Everyone knows Robert Louis Stevenson; everyone has at least one of the myriad books of his poetry. There are some stunningly illustrated collections of his poetry out now, notably two by Thomas Kincaide, among others. But how many of us have actually read all or most of his work? I'm guilty as charged.

This smaller, quieter version of Stevenson's poetry helped me finally, actually read all the Garden poetry. True, the illustrations are spare, but delightfully accurate. My children (7 and 10) were not as mesmerized by this book as they are by others with fanciful graphics, illustrations and larger type to accompany the poetry.

Still, this small book found its way into my purse to be used for waiting moments, e.g. at the orthodontist, doctor, and also to my bedside, where it's shear diminutive size did not dissuade me from reading "for only a minute or two." And within Stevenson's words and language lie the ferment of creative pictures. I liked to have my children close their eyes while I read short poems to 'force' them to use only their mind's eye.

I thoroughly enjoyed the adventures, moods, and images Stevenson conjures and at long last can understand why his poetry remains so classic.

When I was younger, well 5 actually, I had the chicken pox. This was one of my mom's favorite books. The words in the poetry just soothed me. It seemed like the author, Robert Louis Stevenson, knew exactly what I was going through.

You can't forget about the little toy soldiers (a poem) at your feet because when you are sick for days, you can imagine all kinds of things in your mind. The curtains billow like sails, the bedpost is your anchor. I sat there in bed and just floated away with the fun of having someone to share my illness. It seemed like a had a friend right there with me.

I loved the pictures too. The little kids are old fashioned and it made me laugh because the boys wore silly clothes, but they fit the time period, my mom said.

I love this book and keep it by my bed when I need to be relaxed.

Hayley Cohen

Most everyone knows that Robert Louis Stevenson was sickly, both as a child and as an adult, and the happy result for the reading public was his nearly feverish flights of imagination. Here, in an edition of his classic "A Child's Garden of Verses," that fever is complemented in spades by the fantastical illustrations of English artist Joanna Isles.

Isles uses an arsenal of utterly frivolous flowers, borders, insects, birds, kings and queens, fairies, and more to expand upon the imagination exhibited in Stevenson's poems. The children in these pictures are depicted as being in charge, being at one with their environment, and being delighted to be alive.

Some of the illustrations hint at the influence of artists more famed than Isles (Henri Rousseau appears to be a special favorite of hers--see the illustration for "The Unseen Playmate," in which a boy lies down in weeds that might have sprung from the edge of Rousseau's painting "The Dream"). Using both primary colors and pastels, Isles creates a world within the world of Stevenson's verse. The marriage of the two is a happy one.

I await new Bukowski books--and there seems to be no end of material from the John Martin vaults--with a special fervor, probably because he's just about ruined all other writers for me (only a few by Celine stand up). This one did not disappoint my high expectations, and is a special treat for its format: the only diary-style work Buk wrote. Humorous moments abound, but it does lack some of the edge of his best writing. At its worst, it almost goes into a kind of cranky Andy Rooney thing, but he rights the ship every time. Like his treatment of his later material success & international fame, Buk toys with the irony that he's doing something so precious & self-important as writing diary entries & is quick with the "they made me do it" excuse. Clearly, though, he has fun with the style &, really, it's quite suited to his work, which focuses on the mundane so much anyway (Buk never fails to mention whenever he takes a doo or pukes throughout his writing). The Crumb illustrations are perfect. What a match between writer & illustrator. Overall, it's not my first recommendation for a Bukowski neophyte (I'd choose "Factotum," "Ham on Rye," or "Play the Piano Drunk..."), but then again I recommend his entire output much more so than any one book.

Here, the old dragon has lost alot of his fire, but he still writes very pleasingly. I'm 45, and I can relate to the diminished feeling of these stories. I always read Bukowski for the black humor, and there's some funny stuff here. There's one bit about a guy at the racetrack who Bukowski calls "The Screamer", that's a real howler. And the R. Crumb illustration accompanying this anecdote complements it perfectly. All the illustrations are good. This a good, worthwhile book for Bukowsi fans.

If Bukowski has been meaningful to you, then this book is a fitting cap to the earlier pomes and novels. I find it gratifying to see the old man living and reflecting, and perhaps suffering a bit less.

As usual, Crumb's illustrations are the perfect complement. Nobody can visualize Buk like Crumb can.

