Broadbent's book falsifies the notion that until the reformation, the church was simply one big happy family with no troubles. Far from that, Broadbent shows that there have always been individuals and groups who strove for a biblical basis for their faith and practice. Often they were persecuted or maligned, sometimes killed, but the record stands. The book is an exciting account of these people, and one which every christian should read.

I read this book to learn more about the 'other side' of church history...where the heretics weren't really heretics at all--just labeled that way by those who did not agree with them. Similar to how the media works today. I got that history plus a lot more.
It was so interesting to see how so many ideas that seem new today have been lived out over and over through the centuries. Issues in christianity that are controversial today are nothing new. The nice part is that by reading the history one can see how choices worked out repeatedly and consistently through the centuries. As you would pray about what the Lord would have you to do read the book and maybe save yourself some effort and heartache--see how it worked out for others first!

I would recommend this book to anyone who is interested in Church History. This is one of the foremost authority in Church History along with Phillip Schaf's work. The book looks at church history from the viewpoint of the "underground" Church throughout the last 2000 years up to the early 1920's (Thus it doesn't include Watchman Nee's local churches in China which arose in the early 1920's and 1930's.) This in contrast to the history of the organised Church (ie the Catholic Church, Church of England etc..)
It is well worth having on your bookshelf (after reading it of course).

With a thorough knowledge of his material, Edmund Jones writes an authentic story of action and suspense. His main character is Mike Fisher, in whom readers see, as does his brother, Alan, "a basic goodness... and honesty that's refreshing." We are taken inside his world as an Air Force fighter pilot, from his training in Charleston through his missions in Vietnam. His political involvement through the 60's to his becoming a U.S. Senator is chronicled with a fine eye for descriptive detail and historical accuracy. I am proud to have Mr. Jones' book in my library.

Although not a flyer myself I was completely captured by the flight descriptions in this book. From sailplanes to near supersonic jets and on to low flying jungle runs in Vietnam, this writer captures it all. I was sorry to see it end and hope that the author has more to come in the same vein.

As an eight-year-old boy Mike Fisher watched B-25's practice bombing runs near his home in South Carolina and dreamed of being a fighter pilot. The reality, however, didn't come easy.

From the straightforward perspective of one who knows the intimate aspects of a pilot's life, Mr. Jones shares with us the life of Mike Fisher. From a childhood protecting his blind brother Alan, to his first flight in a sailplane, and at nineteen his marriage to Carol, who is pregnant with their daughter Becky, we continue to follow Mike through college, Air Defense School in Georgia, and on to the 888th Fighter Intercept Squadron in South Carolina during which time Mike has to deal with the loss of two friends in flying accidents, his wife's affair with another pilot and the disintegration of his marriage.

Mike's tour of duty in Vietnam is cut short when his plane is shot down, he's injured and Jack, his co-pilot and best friend, dies in his arms. He's forced to leave Jack behind and find his way to safety, an action that will surface many years later in a terrible twist of fate.

After his discharge Mike settles in a tumultuous 1965 Berkeley, passes the California Bar, marries Jack's widow, and in 1992 fights a difficult battle for re-election to his seat in the United States Senate.

PUG 66 is the story of a boy who grows to manhood believing in being the best he can and, despite sometimes overwhelming odds, manages to keep his values intact. It is a work of determination, courage, and above all love, of family, friends, and country. I recommend this book to anyone that wants an insightful exploration into the life of a true American.

The author makes a simple and readable, but provocative and compelling, explication of the modern mechanism of wealth creation. Dr. Edmunds' great breadth of experience with the economies of First and Third World countries enriches his analysis and raises it above the purely theoretical. Read this book and contemplate its ramifications for the wealth of nations.

