"The Southern Heirloom Garden" is a rich and instructive work.

At the start of the book, William C. Welch and Greg Grant tell us that "gardening is one of the oldest, and richest, of our Southern folk arts."

The authors divide the book into two sections. The first section refreshingly explores French, German, Spanish, Native American, and African-American contributions to Southern gardening.

The Spanish, for instance, intensely developed and utilized small garden spaces, while African-Americans used brightly-colored flowers in the front yard as a sign of welcome.

This section also has a commendable essay on historic garden restoration in the South.

The second section addresses the plants "our ancestors used to build and enrich their gardens."

There are nearly 200 full-color photographs here, along with dozens of rare vintage engravings. While some of the pictures are a bit small, they are still informative.

Southern gardeners and historians will particularly enjoy this fine volume.

This is a really great book. I loved the essays on each plant. Greg Grant is very humorous. This is not just a coffee table book, although the pictures are beautiful. It offers advise and inspiration to those of us who will never have the "Southern Living Landscape" look.

In these days of trying the "Western grass garden" or the "English perennial border" it's particularly refreshing to study a book devoted to plants that happily grow in the Southern humidity and heat. While the opening chapters on historical gardens in the new world (French, Spanish, etc.) were interesting, the later chapters on plants were the most informative. When reading I could hear my Grandmother using the same commonplace names, like "paw-paw" and how to make jelly from the fruit. The challenge will now be to find some of these plants. (The authors admit some plants are only available from old gardens in the South). It remains one of my favorite garden books for its affectionate commentary on one of the oldest southern pastimes - our gardens and the talking and sharing of plants with loved ones.

As an owner of many domestic horned sheep, which are descended from the wild sheep described in the book, I found this book fascinating especially the attention paid to horn type, growth and comparisons between subspecies. It serves as a great foundation as I continually learn to understand and improve my flock.

Although published in 1964,this is perhaps the most complete work on wild sheep avaliable to the layman.Written in an easy read style, this work is full of stories of old hunts and the trials of old hunters.I find myself coming back to it time after time......

This audiobook is an excellent addition to the U.S. history-buff's glove compartment. There are basically four tapes of interviews by Roger Mudd done for the History Channel. Mudd asks questions to the featured historians and they respond with stories and factoids to keep you thinking. I can listen to them many times and still learn things that I didn't catch the last time around. This is also a great way to brush up on your U.S. history while enriching what you already know.

This is the very best audio tape I've ever listened to. While some interviews are better (Stephen Ambrose) than others (Richard White), each one offers important insight and perspective on the most important events of our time. Through the eyes of these men, our nation's history is told so clearly and succinctly, and with such passion, that you can't help but be changed and moved by the experience. I guarantee you'll come away with a better grasp of who we are and where we're headed as a nation.

The 'Illustrated' 007 is faithful to the Fleming book series, which is fine by this reader, since Fleming's portrayal of 007 was the original and best. John McLusky's image of James Bond bears an amazing resemblance to Sean Connery - and this was drawn before he took the role of 007 in 1962!

This reader's disappointment is only that the complete set of Illustrated 007 episodes for all of Fleming's novels aren't available.

This book contains comic book adaptations of three of Ian Fleming's popular James Bond novels: Dr. No, From Russia With Love and Diamonds are forever. These stories are faithful adaptations of the original novels, with minor variations in the plot. Richly illustrated by John Mcluskey, these strips appeared in the Daily Express newspaper in London as well as many other newspapers all over the world. The plot of these stories are well known to most people in the world due to the enormous popularity of James Bond, and these comic strips present a whole new way of experiencing these stories again. Highly recommended.

The book's hardback permanence and $$$ ($$$ from Chank, that scoundrel) list price make it more of a reference than a catalog. Bound in stunning red cloth, Indie Fonts' exterior brings to mind the solid albums of ATF and Linotype. With class and substance, this volume lends credence to each firm it represents.

Up front is a style index with a one-line showing for each font and page number referring to the corresponding full specimen.

Generally well-planned specimen pages organized in foundry sections make up the bulk of the content. Each foundry created its own section page with a company bio and ordering information. Each shop also designed its own specimens based on Grieshaber's templates, resulting in showings of slightly varying quality. On the whole, the type is given ample room for full character sets, although things get a bit tight for foundries with more fonts to show. Text faces are often shown in paragraph form with a tiny column measure. It would be nice to see how they perform in more extensive settings. The font name, designer and year of design are listed in the sidebar. Some foundries opted to include notes on the font's use or origin in this margin and those specimens are better for it.

Trailing the foundry sections is a glossary, a reading list, and a handy character reference chart. Also included is the AIGA's guide to the Use of Fonts which covers some font copyright and ethical use concepts misunderstood by most designers. A simple index of font names and designers rounds out the book.

