This book is supposed to be the funniest thing that Kant ever wrote, and I really wanted to swim through this book before I tried to figure out what I thought was so funny, but even treading water is a challenge when the current has such a fierce undertow, and the serious "First Part, Which is Dogmatic" demands some consideration, though it ends with the famous prudence which demands "that one make the pattern of one's projects appropriate to one's powers, and if one cannot reasonably attain the great, to restrict oneself to the mediocre." (p. 40). This collection of DREAMS OF A SPIRIT-SEER and other writings from the Swedenborg Foundation Publishers, edited by Gregory R. Johnson, which puts everything that directly related to KANT ON SWEDENBORG into this book, allows a serious consideration of Johnson's view that self-defense was the essence of Kant's approach. Religious controversies had career consequences in those days, and Kant had to show he was laughing "because Swedenborg was a controversial figure. Rumors of interest in Swedenborg would have seriously jeopardized Kant's prospects for academic advancement. This is sufficient motive for him to write a book exculpating himself of the suspicion that he took Swedenborg seriously." (p. xvi). Johnson was writing a doctoral dissertation on Kant the first time he read DREAMS OF A SPIRIT-SEER in 1994, and he cites it in the notes as his COMMENTARY, (Washington, D.C.: The Catholic University of America, 2001). The acknowledgments are dated January 2003 (p. xxvi) and I feel lucky that I received this book as soon as I did.

I have been thinking about this book for a long time before I wrote this review, since this is the work for which Kant wondered if he had gone too far in jest. My first surprise was that Kant himself (like Hegel, he avoids mentioning names) is not entirely clear about whom he meant to be writing until page 49: "I come now to my purpose, namely, to the writings of my hero." He called his preface "A Prospectus That Promises Very Little for the Project" (p. 3) and the final paragraph of his introduction attempted to make his readers share the situation which he found himself in. "Furthermore, a large work was purchased, and, what is worse still, was read, and such effort should not be wasted. From this originated the present treatise, which, as one flatters oneself, should leave the reader in a state of complete satisfaction, in which the principal part will not be understood, the other not believed, and the remainder laughed at." (p. 4). In general, I approve of the steps Kant took to show a more enlightened view than the journals of his day. The major contrast in Johnson's Introduction is with Johann August Ernesti, who denounced Swedenborg in 1760 as a heretic in his "New Theological Library." For attempting to find meanings in the early books of the Bible which were not obvious, Swedenborg was accused of "pervert[ing] the Sacred Scriptures by the pretense of an inner sense, is in the highest degree worthy of punishment." (p. xxiv). When someone in Wurttemberg published a book on Swedenborg, "at Ernesti's urging, the Wurttemberg government declared the book heretical, confiscated all copies, and even ordered private citizens to surrender their copies on pain of arrest." (p. xxv). When a professor of Theology at Tubingen "urged a more open-minded attitude toward Swedenborg[,] Ernesti responded with yet another scathing review, asserting that Clemm's defense of Oetinger and Swedenborg was an offense that would have been worthy of the death penalty in earlier times." (p. xxv). Kant shows how modern people could be much more philosophical about these things, and though those people are all dead, there is a nice justice in the number of people who are still reading Kant and Swedenborg, even if they hardly know anyone else who does.

The prime point in the Introduction by Johnson resides deep in personal philosophy, that professional philosophers might understand as, "that Kant's mature critical philosophy is best seen as a synthesis of Rousseauian and Swedenborgian elements (the influence of Leibniz and Hume being primarily upon Kant's elaboration of difficult technical questions once his basic vision was already in place). . . . although Kant's vision of the cosmos is more Swedenborgian than Rousseauian, it is Rousseau who provides the essentially pragmatic arguments that allow Kant to embrace the content of Swedenborg's visions but discard his enthusiasm." (p. xx).

The notes are helpful. Only a translator is likely to notice, "Here Kant embraces the idea of general as opposed to particular providence." (p. 161, n. 26). This is what makes Kant a philosopher, "the notion that God governs the universe by framing general laws. Particular providence is the notion that he governs the universe on a case-by-case basis." Swedenborg is so religious that he argues "general providence is meaningless without particular providence." There is more on this in Johnson's (as yet, unpublished) COMMENTARY. Kant [Part I, Second Chapter, Paragraph 3] was talking about connections in the immaterial world, the former connections, before getting trapped where "nothing hinders even the immaterial beings that affect one another through the mediation of matter from also standing in a special and constant association and as immaterial beings always exercising reciprocal influences on one another, so that their relationship mediated by matter is only contingent and rests upon particular divine provision, whereas the former is natural and indissoluble." (p. 16)

I would like to check another translation to see if this is even close to what anyone else would think. In 1992, David Walford and Ralf Meerbote had their translation published in Kant, THEORETICAL PHILOSOPHY, 1755-1770. "Walford's translation is highly accurate and very readable. Indeed, it would be hard to justify a new translation of DREAMS at all were the Walford translation available in an inexpensive paperback edition." (p. xxiii). It soon might be, if that is what you would rather have.

