If you can read history books, this book is really a must for grasping the Deerfield situation from a first-hand perspective.

It is also difficult to read because of the language. But really, it's worth the work to get through it.

Great, moving.

Like I said it kept me interested in finding out what was going to happen next. The story was filled with lots of surprses,and took place in diferent parts of the world as the detective ran around pretending to find out what was happening to the victims!Thru the whole story I kind of figured it was the detective but really could not pinpoint it.

This is something of keynote work in traditional Seneca stories. The author -- Arthur C. Parker -- was a Seneca author from New York State who became a well-known ehtnologist, and contributed a great deal based on his first-hand perspective of his own People. (He was the nephew of Ely S. Parker, Seneca Sachem and Union Aide to Ulysses S Grant). The language, indicative of scholarship of the time, can be somewhat stiff and formalized, but the Stories and their relevance are critically important.

Good quality photos. I would like to e-mail Mr. Quinn if he is accessible. I hope he considers writing a book about the Meritt-Chapman Wrecking Co.

I'm a pretty serious New York Central RR fan, so I had to have this book for my collection. I found it to be extremely comprehensive in its coverage of the Boston & Albany and the pre-consolidation NYC. I only wish that: 1. A release date for the planned Vol. 2 would be announced, 2. More photos had been included (maybe this is an idea for a companion series), and 3. More plans were included (see previous comment). A must-read for NYC fans, from that road's last Chief Mechanical Engineer. I also own Edson's book on NYC diesels, and he seems to have a real genius for laying things out and breaking data down into smaller, more manageable chunks. All in all, it's a pretty good piece of work, and I recommend it wholeheartedly.

this is a very nice book. the design is not that great, but otherwise it is great. the art and pictures are very nice. the book was published in 93 so it shows a lot of earlier work by this very important artist. essays by baraka and mcevilley are insightful and should be read by anyone interested in art, black culture, or the politics of art and race. dial is in the 2000 whitney biennial, and this book makes you wonder why he wasn't in it earlier. the titles of the works alone make this worth reading. another book of note very much worth reading is souls grown deep: african american vernacular art of the south, published by tinwood books.

Once again, Eisner takes us into the daily happenings of NYC, and as always he shows us that as jaded as The Big Apple seems from the outside, there is still a heart definitley beating inside.

At times the ideas in the story seem random, but come together to paint a very human story. A must for Eisner fans, just for the artwork and thumbs up for all other readers.

William Morrison's book covers 74 theaters from 1873 to 1932, including those demolished as well as those still standing. Most theaters get two pages of coverage, consisting mostly of b&w photos of both the exterior and interior. The accompanying text emphasizes noteworthy performances. This book is a nice overview of the topic, although I preferred van Hoogstraten's "Lost Broadway Theaters," which gives more information about the interior layouts, but doesn't cover theaters that are still standing.

This book serves as a great photo album of the many legitimate theatres, which were constructed over the last century in New York. The style of this book is almost identical to Nicholas Van Hoogstraten's LOST BROAWAY THEATRES, which makes me question its necessity (some of the photos are duplicated). However, Morrison's book has some omissions that I feel are inexcusable. Two major theatres are missing: The CENTRAL, Broadway and 47th St and The ASTOR, Broadway and 45th ST, along with several minor ones. Also there are some errors in text such as when Morrison claims the ERLANGER became the ST JAMES in 1951, in fact the name change was decades earlier. Another error occurs when Morrison states the HOLLYWOOD (later HELLINGER) sealed its Broadway entrance in 1934, this actually occurred when the house went "legit" during late 40s. Never mentioned in any of these books is the PICADILLY (later WARNER, where sound movie were introduced in 1926) and COLUMBIA (later MAYFAIR and DEMILLE) Theatres, which started as stage houses but spent most of their existence as movie houses. I do not understand the continued emphasis being placed on NY's Broadway theaters without ever giving the great Times Square movie palaces (ROXY, PARAMOUNT, CAPITOL, etc) their due. Because of their vast size and popularity, the movie palaces, attracted more people to the Times Square area than the legitimate stage can ever hope to. New York's movie palaces were the largest, most expensive and arguably the finest ever built and I feel it's about time their place in Times Square's history is properly acknowledged. BROADWAY THEATRES by William Morrison offers a fine overview of its topic for those who are marginally interested. But for others expecting more insight and accuracy, Morrison's book should only be used as a starting point.