Tucked into the inside back cover is a CD of 33 "Bonus Fonts" which are fully licensed for immediate use. Some are true commercial goodies and add value to the book, others are available for free elsewhere, and a few are pure poop.

Not Seen on TV

Any collection of independent typography is subject to a wide variety of style and quality. In no other book can one find the classic work of regal Matthew Carter directly followed by the irreverant fonts of Chank. Indie Fonts proudly hails both the king and the court jester. But the unexpected is what makes the volume so valuable. Much of this type has never been used by a magazine or multi-national corporation. These are fonts not seen on TV. These are mass-culture virgins. To a designer struggling to make an impact in a world over-saturated with the same old look, this stuff is gold.

Most of the typefaces in Indie Fonts were already unveiled by their respective foundries in those previously mentioned corners of the web, but there are a few that will be new, even to surfing typoholics. Fresh Fountain fonts made their debut in Indie Fonts before the redesigned web site went live. Peter Bilak's multi-descendered Fedra Serif (still in preview form at Typotheque) is displayed beautifully in one of the more thorough specimens of the book. Without a website or distributor, much of Matthew Carter's Carter & Cone library (Fenway, Big Figgins, ITC Galliard CC, Ionic #1, Sammy Roman, and Wilson Greek) is on display here for the first time, as far as I know. And It's a relief to see all of the Test Pilot Collective in one accessible place, their website still repelling hopeful visitors after years of being AWOL.

Worth a Spot on the Shelf

Indie Fonts isn't quite on par with the master of all specimen books, FontShop's FontBook. But it's more of a companion to the catalogs of the large distributors than it is a replacement. In the end, those who rely only on the big boys are overlooking a valuable set of typefaces - many of which are effectively set into motion by this very worthy tool.

Wow! "Indie Fonts" is indeed a quality book both in the information it provides and the workmanship afforded in the making of the book itself. Few publishers take pride in making such a quality product as this...like the bookbinders of yesteryear. You can see the workmanship as soon as you lay eyes on it. You can feel the wokmanship the moment you pick it up. A work of Art! Highly recommended. Enjoy!

Introducing Joyce really gives the reader insight into Joyce's methods of writing, how much of his work was autobiographical, and helps one better grasp this great writer's unique style. I was also amused with the interesting illustrations throughout the book. These illustrations make it impossible for the reading to become at all monotonous. One learns many things that are incorporated into his work that you would never know without reading this book. Overall, an excellent way to prepare for the experience of Joyce's writing.

This is an excellent introduction to the life and writings of James Joyce, the former being essential to understanding the later, on any level. Mr. Norris's text and Mr. Clint's illustrations (which are actually rather functional) bring a sense of insight to any who attempt to take on one of the most complex writers in Western literature. The outline of "Ulysses" is excellent, and Mr. Norris even takes on the daunting task of begining to explain what has to be one of the most utterly demanding books ever, "Finnegan's Wake," and illustrates, literally, that it is not just some great joke or jibberish as others who probably have tried and failed to interpet, claim it is. And the keen advice from Mr. Norris, although rather pedestrian, disproves the popular notion of Joyce being unreadable. I would strongly recommend this and any of the other editions in this excellent series (I have since purchased, "Introducing Kafka.")

This book does a great job of giving the reader an overall perspective of the Soviet experience through her arts. From the beginning optimistic nationalistic songs, to the later stories of the youth groups (Komsomol) and futuristic views of the USSR, the reader becomes enveloped in the pride the Soviets had for their country and the hope that they had in her. I became very interested in these passages and consequently became somewhat connected to their cause. I gained a lot of respect for the Soviet artists. However, one cannot help but feel a sense of sorrow that the project went wrong; it was, after all, the greatest social experiment in history. I cannot give 5 stars because I would have liked more visual arts; overall, though, an excellent book.

The editors do a wonderful job of finding items of Soviet folklore and putting them together to give the reader a feeling of actually almost being in Soviet Russia. From the chastushki to the luboks to the songs, all the items are wondeful.

not a bad book. I felt coverage could be much much better. Referencing would enhance the value of the text. Cost is too high for a simple Q&A book.

Fast final review just before boards. Probably picked up 30 additional questions that I would not have known.

Old Ben was about how a boy teaches his parents that a black snake could be useful. I read the book and liked it a lot. I would like to read it over again. It made me want to get my own snake! The author said that this story was based on a real snake. Audrey Smith, age 8.

Old Ben is a story about a boy and his snake. I have been teaching my child through homeschooling and I found this book to be great for a 8th grade reader to do a book report on. She started reading the book reluctantly however, when she started reading it she just couldn't put it down. She enjoyed this book and I enjoyed watching her read.