This work is often described as Kant's most "mysterious". The mystery lies in the fact that here in this treatise the Great Professor of Metaphysics unreservedly admits in the existance of "immaterial natures in the world", i.e. spirits and a spirit world. There is nothing mysterious about this statement, it is just that modern readers refuse to accept it. I've never understood why this should be so hard for some, since Kant's System of critical idealism is perfectly consistent with this view. Kant claimed that we could never know the true nature of the world around us, the true causes of sensations. He always held that there is a real world that we can never accurately know. This real world corresponds with a "spirit world", or if you prefer, a platonic world of Ideals lieing outside of our human perception of time and space. Kant unmistakably states that "We should ... regard the human soul as being conjoined in its present life with two worlds at the same time...." Nothing could be more unambiguous, especially considering his references to the writings of Swedenborg.

I think that this book has been largely ignored because it is just too divergent from the rational empiracism of the modern scientific mind. The scienitfic materialist conveniently ignores the fundamental questions of material "reality" that Kant couldn't ignore. Furthermore, when the Prussian government banned this work it set into motion the series of events that culminated in the profound physical and spiritual disasters of the 20th cetury- and beyond.

It may yet be proven that the ideas in this forgotten book are far more "real" than the modern materialist concensus of reality....

This book is a valuable addition to any Civil War library. Chronologically ordered, it recounts the deaths of Union officers and men from wounds received at Gettysburg.

The title is mildly misleading. Many of the soldiers referenced died of wounds in the month after the battle. This in no way minimizes their sacrifice, but these are not exclusively eyewitnesses accounts of soldiers immediately KIA.

One of the more intriguing aspects of the book is the presentation of letters to next of kin by commanding officers and fellow soldiers. Those letters reflect the ethos of the Civil War soldier, as well as the diction and eloquence of a more gracious age. Contrast the poignant sense of loss and appreciation reflected in those letters with the sterile form letter-notification of the 20th Century.

A companion piece from the Confederate side would be a valuable accompaniment to this scholarly work.

There are many books written on the American Civil War. They address the leaders, the battles, the statistics, the politics and the individual struggles. Until now, however, the personal accounts of those who witnesses the last moments of many a brave soldier has gone unpublished. Here, in these pages, are the tales and tragedies of many poor Americans who's personal efforts might have gone forgoten if not for the lasting impressions they left upon those who cared for them. Stories from nurses, best friends, commanders, all attest to the bravery and devotion these men possessed. Here are the stories of men who's lives where smashed by the minie ball, doused by the cannon's belch and torn by the lack of adequete medical knowledge. Here is a book that will vividly inform it's readers of the true finality of war.

I was surprised and excited to receive a signed photo journal from George Thomas. I had looked in books that offered good quality, applicable pictures that I could look at while researching and reading other books (i.e. Undaughted Courage- Steven Ambrose, and Out West- Dave Duncan). I was surprised how hard it was to find a book with many pictures of the trail highlights

This book has not only pictures of the many landmarks along the trail but also suggested old camp sites and river forks described in the story books and journals (I believe they were taken around the same time of year the explorers traveled).

I would suggest this book for everyone!

The photography was breathtaking. It is an excellent book for the layman. I would advise any history buff to read this book. It is also an excellent resource for teachers.

The extraordinary luminosity of Fr. Kroug's iconography is clear in the large color photos. The detail allows one to look at the layers in his tempera/fresco technique, as well as his unique manner of highlighting. His use of color, while within the canonical guidelines, is uniquely modern and is attuned to the 20-21st centuries. His icons, like the "Descent into Hades" contain the essence of spiritual meaning, speaking understandably to anyone who regards this icon, believer or not. He has been compared to Andrei Rublev as a uniquely gifted iconographer. The two are very different in style, but the same beauty, joy, and faith shine through their icons.

I would recommend this book for anyone interested in general iconography, as well as for iconographers. It is very well done, and makes one hope more of Fr. Gregory's icons as well as his writings might become available in the future.

This book totally surprized me. The format is incredible. The images are reproduced on a large scale that lets you look at them for hours. The commentary is not preachy or dry. It is a unique look at a totally unique art. The more I read the more I wanted to read. It's that good. But honestly since this is a book on art the words should only enhance understanding of the images, they do. Each image tells a story, one that you will want to read again and again. If you want to experience art that is not ordinary, this book is an excellent breath of fresh air.

