most Windows books, Windows 95 Secrets comes with a CD-ROM of shareware and freeware, most of it worthless, but Livingston and Straub one-up the competition by providing a one-stop installation program for virtually all the programs on the disk. If you don't like the one you just installed,
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This particular collection, published several years after Aickman's death, gathers together several of his later stories. My favorite story is the eerie 'The Wine-Dark Sea' which tells the tale of a vacationer in Greece who, against the admonishments of his Greek hosts, takes a boat out to a deserted island. Once there he finds three exotic women who claim to be sorceresses. What follows is a magnificent story of magic, love, and betrayal. Quite simply one of the finest novellas I've ever read.
The rest of the stories in the collection are all fine reading, but none approaches the level of the title story. Of particular note is 'The Trains', the creepy story of two girls bumming through Europe who stumble across a mansion with a mysterious past.
As a previous reviewer noted, Aickman's stories aren't easy to read. You get the most out of an Aickman story if you go slowly, read every word, and occasionally re-read paragraphs. This method, combined with his lengthy stories, means that one story can take you up to an hour to read. It's a lengthy process, but the stories are worth it.
I'm only exaggerating a little when I say that it's a tragedy Aickman's stories are out-of-print. There was a very ..., complete collection released in the UK in 2000, but that doesn't help us Americans!
Enjoy!
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The first portion of the book is compelling and hard to put aside. The other chapters, however, are so rich with material from additional sources that I found them best to meditate on, think of as you live your life, and then dip into once again. This is perfect as a devotional for the liturgical seasons of advent and lent.
This is a book to be savored. As a resident of Southern California, I found his personal observations on the cultural values of Americans right on target. It's too bad this book may never make the N.Y. Times Best Sellers' List, it could change the world.
Straub's honesty and openness in describing his own personal journey from being an atheist to a believer with a special evangelical vocation, the insightful musings of his Pilgrim's Diary, the history of the churches of Assisi all add up to a tour de force. I believe this book will have a great appeal to the general reader in addition to those with a special love for Franciscan and spiritual themes.
Certain parts of the book radiate incandescently. The rule of synergy states that the "whole is greater than the sum of it's parts." And yet, there are so many "parts" in this book that seem to stand alone in excellence at least equal to the power and depth of the whole. The treatment of Francis' timeless elegy to his God's creations, The Canticle of the Creatures, is truly inspired. The poem's majesty is wonderfully underscored by Staub's personal reflections and those the of other writers quoted in praise and awe of St. Francis' spiritually poetic genius. In closing his reflection on the canticle with Fr. Eloi Leclerc's The Language of the Soul's Night, Straub poignantly illustrates how St. Francis was as relevant in elevating souls in the rawest and most dire moments of the twentieth century as he was in the past and, most assuredly, will be in the future.
A specific charism of the Franciscan is to be able to shed the layers of meaningless diversions, vanities and preoccupations that restricts us from either confronting or exposing the truths and essential realities of our lives. Straub is able, in the most literary and articulate fashion, to expose his spiritual (human) doubts and shortcomings as he grapples with the profound search for meaning in his life. His "inner life" is shared with the reader in the most intimate terms without apology or embarrassment. I felt priveleged to become a part of Straub's journey and reveled in the awareness of how much we humans have in common with each other.
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Beginning with Marriages, and ending with Mr. X, Sheehan delivers an affectionate, but rigorous inquiry, celebrating Straubs triumphs, but also gently taking him to task for his occasional excesses and misfires. Sheehan also brings his considerable knowledge of the genre into play, as when he recounts a 1981 exchange between Straub and an interviewer at NECON that Straub himself had forgotten. In Sheehan's own words,
"The interviewer asked Straub the arch and somewhat overly clever question, "What's the worst thing you've ever done?" Without missing a beat, Straub replied, "The worst thing I ever did was kill off Sears James. I loved him very much."