Highly recommended after you've read already gotten to know Bukowski. I thoroughly enjoyed it.

This wasn't a bad book if you wanted to know about the history of sniping. The stories from real-life snipers read like a novel, and they were entertaining. However, if you want to know about the applications and tools of snipers, this book isn't worth it.

The art of sniping from the American Revolution to Korea then to Vietnam. The best of the best are portrayed in this easy to read novel. For all of those who have read Marine Sniper this is a must read. Snipers from Carlos Hathcock to Jim Land tell their story in this fast paced book. It is very informative and explains each situation and the art of sniping. It gets my seal of approval, and is a must read.

One shot one kill is a terrific book for those who enjoy reading the experiences of snipers from all parts of history.It gives amazing accounts from World War II and the Vietnam War among others.It's an especially good book because the authors have a huge base of knowledge on the subject and have an effective way of explaining the circumstances in which the snipers in this book preformed their duties.Again a terrific book that will make one appreciate the art of sniping.

While the Architectural Graphics Standards book is as good a reference as always, the enticement of a CD-Rom is a false promise. You have to purchase an unlock code to access the Rom. Said access code is available for a fee of $425.00. That wasn't disclosed before I purchased it.

The book is fine. ()It only contains standards from 1932.This book is not very usefull to anyone building to current standards.

A good reference book but of limited use, Its tables of materials is quit limited, especially sections dealing with steel,wood and concrete structural properties. The book tries to touch on all things at the expense of specificity in regards to basic materials and building techniques, The book would be fine for Architectural students but would be of limited use as a reference book for design. Severly over priced.

I had never read one of Dickens book before Nicholas Nickleby, though I had always wanted to. I particularly enjoyed this book because of Dicken's subtle sense of humor and colorful characters. It was easy to hate the villains such as Squeers or Ralph Nickleby, and laugh at the amusing chracters of Mr. Mantalini and John Brody(whom I found to be the funniest) Authenticity of personality and speech allows you to connect with the various chracters. Although he was probably the least complex, my favorite was Smike, the pitiful victim of the Yorkshire schools of the 1800s.
The one drawback was the size of this book. Dickens spent much time giving detail of many places and people (and did a good job of it), but we must draw the line somewhere. Just when one thinks enough words have been spent on one topic, it diverges into yet another irrevelant matter.
I'd recommend this book to almost anyone, unless you have a great fear of commitment. But the book has plenty of plot and satire to hold you to the end. I certainly was, but I don't think my librarian would believe me.

Nicholas Nickleby is a marvelous novel. It is the young Dickens at his best. I almost feel guilty for giving it four stars, but giving it five would be unfair, I think, because his later works, such as Great Expectations, are bettter. The novel is written enthusiastically and contains some of Dickens' best humor. I especially found funny the character Mr.Lillyvick, the revered and dignified water clerk. And I will never forget Ralph Nickleby. Mr.Squeers and Arthur Gride were detestable and colorful villains, but they pale before Ralph Nickleby. He is such a cold and heartless character that he steals nearly every scene he is in. He has a certain magnetism that most of Dickens' good characters lack. And his suicide at the novel's end is so perfectly written that I read over it several times before I finished the novel. My only problem with the book was Nicholas's lack of psychology, but let us remember that this was written by a young man, not the mature artist of Great Expectations and Our Mutual Friend. The novel's strengths easily make up for its weaknesses. Nicholas Nickleby will be enjoyed by fans of Dickens and all other readers for centuries to come.

"Nicholas Nickleby" is one of the best works of Charles Dickens overall. This novel is about the brave adventures of Nicholas, his sister Kate and their mother. The story begins at about the time Nicholas's father dies and the family has to encounter the struggle of life with no imminent prospects of fortune. At this time they make an appeal to the brother of Nicholas's father, Mr.Ralph Nickleby. From this point on, the parallel developments of the honest Nickleby family and their villanous uncle begin to unfold. With many twists and turns the story is as captivating as any of the author's best books. The tale is characteristically filled with the Dickinsian people such as Mr.Vincent Crummles and his family, in particular the "phenomenon", Arthur Gride, Newman Noggs and others. Overall, this book is a pleasure to read and I recommend it to anyone who is interested in good story-telling.