I had never heard of this author and just happened to pick up this book. I am so glad I did. It is one of the best books I've read in a long time and I plan on reading all the other books by this author. I think it's a " man's" book, but it had me laughing several times. I can imagine what anyone would say when attacked by a barn owl!! Thanks Mr. Bean!!

Gregory Bean does an awesome job of capturing the flavor of life on the high plains and foothills of contemporary Wyoming.He is especially adept in his decription of both Wyoming wildlife and landscape. His characters are authentic modern Westerners and his portrayal of Wyoming pathos stings the imagination . Bean tells a "tight" story, adding no unecessary detail or event and leaving out nothing which might highten the sense of adventure his books give to the reader. I must say that I had trouble putting down all four of his novels once I began reading them.

This book has a ton of tips about how to keep your kids' teeth clean & healthy.

We got the book as part of the "Cavity Buster Kit" , but the book by itself is also useful....

Well written, good illustractions, easy to understand.

The doctor who wrote this book has a website with lots of tips for raising a healthy child. They also have games for kids and a free poster that you can print to help kids have a fun time while developing good dental habits.

Anyway the site mentions a “kit” that has a videotape, this book, and a selection of teeth friendly products.

The book itself is pretty interesting. It tells how tooth decay actually works and then gives steps to stop dental decay in its tracks. It has checklists and instructions that help make raising cavity-free kids pretty simple, I’m kinda lazy but even I can take these steps with the kids.

There’s also a section that lists food that are healthy to eat, my favorite cereal, Rice Krispies, ranks pretty well so I’m happy!

I thoroughly enjoyed reading "Love, Lies, Linnea, and Lucky Lucifer". It is insightful, touching, and beautifully written. I was especially intrigued by DP Hymel's, "The Raptor's Monologue" and Kemp Gregory's, "Piece of the Ides of April". This is writing that makes you think and reflect on the lessons of life. It is both amusing and thought provoking.

They say that some of the best writing out there is by authors few people have ever heard of. Okay, I don't really know if anyone has ever actually said that. But it's something that I have often found to be true, and it certainly is in this case. Kemp Gregory and DP Hymel are not household names; in fact, until now, only avid readers of poetry and fiction magazines have ever seen their work. Hopefully, that is about to change, for these two individuals have created something very special in Love, Lies, Linnea, and Lucky Lucifer.

The first thing that struck me about this book was the cover design. The ghostly image of an arched window hovers within what strikes me as a fragmenting brick wall. I imagine the design will ultimately prove symbolic of as many different ideas as the book has readers, but leaving that aside, it is very interesting to look at and contemplate. It grabs your attention and thus achieves its purpose, albeit more elegantly than most.

On the surface, this book is a collection of Gregory's poetry and Hymel's fiction, drama, and spoken-word jazz variations. Gregory's 54 poems in this book range in length from a few words to a few pages and touch on such varied subjects as New Year's Eve, the items on his desk, the experience of growing older, and a (one sided) conversation with his daughter. What I love about his poetry is that it's so accessible. By that, I mean I don't get the feeling that he's trying to impress me with his artistry, just speak to me. And speak to me he does, expressing his perspective of the world in a way that entertains, amuses, sometimes hurts, and most importantly, encourages me to question things. He has a remarkable ability to express an idea by drawing on another, and he also artfully puts into words ideas we've all had at one time or another. Some examples of both:

In "Highlights," he recounts his memory of the McCarthy hearings through childhood recollections of Clint Eastwood westerns.

We see Martin Heidegger in command at the shrine of Texas independence in "Heidegger at the Alamo."

"Strange Ironing Board Scene at Brunch" reflects his musings on observing his cat and dog exhibit their true, pre-domesticated nature.

Films often lose their initial impact after repeated exposure, a fact hilariously explored with "On Succumbing to Analytic Rigor While Viewing Braveheart for the Third Time."

Another enjoyable thing about Gregory's work is that he knows when not to take himself too seriously. I'm not a huge fan of poetry, but after reading these and his 50 other offerings, I realize how much of one I could be -- if only other poets were more like Kemp Gregory.

The other half of this collection is written by DP Hymel, who has included 2 short stories, two contrasting scenes from a play, and some wonderful spoken-word for jazz.

If you happen to be an actor, the pair of scenes included offer two monologues that alone are worth the purchase price of the book. In "Dennis Rodman Ate my Baby!" we observe three friends sitting down for lunch and debating the truthfulness of one of the trio's claim that his father was responsible for settling the West 150 years ago. As the discussion progresses, one of them goes off on the Mother of All Tangents, meandering through a truly excellent comedic monologue. A fine dramatic monologue is provided by the aptly named "Raptor's Monologue," in which a vampire offers a deliciously confident, polite rebuttal of our Bela Lugosi/Stephen King/Anne Rice ideas of his race.