Ever sat in a Braodway theater and wondered about the history of the place and what shows had played there before? This book tells you. I took it with me on a recent trip to New York and discovered that one of the buildings in which I was doing business (The Hippodrome) was built on the site of the late Hippodrome theatre, where many spectacular productions, including Billy Rose's Jumbo, where staged. Morrison obviously is an expert in both theatrical history and architecture, making his essays on the individual theatres informative and lively. The play is what we go to see, but the house in which it's staged is often critical to a play's success--as Morrison demonstrates on page after page. Broadway Theatres: History and Architecture has made a great addition to my theatrical library.

This was a very fast, easy read, but not too thrilling or suspensefull. The first half was way too slow, but the ending was interesting, although predictable. A good book to read for fun and relaxation, but nothing very stimulating here.

A Good Read. Really enjoyed the "bad guy". The cop is great also. The idea of the "city" under New York was great.

I try to not let flashy book covers grab my attention, but sometimes they do and I'm glad this one did. I was bored and wanted to read something out of the blue so I gave Mr. Dantz' book a try. The reviews said that it was a fast read and you couldn't put it down. I would have to agree. What made it so fast was that the chapters were so short. It reminded me of Mr. Crichton's Jurassic Park (again, read it - the movie did it an injustice) Short chapters - make for quick reads, because as the reader you feel like you are accomplishing something and you tell yourself (or I do) okay the next chapter I'll go to sleep, but this book kept me turning the pages.

I have to admit that the ending could have come a little sooner and I was getting a bit tired of the characters, but all in all I really enjoyed this book.

My only regret is that Mr. Dantz' other work is out of print. I'd like to read more of his material if it was anything like "Nine Levels Down"

In the first 55 pages, multiple people and animals are brutally and graphically killed. I had no interest in reading further.

I had read favorable comments about William Kennedy's Albany cycle of novels, so I decided to read this one. As the first book in the series, it seemed to be the logical place to start. Having finished "Legs," all I can say is that it will be a very long time before I read another novel by William Kennedy. Perhaps the books get better as the cycle goes on. I can't say. This one certainly did not whet my appetite to find out.

The novel follows the career of a psychotic gangster named Jack "Legs" Diamond. This thug fascinates the novel's narrator, Jack's lawyer. All the other characters in the book are equally intrigued by Jack and so, we are told, is the entire American public. ("[B]ut heroes and poets followed Jack's tribulations with curiosity, ambivalent benevolence, and a sense of mystery at the meaning of their own response," writes Kennedy.) There was no mystery in my response to this character. Sociopaths just don't fascinate me. Sorry.

I don't understand the attraction that so many writers and filmmakers seem to feel for comic-book gangsters. I suppose we are to take these works seriously because they claim to portray evil in society. They purport to develop themes of moral ambiguity and pose ethical dilemmas. To search out the wellsprings and permutations of evil in the world is certainly a valid literary goal. With all the evils that flared up throughout the last century - fascism, communism, environmental degradation, and racial and ethnic bigotry, there has certainly been a lot to write about. If writers want to plumb these deep themes, that's great. But why resort to these cartoonish sketches of American gangsters to develop the themes?

The writing style in this book reminded me of the "Guy Noir" sketches from the Prairie Home Companion radio show. It's hard to say which one achieves a higher level of realism. At least Garrison Keillor is funny when he does his sketches. You can't say that much for the cliche-ridden drivel that fills page after page of this miserable novel.

This was the first book of Kennedy's that I'd read and am thrilled at the thought of having the rest of his books to look forward to. First of all, it's just the sheer quality of writing. Kennedy dances into, out of and all around the mind of Jack Legs Diamond, the prohibition era gangster. He'll take you close to him, then appal you with his ruthlessness. Kennedy is essentially trying to deal with a knot of myth and cliche. Legs' story has been played over again and again in literature and film. He really was the good-time gangster with the faithful wife and show girl mistress, the quick one-liners and aggressive ambition. This may have appealed to a writer, but how then to humanize him? Kennedy succeeds mainly because of the voice(s) through which he approaches the story. Marcus, Legs' lawyer, is the perfect guide - people tell lawyers their stories and here, he has passed them on. But the narrative is never that simple, flipping from waiter's anecdotes to mistress's yearnings, and all without losing or confusing a reader. Kennedy presents an incredible portrait. It simply doesn't matter whether or not he has figured out who Jack Diamond really was, for he has imagined an incredible three dimensional replacement of his own.