The author eloquently brings together forces that shape today's equity markets; and in an easy to understand way discusses the how's and why's of value creation through ownership of financial assets and how this has affected the population at large. Definitely add to your reading list if you're curious about economics, finance, political policies, world markets, production, how value creation leads to wealth creation through ownership of financial assets.

lays out the mechanics of financial wealth creation piece by piece, with simple examples, showing how the enormous pile of paper wealth has been created, and how it keeps growing so fast. Crisp and elegant prose; the erudite author grabs your attention and demands your respect

Dr. Goldenberg's experiences and feelings are conveyed with clarity and emotion. This slim affected me more powerfully than some other Holocaust memoirs I have read - not because it is any more horrifying than other accounts, but because of the way Dr. Goldenberg was able to survive, and surmount so much in the end. I was also struck by the frankness with which he writes of the unendurable. Perhaps most moving of all, however, is the transcript of his remarks to his family in 1985, found at the end of his book - a reminder of why we must never allow the Holocaust to be forgotten. Besides adults, this would be an excellent book for adolescents, or anyone learning about the Holocaust, to read.

I read this book before it ever hit the shelves. This book was written by my Grandfather- in fact it was written for my family so we understood what it was like. Grandpa is a wonderful man- and this book- even if it wasn't written by family, was powerful, because it relived a horrible time. If you have any intrest in teh holocaust- this is a read you really don't want to miss.

This book was written by my father, and I have seen the trauma of his life during these years all through my growing up. Reading about his life during the war helped me to understand more about what made him the person he is today.

This graphic representation will not be for everyone but it is definitely worth a read for those interested in personal observations and experiences of the Holocaust

The title of this Gervase Fen mystery is dredged from English folklore: "Buried on Monday, buried for health, /Buried on Tuesday, buried for wealth; /Buried on Wednesday, buried at leisure, /Buried on Thursday, buried for pleasure; /Buried on Friday, buried for fun, /Buried on Saturday, buried at one; /Buried on Sunday after eleven, /You get the priest and you go to heaven."

A more macabre folk jingle than, say "Monday's child is fair of face..." but appropriate for a murder mystery that our detective-don solves while standing for Parliament in rural England.

Along with the eccentric detective Gervase Fen, Professor of English Language and Literature in the University of Oxford, Edmund Crispin also features one of his eccentric animals in "Buried for Pleasure." This time it is a 'non-doing' pig that falls in love with the village's pub manager.

The plot also works in that most obvious of red herrings: an escaped lunatic who believes himself to be President Woodrow Wilson. His normal mode of dress is a pince nez, and he must be the only lunatic in literature who declares, as he is captured and led away, "I warn you that if my Fourteen Points are not adopted, Western Europe will be at war again within a decade." Since "Buried for Pleasure" takes place in 1949, his prophecy was correct, although tardy.

We never do find out exactly why Fen is standing for Parliament. One of the other characters challenges him to explain his motives:

"'Well, what on earth...I mean, why are you standing for Parliament? What put the idea into your head?'

"Even to himself Fen's actions were sometimes unaccountable, and he could think of no very convincing reply.

"'It is my wish,' he said sanctimoniously, 'to serve the community.'

"The girl eyed him dubiously.

"'Or at least," he amended, 'that is one of my motives. Besides, I felt I was getting far too restricted in my interests. Have you ever produced a definitive edition of Langland?'

"'Of course not,' she said crossly.

"'I have. I've just finished producing one. It has ...psychological effects. You begin to wonder if you're mad. And the only remedy for that is a complete change of occupation.'"

Read this book not so much for the mystery, but for Fen's final campaign speech when he decides that he doesn't want to get elected after all.

As for the mystery, Crispin ties all of his loose ends together in a climactic automobile chase that involves the lunatic who thinks he's President Wilson, the Cockney pub manager and her non-doing pig, the murderer, a candidate for Parliament, and the rector who is plagued by a poltergeist.

And the poltergeist.

"Buried for Pleasure" is vintage Crispin.

For my money, this hilarious book is the best mystery by Crispin, better even than the (also wonderful) Moving Toyshop. Literate, intriguing, and funny. The book has a mood and flow that really comes together, with never a false note. Scene after scene hits the mark, with high points including the testimony of the "mullocking" couple, Fen's speech to his political meeting, and the memorable and mellow final scene. They don't write books like this anymore. Highly recommended.

All of Edmund Cripsin's mysteries featuring Oxford don Gervase Fen are hilarious. THE MOVING TOYSHOP is the only one commonly found in bookstores and is (rightly) considered a classic of the genre. However, for my money, BURIED FOR PLEASURE is the best of the Fen mysteries. It's certainly the funniest, with priceless bits including one of literature's best hauntings and a most memorable pig.