Almost as good as Bleak House. Two shortcomings, though. One, the poetry of the language never reaches the same heights. Dickens just doesn't seem as inspired here, and there are moments when he even seems tired and to be suffering from the same disappointment his characters complain of. Two, the mystery theme is pushed to the background and is lame in comparison. Otherwise, the structure is excellent, weaving the themes of the Circumlocution Office and self-imprisonment relatively seamlessly through the story.

One reviewer here has commented that "Little Dorrit" is not without Dickens' trademark humor, and, with one qualification, I would agree. Mr F's Aunt, Mrs Plornish, and Edmund Sparkler in particular are all quite funny. Characters like William Dorrit and Flora Finching, however, who would have been funny in earlier books (eg, Wilkins Micawber and Dora Spenlow in "David Copperfield" it can be argued, are younger - and more romantic - versions of Dorrit and Flora) are only pathetic in this one. It is a sign of the change in Dickens that he can no longer see the lighter side of these characters.

BTW, there is another little joke for those versed in Victorian Lit. The comedic couple Edmond Sparkler and Fanny Dorrit are a play on an earlier couple, Edmond Bertram and Fanny Price in Jane Austen's "Mansfield Park". The joke is that Dickens has taken the names and inverted the characters. Fanny Dorrit couldn't be more different than Fanny Price, and likewise Edmond Sparkler and Edmond Bertram. I'm sure this is not an accident. Dickens had a thing for the name Fanny, using it for two of his less appealing "temptresses", Fanny Squeers (in "Nicholas Nickleby") and of course Fanny Dorrit. Funny stuff.

And speaking of Fanny Dorrit, I have one last comment. It is often said of Dickens that he couldn't create good female characters. This puts me in mind of Chesterton who related a similar complaint made by Dickens' male contemporaries that he couldn't describe a gentleman. As Chesterton deftly pointed out, however, what these gentlemen really meant was that Dickens couldn't (or wouldn't) describe gentlemen as they wished themselves to be described. Rather, Dickens described gentlemen as they actually appeared. I might say the same thing about the women who complain about Dickens' female characters. It's not so much that Dickens couldn't (or wouldn't) describe good female characters. Rather, it's that the kinds of characters he did describe aren't the ones the complanaints wish to see. Women praise the Elizabeth Bennetts of the book-world not because the real world is full of Liz Bennetts (it's not), but because that's the way they themselves wish to be seen. Truth is, however, there are far more Fanny Dorrits and Flora Finchings and Dora Spenlows than there are Liz Bennetts. The women who complain of these characters, though, would rather ignore this unflattering little fact. Whatever. The truth will out, and there's far too much truth in Dickens characters to be so lightly dismissed.

4 1/2 stars

Do we still have the time and patience to read a 900 page Dickens novel? Are we willing to put up with the long-winded paragraphs, the "cardboard characters", the convoluted mysteries of 19th century fiction? Rags-to-riches stories may not command as much attention today as they did then - until we read how gullible people are lured into shady investment schemes, how greed spreads like an epidemic, creating stock market bubbles followed by collapse and ruin; then we realize that not much has changed after all. Sudden wealth brings out the worst in people: pretentiousness, social climbing, dissipation. The Dorrit family, set free from Debtor's Prison by an unexpected inheritance, behave just as the newly rich behave today - all except Amy ("Little Dorrit") who is not cowed by poverty nor blinded by riches.

The novel is about all sorts of imprisonment: physical, mental, spiritual. It's almost like a morality play, with stock characters who might as well be wearing signs proclaiming GREED, ENVY, PRIDE, WRATH, etc. People trapped in loveless marriages, indifferent jobs, money-grubbing schemes or self-righteous posturing are victims of the "mind-forged manacles" evoked by Blake. The social criticism may be dated, but the commentary on human nature surely is not.

For those who lack the stamina to plough through the entire novel, there is an excellent 4-part video version with Alec Guiness as Mr.Dorrit and Derek Jacobi as Arthur Clennam. It takes some liberties with the text, but the acting is superb.

As an afterthought, you might enjoy reading Evelyn Waugh's "A Handful of Dust", where the theme of entrapment is pursued in unexpected ways, culminating in a reading of "Little Dorrit".

