Mr. Thompson, a.k.a. David Robbins, has done his research. Each WILDERNESS book is factual, based on journals of the period. His stories flow smoothly, involving human drama as much as realistic action. If you want a good read, try these or his DAVY CROCKETT books. You won't regret it.

Have read all 36 in this series. I think this is the first one to be all about Shakespeare McNair and not any on Nate King. King has been the main hero in the other 35. McNair is now in his eighties but you would not know it the way he acts in this book. He and his wife, Blue Water Woman, have seen a monster at their cabin. The monster then carries off Blue Water Woman. Shakespeare of course goes after her. But wait, is the creature that carried off Blue Water a monster or not? Shakespeare and his wife find people in a cave and they have been there many years. There are also troops from another place after them. Can the mountain man save them? There is a lot of action. The book is easy to read and does not take long. If you liked the books about Nate King you will like this one.

This Thompson Student Bible gets it right. The original Thompson Chain reference was a great bible study tool, with many helps, charts, topical studies and archaeological facts. The problem with the former editions, was the editor's insistence of making the reference material available as appendices, and not in context with the text. One might read about the city of Jericho in the book of Exodus, and then see that somewhere on that page where it is mentioned there was a note indicating an archaeological reference was available. But one had to use the "chain" number and then move to the back of the Bible to find the note in the appendices. Now, in this Thompson Student Bible most of the reference material is contextual -- you will find the reference material on the page where the text addresses it first. Students and first time readers of the Bible will read it and benefit from this organization. There won't be that daunting task of figuring out the organization, or the intimidation factor of having to look up all the reference material in the back. Buy this Bible and give it to your teenager, or buy it for yourself. This is a great way to study the scriptures.

The book presents a different view of what drives people. Many of the things that define us come from our efforts to avoid the things we fear. The book helps you focus on how the people around you effect your behavior. It then gives specific ways to work with others to reinforce our growth.

I especially liked this book in the series because it tells of when Nate was still very green and unknowing of the wild.

This book serves as only a general intro. to film, but even at the level of general intro., Bruce Kawin's How Movies Work or Louis Giannetti's Understanding Movies is better than this one in many respects, particularly Kawin's.

Bordwell is often hailed as the giant of cinema studies. Yes, the guy has watched literally a lot of movies, but apart from his Narration in Fiction Film, which is a respectable work in its deployment of Russian Formalism, his other stuff is just commonsensical view. I personally don't find his books argumentative enough. Planet Hong Kong, for instance, although well-researched, is an extremely limited view of Hong Kong cinema and pays no attention to understand the philosophical complexities of Wong Kar-wai's movies, not to mention his ignorance of some truly innovative directors such as Fruit Chan, whose postcolonial sensibility has yet to be acknowledged.

His recent book Post-theory is anti-psychoanalytic, a move that is a disgrace to students/lovers of film theory. I am not saying that only psychoanalysis (if you read Joan Copjec's essay Orthopsychic Subject in Read My Desire, you will know that a lot of people thinking they use psychoanalysis properly to "do" film studies are wrong) and other structural / poststructural discourses are the only ways to understand films, but they are more academic and serious ways to make an argument that would expand our horizons. The film world is now more interested in Deleuze and perhaps other Lacanian concepts such as the real, Bordwell's work is really dated and anti-intellectual.

This book is useful as a university textbook, but is also excellent for filmgoers who would like to understand a bit more than the average audience.

Teaching film requires you to look at film. The second week of my film course (they are always night classes that meet once a week so that you have enough time to actually screen something) I always drag in about 50 videotapes to work through the basic vocabulary of the cinema, covering everything from the close-up ("Queen Christina") to the crane-shot ("Gone With the Wind"), from tracking shots ("Touch of Evil") to the jump cut ("2001: A Space Odyssey"). Film textbooks face an inherent limitation in turns of what they can present on the printed page. However, "Film Art: An Introduction" by David Bordwell and Kristin Thompson is the proverbial exception to the rule. This is the preeminent introductory film textbook because it has literally hundreds of frames from classic and lesser known films, used to illustrate the key concepts of mise-en-scene, cinematography and editing.

"Film Art" is divided into five main sections: (I) Types of Filmmaking, Types of Films" covers how films are produced and the basic types/genres of films. (II) "Film Form" examines both narrative and nonnarrative formal systems in film, using "Citizen Kane" as a case study for narrative form. (III) "Film Style" is the main section of the textbook, dealing with the shot in terms of both mise-en-scene and cinematography, how editing relates shot to shot, and the function of sound. This section concludes with an analysis of film style in five diverse films. (IV) "Critical Analysis of Film" provides four distinct critical frames of reference and analysis of various films: Classical Narrative Cinema in "His Girl Friday," "North by Northwest" and "Do The Right Thing"; Narrative Alternatives to Classical Filmmaking in "Breathless" and "Tokyo Story"; Documentary Form in "High School" and "Man with a Movie Camera"; and From, Style and Ideology in "Meet Me in St. Louis" and "Raging Bull" (and if that last combination does not give you an indication of the breadth of the examples used by Bordwell and Thompson, nothing will). The textbook concludes with a bibliography, glossary and list of helpful websites.