Gervase Fen's non-campaign for parliament isn't just insanely funny--it also includes some very intelligent insight into the political process, and reminds us that a great deal of good sense underlies a comic approach to many things. This is one of the best detective novels ever written.

Of Edmund White's novels, Caracole may be the most accessible to the reading public at large. It has a clear and impressive plot and a set of characters as arresting as Dickens'. But as in every White novel, the words and the images they create are foremost.

The author deserves the reader's closest attention. White is the consummate master of language. Much of the imagery is exotic, dreamlike and even nightmarish. Every sense is evoked with startling specificity. You need no cyber-gadgets to experience virtual reality if you absorb this book and let it unfold in your imagination.

White commands the broad range of moods, shifting them with disturbing abruptness or lingering within one to delve into its deepest recesses. Most strikingly conveyed are the wonders, terrors, mysteries and curiosities of youth, the overpowering initiations of body and mind that shatter the realm of childhood. White invents a vocabulary for the inarticulate that is all the more powerful for its metaphorical exactness.

Unlike White's other novels, Caracole is not a first-person narrative. By using the omniscient third person, White is able to probe deeper into the interiors of his characters. This device also allows him more scope for apt epigrammatic observations, particularly about youth, middle age and the relations across that divide.

Those who appreciate the power of the word should experience Caracole and indeed all of White's novels.

It has taken me two months to read Caracole. It deserves every minute. The book deserves the reader¹s closest attention. White is the consummate master of language. Much of the imagery is exotic, dreamlike and even nightmarish. Every sense is evoked with startling specificity. You need no cyber-gadgets to experience virtual reality if you absorb this book and let it unfold in your imagination.Of Edmund White¹s novels, Caracole may be the most accessible to the reading public at large. It has a clear and impressive plot and a set of characters as arresting as Dickens¹. But as in every White novel, the words and the images they create are foremost. The language is hypnotic in its power. White commands the broad range of moods, shifting them with disturbing abruptness or lingering within one to delve into its deepest recesses. Most strikingly conveyed are the wonders, terrors, mysteries and curiosities of youth, the overpowering initiations of body and mind that shatter the realm of childhood. White invents a vocabulary for the inarticulate that is all the more powerful for its metaphorical exactness.Unlike White¹s other novels, Caracole is not a first-person narrative. By using the omniscient third person, White is able to probe deeper into the interiors of his characters. This device also allows him more scope for apt epigrammatic observations, particularly about youth, middle age and the relations across that divide. Caracole has been called White¹s "cross-over" novel. The characters are heterosexual and the plot evolves in large part out of the consequences of their appetites. White describes the female body and the male and female experience as exquisitely as any writer of his stature. Reading Caracole after having read The Farewell Symphony, the last novel of his autobiographical trilogy, however, gives one an entirely different perspective. Some situations and characterizations are virtually identical in each novel though appropriately translated in time, place and gender. This juxtaposition enhances Caracole¹s intrinsic humor and correspondingly deepens its pathos. It also underscores our common humanity, regardless of our orientations.Those who appreciate the power of the word should experience Caracole and try all of Edmund White¹s novels.

Of Edmund White1s novels, Caracole may be the most accessible to the reading public at large. It has a clear and impressive plot and a set of characters as arresting as Dickens. But as in every White novel, the words and the images they create are foremost. I cannot do better than to quote Cynthia Ozick in calling his technique "seduction through language." It has taken me two months to read Caracole. It deserves every minute. The author deserves the reader's closest attention. White is the consummate master of language. Much of the imagery is exotic, dreamlike and even nightmarish. Every sense is evoked with startling specificity. You need no cyber-gadgets to experience virtual reality if you absorb this book and let it unfold in your imagination.White commands the broad range of moods, shifting them with disturbing abruptness or lingering within one to delve into its deepest recesses. Most strikingly conveyed are the wonders, terrors, mysteries and curiosities of youth, the overpowering initiations of body and mind that shatter the realm of childhood. White invents a vocabulary for the inarticulate that is all the more powerful for its metaphorical exactness.Unlike White's other novels, Caracole is not a first-person narrative. By using the omniscient third person, White is able to probe deeper into the interiors of his characters. This device also allows him more scope for apt epigrammatic observations, particularly about youth, middle age and the relations across that divide. Caracole has been called White's "cross-over" novel. The characters are heterosexual and the plot evolves in large part out of the consequences of their appetites. White describes the female body and the male and female experience of straight sex as exquisitely as any writer of his stature. Reading Caracole after having read The Farewell Symphony, the last novel of his autobiographical trilogy, however, gives one a different perspective. Some situations and characterizations are virtually identical in each novel though appropriately translated in time, place and gender. This juxtaposition enhances Caracole's intrinsic humor and correspondingly deepens its pathos. It also underscores our common humanity, regardless of our sexual orientations.I have had the intoxicating adventure of reading all of Edmund White's novels in the past twelve months. (My next stop is his collection of essays and interviews, The Burning Library).Those who appreciate the power of the word should experience Caracole and indeed all of White's novels.