Dickens' last novels (with the exception of the unfinished EDWIN DROOD) really form a group all to themselves: exceptionally concerned with the excesses of social institutions and the cruelties of high society, they in some ways read more like Trollope and Thackeray than they do Dickens' own earlier works, although they retain Dickens's fine gift for character and bite. LITTLE DORRIT is proabbly my favorite of the later works: its multiple stories are extremely gripping, and his satire at its sharpest and most necessary. Many people say these later novels are not as funny as his earlier works, but DORRIT is to me an exception: there are few funnier (or more dear) characters in Dickens' repertoire than the breathless, kindhearted Flora Finching, and I find myself almost helpless with laughter whenever Flora's senile and hostile charge, Mr F's Aunt, makes her perfectly doled-out appearances in these pages. (Arguably the funniest scene Dickens ever wrote is the scene with this "most excellent woman" and Arthur Clennam and the crust of bread). This is a great Dickens novel even for people who tend not to like Dickens (and yes, there are some of them, as hard as that may be for the rest of us to believe).

This is an excellent book detailing the theory of operation, troubleshooting, and maintenance of Bosch fuel injection systems. It covers in great detail all models of the Bosch systems. The modifing and tuning chapter is a bit lacking, though. It gives you some ideas about how to modify the system, but doesn't go into very much detail. The part I was most looking forward to reading about was recalibrating the air flow meter. The book only had three paragraphs on recalibration and didn't even touch on how to do it. Oh well, there is always the internet...

This book covers both electronic and manual fuel injection. It gives a general explanation of how each type works with a more detailed description of each type later in the book. There are trouble-shooting guides and testing techniques are included. My only two criticisms of this book are: The trouble-shooting guides are not as comprehensive as they could be. The chapter on tuning basically tells you not to bother and includes very few useful tips. Unless you are interested in the performance tuning of your fuel injection system this is an excellent book and well worth owning.

Great layman's description of how the various Bosch systems work. It helped me understand the hows and whys of my little BMW. I got this car for free because it had been repossessed twice, probably due to the problem we solved with help from this book. I agree with another reviewer, though, who complained about how the book promised high performance information, but delivered very little. In fact, none was relevant to my system. I would still recommend the book to anyone who has a Bosch fuel injection system, though.

This book, by the editors of the Washington Post, does a good job of describing the events which led to the deadlocked 2000 Presidential election. In addition to detailing the paths which led to the deadlock, the book discusses all the post-election issues in a very readable format. Surprisingly, the books editors seem only slightly tilted towards Gore (especially considering it is the Washington Post, which is noted for its liberal bias), so no matter who you voted for, there is much to be found here for anyone with an interest in contemporary politics.

Two things struck me while reading this book, the first is that I doubt there is a book out there that is truly balanced and not somewhat biased. The second thing was that Gore really got the shaft, not so much by the recount wars, but by the election official that came up with the Butterfly Ballot. In the history of the USA this decision ranks up there with new Coke and the XFL, what a mistake. As far as the reporting in the book it was not bad for a review of all the articles they had in the paper, but it did not really dig into the particular issues very deeply. I wanted more detail and behind the scenes with both the candidates. I also wanted more details on the court cases; I felt like the sky-high overview of the issues of the cases did not do such an important issue justice.

In reading the book I think a little bit of a democratic bias comes out, just a little, but enough to notice. I also thought it interesting that they had far more details of the Gore group then the Bush camp, it follows the perception that the Post is somewhat liberal in its views. The book is an overview that came out almost 10 minutes after Gore hung up the phone on the second concession call so there are a few more details out now that they did not get in the book. Overall it is a good effort and a readable book, but not the end all be all on the subject.

This book recounts the nation's closest election with fascinating detail. The authors' genuine style of storyweaving lends the impression that the fly on the wall must have had a Washington Post tape-recorder implanted in it's wing. Deadlock was not at all like re-reading the same old newspaper articles again; this book casts a fresh look at the dramatic strategy game that took place in Florida. I enjoyed it as a self-professed political junkie and my husband found it equally readable as a historical account of remarkable events.

I found this book in a church Library and fell in love with it. the more I read the more I realize Short's Excelent perception on human nature and Christianity. I was especially fond of the titles of the chapters including: "The Wages of Sin is "Aaaughh"", and "Good Grief". These Titles and the titles of the book however are going to be offencive to some Fundimentalist Christians. That is a shame because if they read this book they would see how good of an evangelical tool it could be. I hope anyone struggling with their own faith could read this book. It really Pokes fun at human nature.