There are two major strengths to this textbook. First, its complete coverage of cinematic concepts. I think that everyone learns how to "read" a film, but the vast majority of people would not know that the baptism sequence in "The Godfather" is a prime example of "American montage." You read this textbook and you will become aware of things you already understood on a more abstract level. Additionally, they do not stop at first or second level terms, but get into the absolute nuts and bolts of cinema. Second, the use of specific examples from numerous films to demonstrate these concepts. Unless you have a film textbook that has a CD-Rom with miniature film clips, you cannot find one superior to what Bordwell and Thompson offer up here. Furthermore, their use of examples clearly demonstrates their formidable knowledge of the field. The only downside to using this textbook in your film class is that you might have a problem convincing your students you know half as much as this pair.

I didn't know this was a girl-starring book before I got it for my boy, but he loves the book anyway. My husband said he refuses to read the book to our son, but I found him reading it to him anyway.

I think this book is very helpful in starting the potty training process. After reading this book several times with my daughter, she wanted to copy what we read in the book. She is not fully trained yet, however, she has gone potty 6 times after reading this book.

potty training! She loved seeing her favorite Sesame Street characters in the book. The book is more geared for girls than boys. I think every girl who is potty training should have this book.

In contrast to some of the other editions of the complete works of Shakespeare, this book really is value for money. All plays (and poems, etcetera) are printed in a lavishly, pleasing way, very easy to the eye (one of the biggest drawbacks of some editions is that they use a very small font to keep the number of pages to a minimum). As others have commented, not much can and should be commented on the works themselves, they have stood the test of time, and the (normal) spelling that is used in this edition makes each reading an enjoyable experience. All the plays are given a brief (and somewhat succinct) introduction, which is, at best, okay. The strange things, in this book, are, for example, the order of the plays, the way King Lear is printed in two versions (that differ only in small details), and the inclusion of fragments that are attributed to Shakespeare (a bit controversial to say the least). Still, if you want to buy a good, thorough, and well-researched edition of the complete works of Shakespeare, you will not go far wrong with this book.

Pretty much any edition of Shakespeare deserves 5 stars for content. I think the question most people must have is "Which edition?"

I purchased "The Complete Pelican Shakespeare" because I wanted a relatively portable, high-quality book featuring text that benefits from modern scholarship (including brief notes and glossary). I wanted an edition to read and to treasure.

I should say that I didn't need extensive commentary with the text (as in the Arden paperbacks). That bulks it up considerably, can be had in other places, and can be left behind once one has read a play once or twice.

While I'm no Shakespearean scholar myself, this edition seems to meet the editorial criteria quite well. The text appears to benefit from modern, authoritative editorship, the introductions are brief but useful, and archaic terms and phrases are defined on the page where they occur.

The binding is high quality, as is the paper.

This is the most portable of the modern hard-cover editions I've found, with the possible exception of the Oxford edition, which is thicker, but smaller in the other two dimensions. I decided against the Oxford because the binding is of lesser quality and Oxford has a relatively idiosyncratic editorial policy with which I don't entirely agree.

Sadly, this is still a pretty big book, just small enough for a good-sized person to hold up and read in bed, and too much for an airplane or trip to the park. I wish someone would make a truly portable version! There is no reason that the entire thing couldn't be compressed into the space of a smallish bible (for those with the eyes for it!).

This weighty tome brings together authoritative versions of the complete works of Shakespeare. The excellent and informative introduction provides the historical context for the plays, the author and the folios. It also explains well how the plays tended to evolve with re-writes and performances. I have not read all of the plays and sonnets, but of the Shakespeare works Henry V and Hamlet, for example, provide high drama with stories that are compelling and language that is unique, beautiful and powerful. While the Taming of the Shrew and a Midsummers Night Dream provide humor, and other plays provide tragedy and pathos. A thousand phrases from these great plays and sonnets have probably carried into modern usuage. Shakespeare is best enjoyed first as a play by fine actors, such as those of the Royal Shakespeare company, that can give life to the often archaic and unfamiliar words, phrases and language constructs that come late 1500s. Once you have been captivated by a good live performance, reading the text becomes a joy and the strange language an exquisit pleasure. Some movies based on Shakespeare are more interesting than others (Kenneth Branagh has been quite successful, while Mel Gibson and Sir Lawrence Olivier were less so to my mind) but a live theater performance is far better and the written word is probably a close second. If you are interested in Shakespeare then this is a wonderful book - the only one you need really. If you have children then you really should get this and encourage them to read it. I have started reading selected passages with my 5 year old son and he loves it, he is absolutely enthralled with the language -- be bold, try it.

This book is not about pigs and horses and sheep on a farm. This book is not about pigs who take control over other animals. This book is not about animals revolting against Mr. Jones the farmer. This is a book about the Russian Revolution, and each of the characters in Animal Farm plays a role as someone else who really lived.