As this posthumous collection of essays suggests, Weaver felt most at home writing about the old South, which was his birthplace, the topic of his dissertation, and the subject for which he reserved his highest praise.

To Weaver the evils of the world were rooted in modernism, industrialism, materialism, and nationalism, all of which he blamed on Union victory. At one point Weaver even asserted that total war -- war unrestrained by chivalry or other ethical restraints -- was a northern custom which had led to the rise of National Socialism in Germany.

The stark line Weaver drew between South and North, with divergent and logical worldviews ascribed to each, was for him the line between good and evil. In reducing every issue to either-or, Weaver oversimplified his subjects, so that his essays resemble legal arguments: Haynes v. Webster, Thoreau v. Randolph, Lee v. Sherman, Emerson v. Warren. In each case, Weaver's preference is obvious.

I found the strongest essays to be in section one, about southern literature and the Agrarian writers. Here are many useful and profound insights that time has not diminished. When Weaver leaves his specialty, however, his comments are less persuasive, amounting to sweeping sociological observations and cheerleading for the old South.

The converse of Weaver's feeling at home in an imagined South is feeling alienated in an imagined North. Although he spent most of his career teaching literature at the University of Chicago, he isolated himself from the city both physically and intellectually. Perhaps if Weaver had made more effort to adapt, he would have left us a richer legacy, one less marked by decline and defeat.

I admire Weaver's work a great deal. He should be praised for showing, from a conservative perspective, the limitations of capitalism, industrialism, and modernism, limitations which are more often the outcry of the radical left and dismissed as anti American. He would have been wise to consider also the limitations of the old South. I am less willing to blame today's discontents on Union victory. In Weaver's rigid arguments, moreover, there is little to be learned about the vital American principles of acceptance, pluralism, and compromise.

Sometimes it is difficult to sort out the contradictions in Weaver's work, but I prefer to keep in mind his comments from Ideas Have Consequences: Piety accepts the right of others to exist, and it affirms an objective order, not created by man, that is independent of the human ego.

In short, if you are a friend of the South, or would like to read the words of a man who can explain the conservative axiology, this book is for you. The contents are essential for anyone seeking a neoclassical education. For me, reading Richard Weaver's Southern Essays brings together the final sentences of Faulkner's "A Rose for Emily."

"Then we noticed that in the second pillow was the indentation of a head. One of us lifted something from it, and leaning forward, that faint and invisible dust dry and acrid in the nostrils, we saw a long strand of iron-gray hair."

The book is a monument to Lee and Jackson. Anyone who wants to understand Picket's charge needs to read this excellent book.

This is a marvelous book, and a marvelous collection of essays, written by a clear and conscientious southern conservative. Richard Weaver was heir to the Southern Agrarian tradition of protest and opposition to the directions modern American society and politics was taking, particularly in the New Deal and post WW II eras. Writers like John Crowe Ransom, Donald Davidson, Allan Tate, Caroline Gordon and Robert Penn Warren, were caustic critics of modernity, of the decline in community, and a sense of the common good. Weaver, an english professor who might better be described as an intellectual, lived, learned, and worked in this tradition. Of all the essays in this collection, all of which are well written and thoughtful, two stand out in my mind. His essay on 'Lee the Philosopher' captures the pragmatic and common-sense spirit of southern political and social thought. Southerners felt little need for abstract theorizing, or great theoretical and philosophical models. Simple, everyday ideas, the ideals of common sense and everyday life, were more than enough for the down-to-earth farmers and planters of the American South. Weaver does a brilliant job of portraying Genl Lee as the epitome of the southern ideal of both gentlemanly duty and social thought. The second wonderful piece is 'The Two Types of American Individualism'. Weaver contrasts the individualism of a character like John Randolph of Roanoke, a fixture on the Virginia political scene in the early 1800's, with the individualism of Thoreau (and by implication the North). Randolph was a supreme example of an eccentric indivdual. He had bouts of insanity throughout his like, fought duels, appeared on the floor of Congress with his hunting dogs, jug of hard cider and his slave attendant, and refused to toe the party line. Yet, when the needs of his community demanded, or the society in which he lived was threatened, he was willing- even eager- to rally to the cause and defend it, despite his personal believes and misgivings. Weaver felt that Thoreau, on the other hand, with is notions of civil disobedience and voluntary taxation, put the individual ahead of the community, and would refuse to defend anything that was not justified according to his principles and beliefs. This was recipe for chaos and disorder, and disintegration. Weaver leaves no doubt as to which he preferes. The division between community and tradition, and individual liberty is a fault line that continues to run through American political and social ideas. Weaver, in powerfully defending tradition and community, has been one of the men shaping current political discourse, particularly among the social conservatives and in the religious right. He deserves to be read.