It is, surely, a matter of basic courtesy to an author to read his or her book before reviewing it. The pseudonymous "lexo-2" (see below, six reviews down) knows his Peanuts and his Preachers, and his verdict on Short is "Wrong, wrong, wrong." Well, six months after reading that review I have at last got around to finishing my used-bookstore copy of "The Gospel," and I find myself feeling so annoyed that I simply must respond.

"Whether or not Schulz is a devout Christian I could not say," writes lexo-2. If he had taken the trouble to actually read Short's book, however, he would have found numerous quotations from Schulz himself concerning his religious views. Speaking of a Bible-study group he attended shortly after his return from the Second World War, Schulz says, "The more I thought about it during those study times, the more I realized that I really loved God" (quoted on p. 70). Or again, "I don't even like the expression 'take communion.' You cannot 'take' communion. You are a part of the communion. You are communing with Christ; you are a part of the community of saints" (p. 80). The rhetoric, complete with its anti-Catholic bias against the notion of "taking" communion, is clearly that of a born-again evangelical (in Schulz's case, Church of God). And lest there be any doubt of Schulz's authorial intentions, he is quoted in the very first chapter as saying, "I have a message that I want to present, but I would rather bend a little to put over a point than to have the whole strip dropped because it is too obvious. As a result . . . all sorts of people in religious work have written to thank me for preaching in my own way through the strips. That is one of the things that keeps me going" (p. 20).

Schulz was worried about being too obvious. Clearly he wasn't obvious enough.

Short's book is cogent and well argued; it certainly is not a collection of "homilies." Contrary to what lexo-2 implies, Short does not ignore the darker side of the Peanuts world. Indeed, of lexo- 2's "three phrases," Short uses two or them in chapter titles: "The Wages of Sin Is 'Aaaugh!'" and "Good Grief!" Good grief! Read before you review!

Yes, lexo-2 is quite right that the world of Peanuts is a "sunlit hell, in which the characters never grow, never change, etc." Where he goes wrong is in assuming that Short--a Ph.D. in literature and theology, a man who had taken the trouble to study the cartoon in depth and even write a book about it--couldn't see that for himself. Wrong, wrong, wrong. Short's whole point is that we all live in a "sunlit hell," suffering "unimaginable fears" and "wreaking appalling cruelties on each other," and that we will never escape that hell unless we can find . . . (you guessed it!) the saving grace of Jesus Christ. The salvationist message does not come across too strongly in the cartoon (Schulz did not want to be "obvious") but it just as surely is there, between the lines, in the occasional epiphanies of love and reconciliation that illuminate the otherwise bleak moral landscape of Peanutopia.

You can agree or disagree with the Short-Schulz analysis of the human predicament. Personally, I disagree strongly. But in a world in which evangelical and fundamentalist Christianity have so much influence and power, it simply will not do to be idly dismissive. Indeed, I particularly recommend Short's book to freethinkers of every stripe, if only that they may remind themselves just how subtle and persuasive evangelical discourse can be. There is more, much more, to Short's little book than "pious ramblings" and that is precisely what makes it, depending on your point of view, so inspiring or so insidious.

This is the first book of theology that I ever read - and what a great introduction to theology! Short pulls out the theology of love and grace, the very human-ness of Christian faith (rightly understood), from the cartoon Peanuts, written by the unique Charles Schultz. This is actually the best introduction to real Christian theology that is available. Tillich, Kierkegaard, Niebuhr, Luther, Kafka, T. S. Eliot, and Karl Barth are only of the people you'll encounter in this splendid summary of essential Christian thought. I have valued this book for years, from when I first read it in high school to when I gave it as a gift to a lay minister in the diocese that I serve when I was consecrated as a bishop. Of all the dull and boring books of theology out there, this one is fun, and one of the best ever!

You know, it used to be that historians would content themselves with wandering into the university or national library to idly pore over musty and ancient tomes and monographs, and that this would constitute the bulk of their research. These days, though, historians are a hardier breed, and they like to race excitedly across the countryside, getting a firsthand glimpse at historical sites and badgering old codgers for oral accounts.

