Now in an thoroughly updated third edition, Hill Guide Sonoma Valley : The Secret Wine Country provides an outstanding food and wine guide to California's wine country, pairing walking tours with features of restaurants and wines and even including recipes from featured chefs. The inclusion of rates and prices makes it easy to choose lodging and attractions.

My wife and I and two other couples will travel to Sonoma Valley soon, and I've been designated trip planner. I got out this book, a copy of which I had purchased on a previous trip, and found using it a great pleasure. It's extraordinarily thorough, very nicely organized, and well-written. It is, in fact, the best guidebook I've read.

Written by two longtime residents of the area, "Sonoma Valley the Secret Wine Country," is not only an indispensable guide for those planning a trip to the Sonoma Valley, it is also a great read for the "armchair adventurer" simply wishing to learn more about Sonoma's unique history and culture. This is a travel guide that one wants to continue reading long after the trip is over. The book is organized in a somewhat non-traditional format, a format that I found far superior to the familiar one. Instead of there being "restaurants" and "lodgings" sections, the book is organized by area, so that if you find yourself in say, Glen Ellen,(the tiny hamlet of Jack London and the Valley's only winery "tram" tour) you can simply open up the book and find out what attractions, be they eateries, wineries or antique stores, are in the immediate vicinity. This format, along with the detailed "insider's" information the authors have compiled, allows you to get to know the places you are visiting in a much more intimate and realistic way than a traditinal travel guide. You will never have that dreaded feeling of seeing youself as a tourist with this book. After reading about the Sonoma Valley's freindly, but sometimes strained relations with it's more famous rival, the Napa Valley, you'll know not to say something like "oh, that Cabernet is excellent-almost as good as the one I tasted in Napa last weekend!" There is also a number of little extras in each section, such as recipies from the locals, ratings for the level of rommance in each place, and brief histories on each of the places you are visiting. Again, I found this to be a really great book, not only for travelling, but simply as an entertaining read about a very interesting place. Indeed, the book prompted me to remove myself from my laurels and write my first online review. This guide definitely earns five stars, the online reviewer's highest praise.

When I first looked through this book. I was captivated by the variety of people and settings. Boys and girls of different races and ethnicities, playing, learning, fighting, working, struggling, hoping. I couldn't put the book down. I had to keep looking, to see who and what would appear on the next page.

I trust anyone would have the same reaction. But don't stop there with the photographs. This is much more than a photo album. Take the time to read the captions, the authors' commentary, and most of all, the words (letters, diary entries, conversations, etc.) of the children themselves. You won't be disappointed. Rather, you may find, like I did, that the photographs become even more real, more poignant, more personal, and more moving than they did at first glance. And, once again, you won't be able to put them down.

Whatever your notions and conceptions of childhood and of United States history and policy, this book will certainly broaden your understanding, intellectually and emotionally, of both.

There always seems a new way of looking at the Farm Security Administration photos of the Depression. I've already got 'Plain Pictures of Plain Doctoring: Vernacular Expression in New Deal Medicine and Photography' (MIT 1985) and 'An American Journey: Images of Railroading During the Depression' (Hot Box Press 2000) and this excellent book is the first to show dozens of great photos of children (and teenagers).

The author's explain in the intro that at the nadir of the Depression about a quarter of the workforce were unemployed and because no child labor laws had been passed this huge number included some children, especially in agriculture. Most of the photos in this book show children in a rural setting, where it was expected that they would help their parents increase the family income.

Sixteen of the FSA photographers work is included and the author's have searched for photos that are seldom or have never been published before and this is one reason I liked the book, another is the large format landscape size. All the images have a short caption, date, photographer's name and Library of Congress negative file number. There are a couple of slightly annoying production points: the lack of page numbers, even though there is a contents page with a page number for each of the seven chapters and the ten pages of introduction are numbered but with roman numerals.

Fortunately not all the photos show hard times and despair, one chapter, called Playing, shows kids having fun, another, Living, has a 1940 Marion Post Wolcott shot of five laughing teenagers folding newspapers on a front lawn in Natchitoches, Louisiana. As you would expect though most of the rest of these sensitively taken photos do show children just having to make do in those extraordinary years.

