Throughout the last 100 or so years, artists, collectors and curators have debated what a museum should be. Unfortunately, most museums are buildings that immediately focus on art as icon. Many contemporary artists want just the opposite. MASS MoCA represents a breakthrough in establishing a new sort of museum. Its purpose is to "mount in-depth quality work that would otherwise remain unseen for lack of properly scaled, appropriately tools facilities." That purpose has also been expanded to include being a location for the performing arts, both outdoors and in a theater.

Located 5 miles from the Williams College museum of art and 35 miles from Tanglewood in North Adams, Massachusetts, MASS MoCA adds an important new element to a major cultural center (especially in the summers).

The story of the museum is also very interesting, having been based in a rundown series of converted mill buildings that had housed manufacturing since 1768. Most recently abandoned by the Sprague Electric Company (who originally took it over from the Arnold Print Works -- makers of printed fabric), the facility covers 13 acres and over 780,000 square feet of building space. Originally, Massachusetts had planned to provide most of the funding. A recession and change in political leadership greatly slowed the progress, and much of the funding eventually came form private donors.

The book has many wonderful elements. The director, Joseph Thompson, has a fine essay explaining the museum's roots and concept. The architect, Simeon Bruner, also weighs in with his thoughts about the design along with drawings of his plans. The pieces de resistance, however, are the wonderful photographs of the site (both before and after) in black and white and color that capture the transformation. These were done by Nicholas Whitman, and started before the museum was planned. He and his father had both worked in the Sprague plant, and he wanted to preserve the memory of the space before it was torn down. There are some stunning side-by-side photographs of before in black and white, with after in color with beautiful art on the walls.

Most of the current photographs were taken during the 1999 grand opening of the museum, which I had the pleasure to attend. The classic piece that defines MASS MoCA during that opening was the display of Robert Rauschenberg's "The 1/4 Mile or 2 Furlong Piece" from 1981, which can only easily be displayed in full in MASS MoCA. There are also nice photographs of Natalie Jeremjenko's "Tree Logic" and James Rosenquist's "The Summer in the Econo-Mist." There are some fine John Chamberlain sculptures as well.

This book is a great resource to have for any contemporary art lover, or someone who is interested in new museum forms. I also recommend it as a working document for a museum still in progress, for most of the development of the MASS MoCA site is still ahead. If you are a museum trustee or are planning a new museum, you should read this book, as well.

I should admit that I collect contemporary art, and love to visit collections of contemporary art. If you share that love, you'll adore MASS MoCA!

Abolish your stalled thinking about what a museum is and should be! Also, be sure to give yourself a treat, and visit MASS MoCA soon. It's well worth a special trip from Boston, New York, or Philadelphia.

Donald Mitchell

Coauthor of The Irresistible Growth Enterprise (available in August 2000) and The 2,000 Percent Solution

(donmitch@fastforward400.com)

It is a shame that this little gem is out of print and so rare or expensive to find. "Orwell's London" is full of photographs of places George Orwell lived, worked and ate in and around London, 115 pictures by my count. They are evenly divided between historical photos of life in London during Orwell's lifetime and ones taken in 1984, when the book was published. The photos are grouped chronologically according to the different phases of Orwell's life and are accompanied by brief biographical sketches that lend context. The final chapter, "No enemy to pleasure", shows restaurants Orwell frequented.

The most useful feature of the book is the addresses given for every place photographed. This is very handy for anyone visiting London who would like to see places where Orwell worked or lived. I made that trip myself in 1999 and can vouch for the accuracy of the references. Of particular interest are the offices of Victor Gollancz, 14 Henrietta St., WC2 (only shown from the inside in this book), Booklover's Corner, South End Green, NW3 (now a pizza shop with an Orwell plaque near the door), and the Senate House, Malet St., WC1 (rumored to be the model for the Ministry of Truth in "1984").

All in all worthwhile, snap this one up if you can find it.

Oz-story #6 is the annual anthology of stories, comics and verse generated by L. Frank Baum's legendary "Land of Oz" books. This wonderful, large format collection features contributions by L. Frank Baum, Eloise Jarvis McGraw, Harlan Ellison, Philip Jose Farmer, Ruth Plumly Thompson, Glenn Ingersoll, Eric Shanower and others. Oz-story #6 is profusely and charmingly illustrated by the work of John R. Neil, Eric Shanower, Anna-Maria Cool, Marge, and others. There are comic panels by Walt Spouse, Steve Lieber, Tommy Kovac, Steven Weisman, W.W. Denslow and others. The center piece is perhaps L. Frank Baum's "Annabel", his least known children's novel which was originally published in 1906 and presents a rags-to-riches story of a young boy who finally wins the girl! With its flawless and pains-taking production values, Oz-story #6 is a "must" for all Oz enthusiasts of all ages.

In this rousing adventure story, the Gnome King returns from exile and plots to conquer Oz yet again, this time with a band of pirates at his side. Samuel Salt, a renegade pirate, joins up with Peter, Roger the Read Bird, Pigasus the flying pig and the thrill-seeking king of the Octagon Isle to thwart the Gnome's scheme. Beautiful illustrations, plenty of action and a heavy dose of Ruth Plumly Thompson-style humor make this a rousing tale indeed.