David Roberts is of this latter breed, and it shows in his work. Evidently, he is a mountaineer of some accomplishment: he co-wrote one book with Conrad Anker, who was on the expedition that found Mallory's body on Everest, and yet another with Jon Krakauer of "Into Thin Air" fame. So he was not one to merely read about the exploits of Fremont and Carson; he decided to personally travel in their footsteps, across plain and desert and mountain. Consequently, his book is informed by his own knowledge of travel conditions in the West and his assessment of the various camp sites and surrounding terrain. He has visited most of the key locations and knowledgeably discusses their current conditions.

As for archival material and existing biographies of the duo, Roberts is not at all shy about repeatedly proclaiming his opinions of their merits. Many previous works on Fremont and Carson are dismissed as being factually flawed, overly Freudian, or hopelessly biased. Unlike some previous authors in this field, Roberts was able to draw upon the long-lost secret diaries of Charles Preuss, who accompanied Fremont on his first, second, and fourth expeditions. The Preuss material is an invaluable corrective to the self-serving official histories penned jointly by Fremont and his wife Jessie, and the documents cast Fremont in a far worse light.

Roberts is also sensitive to the Native American side of the story, and goes to considerable lengths to discuss the involvement of Fremont and particularly of Carson in Indian affairs. This might not sit well with readers who uncritically buy into the "Manifest Destiny" school of thought.

On the whole, Carson comes off rather well in this account, as Roberts strives to shift popular opinion away from the revisionist view of the scout as a savage and barbaric Indian killer. Fremont, however, gets relentlessly mauled, and based on the surviving independent accounts of his fourth expedition, rightfully so. His historical accomplishments may have been significant (not so much for original discoveries as for the popularization of westward expansion), but he seems to have been very much lacking as a man.

This is a boldly written and robust survey of the accomplishments of Carson and Fremont, and it definitely has a lot to recommend it. Readers of exploration literature or of the American West will want to pick it up.

I'm beginning to think that one of Dave Roberts' favorite pastimes is debunking, or at the very least shedding new light on, old myths. He did a bang up job in "Great Exploration Hoaxes," and continues here with his examination of John Charles Fremont and Kit Carson.

Fremont, (in case you were like me and had no idea who he was), was a surveyor and leader of 5 expeditions into the west. His fame was due mostly to the fact that he was in the right place at the right time. He also had an industrious, wordsmith for a wife who turned his reports into interesting accounts of his journeys. These, when published, were instantly popular with a public that was just beginning to catch the Wild West Fever.

Nicknamed "The Pathfinder," Fremont actually did very little original exploring. Instead he followed the trails pioneered by the early mountain men who had crisscrossed the western frontier in search of beaver. Fremont's guide on these expeditions was Kit Carson.

Frankly, Kit Carson is by far the more interesting of the two men, and Roberts does a good job of reconstructing a personality which was by nature very private. His job was complicated by the fact that Carson was illiterate and disliked being in the limelight. Nevertheless his actions, which were recorded by many (including Fremont) speak eloquently about the man. This is a fascinating read for anyone who enjoys redisovering history through the eyes of a talented writer.

Somewhere in the American psyche there must be a special place for mildering heroes-those who have't quite turned to dust from complete neglect, kept alive by the constant refocusing of the distorting lens of time and history. John C. Fremont and Kit Carson are prominant among the inhabitants of that place. David Roberts has written a remarkable book that examines these two flawed men who were great American heroes at one time. This is good because both men are too fascinating to be left behind.Kit Carson is examined as the Indian Killer (a perfectly acceptable occupation in 1870) turned advocate(a perfectly acceptable occupation in 2000). Fremont, "The Pathfinder"'s is examined for its brillance-he more than anyone else made manifest destiny possible with the mapping of trails west but popular through his avidly read (but probably written by his wife, Jessie)accounts of his expeditions. Fremont and Kit Carson had a symbiotic relationship on their way to fame. The one time Fremont tried to mount an expedition without Kit Carson as his guide makes for one of the most graphic chapters in this book. Stuck in the mountains in the snow several men die, some resort to cannibalism. This contains well researched information,because Fremont himself convieniently decided not to write a book about that crossing. It might have made the 1856 presidential campaign more raucus than it was(The Pathfinder as the Cannibal Candidate?) A fascinating look at these men, this book was read in a day, and now goes into my reference library. I know I will go back to it often.