Old Major - Karl Marx. Invented communism, inspired revolution. Snowball the pig - Leon Trotsky. Wanted good for all the people, supported communism. Napoleon the pig - Joseph Stalin. Greedy for power. Squealer the pig - Propaganda. Boxer the horse - Oblivious, hard working, supporter. Moses the raven - Religion. Mr. Jones - Czar Nicholas II. (run out of his country after the people and Karl Marx revolted due to his poor leadership). Dogs - KGB Secret Police. The Sheep - Followers. Benjamin the donkey - Skeptical Russians.

THE SEVEN COMMANDMENTS
A large part of this analogy of the Russian Revolution is the hypocrisy involved. Napoleon and the pigs set rules, only to break and change them as they pleased. Seven Commandments were written to be followed as laws and rules to all the animals.
1. Whatever goes upon two legs is an enemy.
2. Whatever goes upon four legs, or has wings, is a friend.
3. No animal shall wear clothes.
4. No animal shall sleep in a bed.
5. No animal shall drink alcohol.
6. No animal shall kill another animal.
7. All animals are equal.
But by the end of the story the commandments are altered by the pigs. The law stating that whatever goes on two legs is an enemy is changed to the sheep's chanting of "Four legs good, two legs better!" after contact and trade with humans is made. After the pigs begin to sleep in the old house of Mr. Jones the farmer, the fourth commandment is changed to: No animal shall sleep in a bed WITH SHEETS. The law: "No animal shall drink alcohol" is changed to "No animal shall drink alcohol TO EXCESS." After Napoleon brutally kills many of the animals for disobedience and treachery, (even though they were killed for crimes they never committed), the law was changed to: No animal shall kill another animal WITHOUT CAUSE. At the end of the story, all seven commandments are erased, and replaced with a single commandment: ALL ANIMALS ARE EQUAL BUT SOME ANIMALS ARE MORE EQUAL THAN OTHERS.

George Orwell's Animal Farm is a superb animation of the Russian Revolutioon. The book is amusing and interesting; it includes a comic element as it synonymously demonstrates the evolution from the proletariat revolution to a totalitarian government led by the swine of the society. Orwell successfully simplified the not-so-simple theory of class stratification and Karl Marx's proposed solution of communism. Orwell's method of conveyance is incredibly inventive. He uses satire in the form of a fairy tale to share his indignation for ideological doctrines that would, if allowed, lead to the eventual destruction of a society. Each character in the story is representative of someone who was involved in the Russian Revolution. Old Major is Marx, and inspires the proletariat revolution by motivating the over-worked animals and educating them on the ways of the human beings, who represent the bourgeoisie. Orwell's creativity convinces the reader that the animals on the farm are intellectual beings, revolting against the tyranny of the humans. Animal Farm offers itself as an example of a responsible criticism of Marxism. The story gives us a peek at the Utopian vision, and then offers a long look at what results from using a Marxist approach at achieving it. I strongly reccomend this book, as it is entertaining and educational. Orwell succeeded in creating a fairy tale that evokes both sadness and laughter, while causing us to feel sympathy and even empathy for the working class animals. The book escapes complexity, but its message does not.

Animal Farm is much, much more than a story about animals. These animals are used to portray Russian history. Seems weird doesn't it? But it makes sense! Everything in this book mirrors Russian history and the characters were created after Russian historical figures. It starts out with a pig named Old Major (who stands for Karl Marx) who sees visions of a wonderful revolution where animals will share everything and the world will be beautiful without any humans, especially Mr. Jones their master. Mr. Jones stands for Czar Nicholas II. They revolt from him and set up their own commandments, the Seven Commandments which includes things like "no animals shall wear clothings", "no animals shall sleep in a bed", "no animals shall consume alchohol", and "all animals are equal". The pigs, who are known as the smartest animals which is an actual fact, take over control of the farm. Napoleon stands for Stalin who wants a strong central government and wants to teach the young only while Snowball stands for Lenin who wants a democracy and to educate all of the people. The animals on the farm other than the pigs stand for common people. Boxer the horse stands for the physically strong people that aren't very smart. Benjamin the mule (Boxer's best friend) stands for the smart people who know what's going on, but are too stubborn to admit there is a problem. Clover stands for someone who's motherly and cares about every one else. The dogs stand for military people. The chickens stand for the smart, but weak people. The cats stand for the lazy people who don't want to do any work, but want to have rewards. Moses the Raven stands for religion with his talk of where animals go when they die (Sugar Candy Mountain). The sheep stand for the brainwashed people who can't think for themselves. Everything in this book happens for a reason. It's a weird story about how communism will never work because pigs will always be greedy pigs.

It's a really great story about talking animals, but it's an even better story when you take it apart and analyze and think to yourself, "but what if so and so got with so and so.... could they have stopped this from happening?" The ending of this book is a really freaky ending... Always remember "Two legs baaaaad, four legs better!"