Although I have not read Mr. Moran's book, I am worried it appears as if he gives credit to George Westinghouse as fathering alternating current electricity. Westinghouse merely had the forsight to finance the brilliant mind behind AC electricity, Nikola Tesla, who conceived it, and designed the machinery for using it. Fortunately, Westinghouse was there at the right moment. It is possible without his financial help, Tesla may not have accomplished what he did. But let's make sure we have the right names for the fueding parties in this war of the currents. Westinghouse can get the credit for the AC electric plants because he was holding the purse strings, and for his courageous fight against Edison. However, it was the genius of NIKOLA TESLA that revolutionized electric power. So give credit where credit is due, and call it by its proper name--TESLA's AC electricity, not Westinghouse!

While this book may not be enough to push you over the line to rejecting the death penalty, it will certainly make you think about it. A very enticing read, the book touches upon complicated legal entanglements and medical issues without becoming too hard to understand. However, for those with little interest in criminal justice (or the mechanics of electricity), this is probably not a wise choice.

This book starts out being about criminal William Kemmler and the first case in which the electric chair was used. However, as the story progresses, it becomes more and more a tale of Thomas Edison (America's prized inventor and advocate of direct current) and his primary competitor George Westinghouse, who utalizes alternating current. Moran paints a dark picture of Edison, who will seemingly stop at nothing to slanderize Westinghouse by encouraging use of alternating currents for electrocution. This proves a major problem for Westinghouse, because in having his current branded an 'executioner's current', something dangerous to the public and only suited for providing death, he could lose valuable customers.

In this work, Moran's primary goal is to show how the invention and enactment of the electric chair as America's primary method of execution was chiefly motivated not by a desire to improve the humaneness of execution, but by corporate greed. When Edison and his lackey Harold Brown (another electrician) propetuate propaganda about alternating current as 'the best current for electrocutions due to its deadly nature', they are not looking out for the public's well being but for the good of Edison's company. And even when intentions for a better method of execution are good, as Moran points out, 'no execution can really be considered humane'.

In 1890, William Kemmler, a thirty-year-old dimwitted alcoholic, was executed at Auburn Penitentiary in New York. He had hatcheted his lover to death while she did the dishes the year before. He was a nobody, unremembered today but celebrated at the time because he was the first prisoner sentenced to die in the electric chair. Under the terms of the new New York law, the Electrical Execution Act, he got "a current of electricity, of sufficient intensity to destroy life instantaneously" rather than being hung. Kemmler's history, and the often bizarre story of how that first execution came to pass, is told in _Executioner's Current: Thomas Edison, George Westinghouse, and the Invention of the Electric Chair_ (Knopf) by Richard Moran. Moran has found that the problems of adopting this novel method of execution at the time mirror our own problems over capital punishment, because of the universally felt ambivalence on the subject. Although we are all sure that our stances on the death penalty are the right ones, our society acts as if it is not at all sure, and given the recent overturning of capital cases based on DNA testing, it is surely right to be unsure.

Electrocution was advocated as a humane improvement over hanging, but it was promoted as commercial propaganda. Electricity was being wired into homes via two systems, the system of direct current advocated and sold by Thomas Edison, and the system of alternating current pushed by George Westinghouse. Edison opposed capital punishment, but realized that making Westinghouse's system the basis for execution would reinforce that it was a dangerous current, unsuitable for customers' homes. Direct current was safe, Edison maintained, but alternating current was "the current that kills." Before the word "electrocution" was coined, as there was no word for executing by electricity, Edison proposed that condemned criminals be "Westinghoused." No amount of his propaganda could have made direct current easy to transmit or easily transformed from high voltage transmission to low voltage home use, but without Edison's efforts, the push to install electric chairs would not have been nearly so strong. Most states eventually switched from hanging, despite the botched electrocutions that revolted observers. Kemmler's was one of these, requiring a couple of jolts before he had ceased breathing, but leaving him frothing at the mouth and stinking up the execution room with the smell of his burned flesh.