Although the outcome is known, there is much to be gained from reading this book.

Apart from the specific history of the climb which 'conquered' Everest (a much-used but dubious claim about one of the great feats of human endeavour, and one not used by those involved), I was particularly interested in several aspects:

* The description of the expedition took place, the mechanics of it from someone outside the actual expedition;
* The non-mountaineer's view of mountain-climbing and experiences in the Khumbu ice-fall and Western Cwm especially. This was the experience many an armchair-Everesteer would wish for themselves, I am sure;
* The journalist's view of the people involved - all the other accounts I have read have been written from the point of view of being 'insiders' in the ecpedition - Hunt, Hillary, Tenzing, for example
* The mechanics of how Morris set up 'exclusive' media coverage from the mountain! It is amazing to think that it was a mere 50 years ago that messages were taking 8 days to reach London, when nowadays we hear live radio broadcasts of people dying in snowstorms, have immediate Internet access to expedition journals etc.

Thoroughly recommended for anyone with any interest at all in the subject.

This slim volume details the trip of London Times journalist Jan Morris with the 1953 British Everest Expedition. It provides interesting and unique first-hand accounts of Hillary, Tenzing, and other expedition personnel, as well as beautifully written descriptions of the landscape and persons encountered on the expedition. It is written in the style of its day - English "Public School" in tone - and reflects a love and command of the English language all too lacking in today's expedition accounts.

The account flows easily and draws the reader along with the expedition. Despite knowing the outcome, the reader is kept interested by the tone and language, and by the behind-the-scenes looks at how this mammoth effort came together, and its ultimate effect on those on the mountain and those back home in England. For example, as the book opens on the eve of Elizabeth II's Coronation, we see Field Marshal Montgomery reading the Time's account of Hillary and Tenzing's triumph as he waits in robes to process in the Coronation parade. Small asides such as this give the book its unique flavor, and make it an interesting and invaluable addition to the armchair (or actual) mountaineer's collection

This is a wonderfully written book of the events surrounding the historic Everest expedition of 1953 which saw Edmund Hillary and Tenzing Norgay summit Mount Everest. It was written by special correspondent for The London Times, James Morris, who accompanied the expedition and first broke the news to the world of the successful summit. The news fortuitously reached England on the eve of Queen Elizabeth's the II coronation of June 2, 1953, and was the cause for much nationalistic pride. Hence, the name of the book.

The book is reflective of the time in which it was written and evokes a feeling of an era long gone. Therein lies its charm. Nostalgia buffs will love it, as will those readers looking to consume anything about Everest. It will not disappoint, though the book is not about the climb to the summit in the strictest sense. The book chronicles in great detail the author's journey to Everest, as well as his personal experiences and observations while at Everest, waiting to break the story of the end result of the historic climb to the summit. It also chronicles the cloak and dagger methodology which he employed in order maintain exclusivity for The London Times.

It should be noted in the interest of clarity and to avoid confusion, that times do indeed change. The author, James Morris, underwent a gender change subsequent to the original 1958 publication of this book. When the book was released again, however, the publisher did so under the name which the author had since adopted, Jan Morris. James or Jan, the author is a hell of a writer, and the book is well worth reading.