While Sheehan's chapters are uniformly excellent (hell, he single-handedly rekindled my interest in "Floating Dragon," a book I had heretofore viewed as a disappointment), he's at his best in his extensive, incisive exploration of Straub's Blue Rose Trilogy, comprised of Koko, Mystery, and The Throat. Sheehan deftly navigates those (purposely) muddied waters, making sense of the complex triptych and associated short stories, ultimately tying everything together in his chapter on The Throat. Here's a sampling from the first paragraph of Sheehan's chapter on that novel:
"The Throat, more than any of Straub's previous novels, is the literary equivalent of an extended jazz solo: a long, sinuous composition that circles and recycles a familiar series of themes, scenes, and characters, improvising its way toward a number of revelations that retrospectively illuminate the central events of both Koko and Mystery. In fact, the primary impetus behind the writing of The Throat was Straub's belief that he had not yet exhausted the emotional content of those books, and that their central elements--the war in Vietnam, the auto accident, his concern with the grief, bitterness and buried rage that are the frequent after-effects of childhood traumas--virtually demanded further elaboration. Added to this was Straub's obvious affection for the characters he had lived with for the past five years, particularly that battle -scarred survivor, Tim Underhill."
This paragraph is illustrative of the depth and poise of Sheehan's analysis and writing; the good news is that the rest is consistently excellent.
Coming to the end of this review, a quote from Straub himself springs to mind. Describing his respect for Stephen King, he once said:
"...it was clear that if I had an ideal reader anywhere in the world, it was probably Stephen King..."
If asked today, I'd suspect that Straub might respond that his number of ideal readers worldwide has at least doubled.
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The turning points are, due to the non-linear narrative, generally spread out through most of the volumes of the Sandman story, but to me the ultimate change of the storyline occurs as Morpheus initiates a final rendez-vous with his human son, as described in this wonderful, and not least powerful, collection of beautiful stories. In short a powerful set of thoughts on the nature of "the word for things not being the same always".
The presence of the Almighty is felt briefly through actions, beyond the control of even the Endless Seven, and dialogues reflecting an inevitable masterplan that will seal the fate of Morpheus as we have come to know him.
It's the distilliation - the essence - of what Sandman is about. Some might argue that Fables and Reflections or even Dream Country would be a better representative, a series of stunning vignettes whose swirling, mythic and dream like quality (I'm thinking of the fabulous Ramadan story) are about horror, fate, the depths of humanity and all that good stuff in the great traditions of fire-side story tellers.
But Brief Lives is something even better.
As Mikal Gilmore noted in his introduction to the graphic novel edition of The Wake, one of the seminal joys of the Sandman is hearing Gaiman's voice grow clearer with each passing issue. The progression from "The Sleep of the Just" to "The Tempest" is an astounding one; watching him grow makes any burgeoning and would-be writer both jealous and elated. The entire idea of the Sandman was revolutionary and different and pregnant with greatness (yes, a dangerous term, but applicable) - but it wasn't until Brief Lives that we _really_ saw what this thing could be capable of. Some argue that point occurred in "The Sound of Her Wings" in the first story arc, or perhaps Seasons of Mists, but _anyone_ who has read Brief Lives understands the truth....
This story is breathtaking. It's a romp. It's a ride. It blows you away, grabs you, throws you down forever into the endless sky with a wild rush of words and images (the matching of Jill Thompson to this story is once more pure genius), it picks up a fatal and final inertia that doesn't slow down until the final page is turned - that is, the final page of the last issue of the series. It's from this point that the story picks up speed and urgency. Everything revolves around the central act of kindness that concludes Brief Lives, and all the tragedy and death and destruction and redemption that occur later on are merely a reflection of that single act.
This is _the_ story. Everything before was technically brilliant, possessed of a fresh and blindingly new verve that the comic books medium hadn't seen in quite some time - but it was somehow _distant_. Brief Lives is full of a passionate proximity, a feeling of the here and now, a sense of both the confusion of every day life and miraculously together with that, the grand rush of scope. This is where Gaiman gets his chops.
I can't recommend this book enough. It's got a winding, willowy wisdom (how's that for alliteration?) that stays with you beyond the waking realms, the kind of gift you return to as the years pass by, something that grows with you as oppossed to on you. Each time I read it I read something new and fresh, and each time I read it I never fail to be moved and inspired.
Brief Lives is what it's all about. Peter Straub couldn't have said it any better when he wrote in his afterword....
"If this isn't literature, nothing is."
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