While there were more successful electrocutions which were quiet, quick, and scentless, no one knew at the time whether the procedure was painless (although many maintained it was), and this is still a matter of some controversy. No one really knows the details of the internal process, and no one lives to tell us if it hurt. Moran's exhaustive book traces the legal acceptance of electrocution in our country, with courts at different levels assuring all that it may have been "unusual" when it was novel, but is no longer, and it was not cruel since it seemed to be fast, at least in some cases, so it is not "cruel and unusual punishment" forbidden by the Constitution. The electric chair has continued to be used and "remains the only electrical appliance that has not undergone major modification since its invention more than one hundred years ago." When we have to apply euthanasia to our pets, we would never take them to a veterinarian for electrocution, and the system of intravenous injection seems as painless as any could be. The Gerry Commission examined the use of injectable morphine, but thought that such a painless descent into permanent sleep would unnecessarily rid execution of a needed scare factor. This fascinating book shows that of such judgments, and corporate shenanigans, was electrocution born.

This book is one of the essential studies of St. Thomas's life and thought. It is especially valuable because it preserves some of the profound insights of two other Thomists whose books have either never been translated into English (Grabmann) or are, alas, out-of-print (Chenu). Pieper's treatment of St. Thomas's (and Aristotle's) use of language is absolutely essential reading for beginning students of Aquinas who have not read the more thorough treatments (by Chenu and Blanche - now largely forgotten) upon which it is based. Pieper also captures better than most biographers the importance of Thomas's decision to embrace both of the apparently opposed movements of his day, the back-to-the-Bible movement of the mendicant orders and, the modern, scientific movement of Aristotelianism.

There are a few points on which I think Pieper is wrong, most importantly on the question of Thomas's "Aristotelianism." In his justifiable attempt to show that Thomas is not an unqualified Aristotelian, Pieper goes too far the other direction and leaves the reader with the impression that Thomas was a defender of Plato. Especially troubling is Pieper's citation of passages from Thomas's Commentaries on Aristotle's De Anima and Metaphysics, which he, Pieper, claims defend Plato against Aristotle's criticisms: I cannot figure out how Pieper could construe the cited passages in such a way. Also, Pieper's criticism of the Inquistion, the Dominican order's role in it, and Thomas's defense of it seems surprisingly naive coming from an author steeped in the history of the Church. But these are relatively minor flaws in an otherwise worthy study of St. Thomas.

My rating of other books on St. Thomas: (1) Josef Pieper, The Silence of St. Thomas. ***** One of the very best books on St. Thomas Aquinas; see my ... review. (2) G.K. Chesterton, St. Thomas Aquinas: the Dumb Ox. ***** A justly acclaimed popular account of the life and work of St. Thomas; a thoroughly enjoyable reading experience for student and general reader alike. (3) Marie-Dominique Chenu O.P., Toward Understanding St. Thomas. ***** THE indispensible work for every serious student; sadly, out-of-print. (4) Ralph McInerny, St. Thomas Aquinas. **** A scholarly introduction to Thomas's philosophical thought, which emphasizes Aquinas's indebteness to Aristotle and Boethius. (5) Jean-Pierre Torrell O.P., St. Thomas Aquinas: the Person and his Work. **** Currently the standard scholarly biography.

This is a very difficult book that will help you to understand St Thomas philosophy. It turns very slow, sometimes.

I have read this book twice and gained valuable information both times. After Chesterton's "Saint Thomas Aquinas," this is by far the best introduction to Thomas Aquinas. I highly recommend it.

Yet, whatever I could say about this book, Pieper himself already has said it in the preface, where he outlined the purpose and goal of his book. So, I'll let you read Pieper instead of me:

"This book is closer to the spoken than to the written language. It is based on a series of university lectures given before collective student bodies. Its purpose and scope are precisely what the title suggests: to serve as a guide and introduction. It is intended neither as a detailed biography of Thomas nor as a systematic and comprehensive interpretation of his doctrines. Not is it meant to be an original contribution to the historical study of medieval philosophy. Everyone acquainted with the field will see at once to what degree my account is based, far beyond the specific quotation, on the works of Marie-Dominique Chenu, Etienne Gilson, Fernand van Steenberghen, and others.

"The purpose of these lectures is to sketch, against the background of his times and his life, a portrait of Thomas Aquinas as he truly concerns philosophical-minded persons today, not merely as a historical personage but as a thinker who has something to say to our own era. I earnestly hope that the speculative attitude which was Thomas' most salient trait as Christianity's "universal teacher" will emerge clearly and sharply from my exposition. It is to this end alone, I repeat, that I present the following chapters, and it is this aspect for which I accept full responsibility."