If you collect books of FSA output or just want to see some great descriptive photos of the past 'Children of the Depression' is well worth getting.

after going throught a hmo program, this book is a foot print what i learnd and everyone needs to have in their book collection, if they need help with thier wieght and health.

What a concept: a dictionary of legal terms and concepts translated into plain, readable English. The authors make even esoteric and confusing subjects accessible and readable, but do not talk down to the reader or attempt to "fudge" their definitions. The dictionary is comprehensive, including Latin and English terms, terms from all areas of law (criminal, civil, tax, contract, real estate, constitutional, and more), and explanations/definitions of the most important institutions and agencies related to the practice of law.

So, the next time a lawyer-friend offhandedly remarks that something is "sui generis," you can nonchalantly reply, "Oh, you mean it's unique or one-of-a-kind?" Highly recommended for anyone with an interest in following the law.

The visual imagery in this collection is terrific, enabling readers' memory, longing, wisdom, regret, sorrow, enormous admiration (of the subjects and all that they represent)- and wonderment. The people and the settings resonate. These are important images. You might well be moved to tears. There is no shortage of emotional appeal to the viewer. One cannot be unaffected by this collection, and all that it represents.

In addition, historically important works of art (engravings and paintings) are reproduced - although unfortunately none in color. The captioning is - for a work of this scope and size, and for illustrations of such power - inconsistent and therefore disappointing, though.

Because it's published by an academic press, I expected a more careful and rigorous treatment. Books of this scope and ambition are few and far between, and one treasures the illustrations - the historic visual record - in and of itself. It's dicey to criticize a collection that has as its focus such a compelling (and neglected) subject: the history of African American women.

The subject matter is terrific - but the book is less so. One wishes that the editors had had an editor. (Why, for example, is the "b" of "black" capitalized? To my knowledge this is not conventional usage, and it detracts.)

So what happened? At times the work seems rushed. For example, three people are photographed, two are identified by name, the third called "unknown." In fact, the writer means "unidentified." Accompanying a photo of a shoeless farm worker is the caption telling one, redundantly, that she is barefoot. A number of captions identify the subject as "Unidentified woman, [location, date.]" That seems lifted directly from states' historical societies' archives. One expects more - or less - but not words that merely interfere with one's experience. One does not need to be told that a photograph is a "photograph."

Occasionally, the editors engage in assumptions regarding the illustrations that, in my view, interfere with the power of the imagery, and reduce the value of this compilation. Guessing as to the subjects' activities in a photograph by Jack Delano, they write that a woman and several children are "possibly waiting for the husband and father to get his hair cut." In fact, one cannot know, and do not need to know, what the people were doing that day. The photo is about much more than that. Another incredible photo of a woman and a girl is accompanied by more guesswork as to the relationship of the subjects (mother and daughter?). There is wordiness to many of the captions. Worst case, there is sometimes unintentional patronization: subjects are identified as "lovely young women," (p. 81) or "fashionable," "attractive" (p.4). The end result is a sense that this book was rushed, and that - despite the impressive pool of archival material from which it was assembled - some corners were cut. The editors use interesting and illuminating quotations in places - but meagerly. There is brief index of names of subjects, and names of quoted women, omitting place names and more.

I wish that the authors of this work either done more, or less. Mostly, I wish that they had more convincingly respected the ability of these powerful and important illustrations to speak clearly to the reader, and had also trusted readers to make the connections between text and visual imagery that is so satisfying and essential to the meaningful experience of organized archival material.