Here is where Ginsberg's brilliance is perhaps best shown. In conversation, he revealed his passion and sharpness for all topics. His "poems" should probably not be called poems, but instead exercises in poetic freedom, which is ultimately a futile task, especially when approached for the mere sake of asserting more freedom. One is baffled at the mere badness of his poems, which are not in the Whitmanian vane at all, but in the vane of bloated mounds of words. Nonetheless, Ginsberg, the "excitable visionary Jewish Budhist," is beautifully and swiftly rendered in these interviews.

i am a ginsberg fan and so i am biased but this book of interviews is really an enjoyable read. sure some of the interviews are dated but they really show the great intuitive thinker and off the cuff debater the allen ginsberg really was.
especially fun is his debate with john lofton who attempts to bury ginsberg in his born-again brand of conservativism. also fun is allen's transcripts from the chicago seven trial. i actually found this a hoot.
also his discussion on poetics is quite enlightening.
we miss you allen; your shining mind, intelligent wit and your shaman boddisattvic spirit

David Carter edits this compilation of selected interviews with Allen Ginsburg from 1958-96, providing a chronological arrangement of material which in some cases has not appeared elsewhere. The extensive interviews from decades of changing experience result in an excellent survey of Ginsberg's changing life, works and times, and provides a fine commentary on his social and literary life.

I noticed that the writing on the front flap of the book jacket claimed that the images are large format panographs. After taking a close look at the first few images on pages 1-10, I came to the conclusion that these are panographs taken in 135 format not the medium format of the 120 or 220 types. Everton's notes of camera and film on page 7 confirmed my assessment. It is interesting that he departed from the usual practice of his peers by choosing the colour negative film Fuji NHG II rather than its sibling, the transparency film, Fuji Velvia 50. Though it does not have the punchy colours and high contrast of Velvia, NHG II gives softer colours in highlights and more shadow details. With negative films, mastery in controlling exposure is only half of the accomplishment, mastery in making prints is essential for bringing the final image to the masses. Everton said he developed his prints in a rental lab. If so, his craft is well done. The contrast control of each image is good with no lost of colour saturation and shadow details, even for heavily overcast landscape such as the one on Lemhi Pass (p56). About half of the images was taken at a time when a storm was approaching. Some even have a clearly visible rain curtain (p33,49,62). The panograph of the Great Sand Dune Monument (p62) is a real visual treat. The land and sky were connected by a rain pillar over the sand dune on the right, illuminated by the emerging light. The highlighted strip of the desert floor formed the visual anchor for the reader, guiding my eyes to start the journey from the lower left-hand side of the image then wander into the distant storm-covered horizon. The smoothness of the dunes form a visual contrast to the roughness of the storm clouds above. It is rare to see a rainstorm in a sandy desert let alone under such magical lighting. Capturing fleeing moments like this calls for great patience and skill on the photographer's part. The panograph of Lower Geyser Basin is my second favourite (p49). The steam pillar jetted out of the geyser is the force within the deep earth whereas the heaven is owned by the menacing storm dumping torrents of rain from above. I couldn't stop asking if this image was taken on Planet Earth or near Mount Doom of Middle Earth in Tokkien's fantasy. My other favourite is the panograph of the Lower Calf Creek Falls (p72). Here stillness and transquility was interrupted by the gushing waterfall. The branches of the two trees at the foreground formed a perfect arch that frames the waterfall. This is a stage built by Nature where we are invited to sit in front and be immersed in the sound of moving waters.
The map next to Everton's preface showed not only the places where the images were taken but confirmed the warning that American wilderness is an endangered specie. The rest of the writings is simply an eloquent elaboration of this urgent issue. This book is another quality publication from Abrams Inc. I give it four out of five stars.

This book deserves more than five stars for the unmatched color panoramas of the most picturesque horizons in the western United States.

You could visit these sites for twenty years and not see actual scenes as luscious as these. Whether you know the West or think you would like to, I suggest that you start with this remarkable book. This is the West as you've never seen it . . . but could. The wonderful photography is nicely complemented by the essays that provide geological and historical perspectives on the scenes portrayed here.

The photography is all done in 148 or 150 degree large format color panoramas. This perspective approximates what the human eyes can see, including peripheral vision. As a result, these images give you a remarkable sense of being present that is almost impossible to obtain in a book.