Since 1992, John Boorman and friends have put together Projections, a yearly forum where filmmakers from all disciplines write about their craft. Projections 4 was published in 1995, to coincide with the 100th anniversary of the first public exhibition of the Lumiere Brothers' new invention, Le Cinematograph.

This year's edition is split into seventeen articles divided into six sections. The Centenary begins with a transcript of a 1948 interview with Louis Lumiere, followed by what has perennially been my favorite continuing section, The Burning Question. This year's question, "In this year, when we celebrate 100 years of cinemas, what is the greatest gift and worst legacy of the movies?", is answered by 16 directors from all around the world, whose careers span the past half century. Some answers are short and to the point, while more than one filmmaker spends pages clarifying their viewpoint. Then Martin Scorsese talks about his former fears of shooting anamorphically.

The Journal. Every year, Boorman recruits a director to keep a copious diary recounting their previous year. In 1994, Boorman asked writer/director James Toback, whose year started out with a large quake in Los Angeles and proceeded to go downhill from there.

The Career talks to Arthur Penn and Ken Burns about their years struggling to maintain their individual vision.

The Process is rather self explanatory. Six articles about filmmaking from various points of view. The first two cover Oscar winning screenwriter Leslie Howard's tumultuous Hollywood career, in his own words. We then move to a dilapidated theatre in New York, where Louis Malle, Andre Gregory and the cast of "Vanya on 42nd Street" offer their views on making this unique movie. Sound design guru Walter Murch speaks about the early days of American Zoetrope and sound in cinema. From the Malaysian set of Beyond Rangoon, John Boorman has a great exchange with Eddie Fowler, longtime prop master to David Lean. This section ends with cinematographer John Seale comparing his collaborative efforts with many of his directors.

Gotta Dance includes what became one of Gene Kelly's last discussions about the art of choreography in film. Sally Potter adds her thoughts about dance in cinema, during post production for her own "The Tango Lesson".

Farewell sums up the lives of two artists who were lost in 1994, Federico Fellini and Sandy Dennis. The book ends with Lindsey Anderson's summation of working with John Ford on The Quiet Man.

I bought the first Projections book on the recommendation of a filmmaker friend shortly after its release. I have pre-ordered every issue since, often before I even knew what the contents would entail in any particular year. The entire series has consistently been that good.

If you are a major film fan or a budding filmmaker, this series must be on your bookshelf. Although, if you are like me, they'll never spend much time on the bookshelf.

Of the thousands of references I've used during my ten years in youth ministry, Quick Studies, "Acts & Romans" would have to be the best. It is always effective. The questions that are asked to support each chapter are intellectually stimulating as well as age appropriate. So often, youth ministry resources that claim to be for high schoolers are better suited for junior high children. Not so with this wonderfully researched Bible Study. Getting kids to enthusiastically focus on Romans used to be like pulling teeth, but the authors of this reference hit the mark. Alot of the 'Opening Acts' are less than adequate, subsequently I rarely use them. The questions are excellent. Adults are asking to join my high school class, and a major reason is because of the resources I use, such as this one. Tom Van Wyen : Youth Director - Willow Street Mennonite Church

Set in 12th century Japan, Shadow Warriors by John Tompson is a superbly written, reading engaging, martial arts action-adventure about five warriors' struggle to become true ninja, masters of stealth and inner strength. Shadow Warriors is highly recommended as being an exciting, pulse-pounding saga about a consummate drive to refining and enhancing martial arts skills, dedication, and honor.

I bought this book because I enjoyed the first volume so much (see my review for Southern Pacific's Coast Line.)

However, the second volume might be a bit of a letdown to those expecting something similar to the first volume. Signor indeed covered it all the first time around, and therefore does not attempt to do it again in this volume. Southern Pacific's Coast Line Pictorial is exactly what it professes to be, a companion edition that has some great photos. There are over 600 photographs; 140 of which are in color. Richard Steinheimer fans will like this book as 85 of Stein's photographs made it into the book.

I never did verify if there were pictures reprinted in the second volume that also appeared in the first, but if there were, their numbers were small based on my recollection.

The bottom line is that if you loved the first volume of Southern Pacific's Coast Line, then you should buy this volume too. It isn't the narrative with pictures that the first one is, but it compliments the first book nicely. It's priced high but worth it if you're looking for memories of the SP and its premier passenger line. You can always check out Signature Press' website for the description on this book that Amazon seems to be lacking.

This is Thompson at her best! Although OZ is at the end, it's a wonderful new story about SPEEDY from THE YELLOW KNIGHT OF OZ and how he, Princess Gureeda and Terrybubble the Dinosaur skeleton save Oz from the terrifying giant Loxo!

Outstanding and most complete description of most important subjects in relation with the teaching of gynecological surgery, ideal for medical students and residents. Specially important, there is a chapter on ethics and gynecological surgery.