A good all around beginner's guide, touching an about every subject from the Internet to HTML, from copyrights to vanity publishing. That's why there are 49 chapters with some only 2 pages long. But there are many references to additional information when something peaks your interest and you want to learn more.

If you are at all knowledgeable about on-line communications, websites, HTML and domain names it will be very rudimentary. But if you use it as a reference book, using the index and then looking up the URLs and book references cited, it's a good guide.

Curtis & Quick have presented a valuable service to authors who would like to get published on the ww web. They add as many warnings as they do hype the hopes for new authors. Although many people have lost their shirts betting on the growth of e-shopping, the authors cover all the bases for playing in this arena. ...

They add a list of all the internet sites that an author could hope to visit in his or her quest for publication. Their advice to open a personal web site and publicize it, for example, by adding a link in your four line e-mail signature is excellent. Very little is left out, for example, anyone can download the free Acrobat eBook Reader. Precise html web pages of many ebook publishers are supplied (even if these pages change the reader should be able to locate the new page). Regardless of how soon the info becomes outdated this is a five star effort.

How To Get Your e-book Published is a needed resource for writers who are considering the technology "plunge". Knowing the ins and out of e-publishing is essential, and an important area about which we writers should be savvy. This is a good reference and teaching manual.

to an architect the purpose of this book is unclear. The subject is an architect with an extremely intersting life, who designed very interesting buildings. The subtitle of the book gives us the impression that the book is about architecture. In reality it only gives us a very poor impression of the buildings designed by Neutra: only very small pictures are displayed of what he designed. family snap-shots on the other hand, are everywhere and in larger sizes.
Of course this can be a purpose of the writer. However, the uncritical way and blind admiration for Neutra makes the book boring to read an tiresome.
I suggest that anyone that is interested in the works of Neutra buy another book, with better, and more pictures of his buildings an floor plans to go with them. His buildings deserve it.

this is an excellent account of the life and works of richard neutra. i would recommend this book to anyone interested in modern architecture, both regionally and internationally. More color images would have been appreciated, although this does not detract from the overall attractiveness of the book.

The classic Neutra companion; very informative. Although I would have liked to have seen current color photographs of the great RJN's work along with the extensive B&W ones (actually I believe a volume of that nature is in the works), this retrospective is nonetheless very broad in its scope and has many interesting stories about the building of the structures during Neutra's life. Also contains a complete list of his buildings and houses, along with locations and dates of construction.

Although this is an excellent textbook for medical students and hematology fellows who need to learn more about certain topics and diseases, it offers limited assistance to the clinician who has to work backwards from lab results and symptoms in search of diseases. It covers the molecular biology of hematology in great detail and also discusses some of the treatment options. It is a great book if you are doing a paper on a hematologic topic. There are also chapters on the new techniques used in labs and the differences in these techniques. On the other hand, if you are looking at abnormal results on a CBC, this book may not offer much help.

A comprehensive text of practical clinical hematology. Clearly and concisely written for use as a reference or 'at the bench.' One of the most useful materials in the Hematology laboratory.

This book is written primarily for the laboratory, and the haematologist. In that area it is excellent, for clinical treatment, williams or other books are better. But for the laboratoru I would reccomend this book, as I have this and several of the previous editions.

I liked this textbook because it is nice and clean and uncluttered inside, however I think that the content could have been better. I had trouble with the first chapter having to do with business combinations in that every time a journal entry was recorded, I had no idea whether the author was referring to the common stock of the purchasing company or the common stock of the selling company. After a while, I finally figured it out, but I thought the problem could have been avoided by being more clear. There are many more examples that I have like this one. I may be being picky about the book seeing as how I took this course via independent study, so I did not have the ability to ask an instructor specific questions. I just think that the authors could have done a better job being more clear on many things. In the end, I did end up getting a A in the course!

I have used this book in conjunction with Gleim's CPA review books in preparation for FARE section of the CPA exam. Excellent supplement especially if you look for technical aspects of purchase/pooling accounting. The chapters on consolidation are truly outstanding. Very thorough and comprehensive. The only drawback as with many other textbooks is the lack of answer keys at the end of the chapter. Overall, I would definitely recommend getting it.

Not to put the previous reviewer down, but which culture hasn't studied the constelations ("fixed stars") & plenets ("wandering stars") for centuries?