This book belongs in the library of every woman who desires to make an everlasting positive impact in her life, the lives of her family and community . The photos and stories captivated my friends and I, and empowered us with the knowledge that others had already travelled down roads of, similiar and worst, challenges and had come up with surprising strength, individuality and success. Thompson and Mac Austin in this book have given vast recognition to the lives of african-descended females.Their's are stories of mere strangers who existed decades upon decades ago and who are now encouraging on a new generation of 21st century women, a callaloo(mixture) of women from every branch of ethniticity , social-structure and religion. There are so many magnificent photos in this book that every reader can identify herself as at least one of these women.Their eyes and smiles, their clothing and expressions all tell a single story of a determination to create and enjoy a better life, whether on an individual or bigger scale. The spirit of this book motives us in the power that we can persevere and succeed because we are ancestorally, protector, provider, sustainer woman.I am an editor and wife and found this book a true asset in my personal and professional life. You are welcome to email me for a free copy of my minizine. I would also recommend books by Clarissa Pinkola Estes and Iyana Vanzant if you are looking to enrich your life's journey.These writers are not as "photogenic" as THE FACE OF OUR PAST.

These pictures of black women in America will touch you in many ways, and in some cases will rip your heart out. Each photograph has a story on the surface and another deep inside it, and some force you to think about them for a long time. Every person who's opened my copy of the book has looked at a few pictures and then gone "Omigod" when the right one hits home -- and it's always a different picture. The accompanying text is also thought-provoking -- quotes from women in historic and ground-breaking situations, women who have earned positions of authority, authors, and poets. Open any page and you're right back there -- with photographs of women living in slavery, with women fighting during the struggle for civil rights, with women trying to make the best of life, with women just trying to survive, with women finding joy in the midst of everything. It amazes and delights me that these two white women decided to put together such a remarkable chronicle about black women, recognizing that the history of the black woman in America is every American's history.

It is close to impossible to reconstruct a history of African Americans. Indeed, part of our common American heritage is the destruction and unrecorded depiction of non-European and non-male histories. The authors have dilligently researched their stories and they are to be congratulated for their tenacity. However, the book fails to elicit "hope" from the reader. The writing is dry and unimaginative. With such a lively history, it is a shame that it reads like a dead history. The most egregious flaw in the book, however, is not found in its writing style but rather in how the authors attempt to boost the qualities of the women portrayed in the book by drawing comparisons between the accomplishment of these women and the accomplishments of men and white women. This is a completely unnecessary element. The accomplishments of these African American women stand on their own. The purpose of the book is largely diminished because the authors have touted "whiteness" or "maleness" as standards. "Whiteness" and "maleness" are not standards by my measure and should not be used as one, particularly in a book about black women. I would hope that the authors eliminate their references and comparisons to men and white women in future editions so that the history of these women can be properly relayed to future generations.

Rich in historiography as well as history. An excellent resource for any US History teacher or student. Information is easy to find, the bibliography is extensive and the annotations are informative. All of this and I looked forward to reading each page!

This riveting narrative, a kind of polyphonic chorus giving voice to American black women, adds an important chapter in the ongoing project of understanding our nation's history. Covering a span of almost 400 years, the work moves beyond stereotypes, beyond idealization, to recognize the richness of the stories they tell. With superbly crafted prose, the authors document difficulties and challenges along with achievements and triumphs as they interpret the profound complexities of gender, race and class in the lives of African American women.

Good book about a great American. Lincoln's Admiral by James Duffy is more complete. ... Farragut was of Spanish ancestry not Latin American, or so called latino in today's political correctness. Let's not bend the facts of Farragut's ancestry solely to make Latinos feel more American. There are many "latinos" who have been war heroes, medal of Honor recipients. Latinos & Spanish Americans should be and I know are proud of the role they have played in this great country of ours , the USA.

This is a great book for students with limited English proficiency. The life of David Farragut is presented in Spanish on one page and English on the next. This not only helps these students learn English but gives them a book which they can read successfully. There is also the pride they recieve from learning about the contributions made by one of their own ethnic group. There should be many more books like this.

Have you ever heard of the Headless Horseman? Have you ever heard the stories about him and how he attacks people in the woods? Have you ever wondered whether or not the story is real?

Find out for yourself by reading Washington Irving's The Legend of Sleepy Hollow. I enjoyed reading this book and i think anyone who has a liking for mysterious legends and superstitions should read this book beacause of the interesting legend the town believes in. There are few characters to keep track of and the story is not hard to follow. The book is long but the reading goes quickly.