Probably the most uniquely interesting section of the book is "The Perseids: a jazz composition for trombone and spoken word." Consisting of varying spoken-word ruminations on the annual Perseids meteor shower, it is immediately clear that Hymel has a true Jazz Man inside him. While his words perfectly capture the nighttime display he describes, you can almost hear the absent trombone echoing and elaborating on his observations. Truly a unique piece of work.

Of the two short stories Hymel has contributed, the beautifully poignant and (for me) surprisingly heartbreaking "Bennie and Guerito" will remain with me the longest. A true story as told to the author by a friend, this is a wonderfully woven story of friendship and remembrance, loss and remorse, and the scars that we all have in one form or another.

Love, Lies, Linnea, and Lucky Lucifer, in addition to being an entertaining and fulfilling work, is also a fine example of good, solid writing that will be of great benefit to any student of the art. It is appalling to consider how often mediocre (or just plain bad) writing is rewarded and good writing ignored. One can crank out regurgitated sophomoric tripe for movies like Big Daddy, Joe Dirt, American Pie, or A Knight's Tale, and make millions. Yet work of true substance is viewed with apathy or worse, not viewed at all.

Before I wrote the above paragraph, I had intended to state that it was puzzling to me that these two authors have to keep day jobs rather than make a fine living from their abilities. But considering the often sad state of literature in this country, perhaps it isn't puzzling at all.

But it is an injustice.

A clear and altogether pleasant presentation; excellent layout and typography. A quick check indicated it was perhaps a bit less thorough than Olivier Blanchard (Mankiw doesn't mention the problems with non-performing loans in the Japanese banking system; Blanchard does), but one has to draw the line somewhere, and there is something to be said for allowing the instructor a bit more flexibility to introduce examples. Quite interesting--I hesitate to label a textbook exciting, but it would be an undersatement to say that Mankiw's text is neither soporific nor unduly convoluted; it inspires further inquiry. If you are required to use another text in a course, so be it; if reading for your own education, Mankiw is excellent. One might be sorely tempted to purchase it as a supplement to other less clear texts.

Mankiw really gives an in-depth explanation of Macroeconomics in an easy to understand way. I've taken this course at Fordham University and we used this book. This book is everything a beginner needs to know in complex economic policy.

What an incredible mind! Muggeridge's depth of vision is laid before us, his words powerfully used. It would be accurate to say that he "licked the earth" for most of his life and we are given convictingly honest insight into how this part of his life played out. The Lord had something else in mind and it was a long, slow process for Muggeridge to finally come to Christian faith. Bogged down a bit in the middle for my taste, but such a satisfactory read; couldn't put it down for long.

Malcom Muggeridge (1903-1990), British writer and social critic, was one of the most brilliant controversialists and media personalities of his generation. This new biography draws on unpublished diaries, correspondence, interviews, and Muggeridge's prolific writings to chronicle the long and turbulent life of this legendary figure.

"Wolfe's book is bound to become the definitive biography of Muggeridge." Publisher's Weekly

"Wolfe has entered his subject's life in the most unobtrusive and salutary way, by adopting the attitude of a servant, so that the reader rides at the turbulent center of one of the most quixotic, troubled, and fascinating figures of twentieth-century Christendom. This biography is both an inspiration and a call to repentance to any who think they can exist as 'carnal' Christians. There's hardly anything Muggeridge didn't try until the Lord laid him low. Wolfe's work will be the standard for Muggeridge studies for years to come." Larry Wiowode, author of Poppa John

Gregory Kauffman's novel, Manuela, is written as an autobiography, and you'll believe that Manuela Saenz actually wrote this memoir. At times you'll love her, at times she'll exasperate you, but her passion for freedom and her devotion to Simon Bolivar will keep you fascinated. The novel brings to life a woman who was driven to prove her worth to society, her family, and her country; and her pain, as well as her joy, is palpable on every page. Kauffman has that rare gift of making an historical figure seem like someone you truly know. Reading this book, I not only gained an education about South American history, I actually felt as though I'd lived through the revolution.

MANUELA is a wonderful story about the lover and companion of Simon Bolivar, who was responsible for the liberation of South America from Spain. The novel describes how she was born in poverty and disgrace, yet rose above it all to become the most powerful woman in South America. I'm really not a big fan of historical novels, but this is a love story, a war story and a story of personal triumph that truly captivated me. It is exceptionally well written in the first person. I completely forgot that the author was male. More than that, I really cared about Manuela and her friends. I laughed and cried and always wanted her to win! It is an excellent book. Any one with a sense of adventure will enjoy it as much as I did.