This is a great book. The wording is very practical and down to earth. The subject matter in most of these chapters is formidable (given the limited space), and allows dialog between the reader & writer. What I enjoyed the most was not the diversity that was braught to the book, but the depth of knowledge that was braught to it. The chapter written about Chinese "Five-Element" Astroloy was my favorite. For more info about "this stuff"; I recomend anything written by DEREK WALTERS.

Now if you'll me let complane (which is what most of the critiques on Amazon.com do), I'll share with you what I don't like about most practicing astrologers. Most people (including Fagan) try to dispute the validity of using one Zodiac over another (sidereal vs. tropical). But the fact is that some Zodiacs don't even use the ecliptic! Incuding Chinese astrology. Or the Nakshatras, which most western astrologers "throw in"! And this is my point, that these Zodiacs are a cration. Our creation! And that's what makes astrology valid! Remember Arroyo. Don't forget Arroyo. He said, "If astrology is in fact an emination of universal mind or 'Collective Unconscious' or anything like that, then instead of imposing foreign dogma on astrology, I would say, let us open our eyes to what astrology already is! Let's acknowledge its inherent, extremely sophisticated, psychological [soulful] dimentions. It's all there. It's a tremendous tool, a language of consciousness and inner experience... This is one reason why traditional astrology has become quite meaningless to many of us; the astrology has not for the most part evolved to keep pace with our growth [in] consciousness. And it's why every culture has it's own astrology-the consciousness of that culture determines what level of understanding they can have of astrology."

I really need to emphisise this feeling I have about these truths! It seems as though all we need to do is look up and astrology becomes valid, alive because we are!

For another "good read" try The Origin of The Zodiac by Rupert Gleadow.

This is a book about astrology from China, India and Tibet. I do not know of any other book in which there are so many different astrological techniques from the East. Everything is clearly explained. In this book, you will find the wisdom of the sages of the East who have spotted the stars and planets for centuries. Now you can learn about their insights.

This book is a mixture of biography and collected works of Richard Bruce Nugent, the most openly gay writer of the Harlem Renaissance. His 1920s story, "Smoke, Lillies and Jade" has been called the first African-American fictional account regarding homosexuality. The book also includes many photos of Nugent and his gay peers as well as Nugent's artwork.

The book is divided into five sections, emphasizing Nugent's fictional and non-fictional work. However, the best part of the book is the historical introduction; it should have been highlighted somehow. This book is a veritable "Who's Who?" of the Gay Harlem Renaissance. Unfortunately, this excellent documentation of the numerous gay Black authors writing in the early 20th century leaves the impression that little is known about Nugent or little is worth saying. Still, I found myself wanting to read every footnote because they show how much material is out there that has yet to be reviewed scholastically. Heads up, gay studies graduate students!

Though the excerpts of Nugent's writings span a fifty-year period, the grand majority of it comes from the 1930s. Nugent, in "Smoke" and most other writings, was a blatant cheerleader for the Renaissance. I found his work challenging, though at times incredibly boring. It's admitted that his artwork is faux Erte, but it's implied homoeroticism must truly be relished. Be warned that it's very campy. I applaud Nugent in his continual inclusion of women in his artwork, non-fiction, and fiction. You would never have to worry about him saying some foolishness like "Hated it!" Besides, if I read this correctly, Nugent never went to college, yet his writing is quite sophisticated.

Surprisingly, this book reminds me of Little Richard's biography, even though that was written during one of Richard's homophobic stages. Both Richard and Nugent were/are frequently X-rated in order to get laughs and push the envelope on societal norms. Like Dennis Rodman, Nugent swears that because Blacks rejected him, he only pursued "Latins." This fetishization may really disturb gay Latino and Italian-American readers. But remember: gay whites of the era like E.M. Forster also celebrated "difference" in ways that we would now deem politically incorrect.

Skip Gates' forward is scant, but it does reprove his commitment to an anti-homophobic, African-American scholarship. The biographer is a white gay man "interested" in Black culture. Shockingly, he never cites Eric Garber, the non-Black scholar who was the first in gay studies to report on the gay underpinnings of the Harlem Renaissance. It's a shame too, because many of Garber's insights are still useful, yet they go unacknowledged. Wirth includes a section in which Nugent remembers Carl Van Vecten, the gay white celebrity-maker who promoted the Renaissance. This section is confusing and says little. It somewhat re-centers Van Vechten and feels slightly Eurocentric. Still, the biographer has a Ph.D. in chemistry from CalTech yet he writes like the most sophisticated gay studies Ph.D. I give him much credit.