The story is set in the late 18th century in a town in New York called Sleepy Hollow. The town believes in a legend of a headless horseman who rides through the woods at night anf attacks people. The main character is a man named Ichabod Crane who is a schoolteacher from Connecticut. He moves to Sleepy Hollow in search of work and ends up going from home to home working as a tutor. One of his students is 18 year old Katrina Van Tassel who comes from a wealthy family. Ichabod gets the idea that he will try to marry Katrina in order to obtain the family's wealth. However, Katrina's boyrfriend Abraham "Brom Bones" Brut has other plans for Ichabod. As the tension rises, Ichabod continues trying to win Katrina until a breathtaking surprise appearance by the town's legend creates as mysterious an ending as they come.

The book has many strengths and few weaknesses. The author manages to create a mood in the book that keeps you always on th edge of your seat waiting for the legend of the Headless Horseman to come into play. The story is simple and easy to follow but is still very interesting. The characters are developed well and have personalities that you can understand and relate to. One such character is Brom Bones who is easily seen as an arrogant egotist. The only weakness of the book was one based on my personal opinion. The end of the story leaves too much to be concluded for my liking.

All in all, this book was a great story. The author wrote the characters in such a way that you had definite feelings towards each one of them. Also, the story line was definitely not without surprise. But if you want to discover what surprises I am talking about then I suggest you read The Legend of Sleepy Hollow.

Will Moses' illustrated retelling of Washington Irving's The Legend of Sleepy Hollow rivals Arthur Rackham's near century-old version as the best edition of the book ever published. The Rackham version, with its moody, archetypal illustrations, has the slight edge, as it contains Irving's full original text in addition to Rackham's spectacular artwork.

However, Moses's simplification of the narrative is masterfully executed, and the colorful, playful, and numerous paintings which adorn the book have a warm period charm of genuine Americana. Moses portrays the Hudson River Valley as a lush expansive valley not unlike the Garden of Eden on the first day of creation. Happy farmers, their wives and children, cows, geese, ducks and pigs frolic together amid fields of wheat and corn; galleons approach dramatically from the river; and the Catskill Mountains, sun, and sky suggested an infinite panorama and endless horizon full of promise.

The story tells us that the Dutch colonists were a superstitious lot, and that the Sleepy Hollow region itself was or seemed to be under a spell of some kind. The farmers and their wives suspected witchcraft; strange music was heard in the air; visions were seen; and the inhabitants themselves lived their lives in a kind of continuous dreamy revery. These tales and superstitions give rise to the legend of the headless horseman, said to be the ghost of a Hessian soldier who lost his head to a canon ball in the war, and now nightly prowling the region in search of it. Moses' nocturnal landscapes of the swamps, hills and the Old Dutch Cemetery under a bright harvest moon are particularly effective. Significantly, these stark, haunted landscapes do not violate the spirit of the book, but enrich its sense of wonder.

Moses' Ichabod is a cheerful but somewhat hapless fellow, confident and foolish in equal parts. His Katrina is a strong but innocent blond beauty, and a friend to children. Brom Bones is an appropriately square-shouldered, square-jawed hooligan, rowdy and full of mischief, if not absolute spite.

Anyone familiar with the tale knows that it is not a horror story but a folktale, a fireside spook story, and a 'legend' as Irving, writing here as Diedrich Knickerbocker, himself called it. This edition of the book is appropriate for children but is equally suitable for adults. Highly recommended.

"The Legend of Sleepy Hollow and Rip Van Winkle" brings together these two classic stories by Washington Irving. The text of this Dover Children's Thrift Classic is accompanied by the whimsical illustrations of Thea Kliros. Both tales are set in the Dutch-American communities of rural New York State.

"Legend" tells the story of Ichabod Crane, a schoolteacher who lives in an area purportedly haunted by a terrifying spectre: a headless horseman. "Rip" tells the story of a farmer who has a remarkable paranormal experience while wandering in the mountains.

Each story explores the intersection of the supernatural with everyday life. The stories are full of vividly drawn characters and are rich with the local color of rural Dutch American communities. Issues such as folk beliefs, geography, history and oral tradition are well handled by Irving.