The reproduction quality is amazingly good, and the lighting and tones vary wonderfully from one outstanding photograph to the next. Almost all are displayed over an entire wide panorama-sized page, and many extend over parts of two such pages.

The feeling is so ethereal that it evokes the same sense of natural wonder that looking at paintings by the Hudson River School creates. There are in fact some parallels, as a few scenes include tiny people or animals in the foreground.

The book is divided into sections showing the Great Plains, the Rocky Mountains, the Colorado Plateau, the Cascade range, the Pacific Northwest, and California. Although I have traveled extensively in the West for over 40 years, more than half of these scenes were new to me. I can see that I have many wonderful trips ahead of me to visit these locales, now that I know how gorgeous they are.

Here is a list of the sites:

Sand Hills, Nebraska

Badlands National Park, South Dakota

Theodore Roosevelt National Park

Montana Prairie

Breaks of the Missouri

Yellowstone National Park, Wyoming

Waterton/Glacier International Peace Park, Montana

Lemhi Pass, Montana

Mores Creek, Idaho

Aspen, Colorado

Great Sand Dunes National Monument, Colorado

Grand Canyon, Arizona

Grand Staircase -- Escalante National Monument, Utah

Ghost Ranch, New Mexico

Painted Desert and Petrified Forest National Park, Arizona

Monument Valley Tribal Park, Arizona/Utah

Wupatki National National Monument, Arizona

Mount St. Helens

Crater Lake, Oregon

Mount Shasta, California

Oregon Coast

Big Sur, California

Santa Catalina, California

Yosemite, California

Mono Lake, California

Joshua Tree National Park, California

Death Valley, California

The text connects these boundless images to "a West of unlimited horizons" and the work of Turner in developing his frontier theory of the role of the West in stimulating American imagination and initiative. Even today, the book argues that the "unconstrained Western horizon" is important to our sense of taking on the new challenges of modern society.

Everyone who sees these photographs will agree that it would be horrible if these sights were ever to be spoiled. We are fortunate that government policy began to preserve these lands beginning in the 19th century. With today's challenges of pollution and visitors, perhaps even more will have to be done.

Reading and looking at this book is a spiritual journey, not unlike a peaceful meditation. If your spirit is troubled at all, I suggest this book as a balm that you can always use to ease your discomfort.

Live with beauty!

Wow. What a wonderful book that amazes me, everytime I open the cover. Everton seems to have complete control over the dynamics range in all of his photographs. Dark clouds yield to lighter, fluffy clouds, down to a light horizon, and a rich, dark lower 1/3 of these exposures. Add to this control his use of a tool that has limitations, at Noblex 150 panoramic camera.

Everton also captures locations that have already been widely photographed before, but with his own signature. He adds a new face to Calf Creek Falls in Utah. A must have book for your table.

This is a very good book about the Fitzgerald wreck. However, two things I wish the author had done:

1. Get off his soapbox about the deficiencies in the Coast Guard Rescue services in lake Superior. I think it needed mentioning, but not in the detail he chose. He also ignores the Canadian rescue facilities.

2. Label the photographs instead of making the reader refer to other pages to determine what they are looking at.

Otherwise, the book is excellent and was well worth the money.

If you have any intrest in the Fitz, this is the book for you.
This is one of the most informative books about the Fitz I have ever read.

The only thing I can say is you will not be disapointed.

I just completed reading Frederick Stonehouse's book (1999 paperback addition) and could not put it down! The various theories mentioned in the text give the readers a good chance to draw an intelligent conclusion on their own. The details of Capt. Cooper's (of the SS Arthur Anderson) conversations with Capt. McSorely were an excellent way of putting us in the middle of the tragic situation. The interview with Steve Chandler of "South Shore" magazine was another useful tool in bringing up many points about the investigation of the Coast Guard, as well as zeroing in on small facts of the Fitzgerald that might have contributed to its sinking. Gordon Lightfoot's lyrics and reference were of particular interest to me, as his hit song was the way I found out about the wreck back in 1976. My only complaint; put the captions on the same page as the pictures instead of making the reader thumb back and forth to figure out what picture they are looking at. Otherwise, excellent work!