Finally, this book has been categorized under "racially mixed persons." Though it is mentioned that Nugent had some Native American ancestors, interracial romantic liaisons and passing come up much more often than multiracial identity matters in this text.

All people who want to challenge the idea that gayness is a "white thing" or "recent phenomenon" need to read this book.

Exciting, thorough, and amazingly generous, Wirth brings to life a most beguiling participant in the Harlem Renaissance.

I'm afraid the reviewer below is overly generous. The late Kane was an artist of extraordinary talent and intellect who unfortunately rarely showed his full potential. Thomas, too, is a fine writer, especially when one considers that he was a protoge of Stan "The Man" Lee. I don't know how the two of them came to collaborate on this project, but, whereas one might think they would have really gone to town (being freed from the absurd constraints of the technicolor long-johns genre), Kane's art is only pretty-good at best, and downright shoddy at worst. Thomas, too, seems to lose steam halfway through, and the excellent writing of the first issues gives way to writing which is merely adequate. Most disturbing in the art is the Barbie-and-Ken-type depiction of the gods and goddesses. The "monsters" seem drawn with much more passion and care. Perhaps Kane intended this ironically, since the gods and goddesses are largely contemptible, whereas the monsters have a certain sympathetic appeal. Having said all that, I still think this is far better than the huge majority of comics, and it is a must-have for anyone who is an admirer of either Kane or Thomas.

Unfortunately, one of the negative aftershocks that usually accompanies a towering, controversial work-of-art is the sheer amount of pretentious [stuff] written about it. Considering that Der Ring des Nibelungen is quite possibly the most stupendous artistic achievement ever devised by one single individual, please feel free to multiply the previous statement by twelve.

Here, however, we something refreshingly straightforward. The Ring's four operas are well-represented by Thomas' & Kane's comic-book format. The graphics are mostly well-done and the writing appropriately archaic-sounding.

Alberich, Mime, Fasolt & Fafner (giant version) are all drawn to be exceedingly gross, yet strangely sympathetic (this is especially true of Mime). Wotan looks like the most convincing 80-year-old bodybuilder you've ever seen, while Hagen & Hunding look truly menacing. Donner is a hybrid of Hercules & Thor, the Rhinemaidens seem to have lost their clothing somewhere downstream, and Brunnhilde is exquisite. Siegmund & Siegfried are regrettably a little too "Masters of the Universe," but Fafner (dragon version) is brilliant!

There's also an introduction written by the editor of "Opera News" basically giving the intellectual "all clear" for enjoying this format. Aside from the graphics, the book's primary appeal is making the somewhat convoluted story of the Ring accessible in one gulp. Therein lies the value of this volume: instead of daunting the reader with hundreds of pages of musical analysis & the presumed hidden meanings of the Ring, it unassumingly invites the reader to experience one of the greatest journeys in Western music.

In a major departure of theme, Comix Art God, Gil Kane took on no less than The Ring Cycle from Alberecht's theft of the Ring of Power all the way through The Immolation and downfall of The Gods. Only an artist as confident as Kane could have ever gotten away with such a gutsy move. He is aided by a fairly tight and concise rendering of the story by Roy Thomas, no slouch himself. The magic of this pairing is that Thomas clearly knows when to leave certain elements of the story to Kane and his visual mastery. Every panel is kinetic with movement and the art is far more mature as it ought to be. Below there are reviews with silly warnings about the nudity in these books as if you would give your five year old a story about a Hero (sigfried)having passionate relations with his sister(brunhilde)! Laughable. The Ring Cycle is a very adult story by nature and Kane/Thomas treat it with the respect that a story for thinking individuals deserves. If you were expecting GOODNIGHT MOON, you are on the wrong page pal. However, I think any kid old enough to watch Discovery Channel unsupervised could be trusted with this material. In fact, this rendering of the RING is far more comprehensible than a Cliff Notes version they will inevitably buy in Highschool and far more entertaining.

Sadly, with Kane's death a year ago, we will not be treated to any more of his insightful and original treatments of timeless material. If you only know his Superhero stuff, you really need this book and you must also track down a used copy of the now out of print BLACKMARK. Kane's THE RING is simply a treasure for the art, the way the art tells the story and the succinct summary of a complex and lengthy Literature Classic. Too bad he couldn't have also done WAR & PEACE since his version would have been much more interesting.