Irving's playful, earthy prose style is a delight to read. Passages such as a description of a Dutch-American feast are memorable. Funny, ironic, and poignant, these tales are true classics by one of the most enduring figures in American literature.

I have trouble reading classic literature. I am an avid reader and I want to enjoy the classics, but just find it difficult to understand the meaning in some of the writing.

This, however, was a pleasant surprise. Although written in the early 1700s, the story itself was fairly easy to follow. Even towards the end, I began to see the underlying theme of the satire that Swift has been praised for in this work.

Being someone who reads primarily science fiction and fantasy novels, I thought this might be an opportunity to culture myself while also enjoying a good story. I was correct in my thinking. Even if you can't pick up on the satire, there is still a good classic fantasy story.

Essentially, the book details the travels of Lemuel Gulliver, who by several misfortunes, visits remote and unheard of lands. In each, Gulliver spends enough time to understand the language and culture of each of these land's inhabitants. He also details the difference in culture of his native England to the highest rulers of the visted nations. In his writing of these differences, he is able to show his dislike with the system of government of England. He does this by simply stating how things are in England and then uses the reaction of the strangers as outsiders looking in, showing their lack of respect for what Gulliver describes.

I found it very interesting to see that even as early as the 1700s there was a general dislike of government as well as lawyers.

I would recommend this book to anyone who reads the fantasy genre. Obviously, it's not an epic saga like so many most fantasy readers enjoy, but it's a nice break. I would also recommend this to high school students who are asked to pick a classic piece for a book report. It reads relatively quick and isn't as difficult to read as some of the others that I've tried to read.

Swift's classic satire of English and European governments, societies, and cultures should be required reading of every college student. (Except for those who appear to be in law school as is the earlier reviewer who referred to Swift as being an "18th century Unabomber." Swift may have been conservative in his beliefs and not cared much for individuals such as Robert Boyle, who is satirized in the book, but he was not violent. Perhaps our "law student/reviewer" is offended by Swift's biting satire of lawyers and politicians in part four.) The version I read was an annotated edition by Isaac Asimov and contained many passages that had been deleted by previous publishers. Asimov's comments enable the reader to more fully appreciate Swift's satire. In part one of the novel, a ship's surgeon, Lemuel Gulliver, is shipwreaked and finds himself on the island of Lilliput, the inhabitants all being only six inches high. This section is great satire of English politics and wars. Royal ponp, feuds amongst the populace, and wars are made to look rediculous. In the second part, Gulliver finds himself in Brobdingnag in which he is only six "inches" tall (relatively speaking). This part forms another satire of European governments. In part three, Gulliver visits the flying island of Laputa where shades of ancient scholars can be called up. This section is a satire on philosophers and scientists. Scientists are portrayed as men so wrapped up intheir speculations as to be totally useless in practical affairs. Absurd experiments are described (for example, extracting sunlight from cucumbers (but, extracting energy from cucumbers and other plants is no longer so absurd Jonathan)). Also described in this third part are the Struldbergs, men and women who are immortal but who turn out to be miserable and pitiable. In part four, Gulliver travels to the Land of the Houyhnhnms, horses with intelligence but who have no passion or emotion. The word "Yahoo" originates in this part. READ IT!

Gulliver's Travels is an excellent book. In it Swift satirizes what he thought were the foibles of his time, in politics, religion, science, and society. In Part One Lemuel Gulliver is shipwrecked on Lilliput where the inhabitants are only 6 inches tall. The rivalry between Britain and France is there satirized. In Part Two he is marooned on the subcontinent of Brobdingnag where the inhabitants are giants. The insignificance of many of mankind's achievements are there satirized. Next in Part Three Gulliver is taken aboard the floating island of Laputa, where Swift takes the opportunity to satirize medicine and science altogether - incredibly Swift did not make up the crazy experiments he describes; all were sponsored at one time or another by the Royal Society. Finally in Part Four Gulliver is marooned by mutineers on the island of the Houyhnhynms, in which Swift takes his parting shot at human society - presenting them in degraded form as the Yahoos. Most people read no further in the book than Brobdingnag - I urge you to read the rest.